After The Mothers: Zappa and the L.A. Philharmonic - Revision history

Spider of Destiny at 12:29, 25 April 2026

2026-04-25T12:29:56Z

Jason.Kreitzer at 13:19, 12 October 2021

2021-10-12T13:19:49Z

Jason.Kreitzer at 16:42, 7 August 2021

2021-08-07T16:42:22Z

Jason.Kreitzer at 19:58, 31 July 2021

2021-07-31T19:58:05Z

Jason.Kreitzer at 02:34, 22 July 2021

2021-07-22T02:34:34Z

Propellerkuh at 16:20, 11 January 2008

2008-01-11T16:20:54Z

Duncan at 22:27, 13 May 2007

2007-05-13T22:27:18Z

Propellerkuh at 16:20, 13 May 2007

2007-05-13T16:20:33Z

Propellerkuh at 16:19, 13 May 2007

2007-05-13T16:19:37Z

Emdebe at 20:16, 15 January 2007

2007-01-15T20:16:20Z

← Older revision		Revision as of 12:29, 25 April 2026
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	[[Category:Articles about Zappa]]		[[Category:Articles about Zappa]]
		+	[[Category:1970]]

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 <center>[[Rolling Stone]]: July 9, 1970</center><br>
-<center>by [[David Felton]]</center>
+<center>by [https://www.rollingstone.com/author/david-felton-and-david-dalton/ David Felton]</center>
 Los Angeles – While the musical wedding of [[Biography|Frank Zappa]] and [[Zubin Mehta]] and their respective backup men at Pauley Pavilion was not a complete success, it did prove once and for all why other recent couplings of rock and symphonic elements have been such wretched failures.

@@ Line 27: / Line 27: @@
 * Invited members of the Philharmonic to stay for an adlib encore of ''[[King Kong]]'', during which cellist [[Kurt Reher]] established himself as a master freak and clarinetist Michele Zurkovski had a stuffed toy giraffe inserted up her dress.
-Musically, Zappa presented few surprises, since his material has always combined rock and classic elements. His version of [[Edgard Varèse|Edgar Varèse]]'s ''[[Integrales]]'' and his own [[200 Motels]] for Mothers and Orchestra included the usual Zappa riffs from [[Edgard Varèse|Varese]], [[Igor Stravinsky|Stravinsky]] and [[Gustav Holst]].
+Musically, Zappa presented few surprises, since his material has always combined rock and classic elements. His version of [[Edgard Varèse|Edgar Varèse]]'s ''Integrales'' and his own [[200 Motels]] for Mothers and Orchestra included the usual Zappa riffs from [[Edgard Varèse|Varese]], [[Igor Stravinsky|Stravinsky]] and [[Gustav Holst]].
 In general, the sound was terribly distorted, although it did indicate how closely, on purely a sensual basis, an amplified rock band can resemble an acoustical orchestra.

@@ Line 2: / Line 2: @@
 <center>by [[David Felton]]</center>
-Los Angeles – While the musical wedding of [[Frank Zappa]] and [[Zubin Mehta]] and their respective backup men at Pauley Pavilion was not a complete success, it did prove once and for all why other recent couplings of rock and symphonic elements have been such wretched failures.
+Los Angeles – While the musical wedding of [[Biography|Frank Zappa]] and [[Zubin Mehta]] and their respective backup men at Pauley Pavilion was not a complete success, it did prove once and for all why other recent couplings of rock and symphonic elements have been such wretched failures.
 For some reason this has been a year of cultural mismatchmaking. There was that cumbersome, tasteless, television effort by Bell Telephone to show that the [[wikipedia:The Nice|Nice]], [[wikipedia:Santana|Santana]] and [[wikipedia:Jethro Tull|Jethro Tull]] played real music just like Zubin’s Los Angeles Philharmonic.

@@ Line 27: / Line 27: @@
 * Invited members of the Philharmonic to stay for an adlib encore of ''[[King Kong]]'', during which cellist [[Kurt Reher]] established himself as a master freak and clarinetist Michele Zurkovski had a stuffed toy giraffe inserted up her dress.
-Musically, Zappa presented few surprises, since his material has always combined rock and classic elements. His version of [[Edgar Varèse]]’s ''[[Integrales]]'' and his own [[200 Motels]] for Mothers and Orchestra included the usual Zappa riffs from [[Edgar Varèse|Varese]], [[Igor Stravinsky|Stravinsky]] and [[Gustav Holst]].
+Musically, Zappa presented few surprises, since his material has always combined rock and classic elements. His version of [[Edgard Varèse|Edgar Varèse]]'s ''[[Integrales]]'' and his own [[200 Motels]] for Mothers and Orchestra included the usual Zappa riffs from [[Edgard Varèse|Varese]], [[Igor Stravinsky|Stravinsky]] and [[Gustav Holst]].
 In general, the sound was terribly distorted, although it did indicate how closely, on purely a sensual basis, an amplified rock band can resemble an acoustical orchestra.

@@ Line 2: / Line 2: @@
 <center>by [[David Felton]]</center>
-Los Angeles--While the musical wedding of [[Frank Zappa]] and [[Zubin Mehta]] and their respective backup men at Pauley Pavilion was not a complete success, it did prove once and for all why other recent couplings of rock and symphonic elements have been such wretched failures.
+Los Angeles – While the musical wedding of [[Frank Zappa]] and [[Zubin Mehta]] and their respective backup men at Pauley Pavilion was not a complete success, it did prove once and for all why other recent couplings of rock and symphonic elements have been such wretched failures.
 For some reason this has been a year of cultural mismatchmaking. There was that cumbersome, tasteless, television effort by Bell Telephone to show that the [[wikipedia:The Nice|Nice]], [[wikipedia:Santana|Santana]] and [[wikipedia:Jethro Tull|Jethro Tull]] played real music just like Zubin’s Los Angeles Philharmonic.
@@ Line 12: / Line 12: @@
 In most cases these abortions were instigated by the symphonic forces, apparently in an attempt to capture the huge and profitable audiences that support the rock industry.
-Their basic miscalculation—brilliantly illustrated by the Zappa-Mehta effort—was their belief that somehow symphonic music, rather that the presentation of that music, had to be modified to appeal to masses of young listeners.
+Their basic miscalculation – brilliantly illustrated by the Zappa-Mehta effort – was their belief that somehow symphonic music, rather that the presentation of that music, had to be modified to appeal to masses of young listeners.
 To those listeners, the ''theater'' of symphonic music is so inartistic and irrelevant that it amounts to a political separation. The music, with its stiff-backed black ties and tails and opening night fur pieces, has never been of the people buy of the rich. Its theater has been drained of life, frozen and encased for the possessive pleasure of the museum-minded.
-It took Zappa—who, if anything, is perhaps a bit too much of the people, of the people "on a glandular level"—to break fresh wind among those suffocating old toads.
+It took Zappa – who, if anything, is perhaps a bit too much of the people, of the people "on a glandular level" – to break fresh wind among those suffocating old toads.
 At UCLA’s Pauley Pavilion, before 12,000 attentive fans, he did it marvelously. It was his show almost from the start. Mehta and the Philharmonic were simply new lab toys for his mad genius and they became better people for it.
@@ Line 23: / Line 23: @@
 * Introduced the orchestra members to a spirit of freedom they will find hard to forget, punctuating their scores with burps, grunts and adlib confetti throwing. At one point the bass horn player stood up with his horn, twirled around like a drunken elephant and sat down. At another, the entire orchestra walked off stage and into the audience, each member apparently playing his own composition.
-* Relentlessly chided Mehta with remarks like, "All right, Zubin, hit it!" and "Now you know the cue where to in, don’t you, Zubin?" (Mehta got in a few of his own licks, like warning the audience, "You must no think that this is any way a rock concert…this is music like any other music.")
+* Relentlessly chided Mehta with remarks like, "All right, Zubin, hit it!" and "Now you know the cue where to in, don’t you, Zubin?" (Mehta got in a few of his own licks, like warning the audience, "You must no think that this is any way a rock concert … this is music like any other music.")
 * Subjected the orchestra and audience to a mild dissertation on teenage cum stains that ended with a brutal parody of [[Jim Morrison]]’s oedipal walk down the "ancient hallway" in which the hero discovers his father "beating his meat’ to a ''Playboy'' magazine. "He’s got the ''Playboy'' magazine rolled into a tube and has inserted his member right into a tube and has inserted his member right into the tube  Father, I want to kill you  Not now, son, not now!"
 * Invited members of the Philharmonic to stay for an adlib encore of ''[[King Kong]]'', during which cellist [[Kurt Reher]] established himself as a master freak and clarinetist Michele Zurkovski had a stuffed toy giraffe inserted up her dress.

@@ Line 27: / Line 27: @@
 * Invited members of the Philharmonic to stay for an adlib encore of ''[[King Kong]]'', during which cellist Kurt Reher established himself as a master freak and clarinetist Michele Zurkovski had a stuffed toy giraffe inserted up her dress.
-Musically, Zappa presented few surprises, since his material has always combined rock and classic elements. His version of [[Edgar Varese]]’s ''[[Intergrales]]'' and his own [[200 Motels]] for Mothers and Orchestra included the usual Zappa riffs from [[Edgar Varese|Varese]], [[Igor STravinsky|Stravinsky]] and [[Gustav Holst]].
+Musically, Zappa presented few surprises, since his material has always combined rock and classic elements. His version of [[Edgar Varese]]’s ''[[Integrales]]'' and his own [[200 Motels]] for Mothers and Orchestra included the usual Zappa riffs from [[Edgar Varese|Varese]], [[Igor STravinsky|Stravinsky]] and [[Gustav Holst]].
 In general, the sound was terribly distorted, although it did indicate how closely, on purely a sensual basis, an amplified rock band can resemble an acoustical orchestra.