Saint Zappa, Halloween Idyll - Revision history

Jason.Kreitzer at 17:19, 10 September 2021

2021-09-10T17:19:17Z

Jason.Kreitzer at 18:43, 30 July 2021

2021-07-30T18:43:16Z

Jason.Kreitzer at 03:49, 26 July 2021

2021-07-26T03:49:41Z

Jason.Kreitzer at 22:10, 23 July 2021

2021-07-23T22:10:16Z

Jason.Kreitzer at 22:09, 23 July 2021

2021-07-23T22:09:15Z

Jason.Kreitzer at 22:35, 21 July 2021

2021-07-21T22:35:05Z

Jason.Kreitzer at 21:57, 16 July 2021

2021-07-16T21:57:00Z

Jason.Kreitzer at 21:56, 16 July 2021

2021-07-16T21:56:21Z

Spider of Destiny at 06:43, 14 November 2020

2020-11-14T06:43:28Z

Spider of Destiny at 21:58, 25 August 2014

2014-08-25T21:58:54Z

@@ Line 1: / Line 1: @@
-By [[Charles Frick]]<br>
+By Charles Frick<br>
-From "The Aquarian" Issue no.795, Oct.25 - Nov. 1. 1995<br>
+From ''[[Wikipedia:The Aquarian Weekly|The Aquarian]]'' Issue no.795, Oct.25 - Nov. 1. 1995<br>
@@ Line 11: / Line 11: @@
 Nominated for seven Grammy's including Best Rock Vocal for "[[Dancin' Fool]]" and "[[Valley Girl]]" with daughter [[Moon Zappa|Moon]], in 1987, it was his Synclavier-realized composition "[[Jazz From Hell]]" which finally copped the award for Best Rock Instrumental Performance. His far reaching effect on the world of music and culture is being carried on by some of the young musicians who came trough his musical boot camp. Guitarists, [[Lowell George]], who along with former Mothers bassist [[Roy Estrada]], founded Little Feat, [[Adrian Belew]], who went on to serve Bowie's side man and guitarist for King Crimson, and solo artist [[Steve Vai]], late of Whitesnake, and David Lee Roth's band who spoke of his time with the axe master supreme. "In Frank I saw an artist of uncompromising approach and flawless integrity in his art. One hundred years from now when many popular bands will mean little more than funny names from the past, Frank will be revered and celebrated for the true genius that he is." Drummers included [[Aynsley Dunbar]], late of John Mayall's Blues Breakers who would go on to play Journey, Whitesnake and Starship. [[Terry Bozzio]] later of Missing Persons, [[Vinnie Colaiuta]], and [[Chad Wackerman]]. Keyboard ace [[George Duke]], Jazz horn players [[Michael Brecker|The Brecker Brothers]] and [[The Fowler Brothers]], all did time with Frank.<br>
 I asked [[Aynsley Dunbar]], who joined Frank in 1970, what Frank's place in musical history would be. "I think he will always be remembered as being brilliant and completely ahead of his time. Frank never really got to the height of where he should have been 'cause he was always filing lawsuits against record companies , and they hate that. They actually black ball you as they call it over here. Once you do that (sue them) they don't want to know you, and all of the big companies sort of work together. If one decided that they don't want to deal with you, it gets down the line to the others. That's why he and his wife Gail started his own label."<br>
-"If Frank were to appear on Halloween for just one song, what do you think it would be?" I asked. "Maybe [[The Black Page]] or something like that, he had a sense of humor, he used to sort of look for things that were funny to him in a tongue in cheek way." In the mid-80's [[Tipper Gore]] and the [[Parents Music Resouce Center|PMRC]] challenged the right to freedom of expression with a repressive and restrictive attack on the music industry. Frank picked up the gauntlet and made several highly visible appearances. In February, 1986, in testimony before the Maryland State legislature which was trying to pass a bill modifying the pornography statutes to include records and tapes, he said, "It is my personal feeling that lyrics can not harm anyone. There is no sound that you can make with your mouth, or word that will come out of your mouth that is so powerful that it will make you go to hell."<br>
+"If Frank were to appear on Halloween for just one song, what do you think it would be?" I asked. "Maybe [[The Black Page]] or something like that, he had a sense of humor, he used to sort of look for things that were funny to him in a tongue in cheek way." In the mid-80's [[Tipper Gore]] and the [[Parents Music Resource Center|PMRC]] challenged the right to freedom of expression with a repressive and restrictive attack on the music industry. Frank picked up the gauntlet and made several highly visible appearances. In February, 1986, in testimony before the Maryland State legislature which was trying to pass a bill modifying the pornography statutes to include records and tapes, he said, "It is my personal feeling that lyrics can not harm anyone. There is no sound that you can make with your mouth, or word that will come out of your mouth that is so powerful that it will make you go to hell."<br>
 Later he released [[Frank Zappa Meets The Mothers Of Prevention]] on which he sampled the voices of many senators from the hearings, threw them into the Synclavier, and turned them into frighteningly comic reading of the proceedings. In an interview with Gail Eikenberry of KUSC, the radio station of the University of Southern California, he spoke about the real threat of censorship in our society. "When you see moves toward censorship, this would, in an ideal world, create a situation for someone who would like to have an authoritarian form of government, create a mechanism that would allow them to further control the release of information and further control any type of dissent that might upset their apple cart, and with Americans there is always that possibility. This is a very unpredictable nation, 'cause just when you think that everybody got their head in the sand, just when you think that it's all over, that they've been completely bamboozled, it's been proven before, they'll snap and they will wake up, and they will make demands. I think that the people in the enemy camp realize this is always a possibility, that something could wake the Americans up, and when the Americans wake up, they are dangerous, especially to people who have this fascistic kind of system that they want to install. "<br>

@@ Line 17: / Line 17: @@
 "Anytime you see someone seeking to control the arts of commentary, you should get suspicious; history is full of examples of how other people have tried to do this and where it led. The sneaky part about censorship in America is not whether they will set up a board to go over lyrics on every record, the censorship IS already there at the broadcast level, at the MTV level, at the executive level in the record companies. Certain people don't get signed, if they do get signed they can't say certain things. If they take the chance and put certain things on the record, that record's not going on the air, it's not going on MTV, you've already been shut out."<br>
-"Considering the fact that I've been doing this for 25 years, I have many songs that are absolutely anti-drug, did they ever get programmed on a radio station? Never. "Few people know more about Frank Zappa's recorded material than Jill Christiansen, Drowning Witch, catalog development manager for Rykodisc Records. She is the crucial link between the fans and the mythical vaults in the [[Zappa Family Trust]], where thousands of hours of Frank's tapes are stored. I posed the Halloween question to her, "If Frank were to magically materialize, where do you think his spirit would show up ?" "Probably back to work, back to the studio," she said. "I think he was happy on stage, but I can't imagine him being happier than sitting in a studio room, composing music." The magic that was a Frank Zappa Halloween concert in New York has been well documented on Rykodisc's massive live collection, [[You Can't Do That On Stage Anymore Vol. 6]], Disc 1 of the set is a collection of songs dealing with the topic of sex including, from the Palladium 1977, "[[The Poodle Lecture]]", which segues seamlessly into "[[Dirty Love]], [[Is That Guy Kidding Or What?]]," "[[Tryin' To Grow A Chin]]". From 1978, "[[Thirteen]]," "[[Lobster Girl]]", "[[I Have Been In You]]", "[[Take Your Clothes Off When You Dance]]." From 1981, "[[Alien Orifice]]," and "[[Strictly Genteel]]". Volume #1, '81, from the TV/Westwood One live simulcast from The Palladium, "[[Dumb All Over]]," "[[Heavenly Bank Account]]," "[[Suicide Chump]]." Volume #3 , Palladium '77, "[[Hands With A Hammer]]" from the '[[Baby Snakes]]' soundtrack, and Palladium '81, "[[Charlie's Enormous Mouth]]." Vol#4, '79, Palladium, "[[Little Rubber Girl]]" and "[[A Pound For A Brown On The Bus]]."<br>
+"Considering the fact that I've been doing this for 25 years, I have many songs that are absolutely anti-drug, did they ever get programmed on a radio station? Never. "Few people know more about Frank Zappa's recorded material than Jill Christiansen, Drowning Witch, catalog development manager for Rykodisc Records. She is the crucial link between the fans and the mythical vaults in the [[Zappa Family Trust]], where thousands of hours of Frank's tapes are stored. I posed the Halloween question to her, "If Frank were to magically materialize, where do you think his spirit would show up ?" "Probably back to work, back to the studio," she said. "I think he was happy on stage, but I can't imagine him being happier than sitting in a studio room, composing music." The magic that was a Frank Zappa Halloween concert in New York has been well documented on Rykodisc's massive live collection, [[You Can't Do That On Stage Anymore Vol. 6]], Disc 1 of the set is a collection of songs dealing with the topic of sex including, from the Palladium 1977, "[[The Poodle Lecture]]", which segues seamlessly into "[[Dirty Love]], [[Is That Guy Kidding Or What?]]," "[[Tryin' To Grow A Chin]]". From 1978, "[[Thirteen]]," "[[Lobster Girl]]", "[[I Have Been In You]]", "[[Take Your Clothes Off When You Dance]]." From 1981, "[[Alien Orifice]]," and "[[Strictly Genteel (The Track)|Strictly Genteel]]". Volume #1, '81, from the TV/Westwood One live simulcast from The Palladium, "[[Dumb All Over]]," "[[Heavenly Bank Account]]," "[[Suicide Chump]]." Volume #3 , Palladium '77, "[[Hands With A Hammer]]" from the '[[Baby Snakes]]' soundtrack, and Palladium '81, "[[Charlie's Enormous Mouth]]." Vol#4, '79, Palladium, "[[Little Rubber Girl]]" and "[[A Pound For A Brown On The Bus]]."<br>
 "What do you think stood in the way of Frank's greater commercial success while he was alive?" I asked "People are used to things being palatable for them. He didn't make it easy for society, certainly in the United States. Here, we have a lot of hang-ups, and Frank persisted in discussing all of those subjects that make people squirm-politics, sex, religion, whatever. He demanded that you think. There are so many paradoxical elements to him, I think it confuses people, and isn't that great, that it's hard to figure out?" The release this year of 56 albums in the Rykodisc reissue set and '[[Strictly Commercial]]', The Best Of Frank Zappa disc, have rekindled the interest of older fans and brought many new younger fans into the fold. If you own no other Zappa record, 'Strictly Commercial', a collection of 19 essential single cuts is a must-have. All of the so-called hits like "[[Valley Girl]]," "[[Disco Boy]]," "[[Montana]]", [[Don't Eat The Yellow Snow]]," and "[[Joe's Garage (Track)|Joe's Garage]] are included, and a live version of the instrumental "[[Sexual Harassment In The Workplace]]," spotlighting Frank's blues guitar solo that'll rip your heart open. "the first thing scheduled for release in '96 is "[[The Lost Episodes]]" rarities, and unreleased tracks," said Christensen. "The number one request from the fans is to get [[200 Motels]] out in CD. The situation is no one seems to know who owns the rights to it. There is a track list described as Frank's idea of a best collection. He called it, "[[Have I Offended Someone?]]" With numbers like, "[[Titties 'n Beer]]," "[[Bobby Brown Goes Down]]," you know, things that should piss off a lot of people. It's the so-called 'offensive' stuff. Not sexually offensive, of course, but the all-around politically incorrect stuff. I think it's fantastic that he did that. When I first saw the listing I thought, Why? Later, I've come to appreciate his relentless use of these topics and his use of words to make people react. That may come out in '97."<br>

@@ Line 19: / Line 19: @@
 "Considering the fact that I've been doing this for 25 years, I have many songs that are absolutely anti-drug, did they ever get programmed on a radio station? Never. "Few people know more about Frank Zappa's recorded material than Jill Christiansen, Drowning Witch, catalog development manager for Rykodisc Records. She is the crucial link between the fans and the mythical vaults in the [[Zappa Family Trust]], where thousands of hours of Frank's tapes are stored. I posed the Halloween question to her, "If Frank were to magically materialize, where do you think his spirit would show up ?" "Probably back to work, back to the studio," she said. "I think he was happy on stage, but I can't imagine him being happier than sitting in a studio room, composing music." The magic that was a Frank Zappa Halloween concert in New York has been well documented on Rykodisc's massive live collection, [[You Can't Do That On Stage Anymore Vol. 6]], Disc 1 of the set is a collection of songs dealing with the topic of sex including, from the Palladium 1977, "[[The Poodle Lecture]]", which segues seamlessly into "[[Dirty Love]], [[Is That Guy Kidding Or What?]]," "[[Tryin' To Grow A Chin]]". From 1978, "[[Thirteen]]," "[[Lobster Girl]]", "[[I Have Been In You]]", "[[Take Your Clothes Off When You Dance]]." From 1981, "[[Alien Orifice]]," and "[[Strictly Genteel]]". Volume #1, '81, from the TV/Westwood One live simulcast from The Palladium, "[[Dumb All Over]]," "[[Heavenly Bank Account]]," "[[Suicide Chump]]." Volume #3 , Palladium '77, "[[Hands With A Hammer]]" from the '[[Baby Snakes]]' soundtrack, and Palladium '81, "[[Charlie's Enormous Mouth]]." Vol#4, '79, Palladium, "[[Little Rubber Girl]]" and "[[A Pound For A Brown On The Bus]]."<br>
-"What do you think stood in the way of Frank's greater commercial success while he was alive?" I asked "People are used to things being palatable for them. He didn't make it easy for society, certainly in the United States. Here, we have a lot of hang-ups, and Frank persisted in discussing all of those subjects that make people squirm-politics, sex, religion, whatever. He demanded that you think. There are so many paradoxical elements to him, I think it confuses people, and isn't that great, that it's hard to figure out?" The release this year of 56 albums in the Rykodisc reissue set and '[[Strictly Commercial]]', The Best Of Frank Zappa disc, have rekindled the interest of older fans and brought many new younger fans into the fold. If you own no other Zappa record, 'Strictly Commercial', a collection of 19 essential single cuts is a must-have. All of the so-called hits like "[[Valley Girl]]," "[[Disco Boy]]," "[[Montana]]", [[Don't Eat The Yellow Snow]]," and "[[Joe's Garage]] are included, and a live version of the instrumental "[[Sexual Harassment In The Workplace]]," spotlighting Frank's blues guitar solo that'll rip your heart open. "the first thing scheduled for release in '96 is "[[The Lost Episodes]]" rarities, and unreleased tracks," said Christensen. "The number one request from the fans is to get [[200 Motels]] out in CD. The situation is no one seems to know who owns the rights to it. There is a track list described as Frank's idea of a best collection. He called it, "[[Have I Offended Someone?]]" With numbers like, "[[Titties 'n Beer]]," "[[Bobby Brown Goes Down]]," you know, things that should piss off a lot of people. It's the so-called 'offensive' stuff. Not sexually offensive, of course, but the all-around politically incorrect stuff. I think it's fantastic that he did that. When I first saw the listing I thought, Why? Later, I've come to appreciate his relentless use of these topics and his use of words to make people react. That may come out in '97."<br>
+"What do you think stood in the way of Frank's greater commercial success while he was alive?" I asked "People are used to things being palatable for them. He didn't make it easy for society, certainly in the United States. Here, we have a lot of hang-ups, and Frank persisted in discussing all of those subjects that make people squirm-politics, sex, religion, whatever. He demanded that you think. There are so many paradoxical elements to him, I think it confuses people, and isn't that great, that it's hard to figure out?" The release this year of 56 albums in the Rykodisc reissue set and '[[Strictly Commercial]]', The Best Of Frank Zappa disc, have rekindled the interest of older fans and brought many new younger fans into the fold. If you own no other Zappa record, 'Strictly Commercial', a collection of 19 essential single cuts is a must-have. All of the so-called hits like "[[Valley Girl]]," "[[Disco Boy]]," "[[Montana]]", [[Don't Eat The Yellow Snow]]," and "[[Joe's Garage (Track)|Joe's Garage]] are included, and a live version of the instrumental "[[Sexual Harassment In The Workplace]]," spotlighting Frank's blues guitar solo that'll rip your heart open. "the first thing scheduled for release in '96 is "[[The Lost Episodes]]" rarities, and unreleased tracks," said Christensen. "The number one request from the fans is to get [[200 Motels]] out in CD. The situation is no one seems to know who owns the rights to it. There is a track list described as Frank's idea of a best collection. He called it, "[[Have I Offended Someone?]]" With numbers like, "[[Titties 'n Beer]]," "[[Bobby Brown Goes Down]]," you know, things that should piss off a lot of people. It's the so-called 'offensive' stuff. Not sexually offensive, of course, but the all-around politically incorrect stuff. I think it's fantastic that he did that. When I first saw the listing I thought, Why? Later, I've come to appreciate his relentless use of these topics and his use of words to make people react. That may come out in '97."<br>
 "Are there any surprises in store for future releases?" I asked. "We had started to work on a limited edition of "[[We're Only In It For The Money]]" with extra information and other things in it. I've heard rumours from hardcore fans of obscure and secret material that exists. Originally there was supposed to be an entire second record from "[[Just Another Band From L.A.]]" that was never released. I also hear that there is more material from the "[[Hot Rats]]" sessions. I can only speculate. We haven't even gotten into the vault yet. "<br>

@@ Line 8: / Line 8: @@
 There used to be a time when you could count on three things for sure: death, taxes and Frank Zappa playing New York City on Oct. 31st. Halloween has clear connections with primitive and sometimes savage rites of the priestly druids in the pre-Roman, Celtic communities of Northwestern Europe. Mystical ceremonies were performed in honor of the great Sun God, and the Celts believed on that day, the Lord of the Dead assembled the souls of all those persons who died. The spirits of the departed were believed to allowed a brief visit with their relatives in search of warmth and comfort against the approaching Winter. It was the time when the invisible world of the spirits was closer than any other point in the year. [[Pope]] Gregory IV. in an attempt to the de-mystify the holiday, placed All Saints Day into the church's calendar to honor numerous martyrs and eventually saints on a common day.<br>
 Time will tell if Frank Zappa, was in fact, one of the most important, creative, ground breaking and influential musical and creative forces in the later half of the 20th Century. The space here doesn't permit more than a thumbnail sketch – a few of the high points of Frank's career: [[The Mothers|The Mothers of Invention]] first record, "[[Freak Out!]]", released in 1966 was the first concept album, the first double album and contained "[[Trouble Every Day|Trouble Comin' Every Day]]", a spoken word piece over rhythmic guitar drone, commenting on the state of police repression, black and white race relations in the aftermath of the Watts riots. It arguably is the first rap song ever released. Another cut, "[[Help, I'm A Rock]]", a memorial for his musical hero [[Edgard Varèse|Edgar Varèse]], illuminated his flirtation with the mechanics and intricacy of a 12-tone, polyrhythmic form of contemporary classical composition. It presaged the underspinnings of his later, highly sophisticated orchestral work. [[Zubin Mehta]], conductor of the LA Philharmonic said to Frank "Why don't you write something that we can perform together," [[200 Motels]], with the [[London Symphony Orchestra (The Orchestra)|London Symphony Orchestra]], was born and remains perhaps the quintessential rock musical movie.<br>
-Zappa virtually invented the recording careers of his high school buddy, [[Captain Beefheart]], as well as [[Alice Cooper]], [[Larry Fisher|Wild Man Fischer]], and the [[GTO's]], the first glampunk girl band. There also was his flirtation with international intrigue and politics. His association with [[Václav Havel]], the Czech dissident philosopher, playwright, troublemaker and political prisoner: when Havel was released from prison and elected president of Czechoslovakia, he met Frank and offered to make him the special ambassador to the West for trade, culture, and tourism. Rumors have it the Bush Administration pressured Frank to drop the idea. Zappa got the consolation prize and the last laugh, when an asteroid, discovered by a team of Czech astronomers was named "[[Zappafrank]]."<br>
+Zappa virtually invented the recording careers of his high school buddy, [[Captain Beefheart]], as well as [[Alice Cooper]], [[Larry Fischer|Wild Man Fischer]], and the [[GTO's]], the first glampunk girl band. There also was his flirtation with international intrigue and politics. His association with [[Václav Havel]], the Czech dissident philosopher, playwright, troublemaker and political prisoner: when Havel was released from prison and elected president of Czechoslovakia, he met Frank and offered to make him the special ambassador to the West for trade, culture, and tourism. Rumors have it the Bush Administration pressured Frank to drop the idea. Zappa got the consolation prize and the last laugh, when an asteroid, discovered by a team of Czech astronomers was named "[[Zappafrank]]."<br>
 Nominated for seven Grammy's including Best Rock Vocal for "[[Dancin' Fool]]" and "[[Valley Girl]]" with daughter [[Moon Zappa|Moon]], in 1987, it was his Synclavier-realized composition "[[Jazz From Hell]]" which finally copped the award for Best Rock Instrumental Performance. His far reaching effect on the world of music and culture is being carried on by some of the young musicians who came trough his musical boot camp. Guitarists, [[Lowell George]], who along with former Mothers bassist [[Roy Estrada]], founded Little Feat, [[Adrian Belew]], who went on to serve Bowie's side man and guitarist for King Crimson, and solo artist [[Steve Vai]], late of Whitesnake, and David Lee Roth's band who spoke of his time with the axe master supreme. "In Frank I saw an artist of uncompromising approach and flawless integrity in his art. One hundred years from now when many popular bands will mean little more than funny names from the past, Frank will be revered and celebrated for the true genius that he is." Drummers included [[Aynsley Dunbar]], late of John Mayall's Blues Breakers who would go on to play Journey, Whitesnake and Starship. [[Terry Bozzio]] later of Missing Persons, [[Vinnie Colaiuta]], and [[Chad Wackerman]]. Keyboard ace [[George Duke]], Jazz horn players [[Michael Brecker|The Brecker Brothers]] and [[The Fowler Brothers]], all did time with Frank.<br>
 I asked [[Aynsley Dunbar]], who joined Frank in 1970, what Frank's place in musical history would be. "I think he will always be remembered as being brilliant and completely ahead of his time. Frank never really got to the height of where he should have been 'cause he was always filing lawsuits against record companies , and they hate that. They actually black ball you as they call it over here. Once you do that (sue them) they don't want to know you, and all of the big companies sort of work together. If one decided that they don't want to deal with you, it gets down the line to the others. That's why he and his wife Gail started his own label."<br>

@@ Line 8: / Line 8: @@
 There used to be a time when you could count on three things for sure: death, taxes and Frank Zappa playing New York City on Oct. 31st. Halloween has clear connections with primitive and sometimes savage rites of the priestly druids in the pre-Roman, Celtic communities of Northwestern Europe. Mystical ceremonies were performed in honor of the great Sun God, and the Celts believed on that day, the Lord of the Dead assembled the souls of all those persons who died. The spirits of the departed were believed to allowed a brief visit with their relatives in search of warmth and comfort against the approaching Winter. It was the time when the invisible world of the spirits was closer than any other point in the year. [[Pope]] Gregory IV. in an attempt to the de-mystify the holiday, placed All Saints Day into the church's calendar to honor numerous martyrs and eventually saints on a common day.<br>
 Time will tell if Frank Zappa, was in fact, one of the most important, creative, ground breaking and influential musical and creative forces in the later half of the 20th Century. The space here doesn't permit more than a thumbnail sketch – a few of the high points of Frank's career: [[The Mothers|The Mothers of Invention]] first record, "[[Freak Out!]]", released in 1966 was the first concept album, the first double album and contained "[[Trouble Every Day|Trouble Comin' Every Day]]", a spoken word piece over rhythmic guitar drone, commenting on the state of police repression, black and white race relations in the aftermath of the Watts riots. It arguably is the first rap song ever released. Another cut, "[[Help, I'm A Rock]]", a memorial for his musical hero [[Edgard Varèse|Edgar Varèse]], illuminated his flirtation with the mechanics and intricacy of a 12-tone, polyrhythmic form of contemporary classical composition. It presaged the underspinnings of his later, highly sophisticated orchestral work. [[Zubin Mehta]], conductor of the LA Philharmonic said to Frank "Why don't you write something that we can perform together," [[200 Motels]], with the [[London Symphony Orchestra (The Orchestra)|London Symphony Orchestra]], was born and remains perhaps the quintessential rock musical movie.<br>
-Zappa virtually invented the recording careers of his high school buddy, [[Captain Beefheart]], as well as [[Alice Cooper]], [[Wild Man Fischer]], and the [[GTO's]], the first glampunk girl band. There also was his flirtation with international intrigue and politics. His association with [[Václav Havel]], the Czech dissident philosopher, playwright, troublemaker and political prisoner: when Havel was released from prison and elected president of Czechoslovakia, he met Frank and offered to make him the special ambassador to the West for trade, culture, and tourism. Rumors have it the Bush Administration pressured Frank to drop the idea. Zappa got the consolation prize and the last laugh, when an asteroid, discovered by a team of Czech astronomers was named "[[Zappafrank]]."<br>
+Zappa virtually invented the recording careers of his high school buddy, [[Captain Beefheart]], as well as [[Alice Cooper]], [[Larry Fisher|Wild Man Fischer]], and the [[GTO's]], the first glampunk girl band. There also was his flirtation with international intrigue and politics. His association with [[Václav Havel]], the Czech dissident philosopher, playwright, troublemaker and political prisoner: when Havel was released from prison and elected president of Czechoslovakia, he met Frank and offered to make him the special ambassador to the West for trade, culture, and tourism. Rumors have it the Bush Administration pressured Frank to drop the idea. Zappa got the consolation prize and the last laugh, when an asteroid, discovered by a team of Czech astronomers was named "[[Zappafrank]]."<br>
 Nominated for seven Grammy's including Best Rock Vocal for "[[Dancin' Fool]]" and "[[Valley Girl]]" with daughter [[Moon Zappa|Moon]], in 1987, it was his Synclavier-realized composition "[[Jazz From Hell]]" which finally copped the award for Best Rock Instrumental Performance. His far reaching effect on the world of music and culture is being carried on by some of the young musicians who came trough his musical boot camp. Guitarists, [[Lowell George]], who along with former Mothers bassist [[Roy Estrada]], founded Little Feat, [[Adrian Belew]], who went on to serve Bowie's side man and guitarist for King Crimson, and solo artist [[Steve Vai]], late of Whitesnake, and David Lee Roth's band who spoke of his time with the axe master supreme. "In Frank I saw an artist of uncompromising approach and flawless integrity in his art. One hundred years from now when many popular bands will mean little more than funny names from the past, Frank will be revered and celebrated for the true genius that he is." Drummers included [[Aynsley Dunbar]], late of John Mayall's Blues Breakers who would go on to play Journey, Whitesnake and Starship. [[Terry Bozzio]] later of Missing Persons, [[Vinnie Colaiuta]], and [[Chad Wackerman]]. Keyboard ace [[George Duke]], Jazz horn players [[Michael Brecker|The Brecker Brothers]] and [[The Fowler Brothers]], all did time with Frank.<br>
 I asked [[Aynsley Dunbar]], who joined Frank in 1970, what Frank's place in musical history would be. "I think he will always be remembered as being brilliant and completely ahead of his time. Frank never really got to the height of where he should have been 'cause he was always filing lawsuits against record companies , and they hate that. They actually black ball you as they call it over here. Once you do that (sue them) they don't want to know you, and all of the big companies sort of work together. If one decided that they don't want to deal with you, it gets down the line to the others. That's why he and his wife Gail started his own label."<br>

@@ Line 4: / Line 4: @@
 <blockquote>"I don't want to spend my life explaining myself. You either get it or you don't."<br>
-<div align=right>– [[Frank Zappa]]</div align=right></blockquote>
+<div align=right>– [[Biography|Frank Zappa]]</div align=right></blockquote>
 <br>
 There used to be a time when you could count on three things for sure: death, taxes and Frank Zappa playing New York City on Oct. 31st. Halloween has clear connections with primitive and sometimes savage rites of the priestly druids in the pre-Roman, Celtic communities of Northwestern Europe. Mystical ceremonies were performed in honor of the great Sun God, and the Celts believed on that day, the Lord of the Dead assembled the souls of all those persons who died. The spirits of the departed were believed to allowed a brief visit with their relatives in search of warmth and comfort against the approaching Winter. It was the time when the invisible world of the spirits was closer than any other point in the year. [[Pope]] Gregory IV. in an attempt to the de-mystify the holiday, placed All Saints Day into the church's calendar to honor numerous martyrs and eventually saints on a common day.<br>
-Time will tell if Frank Zappa, was in fact, one of the most important, creative, ground breaking and influential musical and creative forces in the later half of the 20th Century. The space here doesn't permit more than a thumbnail sketch – a few of the high points of Frank's career: [[The Mothers|The Mothers of Invention]] first record, "[[Freak Out!]]", released in 1966 was the first concept album, the first double album and contained "[[Trouble Comin' Every Day]]", a spoken word piece over rhythmic guitar drone, commenting on the state of police repression, black and white race relations in the aftermath of the Watts riots. It arguably is the first rap song ever released. Another cut, "[[Help, I'm A Rock]]", a memorial for his musical hero [[Edgar Varèse]], illuminated his flirtation with the mechanics and intricacy of a 12-tone, polyrhythmic form of contemporary classical composition. It presaged the underspinnings of his later, highly sophisticated orchestral work. [[Zubin Metha]], conductor of the LA Philharmonic said to Frank "Why don't you write something that we can perform together," [[200 Motels]], with the [[London Symphony Orchestra (The Orchestra)|London Symphony Orchestra]], was born and remains perhaps the quintessential rock musical movie.<br>
+Time will tell if Frank Zappa, was in fact, one of the most important, creative, ground breaking and influential musical and creative forces in the later half of the 20th Century. The space here doesn't permit more than a thumbnail sketch – a few of the high points of Frank's career: [[The Mothers|The Mothers of Invention]] first record, "[[Freak Out!]]", released in 1966 was the first concept album, the first double album and contained "[[Trouble Every Day|Trouble Comin' Every Day]]", a spoken word piece over rhythmic guitar drone, commenting on the state of police repression, black and white race relations in the aftermath of the Watts riots. It arguably is the first rap song ever released. Another cut, "[[Help, I'm A Rock]]", a memorial for his musical hero [[Edgard Varèse]], illuminated his flirtation with the mechanics and intricacy of a 12-tone, polyrhythmic form of contemporary classical composition. It presaged the underspinnings of his later, highly sophisticated orchestral work. [[Zubin Mehta]], conductor of the LA Philharmonic said to Frank "Why don't you write something that we can perform together," [[200 Motels]], with the [[London Symphony Orchestra (The Orchestra)|London Symphony Orchestra]], was born and remains perhaps the quintessential rock musical movie.<br>
 Zappa virtually invented the recording careers of his high school buddy, [[Captain Beefheart]], as well as [[Alice Cooper]], [[Wild Man Fischer]], and the [[GTO's]], the first glampunk girl band. There also was his flirtation with international intrigue and politics. His association with [[Václav Havel]], the Czech dissident philosopher, playwright, troublemaker and political prisoner: when Havel was released from prison and elected president of Czechoslovakia, he met Frank and offered to make him the special ambassador to the West for trade, culture, and tourism. Rumors have it the Bush Administration pressured Frank to drop the idea. Zappa got the consolation prize and the last laugh, when an asteroid, discovered by a team of Czech astronomers was named "[[Zappafrank]]."<br>
 Nominated for seven Grammy's including Best Rock Vocal for "[[Dancin' Fool]]" and "[[Valley Girl]]" with daughter [[Moon Zappa|Moon]], in 1987, it was his Synclavier-realized composition "[[Jazz From Hell]]" which finally copped the award for Best Rock Instrumental Performance. His far reaching effect on the world of music and culture is being carried on by some of the young musicians who came trough his musical boot camp. Guitarists, [[Lowell George]], who along with former Mothers bassist [[Roy Estrada]], founded Little Feat, [[Adrian Belew]], who went on to serve Bowie's side man and guitarist for King Crimson, and solo artist [[Steve Vai]], late of Whitesnake, and David Lee Roth's band who spoke of his time with the axe master supreme. "In Frank I saw an artist of uncompromising approach and flawless integrity in his art. One hundred years from now when many popular bands will mean little more than funny names from the past, Frank will be revered and celebrated for the true genius that he is." Drummers included [[Aynsley Dunbar]], late of John Mayall's Blues Breakers who would go on to play Journey, Whitesnake and Starship. [[Terry Bozzio]] later of Missing Persons, [[Vinnie Colaiuta]], and [[Chad Wackerman]]. Keyboard ace [[George Duke]], Jazz horn players [[Michael Brecker|The Brecker Brothers]] and [[The Fowler Brothers]], all did time with Frank.<br>

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 "It sounded so great and turned out so well, we all agreed it don't make any sense to do just a one-time thing, this should be a touring band. Once we got on the road, the crowds just went nuts. Our last official tour was '88 when Frank started getting sick. The crowd had been waiting for this, and the minute that we started playing, it was like, yeah! Yeah, we understand Frank isn't here but we are keeping it alive. That is the whole key right now, that's what they're loving." There is sadness and loss in Frank's passing: we will never know the heights to which his creative genius could have ascended. What magical music existed untransposed within his brain. Yeah, it was fun to see him and the bands up on stage, and it was great to have someone like him champion the causes of rationality and to wink and nod musically as if to say, "Yeah, the Emperor isn't wearing any clothes." In his death his music begun to transcend the norms and forms of rock and roll, jazz and contemporary classical composition. Long after the popular music of today is but a memory and the people who fought against Frank have been relegated to mere footnotes in history, there will perhaps, 100 years down the road, be a Halloween concert celebrating the music and magic of Frank Zappa. A bunch of tux-clad classically trained men and women with chops out to hear, who Frank would say could "put the eyebrows on it," will play the utterly flabbergasting complex scores of his later compositions, whipping that thing for all it's worth.<br>
-A quote from Edgar Varese that Frank held sacred since his earliest musical days seems hauntingly appropriate for this Halloween and the days beyond. "The present day composer refuses to die."
+A quote from Edgar Varèse that Frank held sacred since his earliest musical days seems hauntingly appropriate for this Halloween and the days beyond. "The present day composer refuses to die."
 [[Category:Articles about Zappa]]