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{{Short description|American musician (1940–1993)}}
{{Infobox Musical artist
{{Redirect|Zappa}}
| Name = Frank Zappa
{{Featured article}}
| Img = Zappa 16011977 01 300.jpg
{{Use American English|date=July 2022}}
| Img_capt = Frank Zappa performing in Ekeberghallen, [[Oslo]], on January 16, 1977
{{Use mdy dates|date=March 2024|cs1-dates=y}}
| Img_size = <!-- Only for images narrower than 220 pixels -->
{{Infobox person
| Background = solo_singer
| Birth_name = Frank Vincent Zappa
| name = Frank Zappa
| Alias =
| image = Zappa 16011977 01 300.jpg
| Born = December 21, 1940<br />[[Baltimore, Maryland|Baltimore]], [[Maryland]]
| alt =
| Died = December 4, 1993 (aged 52)<br />[[Los Angeles, California|Los Angeles]], [[California]]
| caption = Zappa performing at [[Ekeberghallen]] in [[Oslo]], Norway, in 1977
| birth_name = Frank Vincent Zappa
| Instrument = [[singer|Vocals]], [[guitar]], [[bass guitar]], [[keyboard instrument|keyboards]], [[Percussion instrument|percussions]], [[Synclavier]], [[drum kit|drums]]
| birth_date = {{birth date|1940|12|21|mf=y}}
| Genre = [[Rock music|Rock]], [[jazz]], [[Classical music|classical]], [[experimental music|experimental]]
| birth_place = [[Baltimore]], Maryland, U.S.
| Occupation = [[Composer]], [[Musician]], [[Conductor (music)|Conductor]], [[Record producer|Producer]]
| death_date = {{death date and age|1993|12|4|1940|12|21|mf=y}}
| Years_active = 1950s–1993
| death_place = [[Los Angeles]], California, U.S.
| Label = [[Verve Records|Verve]]/[[MGM Records|MGM]], [[Warner Bros. Records|Warner Bros.]], [[Bizarre Records|Bizarre]]/[[Straight Records|Straight]], DiscReet, Zappa Records, Barking Pumpkin Records, [[Rykodisc]]
| resting_place = [[Pierce Brothers Westwood Village Memorial Park and Mortuary]]
| Associated_acts = [[The Mothers of Invention]]<br />[[Captain Beefheart]]
| occupation = {{hlist|Composer|guitarist|bandleader}}
| URL = [http://www.zappa.com/ Zappa.com]
| years_active = 1955–1993
| Notable_instruments = [[Gibson Guitar Corporation|Gibson ES-5 Switchmaster]]<br />[[Gibson SG]]<br />[[Gibson Les Paul]]<br />[[Fender Stratocaster]]<br />[[Synclavier]] }}
| party =
| spouse = {{unbulleted list
| {{marriage|Kay Sherman|1960|1963|end=divorce}}
| {{marriage|[[Gail Zappa|Gail Sloatman]]|September 21, 1967<!--|December 4, 1993|end=his death-->}}
}}
| children = {{hlist|[[Moon Zappa|Moon]]|[[Dweezil Zappa|Dweezil]]|[[Ahmet Zappa|Ahmet]]|[[Diva Zappa|Diva]]}}
| module = {{Infobox musical artist|embed=yes
| background = solo_singer
| origin = Los Angeles, California, U.S.
| instruments = {{hlist|Guitar||vocals|[[Synclavier]]|percussion}}
| genre = {{hlist|<!-- Do not add genres like art/prog/jazz/experimental/symphonic rock. This infobox would be enormous if every style Zappa ever played was included. -->[[Rock music|Rock]]|[[progressive rock]]|[[blues]]|[[experimental music|experimental]]|[[jazz]]|[[jazz fusion|fusion]]|[[classical music|classical]]|[[Pop music|pop]]|[[avant-garde music|avant-garde]]|[[doo-wop]]|[[comedy music|comedy]]|[[musique concrète]]}}
| discography = [[Frank Zappa discography]]
| label = {{hlist|[[Verve Records|Verve]]|[[Bizarre Records|Bizarre]]|[[Straight Records|Straight]]|[[DiscReet Records|DiscReet]]|[[Zappa Records|Zappa]]|[[Barking Pumpkin Records|Barking Pumpkin]]|[[Rykodisc]]}}
| past_member_of = {{hlist|[[The Mothers of Invention]]}}
}}
| website = {{URL|Zappa.com}}
}}


'''Frank Vincent Zappa'''<ref name="Francis">Until discovering his birth certificate as an adult, Zappa believed he had been christened "Francis", and he is credited as Francis on some of his early albums. His real name was "Frank", however, never "Francis." Cf. Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', p. 15.</ref> (December 21, 1940 – December 4, 1993) was an American [[composer]], [[electric guitar]]ist, [[record producer]], and [[film director]]. In a career spanning more than 30&nbsp;years, Zappa wrote [[rock music|rock]], [[jazz]], [[electronic music|electronic]], [[orchestra]]l, and [[musique concrète]] works. He also directed feature-length films and [[music video]]s, and designed album covers. Zappa [[Record producer|produced]] almost all of the more than 60&nbsp;albums he released with the band [[Mothers of Invention]] and as a solo artist.
'''Frank Vincent Zappa'''{{refn|group="nb"|Until discovering his birth certificate as an adult, Zappa believed he had been christened "Francis Vincent Zappa" after his father, and he is credited as Francis on some of his early albums. The name on his birth certificate however is "Frank", not "Francis".<ref name="Occhiogrosso"/>{{rp|15}}}} ({{IPAc-en|ˈ|z|æ|p|ə}} {{respell|ZAP|ə}}; December 21, 1940&nbsp;– December 4, 1993) was an American musician, composer, and bandleader. In a career spanning more than 30&nbsp;years, Zappa composed [[Rock music|rock]], [[Pop music|pop]], [[jazz]], [[jazz fusion]], [[orchestra]]l <!-- Cannot have an Oxford comma: "orchestral works and musique concrète works" is meant here. --> and ''[[musique concrète]]'' works; he also produced almost all of the 60-plus albums that he released with his band [[<!--Do not capitalize-->the Mothers of Invention]] and as a solo artist.<ref name="WRAM">{{cite web|url=http://www.allmusic.com/artist/frank-zappa-mn0000138699/biography|title=Frank Zappa – Biography & History|website=[[AllMusic]] |first=William |last=Ruhlmann |access-date=August 8, 2017}}</ref> His work is characterized by [[wikt:nonconformity|nonconformity]], [[Musical improvisation|improvisation]]<ref name="dweezilimprov">{{cite web |url=https://www.youtube.com/watch?v=3dKh4PRio8g&t=87s |title=Dweezil Zappa Teaches Frank Zappa's Improvisation Techniques |date=2016-12-06 |website=Youtube |publisher=Reverb.com |access-date=2024-04-12 |quote=Zappa regularly used structured improvisation in a Jazz-like context but also occasionally used what he called "spontaneous composition"}}</ref> sound experimentation, [[Virtuoso|musical virtuosity]] and [[satire]] of American culture.<ref name="semley2012"/> Zappa also directed feature-length films and [[music video]]s, and designed album covers. He is considered one of the most innovative and stylistically diverse musicians of his generation.<ref>{{cite web|last1=Whitaker|first1=Sterling|title=The Day Frank Zappa Died|url=http://ultimateclassicrock.com/frank-zappa-death/|website=[[Ultimate Classic Rock]]|date=December 4, 2015}}</ref><ref name="museobit">{{cite news|last1=Maume|first1=Chris|title=Gail Zappa: Frank Zappa's wife, muse and manager who ferociously protected his musical legacy|url=https://www.independent.co.uk/news/obituaries/gail-zappa-frank-zappas-wife-muse-and-manager-who-ferociously-protected-his-musical-legacy-a6691251.html |work=[[The Independent]]|date=October 12, 2015 |access-date=March 14, 2019}}</ref>


As a mostly self-taught composer and performer, Zappa had diverse musical influences that led him to create music that was sometimes difficult to categorize. While in his teens, he acquired a taste for 20th-century classical [[Modernism (music)|modernism]], African-American [[rhythm and blues]], and [[doo-wop]] music.<ref name="teentastes">{{cite book|last1=Buckley|first1=Peter|title=The Rough Guide to Rock: [The Definitive Guide to More Than 1200 Artists and Bands]|year= 2003|publisher=Rough Guides|location=London|isbn=978-1-84353-105-0|page=[https://archive.org/details/roughguidetorock0003unse/page/1211 1211]|edition=3rd|quote=As a teenager, Zappa was simultaneously enthralled by black R&B (Johnny 'Guitar' Watson, Guitar Slim), doo-wop (The Channels, The Velvets), the modernist 20th century composers, such as Igor Stravinsky, Anton Webern and Edgard Varèse.|url=https://archive.org/details/roughguidetorock0003unse/page/1211}}</ref> He began writing classical music in high school, while simultaneously playing drums in rhythm and blues bands, later switching to electric guitar. His debut studio album with the Mothers of Invention, ''[[Freak Out!]]'' (1966), combined satirical but seemingly conventional [[rock and roll]] songs with extended sound collages. He continued this eclectic and experimental approach throughout his career.
In his teens, he acquired a taste for percussion-based avant-garde composers like [[Edgard Varèse]], and 1950s [[rhythm and blues]] music. He began writing classical music in high school, while at the same time playing drums in rhythm and blues bands—he later switched to electric guitar. He was an [[autodidact]] composer and performer, and his diverse musical influences led him to create music that was often impossible to categorize. His 1966 debut album with the Mothers of Invention, ''[[Freak Out!]]'', combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. His later albums shared this eclectic and experimental approach, irrespective of whether the fundamental format was one of rock, jazz or classical. He wrote the lyrics to all his songs, which—often humorously—reflected his skeptical view of established political processes, structures and movements. He was a strident critic of mainstream education and organized religion, and a forthright and passionate advocate for [[freedom of speech]] and the abolition of [[censorship]].


Zappa's output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas, and characters reappearing across his albums.<ref name="semley2012"/> His lyrics reflected his iconoclastic views of established social and political processes, structures and movements, often humorously so, and he has been described as the "godfather" of [[comedy rock]].<ref name="Comedy rock">{{cite web |url=http://www.allmusic.com/subgenre/comedy-rock-ma0000012139/artists |title=Comedy rock |website=[[AllMusic]] |access-date=November 14, 2020}}</ref> He was a strident critic of mainstream education and [[organized religion]], and a forthright and passionate advocate for [[freedom of speech]], [[autodidacticism|self-education]], political participation and the abolition of censorship. Unlike many other rock musicians of his generation, he disapproved of recreational drug use, but supported decriminalization and regulation.
Zappa was a highly productive and prolific artist and he gained widespread critical acclaim. Many of his albums are considered essential in rock history, and he is regarded as one of the most original guitarists and composers of his time; he remains a major influence on musicians and composers. He had some commercial success, particularly in Europe, and was for most of his career able to work as an independent artist. Zappa was posthumously inducted into the [[Rock and Roll Hall of Fame]] in 1995 and received the [[Grammy Lifetime Achievement Award]] in 1997.


Zappa was a highly productive and prolific artist with a controversial critical standing; supporters of his music admired its compositional complexity, while detractors found it lacking emotional depth.<ref name="wp">{{cite news|last=Himes|first=Geoffrey|date=December 12, 1993|url=https://www.washingtonpost.com/archive/lifestyle/style/1993/12/12/pop-recordings/2e1e34bf-05aa-438b-b2c7-20f8e640600d/|title=Pop Recordings|newspaper=[[The Washington Post]]|access-date=October 13, 2018}}</ref> He had greater commercial success outside the US, particularly in Europe. Though he worked as an [[independent music|independent artist]], Zappa mostly relied on distribution agreements he had negotiated with the major [[record label]]s. He remains a major influence on musicians and composers. His many honors include his posthumous 1995 induction into the [[Rock and Roll Hall of Fame]] and the 1997 [[Grammy Lifetime Achievement Award]].
Zappa was married to Kathryn J. "Kay" Sherman from 1960 to 1964 (no children), and in 1967, to Adelaide Gail Sloatman, with whom he remained until his death from [[prostate cancer]] in 1993. They had four children: [[Moon Unit Zappa|Moon Unit]], [[Dweezil Zappa|Dweezil]], [[Ahmet Zappa|Ahmet Emuukha Rodan]] and [[Diva Zappa|Diva Thin Muffin Pigeen]]. Gail Zappa manages the businesses of her late husband under the name the ''Zappa Family Trust''.


==Early life==
==1940–1965: Early life and career==
===Childhood===
Frank Zappa was born in [[Baltimore, Maryland]], on December 21, 1940 to Francis Zappa (born in [[Partinico]], [[Sicily]]) who was of [[Greeks|Greek]]-[[Arabs|Arab]] descent, and Rose Marie Colimore who was three-quarters [[Italian people|Italian]] and one-quarter [[French people|French]].<ref>Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', p. 15.</ref> He was the eldest of four children, and had two brothers and a sister.<ref name="Rolling Stone Book">''The New Rolling Stone Encyclopedia of Rock & Roll'', 1993.</ref> The family moved often during Zappa's childhood because his father, a [[chemist]] and [[mathematician]], had various jobs in the US defense industry. After a brief time in [[Florida]] in the mid-1940s, the family returned to [[Maryland]], where Zappa's father worked at the [[Edgewood, Maryland|Edgewood]] Arsenal [[chemical warfare]] facility at the [[Aberdeen Proving Ground]]. Due to their home's proximity to the arsenal, which stored [[Sulfur mustard|mustard gas]], gas masks were kept in the house in case of an accident.<ref name="chemicals">Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', pp. 20–23.</ref> This had a profound effect on the young Zappa: references to germs, germ warfare and other aspects of the defense industry occur throughout his work.<ref>Miles, 2004, ''Frank Zappa'', pp. 8–9.</ref>
Zappa was born on December 21, 1940, in [[Baltimore]], Maryland, to Rose Marie ({{nee}} Colimore) and Francis Vincent Zappa. He was of Sicilian, Greek, Arab and French descent.{{refn|group="nb"|"My ancestry is Sicilian, Greek, Arab and French. My mother's mother was French and Sicilian, and her Dad was Italian (from Naples). She was first generation. The Greek-Arab side is from my Dad. He was born in a Sicilian village called Partinico&nbsp;..."<ref name="Occhiogrosso">{{cite book |last1=Zappa |first1=Frank |author-link=Frank Zappa |last2=Occhiogrosso |first2=Peter |title=Real Frank Zappa Book |date=1989 |publisher=Simon and Schuster |isbn=978-0-671-70572-5 |url=https://archive.org/details/realfrankzappabo0000zapp}}</ref>{{rp|15}}}}


Frank, the eldest of four children, was raised in an Italian-American household where Italian was often spoken by his grandparents.<ref name="Occhiogrosso"/>{{rp|6}}<ref name="Rolling Stone Book">''The New Rolling Stone Encyclopedia of Rock & Roll'', 1993.</ref> The family moved often because his father, a [[chemist]] and mathematician, worked in the defense industry. After a time in [[Florida]] in the 1940s, the family returned to [[Maryland]], where Zappa's father worked at the [[Edgewood Arsenal]] [[chemical warfare]] facility of the [[Aberdeen Proving Ground]] run by the [[U.S. Army]]. Due to their home's proximity to the arsenal, which stored [[mustard gas]], gas masks were kept in the home in case of an accident.<ref name="Occhiogrosso"/>{{rp|20–23}} This living arrangement had a profound effect on Zappa, and references to germs, germ warfare, ailments and the defense industry occur frequently throughout his work.<ref name="miles">{{cite book| title = Frank Zappa| first = Barry| last = Miles| publisher=Atlantic Books| location = London| date = 2004|isbn = 978-1-84354-092-2}}</ref>{{rp|8–9}}
During his childhood Zappa was often sick, suffering from [[asthma]], [[Otalgia|earaches]] and [[Sinus (anatomy)|sinus]] problems. A doctor treated the latter by inserting a pellet of [[radium]] into each of Zappa's nostrils; little was known at the time about the potential dangers of being subjected to even small amounts of therapeutic radiation.<ref name="Milesp10">Miles, 2004, ''Frank Zappa'', p. 10.</ref> Nasal imagery and references appear both in his music and lyrics, as well as in the collage album covers created by his long-time visual collaborator, [[Cal Schenkel]].


Zappa's father often brought [[Mercury (element)|mercury]]-filled lab equipment home from his workplace and gave it to Zappa to play with.<ref name="Occhiogrosso"/>{{rp|19}} Zappa said that as a child he "used to play with it all the time", often by putting liquid mercury on the floor and using a hammer to spray out mercury droplets in a circular pattern, eventually covering the entire floor of his bedroom with them.<ref>{{cite book |title=Real Frank Zappa Book |date=1989 |publisher=Simon and Schuster |isbn=978-0-671-70572-5 |url=https://books.google.com/books?id=FB0O_HCpBy0C&pg=PA19 |access-date=May 1, 2022}}</ref>
Many of Zappa's childhood diseases may have arisen from exposure to mustard gas, and his health was worse when he lived in the [[Baltimore]] area.<ref name="Milesp10"/><ref name="chemicals"/> In 1952, his family relocated mainly because of Zappa's health.<ref>Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', p. 22.</ref> They next moved to [[Monterey, California]], where Zappa's father taught [[metallurgy]] at the [[Naval Postgraduate School]]. Shortly afterwards, they moved to [[Claremont, California|Claremont]], then to [[El Cajon, California|El Cajon]] before finally moving to [[San Diego, California|San Diego]].


Zappa was often sick as a child, suffering from [[asthma]], [[earache]]s and [[Paranasal sinuses|sinus]] problems. A doctor treated his sinusitis by inserting a pellet of [[radium]] into each of Zappa's nostrils. At the time, little was known about the potential dangers of even small amounts of therapeutic radiation and mercury exposure.<ref name="miles"/>{{rp|10}}
===Musical influences===
{{quote box|quote=Since I didn't have any kind of formal training, it didn't make any difference to me if I was listening to Lightnin' Slim, or a vocal group called the Jewels&nbsp;... , or Webern, or Varèse, or Stravinsky. To me it was all good music.|source=—Frank Zappa, 1989<ref>Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', p. 34.</ref>|width=325px}}


Nasal imagery and references appear in his music and lyrics, as well as in the collage album covers created by his long-time collaborator [[Cal Schenkel]]. Zappa believed his childhood diseases might have been due to exposure to mustard gas, released by the nearby chemical warfare facility, and his health worsened when he lived in Baltimore.<ref name="Occhiogrosso"/>{{rp|20–23}}<ref name="miles"/>{{rp|10}} In 1952, his family relocated for reasons of health to [[Monterey, California]], where his father taught [[metallurgy]] at the [[Naval Postgraduate School]].<ref name="Occhiogrosso"/>{{rp|22}} They soon moved to the [[San Diego]] neighborhood of [[Clairemont, San Diego|Clairemont]],<ref name="slaven03">{{cite book |title=Electric Don Quixote: The Definitive Story of Frank Zappa |edition=2nd |first1=Neil |last1=Slaven |publisher=Music Sales Group|date=2003|isbn=978-0-7119-9436-2|url=https://books.google.com/books?id=a4EyfFjQ3DgC}}</ref>{{rp|46}} and then to the nearby city of [[El Cajon, California|El Cajon]], before finally returning to San Diego.<ref>{{cite web|url=http://sandiegotroubadour.com/wp-content/pdf/2005_11_Nov.pdf|title=Counter Culture Coincidence|work=San Diego Troubadour|last=Mendoza|first=Bart|page=4|date=November 11, 2005|access-date=September 11, 2010}}</ref>
Zappa joined his first band, The Ramblers, at [[Mission Bay High School]] in San Diego. He was the drummer.<ref name="zappa29">Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', p. 29.</ref> About the same time his parents bought a phonograph, which allowed him to develop his interest in music, and to begin building his record collection.<ref>Miles, 2004, ''Frank Zappa'', p. 22.</ref>
[[Rhythm and blues|R&B]] singles were early purchases, starting a large collection he kept for the rest of his life.<ref>Miles, 2004, ''Frank Zappa'', p. 36.</ref> He was interested in sounds for their own sake, particularly the sounds of drums and other [[percussion instrument]]s. By age 12, he had obtained a snare drum and began learning the basics of orchestral percussion.<ref name="zappa29"/> Zappa's deep interest in modern classical music began<ref name="idol"/> when he read a ''[[Look (American magazine)|LOOK]]'' magazine article about the [[Sam Goody]] record store chain that lauded its ability to sell an LP as obscure as ''The Complete Works of Edgard Varèse, Volume One''.<ref name="Varese">Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', pp. 30–33.</ref> The article described [[Edgard Varèse|Varèse's]] percussion composition ''[[Ionisation (Varèse)|Ionisation]]'', produced by [[EMS Recordings]], as "a weird jumble of drums and other unpleasant sounds". Zappa decided to seek out Varèse's music. After searching for over a year, Zappa found a copy (he noticed the LP because of the "mad scientist" looking photo of Varèse on the cover). Not having enough money with him, he persuaded the salesman to sell him the record at a discount.<ref name="Varese"/> Thus began his lifelong passion for Varèse's music and that of other modern classical composers.


===First musical interests===
Zappa grew up influenced by [[avant-garde]] composers such as Varèse, [[Igor Stravinsky]] and [[Anton Webern]], R&B and [[doo-wop]] groups (particularly local [[pachuco]] groups), and modern jazz. His own heterogeneous ethnic background, and the diverse social and cultural and mix in and around greater Los Angeles, were crucial in the formation of Zappa as a practitioner of [[underground music]] and of his later distrustful and openly critical attitude towards "mainstream" social, political and musical movements. He frequently lampooned musical fads like [[psychedelia]], [[rock opera]] and [[disco]].<ref name="watson13">Watson, 1996, ''Frank Zappa: The Negative Dialectics of Poodle Play'', p. 13.</ref><ref>Among his many musical satires are the 1967 songs "Flower Punk" (which parodies the song "[[Hey Joe]]") and "Who Needs The Peace Corps?", which are critiques of the late-Sixties commercialization of the [[hippie]] phenomenon.</ref> Television also exerted a strong influence, as demonstrated by quotations from show themes and advertising jingles found in his later works.<ref name="quotes"/>
{{quote box|quote=Since I didn't have any kind of formal training, it didn't make any difference to me if I was listening to [[Lightnin' Slim]], or a vocal group called the Jewels&nbsp;..., or Webern, or Varèse, or [[Stravinsky]]. To me it was all good music.|source= — Frank Zappa, 1989<ref name="Occhiogrosso"/>{{rp|34}}|width=25em}}


Zappa started at the age of 12, learning [[drum rudiment]]s at a summer school group course in Monterey, California with a teacher named Keith McKillop. Frank said "Instead of drums, he had us practicing on wooden planks."<ref name="Occhiogrosso"/>{{rp|13}} Zappa joined his first band at [[Mission Bay High School]] in San Diego as a drummer.<ref name="Occhiogrosso"/>{{rp|29}} At about the same time, his parents bought a [[phonograph]], which allowed him to develop his interest in music, and to begin building his record collection.<ref name="miles"/>{{rp|22}} According to ''[[Rough Guide|The Rough Guide to Rock]]'' (2003), "as a teenager Zappa was simultaneously enthralled by black R&B ([[Johnny "Guitar" Watson|Johnny 'Guitar' Watson]], [[Guitar Slim]]), doo-wop ([[The Channels]], [[The Velvets]]), and modern composers, such as [[Igor Stravinsky]], [[Anton Webern]] and [[Edgard Varèse]]."<ref name="teentastes"/>
==Youth and beginning of career: 1955–1960==
By 1956, the Zappa family had moved to [[Lancaster, California|Lancaster]], a small [[aerospace]] and farming town in the [[Antelope Valley]] of the [[Mojave Desert]], close to [[Edwards Air Force Base]], [[Los Angeles, California|Los Angeles]]. Zappa's mother encouraged him in his musical interests. Although she disliked Varèse's music, she was indulgent enough to give her son a long distance call to the composer as a 15th birthday present.<ref name="Varese"/> Unfortunately, Varèse was in Europe at the time, so Zappa spoke to the composer's wife. He later received a letter from Varèse thanking him for his interest, and telling him about a composition he was working on called "Déserts". Living in the desert town of Lancaster, Zappa found this very exciting. Varèse invited him to visit if he ever came to New York. The meeting never took place (Varèse died in 1965), but Zappa framed the letter and kept it on display for the rest of his life.<ref name="idol">{{Citation | last = Zappa | first = Frank | title = Edgard Varese: The Idol of My Youth | publisher = Stereo Review | pages = 61–62. | date = June 1971}}</ref><ref>On several of his earlier albums, Zappa paid tribute to Varèse by quoting his: "The present-day composer refuses to die."</ref>


R&B singles were early purchases for Zappa, starting a large collection he kept for the rest of his life.<ref name="miles"/>{{rp|36}} He was interested in sounds for their own sake, particularly the sounds of drums and other percussion instruments. By age twelve, he had obtained a snare drum and began learning the basics of orchestral percussion.<ref name="Occhiogrosso"/>{{rp|29}} Zappa's deep interest in modern classical music began<ref name="idol"/> when he read a ''[[Look (American magazine)|LOOK]]'' magazine article about the [[Sam Goody]] record store chain that lauded its ability to sell an LP as obscure as ''The Complete Works of Edgard Varèse, Volume One''.<ref name="Occhiogrosso"/>{{rp|30–33}} The article described Varèse's percussion composition ''[[Ionisation (Varèse)|Ionisation]]'', produced by [[EMS Recordings]], as "a weird jumble of drums and other unpleasant sounds". Zappa decided to seek out Varèse's music. After searching for over a year, Zappa found a copy (he noticed the LP because of the "mad scientist" looking photo of Varèse on the cover). Not having enough money with him, he persuaded the salesman to sell him the record at a discount.<ref name="Occhiogrosso"/>{{rp|30–33}} Thus began his lifelong passion for Varèse's music and that of other modern classical composers. He also liked the Italian classical music listened to by his grandparents, especially [[Giacomo Puccini|Puccini]]'s opera arias.
At [[Antelope Valley High School]], Zappa met Don Vliet (who later expanded his name to Van Vliet and adopted the stage name [[Captain Beefheart]]). Zappa and Vliet became close friends, sharing an interest in R&B records and influencing each other musically throughout their careers.<ref>Slaven, 2003, ''Electric Don Quixote'', pp. 29–30.</ref> Around the same time, Zappa started playing drums in a local band, The Blackouts.<ref name="watson13"/> The band was racially mixed, and included Euclid James "Motorhead" Sherwood who later became a member of the Mothers of Invention. Zappa grew more and more interested in the guitar, and in 1957, he was given his first guitar. Among his early influences were [[Johnny "Guitar" Watson]], [[Howlin' Wolf]] and [[Clarence "Gatemouth" Brown]].<ref>{{citation | date= November 1976 | people = Mike Douglas |title = The Mike Douglas Show |publisher = NBC [TV Show] }}</ref> (In the 1970s and 80s, he invited Watson to perform on several albums.) Zappa considered soloing as the equivalent of forming "air sculptures",<ref name="DZlinernotes"/> and developed an eclectic, innovative and personal style.


[[File:Frank Zappa HS Yearbook.jpg|thumb|upright|Zappa's senior yearbook photo, 1958]]
Zappa's interest in composing and arranging proliferated in his last high-school years. By his final year, he was writing, [[arrangement|arranging]] and [[conducting]] avant-garde performance pieces for the school [[orchestra]].<ref>Miles, 2004, ''Frank Zappa'', p. 40.</ref> He graduated from Antelope Valley High School in 1958, and later acknowledged two of his music teachers on the sleeve of the 1966 album ''Freak Out!''<ref>Walley, 1980, ''No Commercial Potential'', p. 23.</ref> Due to his family's frequent moves, Zappa attended at least six different [[high school]]s, and as a student he was often bored and given to distracting the rest of the class with juvenile antics.<ref>Miles, 2004, ''Frank Zappa'', p. 48.</ref> He left community college after one semester, and maintained thereafter a disdain for formal education, taking his children out of school at age 15 and refusing to pay for their college.<ref>Miles, 2004, ''Frank Zappa'', p. 345.</ref>
By 1956, the Zappa family had moved to [[Lancaster, California|Lancaster]], a small [[aerospace]] and farming town in the [[Antelope Valley]] of the [[Mojave Desert]] close to [[Edwards Air Force Base]]; he would later refer to Sun Village (a town close to Lancaster) in the 1973 track "Village of the Sun".<ref>{{cite web|url=http://globalia.net/donlope/fz/lyrics/Roxy_and_Elsewhere.html#Village|title=Lyrics of Village Of The Sun|first=Frank|last=Zappa|date=December 1973|work=Village Of The Sun, Roxy and Elsewhere|access-date=October 20, 2016}}</ref> Zappa's mother encouraged him in his musical interests. Although she disliked Varèse's music, she was indulgent enough to give her son a long-distance call to the New York composer as a fifteenth birthday present.<ref name="Occhiogrosso"/>{{rp|30–33}} Unfortunately, Varèse was in Europe at the time, so Zappa spoke to the [[Louise Varèse|composer's wife]] and she suggested he call back later. In a letter, Varèse thanked him for his interest, and told him about a composition he was working on called "[[Déserts]]". Living in the desert town of Lancaster, Zappa found this very exciting. Varèse invited him to visit if he ever came to New York. The meeting never took place (Varèse died in 1965), but Zappa framed the letter and kept it on display for the rest of his life.<ref name="idol">{{cite journal |last=Zappa |first=Frank |date=June 1971 |title=Edgard Varèse: The Idol of My Youth |url=https://www.worldradiohistory.com/Archive-All-Audio/Archive-HiFI-Stereo/70s/HiFi-Stereo-Review-1971-06.pdf |journal=Stereo Review |volume=26 |issue=6 |pages=62–68 |via=World Radio History}}</ref>{{refn|group="nb"|On several of his earlier albums, Zappa paid tribute to Varèse by quoting his: "The present-day composer refuses to die."<ref>{{cite book|title=Friendly Remainders: Essays in Music Criticism after Adorno|first1=Murray|last1=Dineen|publisher=McGill-Queen's Press|date=2011|isbn=978-0-7735-8576-8|page=[https://books.google.com/books?id=WV1ta5rlm58C&pg=PA122 122] |url=https://books.google.com/books?id=WV1ta5rlm58C }}</ref>}}


At [[Antelope Valley High School]], Zappa met Don Glen Vliet (who later changed his name to Don Van Vliet and adopted the stage name [[Captain Beefheart]]). Zappa and Vliet became close friends, sharing an interest in R&B records and influencing each other musically throughout their careers.<ref name="slaven03"/>{{rp|29–30}} Around the same time, Zappa started playing drums in a local band, the Blackouts.<ref name="watson96"/>{{rp|13}} The band was racially diverse and included [[Jim Sherwood|Euclid James "Motorhead" Sherwood]] who later became a member of the Mothers of Invention. Zappa's interest in the guitar grew, and in 1957 he was given his first instrument. Among his early influences were [[Johnny "Guitar" Watson]], [[Howlin' Wolf]] and [[Clarence "Gatemouth" Brown]]. In the 1970s/1980s, he invited Watson to perform on several albums. Zappa considered soloing the equivalent of forming "air sculptures",<ref>{{cite book|title=Frank Zappa|first1=Barry|last1=Miles|publisher=Atlantic Books Ltd|date=2014|isbn=978-1-78239-678-9|page=[https://books.google.com/books?id=A5jCBAAAQBAJ&pg=PT266 266] |url=https://books.google.com/books?id=A5jCBAAAQBAJ}}</ref> and developed an eclectic, innovative and highly personal style.<ref>{{cite book|title=Academy Zappa: Proceedings of the First International Conference of Esemplastic Zappology (ICE-Z)|edition=illusdtrated|first1=Ben|last1=Watson|first2=Esther|last2=Leslie|publisher=SAF Publishing Ltd|date=2005|isbn=978-0-946719-79-2|page=[https://books.google.com/books?id=NBfhgQf1-QwC&pg=PA223 223] |url=https://books.google.com/books?id=NBfhgQf1-QwC}}</ref> He was also influenced by Egyptian composer [[Halim El-Dabh]].<ref name="Holmes">{{cite book|title=Electronic and experimental music: technology, music, and culture|first=Thom|last=Holmes|edition=3rd|publisher=[[Taylor & Francis]]|date=2008|isbn=978-0-415-95781-6|chapter=Early Synthesizers and Experimenters|pages=153–154|chapter-url=https://books.google.com/books?id=hCthQ-bec-QC&pg=PA153|access-date=June 4, 2011}}</ref>
Zappa left home in 1959, and moved into a small apartment in [[Echo Park, Los Angeles, California|Echo Park]], Los Angeles. After meeting Kathryn J. "Kay" Sherman during his short stay at college, they moved in together in [[Ontario, California|Ontario]], and were married December 28, 1960.<ref>Miles, 2004, ''Frank Zappa'', p. 58.</ref> Zappa worked for a short period in advertising. His sojourn in the commercial world was brief, but gave him valuable insights into how it works.<ref>Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', p. 40.</ref> Throughout his career, he took a keen interest in the visual presentation of his work, designing some of his album covers and directing his own films and videos.


Zappa's interest in composing and arranging flourished in his last high school years. By his final year, he was writing, [[arrangement|arranging]] and conducting avant-garde performance pieces for the school orchestra.<ref name="miles"/>{{rp|40}} He graduated from Antelope Valley High School in 1958, and later acknowledged two of his music teachers on the sleeve of the 1966 album ''[[Freak Out!]]''<ref name="walley80"/>{{rp|23}} Due to his family's frequent moves, Zappa attended at least six different high schools, and as a student he was often bored and given to distracting the rest of the class with juvenile antics.<ref name="miles"/>{{rp|48}} In 1959, he attended [[Chaffey College]] but left after one semester, and maintained thereafter a disdain for formal education, taking his children out of school at age 15 and refusing to pay for their college.<ref name="miles"/>{{rp|345}} While in college, Zappa met [[Terry Kirkman]] and played gigs at local [[coffee house]]s with him.<ref>{{Cite book |last=Searles |first=Malcolm C. |title=The Association 'Cherish' |date=October 5, 2018 |publisher=Troubador Publishing Ltd |isbn=978-1-78901-361-0 |pages=7 |language=English}}</ref>
==Early 1960s: Studio Z==
Zappa attempted to earn a living as a musician and composer, and played different nightclub gigs, some with a new version of The Blackouts.<ref>Miles, 2004, ''Frank Zappa'', p. 59.</ref> Financially more rewarding were Zappa's earliest professional recordings, two soundtracks for the low-budget films ''[[The World's Greatest Sinner]]'' (1962) and ''Run Home Slow'' (1965). The former score was commissioned by actor-producer [[Timothy Carey]] and recorded in 1961. It contains many themes that appeared on later Zappa records.<ref>Miles, 2004, ''Frank Zappa'', p. 63.</ref> The latter soundtrack was recorded in 1963 after the film was completed, but it was commissioned by one of Zappa's former high school teachers in 1959 and Zappa may have worked on it before the film was shot.<ref>Miles, 2004, ''Frank Zappa'', p. 55.</ref> Excerpts from the soundtrack can be heard on the posthumous album ''[[The Lost Episodes]]'' (1996).


Zappa left home in 1959, and moved into a small apartment in [[Echo Park, Los Angeles]]. After he met Kathryn J. "Kay" Sherman during his short period of private composition study with Prof. [[Karl Kohn]] of [[Pomona College]], they moved in together in [[Ontario, California|Ontario]], and were married December 28, 1960.<ref name="miles"/>{{rp|58}} Zappa worked for a short period in advertising as a copywriter. His sojourn in the commercial world was brief, but gave him valuable insights into its workings.<ref name="Occhiogrosso"/>{{rp|40}} <ref>{{cite web |url=https://www.theguardian.com/books/booksblog/2008/jan/18/copywritingisstillwriting |title=Copywriting is still writing |last=Myers |first=Ben |date=January 18, 2008 |website=The Guardian |access-date=February 21, 2017}}</ref> Throughout his career, he took a keen interest in the visual presentation of his work, designing some of his album covers and directing his own films and videos.
During the early 1960s, Zappa wrote and produced songs for other local artists, often working with singer-songwriter [[Ray Collins (rock musician)|Ray Collins]] and producer Paul Buff. Their "Memories of El Monte" was recorded by [[The Penguins]] (although only Cleve Duncan of the original group was featured<ref>Gray, 1984, ''Mother!'', p. 29.</ref>). Buff owned the small [[Pal Recording Studio]] in [[Rancho Cucamonga, California|Cucamonga]], which included a unique five-track tape recorder he had built. At that time, only a handful of the most sophisticated commercial studios had [[Multitrack recording|multi-track]] facilities; the industry standard for smaller studios was still mono or two-track.<ref>Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', p. 42.</ref> Although none of the recordings from the period achieved major commercial success, Zappa earned enough money to allow him to stage a concert of his orchestral music in 1963 and to broadcast and record it.<ref>Miles, 2004, ''Frank Zappa'', p. 74.</ref> He appeared on ''[[The Steve Allen Show]]'' the same year, in which he played a bicycle as a musical instrument.<ref>Slaven, 1996, ''Electric Don Quixote'', pp. 35–36.</ref> With Captain Beefheart, Zappa recorded some songs under the name of The Soots. They were rejected by [[Dot Records]] for having no "commercial potential"; a quote Zappa later used on the sleeve of ''Freak Out!''<ref>Watson, 1996, ''Frank Zappa: The Negative Dialectics of Poodle Play'', p. 27.</ref>


===Studio Z===
In 1964, after his marriage started to break up, he moved into the Pal studio and began routinely working 12&nbsp;hours or more per day recording and experimenting with [[overdubbing]] and [[Reel-to-reel audio tape recording#As a musical instrument|audio tape manipulation]]. This set a work pattern that endured for most of his life.<ref>Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', p. 43.</ref> Aided by his income from film composing, Zappa took over the studio from Paul Buff, who was now working with [[Art Laboe]] at [[Original Sound]]. It was renamed Studio Z.<ref>Miles, 2004, ''Frank Zappa'', pp. 80–81.</ref> Studio Z was rarely booked for recordings by other musicians. Instead, friends moved in, notably James "Motorhead" Sherwood.<ref>Miles, 2004, ''Frank Zappa''. pp. 82–83.</ref> Zappa started performing as guitarist with a [[power trio]], The Muthers, in local bars in order to support himself.<ref>Watson, 1996, ''Frank Zappa: The Negative Dialectics of Poodle Play'', p. 26.</ref>
Zappa attempted to earn a living as a musician and composer, and played different nightclub gigs, some with a new version of the Blackouts.<ref name="miles"/>{{rp|59}} Zappa's earliest professional recordings, two soundtracks for the low-budget films ''[[The World's Greatest Sinner]]'' (1962) and ''[[Run Home, Slow]]'' (1965) were more financially rewarding. The former score was commissioned by actor-producer [[Timothy Carey]] and recorded in 1961. It contains many themes that appeared on later Zappa records.<ref name="miles"/>{{rp|63}} The latter soundtrack was recorded in 1963 after the film was completed, but it was commissioned by one of Zappa's former high school teachers in 1959 and Zappa may have worked on it before the film was shot.<ref name="miles"/>{{rp|55}} Excerpts from the soundtrack can be heard on the posthumous album ''[[The Lost Episodes]]'' (1996).


During the early 1960s, Zappa wrote and produced songs for other local artists, often working with singer-songwriter [[Ray Collins (musician)|Ray Collins]] and producer Paul Buff. Their "[[Memories of El Monte]]" was recorded by [[the Penguins]], although only Cleve Duncan of the original group was featured.<ref>Gray, 1984, ''Mother!'', p. 29.</ref> Buff owned the small [[Pal Recording Studio]] in [[Rancho Cucamonga, California|Cucamonga]], which included a unique five-track tape recorder he had built. At that time, only a handful of the most sophisticated commercial studios had [[Multitrack recording|multi-track]] facilities; the industry standard for smaller studios was still mono or two-track.<ref name="Occhiogrosso"/>{{rp|42}} Although none of the recordings from the period achieved major commercial success, Zappa earned enough money to allow him in 1963 to stage a concert of his orchestral music and to broadcast and record it.<ref name="miles"/>{{rp|74}} In March of that same year Zappa appeared on [[Steve Allen]]'s syndicated late night show playing a bicycle as a musical {{nowrap|instrument<ref>{{cite web |title=Video footage of Frank Zappa performing music on a bicycle on Steve Allen's Show in 1963 |url=https://twitter.com/SkotArmstrong/status/1473331952929296384 |website=Twitter feed of Skot Armstrong |publisher=[[Twitter]] |access-date=December 21, 2021}}</ref><ref name="slaven96">{{cite book |first=Neil |last=Slaven |date=1996 |title=Electric Don Quixote |publisher=Omnibus Press |isbn=978-0711959835}}</ref>{{rp|35–36}}{{mdash}}}}{{hsp}}using drum sticks and a bow borrowed from the band's bass player he proceeded to pluck, bang, and bow the spokes of the bike, producing strange, comical sounds from his newfound instrument. With Captain Beefheart, Zappa recorded some songs under the name of the Soots. They were rejected by [[Dot Records]]. Later, the Mothers were also rejected by [[Columbia Records]] for having "no commercial potential", a verdict Zappa subsequently quoted on the sleeve of ''[[Freak Out!]]''<ref name="watson96">{{cite book| title = Frank Zappa: The Negative Dialectics of Poodle Play| first = Ben| last = Watson| date = 1996| publisher=St. Martin's Griffin| location = New York| isbn = 978-0-312-14124-0}}</ref>{{rp|27}}
An article in the local press describing Zappa as "the Movie King of Cucamonga" prompted the local police to suspect that he was making [[pornography|pornographic]] films.<ref name="MilesBust">Miles, 2004, ''Frank Zappa'', p. 85.</ref> In March 1965, Zappa was approached by a [[Vice unit|vice squad]] undercover officer, and accepted an offer of $100 to produce a suggestive audio tape for an alleged [[Bachelor party|stag party]]. Zappa and a female friend faked an erotic recording. When Zappa was about to hand over the tape, he was arrested, and the police stripped the studio of all recorded material.<ref name="MilesBust"/> The press was tipped beforehand, and next day's ''The Daily Report'' wrote that "Vice Squad investigators stilled the tape recorders of a free-swinging, a-go-go film and recording studio here Friday and arrested a self-styled movie producer".<ref>{{citation | last= Harp| first= Ted | title = Vice Squad Raids Local Film Studio | newspaper = The Daily Report | place = Ontario, California | date = March, 1965 }}</ref> Zappa was charged with "conspiracy to commit pornography".<ref>Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', p. 57.</ref> This [[felony]] charge was reduced and he was sentenced to six months in jail on a [[misdemeanor]], with all but ten days suspended.<ref>Miles, 2004, ''Frank Zappa'', pp. 86–87.</ref> His entrapment and brief imprisonment left a permanent mark, and was key in the formation of his anti-authoritarian stance.<ref>Miles, 2004, ''Frank Zappa'', p. <small>XV</small>.</ref> Zappa lost several recordings made at Studio Z in the process, as the police only returned 30 out of 80 hours of tape seized.<ref>Miles, 2004, ''Frank Zappa'', p. 87.</ref> Eventually, he could no longer afford to pay the rent on the studio and was evicted.<ref>Slaven, 1996, ''Electric Don Quixote'', p. 40.</ref> Zappa managed to recover some of his possessions before the studio was torn down in 1966.<ref>Miles, 2004, ''Frank Zappa'', pp. 90–91.</ref>


In 1964, after his marriage started to break up, he moved into the Pal studio and began routinely working 12&nbsp;hours or more per day recording and experimenting with [[overdubbing]] and [[Reel-to-reel audio tape recording#As a musical instrument|audio tape manipulation]]. This established a work pattern that endured for most of his life.<ref name="Occhiogrosso"/>{{rp|43}} Aided by his income from film composing, Zappa took over the studio from Paul Buff, who was now working with [[Art Laboe]] at [[Original Sound]]. It was renamed Studio Z.<ref name="miles"/>{{rp|80–81}} Studio Z was rarely booked for recordings by other musicians. Instead, friends moved in, notably James "Motorhead" Sherwood.<ref name="miles"/>{{rp|82–83}} Zappa started performing in local bars as a guitarist with a [[power trio]], the Muthers, to support himself.<ref name="watson96"/>{{rp|26}}
==Late 1960s: The Mothers of Invention==
In 1965, Zappa was approached by [[Ray Collins (rock musician)|Ray Collins]] who asked him to join a local R&B band, The Soul Giants, as a guitarist.<ref name="Rolling Stone Book"/> Zappa accepted, and soon he assumed leadership and the role as co-lead singer (even though he never considered himself a singer<ref name="HighTimes1980"/>). He convinced the other members that they should play his music to increase the chances of getting a record contract.<ref name="zappa65">Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', pp. 65–66.</ref> The band was renamed The Mothers, coincidentally on [[Mother's Day (United States)|Mother's Day]].<ref>Slaven, 2003, ''Electric Don Quixote'', p. 42.</ref> The group increased their bookings after beginning an association with manager [[Herb Cohen]], while they gradually gained attention on the burgeoning Los Angeles [[underground music]] scene.<ref>Walley, 1980, ''No Commercial Potential'', p. 58.</ref> In early 1966, they were spotted by leading record producer [[Tom Wilson (producer)|Tom Wilson]] when playing "Trouble Every Day", a song about the [[Watts Riots]].<ref>Miles, 2004, ''Frank Zappa'', p. 103.</ref> Wilson had earned acclaim as the producer for singer-songwriter [[Bob Dylan]] and the folk-rock act [[Simon & Garfunkel]], and was notable as one of the few blacks working as a major label pop music producer at this time.


An article in the local press describing Zappa as "the Movie King of Cucamonga" prompted the local police to suspect that he was making [[pornography|pornographic]] films.<ref name="miles"/>{{rp|85}} In March 1965, Zappa was approached by a [[Vice unit|vice squad]] undercover officer, and accepted an offer of $100 ({{Inflation|US|100|1965|r=-1|fmt=eq}}) to produce a suggestive audio tape for an alleged [[bachelor party]]. Zappa and a female friend recorded a faked erotic episode. When Zappa was about to hand over the tape, he was arrested, and the police stripped the studio of all recorded material.<ref name="miles"/>{{rp|85}} The press was tipped off beforehand, and next day's ''[[The Daily Report]]'' wrote that "Vice Squad investigators stilled the tape recorders of a free-swinging, a-go-go film and recording studio here Friday and arrested a self-styled movie producer".<ref>{{cite news |last= Harp |first=Ted |title=Vice Squad Raids Local Film Studio | newspaper=The Daily Report | place = Ontario, California | date = March 1965}}</ref> Zappa was charged with "conspiracy to commit pornography".<ref name="Occhiogrosso"/>{{rp|57}} This [[felony]] charge was reduced and he was sentenced to six months in jail on a [[misdemeanor]], with all but ten days suspended.<ref name="miles"/>{{rp|86–87}} His brief imprisonment left a permanent mark, and was central to the formation of his anti-authoritarian stance.<ref name="miles"/>{{rp|xv}} Zappa lost several recordings made at Studio Z in the process, as the police returned only 30 of 80 hours of tape seized.<ref name="miles"/>{{rp|87}} Eventually, he could no longer afford to pay the rent on the studio and was evicted.<ref name="slaven96"/>{{rp|40}} Zappa managed to recover some of his possessions before the studio was torn down in 1966.<ref name="miles"/>{{rp|90–91}}
Wilson signed The Mothers to the [[Verve Records]] division of [[MGM Records]], which had built up a strong reputation in the [[music industry]] for its releases of modern jazz recordings in the 1940s and 1950s, but was attempting to diversify into pop and rock audiences. Verve insisted that the band officially re-title themselves "[[The Mothers of Invention]]" because "Mother", in slang terminology, was short for "[[motherfucker]]"—a term that apart from its profane meanings can denote a skilled musician.<ref>

{{citation | people = Nigel Leigh | title = Interview with Frank Zappa | medium = BBC Late Show | publisher = BBC [TV Show] | location = UMRK, Los Angeles, CA | date = March 1993}}</ref>
==1965–1970: The Mothers of Invention==
===Formation===
By April 1965, [[Ray Collins (musician)|Ray Collins]], one of Zappa's friends during the early Studio Z days, was the singer of an R&B band called the Soul Giants, based in [[Pomona, California]]. That month, he asked Zappa to take over as guitarist in the Soul Giants, following a fight between Collins and the group's original guitarist.<ref name="Rolling Stone Book"/> Zappa accepted, and soon assumed leadership and the role as co-lead singer (even though he never considered himself a singer, then or later<ref name="HighTimes1980"/>). He convinced the other members that they should play his music to increase the chances of getting a record contract.<ref name="Occhiogrosso"/>{{rp|65–66}} The band - comprising Zappa, Collins, [[Roy Estrada]], and [[Jimmy Carl Black]] - debuted at the Broadside Club and was renamed the Mothers since this gig took place on May 10, 1965{{snd}}[[Mother's Day (United States)|Mother's Day]].<ref name="slaven03"/>{{rp|42}} They increased their bookings after beginning an association with manager [[Herb Cohen]], and gradually gained attention on the burgeoning Los Angeles [[underground music]] scene.<ref name="walley80"/>{{rp|58}} In early 1966, they were spotted by leading record producer [[Tom Wilson (record producer)|Tom Wilson]] when playing "Trouble Every Day", a song about the [[Watts riots]].<ref name="miles"/>{{rp|103}} Wilson had earned acclaim as the producer for [[Bob Dylan]] and [[Simon & Garfunkel]], and was one of the few African-Americans working as a major label pop music producer at this time. Wilson signed the Mothers to the [[Verve Records|Verve]] division of [[MGM Records|MGM]], which had built up a strong reputation for its releases of modern jazz recordings in the 1940s and 1950s, but was attempting to diversify into pop and rock audiences. Verve insisted that the band officially rename themselves [[the Mothers of Invention]] as ''Mother'' was short for ''[[motherfucker]]''—a term that, apart from its profane meanings, can denote a skilled musician.<ref>{{cite news | author=<!-- not stated --> | title = BBC Late Show: Frank Zappa interview with Nigel Leigh | medium = TV Show | publisher = [[BBC]] | location = [[UMRK]], Los Angeles, California |date=11 March 1993}}</ref> Under Zappa's leadership, the Mothers' lineup would be ever-changing during their time together, with members including Collins, Estrada, Black, [[Elliot Ingber]], brothers [[Bunk Gardner|Bunk]] and [[Buzz Gardner]], [[Don Preston]], [[Billy Mundi]], [[Jim Fielder]], [[Jim Sherwood|Jim "Motorhead" Sherwood]], [[Ian Underwood]], [[Art Tripp]], and [[Lowell George]].


===Debut album: ''Freak Out!''===
===Debut album: ''Freak Out!''===
{{See also|Freak Out!|Absolutely Free|Lumpy Gravy}}
With Wilson credited as producer, The Mothers of Invention and a studio orchestra recorded the groundbreaking double album ''[[Freak Out!]]'' (1966). It mixed R&B, doo-wop, and experimental [[sound collage]]s that captured the "freak" subculture of Los Angeles at that time.<ref>Walley, 1980, ''No Commercial Potential'', pp. 60–61.</ref> The album immediately established Zappa as a radical new voice in rock music, providing an antidote to the "relentless consumer culture of America".<ref name="Miles">Miles, 2004, ''Frank Zappa'', p. 115.</ref> The sound was raw, but the [[arrangement]]s were sophisticated. (Some of the [[session musician]]s were shocked that they should read from [[Chord chart|charts]] with Zappa conducting them, as this was not standard at a rock recording.<ref name="miles112">Miles, 2004, ''Frank Zappa'', p. 112.</ref>) The lyrics praised non-conformity, disparaged authorities, and had [[dada]]ist elements. Yet, there was a place for seemingly conventional love songs.<ref>Watson, 2005, ''Frank Zappa. The Complete Guide to His Music'', pp. 10–11.</ref> Most compositions are Zappa's, which set a precedent for the rest of his recording career. He had full control over the arrangements and musical decisions and did most [[Overdubbing|overdubs]]. Wilson provided the industry clout and connections to get the group the financial resources needed.<ref name="Miles-2004">Miles, 2004, ''Frank Zappa'', p. 123.</ref>
With Wilson credited as producer, the Mothers of Invention, augmented by a studio orchestra, recorded the groundbreaking ''[[Freak Out!]]'' (1966), which, after Bob Dylan's ''[[Blonde on Blonde]]'', was the second rock [[double album]] ever released. It mixed R&B, [[doo-wop]], [[musique concrète]],<ref name="lowe">{{cite book| title = The Words and Music of Frank Zappa| first = Kelly Fisher| last = Lowe| publisher=Praeger Publishers| location = Westport| date = 2006| isbn = 978-0-275-98779-4}}</ref>{{rp|25}} and experimental [[sound collage]]s that captured the "freak" subculture of Los Angeles at that time.<ref name="walley80"/>{{rp|60–61}} Although he was dissatisfied with the final product, ''Freak Out'' immediately established Zappa as a radical new voice in rock music, providing an antidote to the "relentless consumer culture of America".<ref name="miles"/>{{rp|115}} The sound was raw, but the arrangements were sophisticated. While recording in the studio, some of the additional [[session musician]]s were shocked that they were expected to read the notes on sheet music from [[Chord chart|charts]] with Zappa conducting them, since it was not standard when recording rock music.<ref name="miles"/>{{rp|112}} The lyrics praised non-conformity, disparaged authorities, and had [[dada]]ist elements. Yet, there was a place for seemingly conventional love songs.<ref name="watson05">{{cite book| title = Frank Zappa. The Complete Guide to His Music| first = Ben| last = Watson| date = 2005| publisher=Omnibus Press| location = London| isbn = 978-1-84449-865-9}}</ref>{{rp|10–11}} Most compositions are Zappa's, which set a precedent for the rest of his recording career. He had full control over the arrangements and musical decisions and did most [[Overdubbing|overdubs]]. Wilson provided the industry clout and connections and was able to provide the group with the financial resources needed.<ref name="miles"/>{{rp|123}} Although Wilson was able to provide Zappa and the Mothers with an extraordinary degree of artistic freedom for the time, the recording did not go entirely as planned. In a 1967 radio interview, Zappa explained that the album's outlandish 11-minute closing track, "Return of the Son of Monster Magnet" was not finished. The track as it appears on the album was only a backing track for a much more complex piece, but MGM refused to allow the additional recording time needed for completion. Much to Zappa's chagrin, it was issued in its unfinished state.<ref>"How We Made It Sound That Way", interview on WDET Detroit, November 13, 1967 (excerpt included as part of the [[The MOFO Project/Object|MOFO]] album, 2006)</ref>


{{Listen|filename=Zappa_HungryFreaks.ogg|description=The opening track on ''Freak Out!''. The album has "consistently been voted as one of top 100 greatest albums ever made".<ref name="Miles"/><br />&nbsp;|title="Hungry Freaks Daddy"|pos=left}}
{{Listen|type=music|filename=Zappa_HungryFreaks.ogg|description=The opening track on ''[[Freak Out!]]''. The album has "consistently been voted as one of top 100 greatest albums ever made".<ref name="miles"/>{{rp|115}}<br />&nbsp;|title="Hungry Freaks Daddy" (1966)|pos=left}}


During the recording of ''Freak Out!'', Zappa moved into a house in [[Laurel Canyon, Los Angeles, California|Laurel Canyon]] with friend [[Suzy Creamcheese|Pamela Zarubica]], who appeared on the album.<ref name="miles112"/> The house became a meeting (and living) place for many LA musicians and [[groupie]]s of the time, despite Zappa's disapproval of their drug use.<ref>Miles, 2004, ''Frank Zappa'', p. 122.</ref> He labeled people on drugs "assholes in action", and he only tried [[marijuana]] a few times without any pleasure.<ref>{{ citation | title = Rolling Stone Interview | year = 1988 | first = Kurt| last = Loden| publisher = Rolling Stones Magazine }}</ref> He was a regular [[tobacco]] smoker for most of his life, and strongly critical of anti-tobacco campaigns.<ref>He considered such campaigns as [[yuppie]] inventions and noted that "Some people like garlic&nbsp;... I like pepper, tobacco and coffee. That's my [[metabolism]]". Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', pp. 234–235.</ref>
During the recording of ''Freak Out!'', Zappa moved into a house in [[Laurel Canyon, Los Angeles|Laurel Canyon]] with friend Pamela Zarubica, who appeared on the album.<ref name="miles"/>{{rp|112}} The house became a meeting (and living) place for many LA musicians and [[groupie]]s of the time, despite Zappa's disapproval of their illicit drug use.<ref name="miles"/>{{rp|122}} After a short promotional tour following the release of ''Freak Out!'', Zappa met [[Gail Zappa|Adelaide Gail Sloatman]]. He fell in love within "a couple of minutes", and she moved into the house over the summer.<ref name="Occhiogrosso"/>{{rp|65–66}} They married in 1967, had four children and remained together until Zappa's death.
After a short promotional tour following the release of ''Freak Out!'', Zappa met Adelaide Gail Sloatman. He fell in love within "a couple of minutes", and she moved into the house over the summer.<ref name="zappa65"/> They married in 1967.


Wilson produced the follow-up album ''[[Absolutely Free]]'' (1967), which was recorded in November 1966, and later [[Audio mixing|mixed]] in New York. It featured extended playing by the Mothers of Invention and focused on songs that defined Zappa's compositional style of introducing abrupt, rhythmical changes into songs that were built from diverse elements.<ref>Lowe, 2006, ''The Words and Music of Frank Zappa'', p. 5.</ref> Examples are "Plastic People" and "Brown Shoes Don't Make It", which contained lyrics critical of the hypocrisy and conformity of American society, but also of the [[counterculture of the 1960s]].<ref>Lowe, 2006, ''The Words and Music of Frank Zappa'', pp. 38–43.</ref> As Zappa put it, "[W]e're satirists, and we are out to satirize everything."<ref>Miles, 2004, ''Frank Zappa'', pp. 135–138.</ref> At the same time, Zappa had recorded material for a self-produced album based on orchestral works to be released under his own name. Due to contractual problems, the recordings were shelved and only made ready for release late in 1967. Zappa took the opportunity to radically restructure the contents, adding newly recorded, improvised dialogue to finalize what became his first solo album (under the name ''Francis Vincent Zappa''<ref name="Francis"/>), ''[[Lumpy Gravy]]'' (1968).<ref name="Miles-2004_2">Miles, 2004, ''Frank Zappa'', pp. 140–141.</ref> It is an "incredible ambitious musical project",<ref>Lowe, 2006, ''The Words and Music of Frank Zappa'', p. 56.</ref> a "monument to [[John Cage]]",<ref>Walley, 1980, ''No Commercial Potential'', p. 86.</ref> which intertwines orchestral themes, spoken words and electronic noises through radical [[audio editing]] techniques.<ref>{{citation | url= http://allmusic.com/cg/amg.dll?p=amg&sql=10:3pfexqq5ldse | title=Lumpy Gravy. Review | last= Couture |first = François |publisher= Allmusic.com}}. Retrieved on January 2, 2008; Lowe, 2006, ''The Words and Music of Frank Zappa'', p. 56.</ref>
Wilson nominally produced the Mothers' second album ''[[Absolutely Free]]'' (1967), which was recorded in November 1966, and later [[Audio mixing (recorded music)|mixed]] in New York, although by this time Zappa was in ''de facto'' control of most facets of the production. It featured extended playing by the Mothers of Invention and focused on songs that defined Zappa's compositional style of introducing abrupt rhythm changes into songs that were built from diverse elements.<ref name="lowe"/>{{rp|5}} Examples are "Plastic People" and "Brown Shoes Don't Make It", which contained lyrics that lampooned the hypocrisy and conformity of American society, but also of the [[counterculture of the 1960s]].<ref name="lowe"/>{{rp|38–43}} As Zappa put it, "[W]e're satirists, and we are out to satirize everything."<ref name="miles"/>{{rp|135–138}} At this time Zappa had also recorded material for an album of orchestral works to be released under his own name, ''[[Lumpy Gravy (1967 album)|Lumpy Gravy]],'' to be released by [[Capitol Records]] in 1967. Due to contractual problems, the album was held back. Zappa took the opportunity to radically restructure the material, adding newly recorded improvised dialogue. After the contractual problems were resolved, [[Lumpy Gravy|a new album of the same name]] was issued by Verve in 1968.<ref name="miles"/>{{rp|140–141}} It is an "incredible ambitious musical project",<ref name="lowe"/>{{rp|56}} a "monument to [[John Cage]]",<ref name="walley80"/>{{rp|86}} which intertwines orchestral themes, spoken words and electronic noises through radical [[audio engineer|audio editing]] techniques.<ref name="lowe"/>{{rp|56}}<ref>{{cite web |url={{AllMusic|class=album|id=r22630|pure_url=yes}} | title=Lumpy Gravy. Review | last= Couture |first = François |work=AllMusic |access-date=January 2, 2008}}</ref>{{refn|group="nb"|The initial orchestra-only recordings were released posthumously on the box set ''[[Lumpy Money]]'' (2009). See {{Cite journal |title=The Resurrection of Frank Zappa's Soul |url=http://www.laweekly.com/2008-12-11/music/the-resurrection-of-frank-zappa-8217-s-soul/1 |date=December 8, 2008 |first=Casey |last=Dolan |journal=LA Weekly |access-date=February 2, 2009 |archive-date=October 4, 2012 |archive-url=https://web.archive.org/web/20121004152903/http://www.laweekly.com/2008-12-11/music/the-resurrection-of-frank-zappa-8217-s-soul/1/ |url-status=dead }}}}


===New York period===
===New York period (1966–1968)===
{{see also|We're Only in It for the Money|Cruising with Ruben & the Jets|Uncle Meat|Ahead of Their Time}}
The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year.<ref>James, 2000, ''Necessity Is . . . '', pp. 62–69.</ref> As a result, Zappa and his wife, along with the Mothers of Invention, moved to New York.<ref name="Miles-2004_2"/> Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa's famous hand signals.<ref>Miles, 2004, ''Frank Zappa'', p. 147.</ref> Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some US Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "[[gook]] baby".<ref>Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', p. 94.</ref>
The Mothers of Invention played in New York in late 1966 and were offered a contract at the [[Garrick Cinema|Garrick Theater]] (at 152 [[Bleecker Street]], above the [[Cafe au Go Go]]) during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year.<ref name="james">{{cite book |last=James |first=Billy |date=2000 |title=Necessity Is ...: The Early Years of Frank Zappa & The Mothers of Invention |publisher=SAF Publishing Ltd |location=London |isbn=978-0946719518}}</ref>{{rp|62–69}} As a result, Zappa and his wife Gail, along with the Mothers of Invention, moved to New York.<ref name="miles"/>{{rp|140–141}} Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa using hand signals.<ref name="miles"/>{{rp|147}} Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "[[gook]] baby".<ref name="Occhiogrosso"/>{{rp|94}}


In 1967, filmmaker [[Ed Seeman]] paid Zappa $2,000 to produce music for a [[Luden's]] cough drops television commercial.<ref>{{cite web | url=https://www.youtube.com/watch?v=ZsbDne3sZRQ | title=Luden's Cough Drops Commercial | website=[[YouTube]] | date=April 24, 2017 }}</ref> Zappa's music was matched with Seeman's animation and the advertisement won a [[Clio Awards|Clio Award]] for "Best Use of Sound".<ref>{{cite web | url=https://www.zeroto180.org/frank-zappas-clio-award/ | title=Frank Zappa's Clio Award | date=June 30, 2015 }}</ref><ref>{{cite web | url=https://www.youtube.com/watch?v=WAUvFst5bOI | title=Zappa's Luden's Cough Drops | website=[[YouTube]] | date=February 27, 2008 }}</ref> An alternate version of the soundtrack, called "The Big Squeeze", later appeared on Zappa's posthumous 1996 album ''[[The Lost Episodes]]''. This version lacks Seeman's narration.
Situated in New York, and only interrupted by the band's first European tour, the Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, ''[[We're Only in It for the Money]]'' (released 1968).<ref>{{citation | url = http://allmusic.com/cg/amg.dll?p=amg&sql=10:dpfexqq5ldse | title = We're Only in It for the Money. Review | last= Huey| first = Steve | publisher = Allmusic.com}}. Retrieved on January 2, 2008</ref> It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by the Mothers of Invention and as a solo artist. ''We're Only in It for the Money'' featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the [[hippie]] and [[flower power]] phenomena.<ref>Watson, 2005, ''Frank Zappa. The Complete Guide to His Music'', p. 15. Walley, 1980, ''No Commercial Potential'', p. 90.</ref> The cover photo parodied that of [[The Beatles]]' ''[[Sgt Pepper's Lonely Hearts Club Band]]''.<ref name="MoneyCover">As the legal aspects of using the Sgt Pepper concept were unsettled, the album was released with the cover and back on the inside of the gatefold, while the actual cover and back were a picture of the group in a pose parodying the inside of the Beatles album. Miles, 2004, ''Frank Zappa'', p. 151.</ref> The cover art was provided by [[Cal Schenkel]] whom Zappa met in New York. This initiated a life-long collaboration in which Schenkel designed covers for numerous Zappa and Mothers albums.<ref>Watson, 1996, ''Frank Zappa: The Negative Dialectics of Poodle Play'', p. 88.</ref>


While living in New York City, and interrupted by the band's first European tour, the Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, ''[[We're Only in It for the Money]]'' (released 1968).<ref>{{cite web|url={{AllMusic|class=album|id=r22631|pure_url=yes}}|title=We're Only in It for the Money. Review|last=Huey|first=Steve|work=AllMusic|access-date=January 2, 2008}}</ref> It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by the Mothers of Invention and as a solo artist. ''We're Only in It for the Money'' featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the [[hippie]] and [[flower power]] phenomena.<ref name="walley80"/>{{rp|90}}<ref name="watson05"/>{{rp|15}} He sampled surf music from his Studio Z days in the audio collage ''Nasal Retentive Caliope Music''. The cover photo parodied that of [[the Beatles]]' ''[[Sgt. Pepper's Lonely Hearts Club Band]]''.{{refn|group="nb"|As the legal aspects of using the ''Sgt. Pepper'' concept were unsettled, the album was released with the cover and back on the inside of the gatefold, while the actual cover and back were a picture of the group in a pose parodying the inside of the Beatles album.<ref name="miles"/>{{rp|151}}}} The cover art was provided by [[Cal Schenkel]] whom Zappa met in New York. This initiated a lifelong collaboration in which Schenkel designed covers for numerous Zappa and Mothers albums.<ref name="watson96"/>{{rp|88}}
Reflecting Zappa's eclectic approach to music, the next album, ''[[Cruising with Ruben & the Jets]]'' (1968), was very different. It represented a collection of [[doo-wop]] songs; listeners and critics were not sure whether the album was a satire or a tribute.<ref>Lowe, 2006, ''The Words and Music of Frank Zappa'', p. 58.</ref> Zappa has noted that the album was conceived in the way Stravinsky's compositions were in his neo-classical period: "If he could take the forms and clichés of the classical era and pervert them, why not do the same&nbsp;... to doo-wop in the fifties?"<ref name="zappa88">Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', p. 88.</ref> A theme from Stravinsky's ''[[The Rite of Spring]]'' is heard during one song.
[[File:The Mothers of Invention (1968).jpg|thumb|left|Zappa (back) with the Mothers, 1968]]
Reflecting Zappa's eclectic approach to music, the next album, ''[[Cruising with Ruben & the Jets]]'' (1968), was very different. It represented a collection of [[doo-wop]] songs; listeners and critics were not sure whether the album was a satire or a tribute.<ref name="lowe"/>{{rp|58}} Zappa later remarked that the album was conceived like Stravinsky's compositions in his neo-classical period: "If he could take the forms and clichés of the classical era and pervert them, why not do the same&nbsp;... to doo-wop in the fifties?"<ref name="Occhiogrosso"/>{{rp|88}} The opening theme from Stravinsky's ''[[The Rite of Spring]]'' is sung in "Fountain of Love".


In 1967 and 1968, Zappa made two appearances with [[the Monkees]]. The first appearance was on an episode of [[The Monkees (TV series)|their TV series]], "The Monkees Blow Their Minds", where Zappa, dressed up as [[Michael Nesmith|Mike Nesmith]], interviews Nesmith who is dressed up as Zappa. After the interview, Zappa destroys a car with a sledgehammer as the song "Mother People" plays. He later provided a cameo in the Monkees' movie [[Head (film)|''Head'']] where, leading a cow, he tells [[Davy Jones (musician)|Davy Jones]] "the youth of America depends on you to show them the way." Zappa respected the Monkees and attempted to recruit [[Micky Dolenz]] to the Mothers but RCA/Columbia/Colgems would not release Dolenz from his contract.<ref name="miles"/>{{rp|158–159}}
In New York, Zappa increasingly used [[Audio editing|tape editing]] as a compositional tool.<ref name="cc">Miles, 2004, ''Frank Zappa'', p. 160.</ref> A prime example is found on the double album ''[[Uncle Meat]]'' (1969),<ref>James, 2000, '' Necessity Is . . .'', p. 104.</ref> where the track "King Kong" is edited from various studio and live performances. Zappa had begun regularly recording concerts,<ref>In the process, he built up a vast archive of live recordings. In the late 1980s some of these recordings were collected for the 12-CD set ''You Can't Do That on Stage Anymore''.</ref> and because of his insistence on precise [[Musical tuning#Tuning practice|tuning]] and timing, Zappa was able to augment his studio productions with excerpts from live shows, and vice versa.<ref name="Mix2003">
{{citation | title = We are the Mothers...and This Is What We Sound Like! | author = Chris Michie | publisher = MixOnline.com | date = January 2003 | url = http://mixonline.com/recording/business/audio_mothers_sound/ }}. Retrieved on January 4, 2008</ref> Later, he combined recordings of different compositions into new pieces, irrespective of the [[tempo]] or [[Meter (music)|meter]] of the sources. He dubbed this process "[[xenochrony]]" (strange synchronizations<ref>Bob Marshall, "Interview with Frank Zappa," October 22, 1988.</ref>)—reflecting the Greek "xeno" (alien or strange) and "chrono" (time).<ref name="Mix2003"/> Zappa also evolved a compositional approach which he called "conceptual continuity," meaning that any project or album was part of a larger project. Everything was connected, and musical themes and lyrics reappeared in different form on later albums. Conceptual continuity clues are found throughout Zappa's entire œuvre.<ref name="cc"/><ref name="quotes">For a comprehensive list of the appearance of parts of "old" compositions or quotes from others' music in Zappa's catalogue, see {{citation | url=http://globalia.net/donlope/fz/quotes.html |title= FZ Musical Quotes|last= Albertos |first= Román García |series=Information is Not Knowledge | publisher = globia.net/donlope}}. Retrieved on January 21, 2008</ref>


During the late 1960s, Zappa continued to develop the business sides of his career. He and Herb Cohen formed the [[Bizarre Records]] and [[Straight Records]] labels, distributed by [[Warner Bros. Records]], as ventures to aid the funding of projects and to increase creative control. Zappa produced the double album ''[[Trout Mask Replica]]'' for Captain Beefheart, and releases by [[Alice Cooper]], [[Wild Man Fischer]], [[The GTOs]] as well as [[Lenny Bruce]]'s last live performance.<ref>Miles, 2004, ''Frank Zappa'', pp. 173–175.</ref>
During the late 1960s, Zappa continued to develop the business side of his career. He and Herb Cohen formed the [[Bizarre Records|Bizarre]] and [[Straight Records|Straight]] labels to increase creative control and produce recordings by other artists. These labels were distributed in the US by [[Warner Bros. Records]]. Zappa/Mothers recordings appeared on Bizarre along with [[Wild Man Fischer]] and [[Lenny Bruce]].<ref name="miles"/>{{rp|173–175}} Straight released the double album ''[[Trout Mask Replica]]'' for [[Captain Beefheart]], and releases by [[Alice Cooper]], [[The Persuasions]], and [[the GTOs]]. The Mothers' first album on Bizarre was 1969's ''[[Uncle Meat]]'', which Zappa described as "most of the music from the Mothers' movie of the same name which we haven't got enough money to finish yet". A version of the ''[[Uncle Meat (film)|Uncle Meat]]'' film was released direct-to-video in 1987. Principal photography having never been completed, the VHS videocassette is a "making of" documentary showing rehearsals and background footage from 1968 and interviews with people involved with the uncompleted production.<ref>{{cite web | url=https://archive.org/details/uncle-meat-full-film | title=Uncle Meat Full Film 1987 | date=December 8, 1987 }}</ref>
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During the Mothers' second European tour in September/October 1968 they performed for the Internationale Essener Songtage at the [[Grugahalle]] in [[Essen]], Germany; at the [[Tivoli Gardens|Tivoli]] in Copenhagen, Denmark; for TV programs in Germany (''[[Beat-Club]]''), France, and England; at the [[Concertgebouw, Amsterdam|Concertgebouw]] in Amsterdam; at the [[Royal Festival Hall]] in London; and at the [[Olympia (Paris)|Olympia]] in Paris.<ref>{{cite web |url=https://www.zappateers.com/fzshows/6669.html |title=September–October 1968: The 2nd European tour |website=zappateers.com |access-date=October 18, 2023 }}</ref>


===Disbandment===
===Disbanding the original Mothers of Invention===
{{see also|Hot Rats|Burnt Weeny Sandwich|Weasels Ripped My Flesh}}
{{Listen|filename=Zappa_PeachesEnRegalia.ogg|description=The opening track on ''Hot Rats'' is one of Zappa's most enduring compositions.<ref name="hotrats"/><br />&nbsp;|title="Peaches En Regalia"|pos=right|}}
{{Listen|type=music|filename=Zappa_PeachesEnRegalia.ogg|description=The opening track on ''[[Hot Rats]]'' is considered one of Zappa's most enduring compositions.<ref name="lowe"/>{{rp|74}}<ref name="Allmusic Peaches">{{cite web |url={{AllMusic|class=song|id=t2677929|pure_url=yes}} |title=Peaches en Regalia [Song Review] |last=Couture |first=François |work=AllMusic |access-date=April 11, 2010}}</ref> |title="Peaches En Regalia" (1969)|pos=right|}}


Zappa and the Mothers of Invention returned to Los Angeles in the summer of 1968, and the Zappas moved into a house on Laurel Canyon Boulevard, only to move to one on Woodrow Wilson Drive in the autumn.<ref>Miles, 2004, ''Frank Zappa'', p. 178.</ref> This became the place Zappa lived until his death. Despite being a success with fans in Europe, the Mothers of Invention were not faring well financially.<ref name="walley116">Walley, 1980, ''No Commercial Potential'', p. 116.</ref> Their first records were vocally oriented, but Zappa wrote more instrumental jazz and classical oriented music for the band's concerts, which confused audiences. Zappa felt that audiences failed to appreciate his "electrical chamber music".<ref>Slaven, 2003, ''Electric Don Quixote'', pp. 119–120.</ref><ref name="MilesonBreakup"/>
Zappa and the Mothers of Invention returned to Los Angeles in mid-1968, and the Zappas moved into a house on Laurel Canyon Boulevard, only to move again to Woodrow Wilson Drive.<ref name="miles"/>{{rp|178}} This was Zappa's home for the rest of his life. Despite being successful in Europe, the Mothers of Invention were not doing well financially.<ref name="walley80">{{cite book |first=David |last=Walley |year= 1980 |publisher=[[E. P. Dutton]] |title=No Commercial Potential: The Saga of Frank Zappa Then and Now |isbn=978-0525931539}}</ref>{{rp|116}} Their first records were vocally oriented, but as Zappa wrote more instrumental jazz and classical style music for the band's concerts, audiences were confused. Zappa felt that audiences failed to appreciate his "electrical chamber music".<ref name="miles"/>{{rp|185–187}}<ref name="slaven03"/>{{rp|119–120}}


In 1969 there were nine band members and Zappa was supporting the group himself from his publishing [[royalties]] whether they played or not.<ref name="walley116"/> In late 1969, Zappa broke up the band. He often cited the financial strain as the main reason,<ref>Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', p. 107.</ref> but also commented on the band members' lack of sufficient effort.<ref>Slaven, 2003, ''Electric Don Quixote'', p. 120.</ref> Many band members were bitter about Zappa's decision, and some took it as a sign of Zappa's preference for perfection over feelings.<ref name="MilesonBreakup">Miles, 2004, ''Frank Zappa'', pp. 185–187.</ref> Others were irritated by "his [[Autocracy|autocratic]] ways",<ref name="Miles-2004"/> which was manifested by the fact that Zappa never stayed at the same hotel as the band members.<ref>Miles, 2004, ''Frank Zappa'', p. 116.</ref> Several members would, however, play for Zappa in years to come. Remaining recordings with the band from this period were collected on ''[[Weasels Ripped My Flesh]]'' and ''[[Burnt Weeny Sandwich]]'' (both released in 1970).
In 1969, there were nine band members and Zappa was supporting the group from his publishing [[royalties]] whether they played or not.<ref name="walley80"/>{{rp|116}} In late 1969, Zappa broke up the band. He often cited the financial strain as the main reason,<ref name="Occhiogrosso"/>{{rp|107}} but also commented on the band members' lack of diligence.<ref name="slaven03"/>{{rp|120}} Many band members were bitter about Zappa's decision, and some took it as a sign of Zappa's perfectionism at the expense of human feeling.<ref name="miles"/>{{rp|185–187}} Others were irritated by 'his [[Autocracy|autocratic]] ways',<ref name="miles"/>{{rp|123}} exemplified by Zappa's never staying at the same hotel as the band members.<ref name="miles"/>{{rp|116}} Several members would play with Zappa again in subsequent years, while Lowell George and Roy Estrada went on to form the band [[Little Feat]]. Zappa assembled remaining unreleased recordings of the band on the albums ''[[Burnt Weeny Sandwich]]'' and ''[[Weasels Ripped My Flesh]]'', both released in 1970.


After he disbanded the Mothers of Invention, Zappa released the acclaimed solo album ''[[Hot Rats]]'' (1969).<ref>{{citation | url = http://allmusic.com/cg/amg.dll?p=amg&sql=10:fpfexqq5ldse | last = Huey | first = Steve | title = Hot Rats. Review | publisher = Allmusic.com}}. Retrieved on January 2, 2008</ref><ref name="mileshotrats">Miles, 2004, ''Frank Zappa'', p. 194.</ref> It features, for the first time on record, Zappa playing extended guitar solos and contains one of his most enduring compositions, "Peaches En Regalia", which reappeared several times on future recordings.<ref name="hotrats"/> It was backed by jazz, blues and R&B session players including violinist [[Don "Sugarcane" Harris]], drummer John Guerin, multi-instrumentalist and previous member of Mothers of Invention [[Ian Underwood]], and bassist [[Shuggie Otis]], along with a guest appearance by Captain Beefheart (providing vocals to the only non-instrumental track, "Willie the Pimp"). It became a popular album in England,<ref name="ZOp109">Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', p. 109.</ref> and had a major influence on the development of the [[jazz-rock fusion]] genre.<ref name="hotrats">Lowe, 2006, ''The Words and Music of Frank Zappa'', p. 74.</ref><ref name="mileshotrats"/>
After he disbanded the Mothers of Invention, Zappa released the acclaimed solo album ''[[Hot Rats]]'' (1969).<ref name="miles"/>{{rp|194}}<ref>{{cite web|url={{AllMusic|class=album|id=r22632|pure_url=yes}}|last=Huey|first=Steve|title=Hot Rats. Review|work=AllMusic|access-date=January 2, 2008}}</ref> It features, for the first time on record, Zappa playing extended guitar solos and contains one of his most enduring compositions, "[[Peaches en Regalia]]", which reappeared several times on future recordings.<ref name="lowe"/>{{rp|74}} He was backed by jazz, blues and R&B session players including violinist [[Don "Sugarcane" Harris]], drummers [[John Guerin]] and [[Paul Humphrey (American musician)|Paul Humphrey]], multi-instrumentalist and former Mothers of Invention member Ian Underwood, and multi-instrumentalist [[Shuggie Otis]] on bass, along with a guest appearance by [[Captain Beefheart]] on the only vocal track, "Willie the Pimp". It became a popular album in England,<ref name="Occhiogrosso"/>{{rp|109}} and had a major influence on the development of [[jazz-rock fusion]].<ref name="miles"/>{{rp|194}}<ref name="lowe"/>{{rp|74}}


==1970–1980: A decade of highs and lows==
==1970s: From the Mothers to Zappa==
===Rebirth of the Mothers and filmmaking===
In 1970 Zappa met conductor [[Zubin Mehta]]. They arranged a May 1970 concert where Mehta conducted the [[Los Angeles Philharmonic]] augmented by a rock band. According to Zappa, the music was mostly written in motel rooms while on tour with the Mothers of Invention. Some of it was later featured in the movie ''[[200 Motels]]''.<ref name="ZOp109"/> Although the concert was a success, Zappa's experience working with a symphony orchestra was not a happy one.<ref name="zappa88"/> His dissatisfaction became a recurring theme throughout his career, where he often felt that the money spent on performances of his classical music rarely matched the final product.<ref>Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', pp. 142–156.</ref>
{{see also|Chunga's Revenge|Fillmore East – June 1971|200 Motels (soundtrack)|Just Another Band from L.A.|Playground Psychotics}}
[[File:Frank Zappa, 1970 - 19.jpg|thumb|Frank Zappa, 1970]]
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}}
In 1970, Zappa met conductor [[Zubin Mehta]]. They arranged a May 1970 concert where Mehta conducted the [[Los Angeles Philharmonic]] augmented by a rock band. According to Zappa, the music was mostly written in motel rooms while on tour with the Mothers of Invention. Some of it was later featured in the movie ''[[200 Motels]]''.<ref name="Occhiogrosso"/>{{rp|109}} Although the concert was a success, Zappa's experience working with a symphony orchestra was not a happy one.<ref name="Occhiogrosso"/>{{rp|88}} His dissatisfaction became a recurring theme throughout his career; he often felt that the quality of performance of his material delivered by orchestras was not commensurate with the money he spent on orchestral concerts and recordings.<ref name="Occhiogrosso"/>{{rp|142–156}}


Later in 1970, Zappa formed a new version of the Mothers (from then on, he mostly dropped the "of Invention"). Along with Ian Underwood, the new band also included British drummer [[Aynsley Dunbar]], jazz keyboardist [[George Duke]], bassist [[Jeff Simmons (musician)|Jeff Simmons]], and the two lead singers of [[the Turtles]], [[Mark Volman]] and [[Howard Kaylan]], who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie" or "[[Flo & Eddie]]" for short.<ref name="miles"/>{{rp|201}} Another member of the Turtles, [[Jim Pons]], would join on bass in February 1971, following Simmons' departure the previous month and his brief replacement by Martin Lickert.
===Rebirth of the Mothers and film making===
Later in 1970, Zappa formed a new version of The Mothers (from then on, he mostly dropped the "of Invention"). It included British drummer [[Aynsley Dunbar]], jazz keyboardist [[George Duke]], [[Ian Underwood]], [[Jeff Simmons (musician)|Jeff Simmons]] (bass, rhythm guitar), and three members of [[The Turtles]]: bass player [[Jim Pons]], and singers [[Mark Volman]] and [[Howard Kaylan]], who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie", or "[[Flo & Eddie]]".<ref>Miles, 2004, ''Frank Zappa'', p. 201.</ref>


This version of the Mothers debuted on Zappa's next solo album ''[[Chunga's Revenge]]'' (1970),<ref>Miles, 2004, ''Frank Zappa'', p. 205.</ref> which was followed by the double-album soundtrack to the movie ''200 Motels'' (1971), featuring The Mothers, The [[Royal Philharmonic Orchestra]], [[Ringo Starr]], [[Theodore Bikel]], and [[Keith Moon]]. Co-directed by Zappa and [[Tony Palmer (director)|Tony Palmer]], it was filmed in a week at [[Pinewood Studios]] outside London.<ref name="Watson200"/> Tensions between Zappa and several cast and crew members arose before and during shooting;<ref name="Watson200">Watson, 1996, ''Frank Zappa: The Negative Dialectics of Poodle Play'', p. 183.</ref> co-director Palmer tried afterwards to have his name removed from the film.<ref>Miles, 2004, ''Frank Zappa'', p. 213.</ref> The film deals loosely with life on the road as a rock musician.<ref>Miles, 2004, ''Frank Zappa'', p. 207.</ref> It was the first feature film photographed on [[videotape]] and transferred to [[35 mm film|35&nbsp;mm film]], a process which allowed for novel visual effects.<ref>Starks, 1982, ''Cocaine Fiends and Reefer Madness'', p. 153.</ref> It was released to mixed reviews.<ref>Lowe, 2006, ''The Words and Music of Frank Zappa'', p. 94.</ref> The score relied extensively on orchestral music, and Zappa's dissatisfaction with the classical music world intensified when a concert, scheduled at the [[Royal Albert Hall]] after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract.<ref>Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', pp. 119–137.</ref>
This version of the Mothers debuted on Zappa's next solo album ''[[Chunga's Revenge]]'' (1970),<ref name="miles"/>{{rp|205}} which was followed by [[200 Motels (album)|the double-album soundtrack]] to the movie ''[[200 Motels]]'' (1971), featuring the Mothers, the [[Royal Philharmonic Orchestra]], [[Ringo Starr]], [[Theodore Bikel]], and [[Keith Moon]]. Co-directed by Zappa and [[Tony Palmer (director)|Tony Palmer]], it was filmed in a week at [[Pinewood Studios]] outside London.<ref name="watson96"/>{{rp|183}} Tensions between Zappa and several cast and crew members arose before and during shooting.<ref name="watson96"/>{{rp|183}} The film deals loosely with life on the road as a rock musician.<ref name="miles"/>{{rp|207}} It was the first feature film photographed on [[videotape]] and transferred to [[35 mm movie film|35&nbsp;mm film]], a process that allowed for novel visual effects.<ref>Michael Starks, 1982, ''Cocaine Fiends and Reefer Madness: An Illustrated History of Drugs in the Movies 1894-1978'', {{ISBN|1579511899}}, p. 153.</ref> It was released to mixed reviews.<ref name="lowe"/>{{rp|94}} The score relied extensively on orchestral music, and Zappa's dissatisfaction with the classical music world intensified when a concert, scheduled at the [[Royal Albert Hall]] after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract.<ref name="Occhiogrosso"/>{{rp|119–137}}


After ''200 Motels'', the band went on tour, which resulted in two live albums, ''[[Fillmore East - June 1971]]'' and ''[[Just Another Band From L.A.]]''; the latter included the 20-minute track "[[Billy the Mountain]]", Zappa's satire on rock opera set in Southern California. This track was representative of the band's theatrical performances in which songs were used to build up sketches based on ''200 Motels'' scenes as well as new situations often portraying the band members' sexual encounters on the road.<ref>Miles, 2004, ''Frank Zappa'', pp. 203–204.</ref><ref>During the June 1971 Fillmore concerts Zappa was joined on stage by [[John Lennon]] and [[Yoko Ono]]. This performance was recorded, and Lennon released excerpts on his album ''[[Some Time In New York City]]'' in 1972. Zappa later released his version of excerpts from the concert on ''[[Playground Psychotics]]'' in 1992, including the jam track "Scumbag" and an extended avant-garde vocal piece by Ono (originally called "Au"), which Zappa renamed "A Small Eternity with Yoko Ono".</ref>
After ''200 Motels'', the band went on tour, which resulted in two live albums, ''[[Fillmore East June 1971]]'' and ''[[Just Another Band from L.A.]]''; the latter included the 20-minute track "[[Billy the Mountain]]", Zappa's satire on rock opera set in Southern California. This track was representative of the band's theatrical performances—which used songs to build sketches based on ''200 Motels'' scenes, as well as new situations that often portrayed the band members' sexual encounters on the road.<ref name="miles"/>{{rp|203–204}}{{refn|group="nb"|During the June 1971 Fillmore concerts Zappa was joined on stage by [[John Lennon]] and [[Yoko Ono]]. This performance was recorded, and Lennon released excerpts on his album ''[[Some Time in New York City]]'' in 1972. Zappa later released his version of excerpts from the concert on ''[[Playground Psychotics]]'' in 1992, including the jam track "Scumbag" and an extended avant-garde vocal piece by Ono (originally called "Au"), which Zappa renamed "A Small Eternity with Yoko Ono.}}


===Accident, attack and their aftermath===
===Accident, attack, and aftermath===
[[File:Frank Zappa Mothers of Invention 1971.JPG|right|thumb|Zappa with the Mothers, 1971]]
{{Listen|filename=Zappa_WakaJawaka.ogg|description=The closing track on ''Waka/Jawaka'', one of Zappa's jazz-oriented albums.|title="Waka/Jawaka"|pos=right}}
On December 4, 1971, Zappa suffered his first of two serious setbacks. While performing at [[Montreux Casino|Casino de Montreux]] in Switzerland, the Mothers' equipment was destroyed when a flare set off by an audience member started a fire that burned down the casino.<ref name="Occhiogrosso"/>{{rp|112–115}} [[Deep Purple]] were in the audience that night, and would immortalize the event on their classic 1972 song "[[Smoke on the Water]]". A recording of the incident and immediate aftermath can be heard on the bootleg album ''Swiss Cheese/Fire'', released legally as part of Zappa's ''[[Beat the Boots II]]'' box set. After losing $50,000 ({{Inflation|US|50000|1971|r=-3|fmt=eq}}) worth of equipment and a week's break, the Mothers played at the [[Rainbow Theatre]], London, with rented gear. During the encore, an audience member, jealous because of his girlfriend's infatuation with Zappa, pushed him off the stage and into the concrete-floored orchestra pit.<ref name="Reed">{{cite web |last1=Reed |first1=Ryan |title=When Frank Zappa Was Pushed Offstage in London |url=http://ultimateclassicrock.com/41-years-ago-frank-zappa-pushed-off-stage-in-london/ |website=Ultimate Classic Rock |access-date=January 29, 2019 |date=December 10, 2015}}</ref> The band thought Zappa had been killed—he had suffered serious fractures, head trauma and injuries to his back, leg, and neck, as well as a crushed [[larynx]], which ultimately caused his voice to drop a [[Major third|third]] after healing.<ref name="Occhiogrosso"/>{{rp|112–115}} A recording of the whole concert, including the attack, was released on the posthumous album ''[[The Mothers 1971]]'' in 2022.
[[File:Frank-Zappa in glory.jpg|right|thumb|Zappa on Stage in Hamburg, December 1971]]
After the attack Zappa needed to use a wheelchair for an extended period, making touring impossible for over half a year. Upon return to the stage in September 1972, Zappa was still wearing a leg brace, had a noticeable limp and could not stand for very long while on stage. Zappa noted that one leg healed "shorter than the other" (a reference later found in the lyrics of songs "Zomby Woof" and "[[Dancin' Fool]]"), resulting in chronic back pain.<ref name="Occhiogrosso"/>{{rp|112–115}} Meanwhile, the Mothers were left in limbo and eventually formed the core of Flo and Eddie's band as they set out on their own.


=== Solo albums: ''Waka/Jawaka'' and ''The Grand Wazoo'' ===
In December 1971, there were two serious setbacks. While performing at [[Montreux Casino|Casino de Montreux]] in [[Switzerland]], the Mothers' equipment was destroyed when a flare set off by an audience member started a fire that burned down the casino.<ref name="Rainbow">Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', pp. 112–115.</ref><ref>Immortalized in [[Deep Purple]]'s song "[[Smoke on the Water]]", the event and immediate aftermath can be heard on the bootleg album ''Swiss Cheese/Fire'', released legally as part of Zappa's ''[[Beat the Boots II]]'' compilation.</ref> After a week's break, The Mothers played at the Rainbow Theatre, [[London]], with rented gear. During the encore, an audience member pushed Zappa off the stage and into the concrete-floored orchestra pit. The band thought Zappa had been killed—he had suffered serious fractures, head trauma and injuries to his back, leg, and neck, as well as a crushed [[larynx]] (which caused his voice to drop a [[Major third|third]] after healing).<ref name="Rainbow"/> This left him wheelchair bound, forcing him off the road for over half a year. Upon his return to the stage in September 1972, he was still wearing a leg brace, had a noticeable limp and could not stand for very long while on stage. Zappa noted that one leg healed "shorter than the other" (a reference later found in the lyrics of songs "Zomby Woof" and "Dancin' Fool"), resulting in chronic back pain.<ref name="Rainbow"/> Meanwhile, the Mothers were left in limbo and eventually formed the core of Flo and Eddie's band as they set out on their own.
{{See also|Waka/Jawaka|The Grand Wazoo}}
{{Listen|type=music|filename=Zappa_WakaJawaka.ogg|description=The closing track on ''[[Waka/Jawaka]]'', one of Zappa's jazz-oriented albums.|title="Waka/Jawaka" (1972)|pos=right}}
In 1972, Zappa released two strongly jazz-oriented solo LPs, ''[[Waka/Jawaka]]'' and ''[[The Grand Wazoo]]'', which were recorded during the forced layoff from concert touring, using floating line-ups of session players and Mothers alumni.<ref name="lowe"/>{{rp|101}} Musically, the albums were akin to ''Hot Rats,'' in that they featured extended instrumental tracks with extended soloing.<ref name="miles"/>{{rp|225–226}} Zappa began touring again in late 1972.<ref name="miles"/>{{rp|225–226}} His first effort was a series of concerts in September 1972 with a 20-piece [[big band]] referred to as the Grand Wazoo. This was followed by a scaled-down version known as the Petit Wazoo that toured the U.S. for five weeks from October to December 1972.<ref>Official recordings of these bands did not emerge until more than 30&nbsp;years later on ''[[Wazoo (album)|Wazoo]]'' (2007) and ''[[Imaginary Diseases]]'' (2006), respectively.</ref>


In December 1972,<ref name="walley72">{{cite web |year=1972 |url=https://www.afka.net/Books/No_Commercial_Potential.htm |title=No Commercial Potential: The Saga of Frank Zappa & The Mothers of Invention |first=David |last=Walley |work=afka.net |access-date=December 8, 2022}}</ref> David Walley published the first biography of Zappa, titled ''No Commercial Potential''. Zappa was severely critical, calling it "a quickie, paperback, sensational book". He said that it contained "gross inaccuracies", described the writing as "not quality workmanship" and claimed that Walley had "just slung together a bunch of quotes".<ref name=lafp74>{{cite web |url=https://www.afka.net/Articles/1974-11_LAFP.htm |title=Frank Zappa |first=Elliot |last=Cahn |work= Los Angeles Free Press, November 29, 1974 |access-date=December 2, 2022}}</ref> Despite Zappa's complaints, the book was later published in an updated edition in 1980<ref name="walley80"/> and again in 1996 after Zappa's death.
During 1971–1972 Zappa released two strongly jazz-oriented solo LPs, ''[[Waka/Jawaka]]'' and ''[[The Grand Wazoo]]'', which were recorded during the forced layoff from concert touring, using floating line-ups of session players and Mothers alumni.<ref> Lowe, 2006, ''The Words and Music of Frank Zappa'', p. 101.</ref> Musically, the albums were close to that of ''Hot Rats''.<ref name="MilesWazoo">Miles, 2004, ''Frank Zappa'', pp. 225–226.</ref> Zappa began touring again in late 1972.<ref name="MilesWazoo"/> His first effort was a series of concerts in September with a 20-piece [[big band]] referred to as the Grand Wazoo. This was followed by a scaled-down version known as the Petit Wazoo that toured the US for five weeks.<ref>Official recordings of these bands did not emerge until more than 30&nbsp;years later on ''[[Wazoo (album)|Wazoo]]'' (2007) and ''[[Imaginary Diseases]]'' (2006), respectively.</ref>


===Top 10 album===
===Top 10 album: ''Apostrophe ({{'}})''===
{{See also|Over-Nite Sensation|Apostrophe (')|Roxy & Elsewhere|One Size Fits All (Frank Zappa album)|Bongo Fury}}
Zappa then formed and toured with smaller groups that variously included Ian Underwood (reeds, keyboards), [[Ruth Underwood]] (vibes, marimba), Sal Marquez (trumpet, vocals), [[Napoleon Murphy Brock]] (sax, flute and vocals), [[Bruce Fowler]] (trombone), [[Tom Fowler (musician)|Tom Fowler]] (bass), [[Chester Thompson]] (drums), Ralph Humphrey (drums), George Duke (keyboards, vocals), and [[Jean-Luc Ponty]] (violin).
[[Image:Zappa Sydney 1973.jpg|thumb|left|Frank Zappa in concert, [[Hordern Pavilion]], [[Sydney, Australia]], May 1973]]
[[File:Frank Zappa giving the finger.jpg|thumb|left|Zappa giving the finger during a show in Hamburg, September 1974]]
Zappa then formed and toured with smaller groups that variously included [[Ian Underwood]] (reeds, keyboards), [[Ruth Underwood]] (vibes, marimba), Sal Marquez (trumpet, vocals), [[Napoleon Murphy Brock]] (sax, flute and vocals), [[Bruce Fowler]] (trombone), [[Tom Fowler (musician)|Tom Fowler]] (bass), [[Chester Thompson]] (drums), Ralph Humphrey (drums), [[George Duke]] (keyboards, vocals), and [[Jean-Luc Ponty]] (violin).
By 1973 the Bizarre and Straight labels were discontinued. In their place, Zappa and Cohen created [[DiscReet Records]], also distributed by Warner Bros.<ref>Miles, 2004, ''Frank Zappa'', p. 231.</ref> Zappa continued a high rate of production through the first half of the 1970s, including the solo album ''[[Apostrophe (album)|Apostrophe (')]]'' (1974), which reached a career-high #10 on the [[Billboard charts|Billboard]] pop album charts<ref>{{citation | url = http://allmusic.com/cg/amg.dll?p=amg&sql=11:kbfoxqe5ldde~T50 | title= Frank Zappa > Charts and Awards > Billboard Albums | publisher=Allmusic.com}}. Retrieved on January 3, 2008</ref> helped by the chart single "Don't Eat The Yellow Snow".<ref>{{citation | url = http://allmusic.com/cg/amg.dll?p=amg&sql=10:acfrxqw5ldhe | title= Apostrophe ('). Review | last= Huey| first = Steve | publisher = Allmusic.com }}. Retrieved on January 3, 2008</ref> Other albums from the period are ''[[Over-Nite Sensation]]'' (1973), which contained several future concert favorites, such as "Dinah-Moe Humm" and "Montana", and the albums ''[[Roxy & Elsewhere]]'' (1974) and ''[[One Size Fits All]]'' (1975) which feature ever-changing versions of a band still called the Mothers, and are notable for the tight renditions of highly difficult [[jazz fusion]] songs in such pieces as "[[Inca Roads]]", "Echidna's Arf (Of You)" and "Be-Bop Tango (Of the Old Jazzmen's Church)".<ref name="Lowe74">Lowe, 2006, ''The Words and Music of Frank Zappa'', pp. 114–122.</ref> A live recording from 1974, ''[[You Can't Do That on Stage Anymore, Vol. 2]]'' (1988), captures "the full spirit and excellence of the 1973–75 band".<ref name="Lowe74"/> Zappa released ''[[Bongo Fury]]'' (1975), which featured live recordings from a tour the same year that reunited him with [[Captain Beefheart]] for a brief period.<ref>Miles, 2004, ''Frank Zappa'', p. 248.</ref> They later became estranged for a period of years, but were in contact at the end of Zappa's life.<ref>Miles, 2004, ''Frank Zappa'', p. 372.</ref>


By 1973, the Bizarre and Straight labels were discontinued. Zappa and Cohen then created [[DiscReet Records|DiscReet]], also distributed by Warner.<ref name="miles"/>{{rp|231}} Zappa continued a high rate of production through the first half of the 1970s, including the album ''[[Apostrophe (')]]'' (1974), which reached a career-high No.&nbsp;10 on the ''[[Billboard charts|Billboard]]'' pop album charts<ref>{{cite web | url = {{AllMusic|class=artist|id=p74796|pure_url=yes}} | title= Frank Zappa | work=AllMusic |access-date=January 3, 2008}}</ref> helped by the No.&nbsp;86 chart hit "[[Don't Eat the Yellow Snow Suite|Don't Eat The Yellow Snow]]".<ref>{{cite web | url = {{AllMusic|class=album|id=r53148|pure_url=yes}} | title= Apostrophe ('). Review | last= Huey| first = Steve | work=AllMusic |access-date=January 3, 2008}}</ref> Other albums from the period are ''[[Over-Nite Sensation]]'' (1973), which contained several future concert favourites such as "Dinah-Moe Humm" and "[[Montana (Frank Zappa song)|Montana]]", as well as ''[[Roxy & Elsewhere]]'' (1974) and ''[[One Size Fits All (Frank Zappa album)|One Size Fits All]]'' (1975), which are notable for the tight renditions of highly difficult [[jazz fusion]] songs in such pieces as "[[Inca Roads]]", "Echidna's Arf (Of You)" and "Be-Bop Tango (Of the Old Jazzmen's Church)".<ref name="lowe"/>{{rp|114–122}} A live recording from 1974, ''[[You Can't Do That on Stage Anymore, Vol. 2]]'' (1988), captures "the full spirit and excellence of the 1973–1975 band".<ref name="lowe"/>{{rp|114–122}}
===Business break ups and touring===
[[File:Frank Zappa - Capt. Beefheart - crop.jpg|thumb|upright|Zappa with [[Captain Beefheart]], seated left, during a 1975 concert]]
{{Listen|filename=Zappa_BlackPage1.ogg|description=One of Zappa's complex, percussion-based compositions featured on ''Zappa in New York''.|title="The Black Page Drum Solo/Black Page #1"|pos=right}}
In April 1975 Zappa complained about ongoing contractual problems between DiscReet and Warner.<ref name=fudger>{{cite web |url=http://www.afka.net/Articles/1975-04_Disc.htm |title=One Size Fits All - Frank Zappa, A Sofa And References To The Universe In General |first=David |last=Fudger |work=Disc, April 26, 1975 |access-date=2024-03-27}}</ref> Zappa released ''[[Bongo Fury]]'' (1975), which featured a live recording at the [[Armadillo World Headquarters]] in Austin from a tour the same year that reunited him with [[Captain Beefheart]] for a brief period.<ref name="miles"/>{{rp|248}} They later became estranged for a period of years, but were in contact at the end of Zappa's life.<ref name="miles"/>{{rp|372}}


===Business breakups and touring===
Zappa's relationship with long-time manager Herb Cohen ended in 1976. The breakup was an acrimonious affair in which Zappa sued Cohen for skimming more than he was allocated from DiscReet Records, as well as for signing acts of which Zappa did not approve.<ref>Miles, 2004, ''Frank Zappa'', p. 250.</ref> Cohen filed a lawsuit against Zappa in return, which froze the money Zappa and Cohen had gained from an out-of-court settlement with MGM over the rights of the early Mothers of Invention recordings. It also prevented Zappa access to any of his previously recorded material during the trials. Zappa therefore took his personal master copies of the rock-oriented ''[[Zoot Allures]]'' (1976) directly to Warner Bros., thereby bypassing DiscReet.<ref>Miles, 2004, ''Frank Zappa'', p. 253; pp. 258–259.</ref>
{{see also|Zoot Allures|Zappa in New York|Studio Tan|Sleep Dirt|Orchestral Favorites}}
In 1976, Zappa produced the album ''[[Good Singin', Good Playin']]'' for [[Grand Funk Railroad]]. Zappa's relationship with long-time manager Herb Cohen ended in May 1976.<ref name=chron76>{{cite web |url=http://www.donlope.net/fz/chronology/1976-1980.html |title=Zappa chronology 1976-1980 |work=donlope.net |access-date=December 17, 2021}}</ref> After Cohen cashed one of Zappa's royalty checks from Warner and kept the money for himself, Zappa sued Cohen.<ref name=lafp77>{{cite web |url=https://www.afka.net/Articles/1977-12_LAFP.htm |title=Zappa takes aim for the New Year |first=M. B. |last=Kleber |work=Los Angeles Free Press, December 30, 1977 |access-date=December 1, 2022}}</ref> Zappa was also upset with Cohen for signing acts he did not approve.<ref name="miles"/>{{rp|250}}<ref name=valleynews>{{cite web |url=https://www.afka.net/Articles/1977-12_The_Valley_News.htm |title=Frank Zappa – A Would-be Chemist Who Turned to Music |first=Rip |last=Rense |work=The Valley News, December 30, 1977 |access-date=December 17, 2021}}</ref> Cohen filed a lawsuit against Zappa in return, which froze the money the pair were expecting to receive from an out-of-court settlement with [[MGM Records|MGM]]/[[Verve Records|Verve]] over the rights to Zappa's early [[Mothers of Invention]] recordings. The MGM settlement was finalized in mid-1977 after two years of negotiations.<ref name=dmreg77>{{cite web |url=https://www.afka.net/Articles/1977-09_The_Des_Moines_Register.htm |title=Zappa presents 'zircon-incrusted' concert season |first=Jim |last=Healey |work=Des Moines Register, September 24, 1977 |access-date=January 31, 2022}}</ref> Litigation with Cohen also prevented Zappa having access to any of his previously recorded material during the trials. Zappa therefore took his personal master copies of the album ''[[Zoot Allures]]'' (1976) directly to Warner, while bypassing DiscReet.<ref name="miles"/>{{rp|253, 258–259}} Following the split with Cohen, Zappa hired Bennett Glotzer as new manager.<ref name=melmak77>{{cite web |url=https://www.afka.net/Articles/1977-01_Melody_Maker.htm |title=I'll give the Queen a backstage pass |first=Chris |last=Charlesworth |work=Melody Maker – January 1, 1977 |access-date=July 4, 2022}}</ref>


By late 1976, Zappa was upset with Warner over inadequate promotion of his recordings and he was eager to move on as soon as possible.<ref name=mumedia>{{cite web |url=https://www.afka.net/Articles/1976-12_Music_Media.htm |title=The Frankness of Zappa |first=Scott |last=Hopkins |work=Music Media, December, 1976 |access-date=January 20, 2022}}</ref> In March 1977, Zappa delivered four albums (five full-length LPs) to Warner to complete his contract: ''[[Zappa in New York]]'' (a 2-LP set), ''[[Studio Tan]]'', ''[[Sleep Dirt]]'' and ''[[Orchestral Favorites]]''.<ref name=valleynews/> These albums contained recordings mostly made between 1972 and 1976. Warner failed to meet contractual obligations to Zappa, and in response he filed a multi-million dollar breach of contract lawsuit.<ref name="Collage77">{{cite web |url=https://www.afka.net/Articles/1977-12_Collage.htm |title=Frank Zappa Interview |first=Michael |last=Branton |work=Collage, December 1977 |access-date=April 9, 2022}}</ref> During a lengthy legal debate, Warner eventually released the four disputed albums during 1978 and 1979, ''Zappa in New York'' having been censored to remove references to guitarist [[Punky Meadows]]. Following the split with Warner, Zappa reconfigured the four disputed albums, along with some other material, into a quadruple album called ''[[Läther]]'' (pronounced "leather") and negotiated distribution with [[Phonogram Inc.]] for release on the new [[Zappa Records]] label. ''Läther'' was scheduled for release on [[Halloween]] 1977, but legal action from Warner forced Zappa to shelve this project.<ref name="miles"/>{{rp|261}}
In the mid-1970s Zappa prepared material for ''[[Läther]]'' (pronounced "leather"), a four-LP project. ''Läther'' encapsulated all the aspects of Zappa's musical styles—rock tunes, orchestral works, complex instrumentals, and Zappa's own trademark distortion-drenched guitar solos. Wary of a quadruple-LP, [[Warner Bros. Records]] refused to release it.<ref>Lowe, 2006, ''The Words and Music of Frank Zappa'', p. 131.</ref> Zappa managed to get an agreement with [[Phonogram Records|Mercury-Phonogram]], and test pressings were made targeted at a Halloween 1977 release, but Warner Bros. prevented the release by claiming rights over the material.<ref name="miles261">Miles, 2004, ''Frank Zappa'', p. 261.</ref> Zappa responded by appearing on the [[Pasadena, California|Pasadena]], California radio station [[KROQ]], allowing them to broadcast ''Läther'' and encouraging listeners to make their own tape recordings.<ref>Slaven, 2003, ''Electric Don Quixote'', p. 248.</ref> A lawsuit between Zappa and Warner Bros. followed, during which no Zappa material was released for more than a year. Eventually, Warner Bros. issued major parts of ''Läther'' against Zappa's will as four individual albums with limited [[promotion (marketing)|promotion]].<ref>Miles, 2004, ''Frank Zappa'', p. 267.</ref> ''Läther'' was released posthumously in 1996.<ref>It remains debated whether Zappa had conceived the material as a four-LP set from the beginning, or only when approaching Mercury-Phonogram; see, e.g., Watson, 2005, ''Frank Zappa. The Complete Guide to His Music'', p. 49. In the liner notes to the 1996 release, however, Gail Zappa states that "As originally conceived by Frank, ''Läther'' was always a 4-record box set."</ref>
[[Image:Zappa.jpg|thumb|left|Frank Zappa at the [[Armadillo World Headquarters]], Austin, Texas, 1977]]
Although Zappa eventually gained the rights to all his material created under the MGM and Warner Bros. contracts,<ref>Watson, 2005, ''Frank Zappa. The Complete Guide to His Music'', p. 49.</ref> the various lawsuits meant that for a period Zappa's only income came from touring, which he therefore did extensively in 1975–1977 with relatively small, mainly rock-oriented, bands.<ref name="miles261"/> Drummer [[Terry Bozzio]] became a regular band member, Napoleon Murphy Brock stayed on for a while, and original Mothers of Invention bassist [[Roy Estrada]] joined. Among other musicians were bassist [[Patrick O'Hearn]], singer-guitarist [[Ray White]] and keyboardist [[Eddie Jobson]]. In December 1976, Zappa appeared as a featured musical guest on the [[NBC]] television show ''[[Saturday Night Live]]''.<ref>Miles, 2004, ''Frank Zappa'', p. 262.</ref><ref>In 1978, Zappa served both as host and musical act on the show, and as an actor in various sketches.</ref> The performances included an impromptu musical collaboration with cast member [[John Belushi]] during the instrumental piece "The Purple Lagoon". Belushi appeared as his Samurai Futaba character playing the tenor sax with Zappa conducting.<ref>Zappa, Frank, 1978, ''Zappa in New York'', Liner Notes.</ref> Zappa's song, "I'm the Slime", was performed with a voice-over by ''SNL'' booth announcer [[Don Pardo]].


In December 1977, Zappa appeared on the [[Pasadena, California]] radio station [[KROQ-FM]] and played the entire ''Läther'' album, while encouraging listeners to make tape recordings of the broadcast.<ref name="slaven03"/>{{rp|248}} The album integrates many aspects of Zappa's 1970s work: heavy rock, orchestral works, and complex jazz instrumentals, along with Zappa's distinctive guitar solos. ''Läther'' was officially released posthumously in 1996. It has been debated as to whether Zappa had conceived the material as a four-LP set from the beginning, or only later when working with Phonogram.<ref name="miles"/>{{rp|267}}{{refn|group="nb"|When the music was first released on CD in 1991, Zappa chose to re-release the four individual albums.<ref name="watson05"/>{{rp|49}} In the liner notes to the 1996 release, Gail Zappa states that "As originally conceived by Frank, ''Läther'' was always a 4-record box set."}} Gail Zappa claimed in 1996 that ''Läther'' was Frank's original intention.<ref>Interview with Gail Zappa in the 2020 film "Zappa" produced by Alex Winter</ref> However, Zappa himself stated in an October 1978 radio interview that "''Läther'' was made out of four albums. Warners has released two of them already and they have two more that they're probably gonna release."<ref name=CFNY>{{cite web |url=http://www.donlope.net/fz/radio/1978-10-02_CFNY_Toronto.html|title=CFNY Interview |work=donlope.net |year=1978 |access-date=December 17, 2021}}</ref>
Zappa's band at the time, with the additions of Ruth Underwood and a horn section (featuring [[Michael Brecker|Michael]] and [[Randy Brecker]]), performed during Christmas in New York, recordings of which appear on one of the albums released by Warner Bros., ''[[Zappa in New York]]'' (1978). It mixes intense instrumentals such as "[[The Black Page]]" and humorous songs like "Titties and Beer".<ref name="Lowep132">Lowe, 2006, ''The Words and Music of Frank Zappa'', p. 132.</ref> The former composition, written originally for [[drum kit]] but later developed for larger bands, is notorious for its complexity in rhythmic structure, radical changes of tempo and meter, and short, densely arranged passages.<ref>{{citation| url= http://etd.lib.fsu.edu/theses/available/etd-04122004-114345/unrestricted/zappathesis3.pdf|format=PDF|first=Brett|last= Clement|title= Little dots: A study of the melodies of the guitarist / composer Frank Zappa (pdf file)| work= Master Thesis|publisher=The Florida State University, School of Music|pages=25–48|year=2004}}. Retrieved on December 29, 2007</ref><ref>{{citation | url= http://www.richardhemmings.co.uk/001/research/zappology/saddaughter.html |first=Richard|last= Hemmings|title= Ever wonder why your daughter looked so sad? Non-danceable beats: getting to grips with rhythmical unpredictability in Project/Object| publisher = richardhemmings.co.uk|year=2006}}. Retrieved on July 24, 2008</ref>


Although Zappa eventually gained the rights to all his material created under the MGM and Warner contracts,<ref name="watson05"/>{{rp|49}} the various lawsuits meant that for a period Zappa's only income came from touring, which he therefore did extensively in 1975–1977 with relatively small, mainly rock-oriented, bands.<ref name="miles"/>{{rp|261}} Drummer [[Terry Bozzio]] became a regular band member, Napoleon Murphy Brock stayed on for a while, and original Mothers of Invention bassist [[Roy Estrada]] joined. Among other musicians were bassist [[Patrick O'Hearn]], singer-guitarist [[Ray White]] and former [[Roxy Music]] keyboardist/violinist [[Eddie Jobson]]. In December 1976, Zappa appeared as a featured musical guest on the [[NBC]] television show ''[[Saturday Night Live]]''.<ref name="miles"/>{{rp|262}} Zappa's song "[[I'm the Slime]]" was performed with a voice-over by ''SNL'' booth announcer [[Don Pardo]], who also introduced "Peaches En Regalia" on the same airing. In 1978, Zappa served both as host and musical act on the show, and as an actor in various sketches. The performances included an impromptu musical collaboration with cast member [[John Belushi]] during the instrumental piece "The Purple Lagoon". Belushi appeared as his [[Saturday Night Live Samurai|Samurai Futaba]] character playing the tenor sax with Zappa conducting.<ref>Zappa, Frank, 1978, ''Zappa in New York'', Liner Notes.</ref> However, he earned a ban from the show after the latter episode because he had done what producers called "a disastrous job of hosting" (Zappa reportedly did not get along with cast and crew in the lead-up to recording, then told the audience he was simply reading from cue cards).<ref name="banned">{{cite news|last=Robinson|first=Anna|title=Why Frank Zappa was Banned from SNL|date=April 14, 2022|work=Grunge |url=https://www.grunge.com/832481/why-frank-zappa-was-banned-from-snl/}}</ref>
''Zappa in New York'' featured a song about sex criminal [[Michael H. Kenyon]], "The Illinois Enema Bandit", which featured Don Pardo providing the opening narrative in the song. Like many songs on the album, it contained numerous sexual references,<ref name="Lowep132"/> leading to many critics objecting and being offended by the content.<ref>Miles, 2004, ''Frank Zappa'', pp. 261–262; Lowe, 2006, ''The Words and Music of Frank Zappa'', p. 134.</ref> Zappa dismissed the criticism by noting that he was a journalist reporting on life as he saw it.<ref name="miles234">Miles, 2004, ''Frank Zappa'', p. 234.</ref> Predating his later fight against censorship, he remarked: "What do you make of a society that is so primitive that it clings to the belief that certain words in its language are so powerful that they could corrupt you the moment you hear them?"<ref name="HighTimes1980">{{citation | last = Swenson| first = John | title = Frank Zappa: America's Weirdest Rock Star Comes Clean | date = March 1980 |publisher = High Times}}</ref> The remaining albums released by Warner Bros. Records without Zappa's consent were ''[[Studio Tan]]'' in 1978 and ''[[Sleep Dirt]]'' in 1979, which contained complex suites of instrumentally-based tunes recorded between 1973 and 1976, and which was overlooked in the midst of the legal problems.<ref>Lowe, 2006, ''The Words and Music of Frank Zappa'', p. 138.</ref> Also released by the label without the artist's consent was ''[[Orchestral Favorites]]'' in 1979, which featured recordings of a concert with orchestral music from 1975.
[[File:The famous mustache and goatee.jpg|thumb|left|Zappa in Toronto, 1977]]


Zappa's band had a series of Christmas shows in New York City in 1976, recordings of which appear on ''[[Zappa in New York]]'' and ''Läther''. The band included Ruth Underwood and a horn section (featuring [[Michael Brecker|Michael]] and [[Randy Brecker]]). It mixes complex instrumentals such as "[[The Black Page]]" and humorous songs like "Titties and Beer".<ref name="lowe"/>{{rp|132}} The former composition, written originally for drum kit but later developed for larger bands, is notorious for its complexity in rhythmic structure and short, densely arranged passages.<ref>{{cite thesis |url=http://etd.lib.fsu.edu/theses/available/etd-04122004-114345/unrestricted/zappathesis3.pdf |first=Brett |last=Clement |title=Little dots: A study of the melodies of the guitarist/composer Frank Zappa |type=Master's thesis |publisher=The Florida State University, School of Music |pages=25–48 |date=2004 |access-date=December 29, 2007 |url-status=dead |archive-url=https://web.archive.org/web/20080216111952/http://etd.lib.fsu.edu/theses/available/etd-04122004-114345/unrestricted/zappathesis3.pdf |archive-date=February 16, 2008}}</ref><ref>{{cite web|url=http://www.richardhemmings.co.uk/001/research/zappology/saddaughter.html|first=Richard|last=Hemmings|title=Ever wonder why your daughter looked so sad? Non-danceable beats: getting to grips with rhythmical unpredictability in Project/Object|publisher=richardhemmings.co.uk|date=2006|access-date=October 3, 2016|url-status=dead|archive-url=https://web.archive.org/web/20081012123657/http://www.richardhemmings.co.uk/001/research/zappology/saddaughter.html|archive-date=October 12, 2008}}</ref>
===Zappa as independent artist===
{{Listen|filename=Zappa_BobbyBrown.ogg|description=The single became a hit in non-English speaking countries and helped ''Sheik Yerbouti'' become a best-seller.<ref name="BobbyBrownLyrics"/><br />&nbsp;|title="Bobby Brown"|pos=right}}
{{Listen|type=music|filename=Zappa_BlackPage1.ogg|description=One of Zappa's complex, percussion-based compositions featured on ''[[Zappa in New York]]''.|title="The Black Page Drum Solo/Black Page #1" (1977)|pos=right}}
Resolving the lawsuits successfully, Zappa ended the 1970s period of his recording career "stronger than ever",<ref name="Lowe79albums">Lowe, 2006, ''The Words and Music of Frank Zappa'', p. 140.</ref> by releasing two of his most successful albums in 1979: his best selling album ever, ''[[Sheik Yerbouti]]'',<ref>
{{Citation| first = Matt| last = Groening| author-link = Matt Groening| first2 = Don| last2 = Menn| editor-last = Menn| editor-first = Don (ed.)| contribution = The Mother of All Interviews. Act II: Matt Groening joins in on the scrutiny of the central decentralizer| title = Zappa! Guitar Player Presents.| year = 1992| page = 61| place = San Francisco, CA| publisher = Miller Freeman| id = ISSN 1063-4533}}</ref> and the "bona fide masterpiece",<ref name="Lowe79albums"/> ''[[Joe's Garage]]''.<ref>Both albums made it onto the Billboard top 30.{{citation | url=http://allmusic.com/cg/amg.dll?p=amg&sql=11:kbfoxqe5ldde~T5|title=Frank Zappa > Charts & Awards > Billboard Albums | publisher=Allmusic.com }}. Retrieved on January 6, 2008</ref> The double album ''Sheik Yerbouti'', issued in 1979, was the first release on [[Zappa Records]], and contained the [[Grammy Award|Grammy]]-nominated single "Dancin' Fool", which reached #45 on the ''Billboard'' charts<ref name="BBsingles">{{citation | url=http://allmusic.com/cg/amg.dll?p=amg&sql=11:kbfoxqe5ldde~T51 | title = Frank Zappa > Charts & Awards > Billboard Singles | publisher=Allmusic.com}}. Retrieved on January 6, 2008</ref> ), and "Jewish Princess", which received controversial attention when a Jewish lobby group, the [[Anti-Defamation League]] (ADL), attempted to prevent the song from receiving radio airplay due to its alleged [[anti-Semitic]] lyrics.<ref name="miles234"/> Zappa vehemently denied any anti-Semitic sentiments and disregarded the ADL as a "noisemaking organization that tries to apply pressure on people in order to manufacture a stereotype image of Jews that suits their idea of a good time".<ref>{{citation | title = He's Only 38 and He Knows How to Nasty |last=Peterson | first=Chris | publisher = Relix Magazine | date= November 1979 }}</ref> The album's commercial success was attributable in part to "[[Bobby Brown (Goes Down)|Bobby Brown]]". Due to its explicit lyrics about a young man's encounter with a "dyke by the name of Freddie", the song did not get airplay in the US, but it topped the charts in several European countries where English is not the primary language.<ref name="BobbyBrownLyrics">Watson, 1996, ''Frank Zappa: The Negative Dialectics of Poodle Play'', p. 351.</ref> The triple LP ''Joe's Garage'', also issued in 1979, features lead singer [[Ike Willis]] as the voice of the character "Joe" in a [[rock opera]] about the danger of [[political system]]s,<ref name="Lowe79albums" /> the suppression of [[freedom of speech]] and music—inspired in part by the [[Islamic revolution]] that had made music illegal within its jurisdiction at the time<ref>Miles, 2004, ''Frank Zappa'', p. 277.</ref>—and about the "strange relationship Americans have with sex and sexual frankness".<ref name="Lowe79albums" /> The album contains rock songs like "Catholic Girls" (a [[riposte]] to the controversies of "Jewish Princess"),<ref>Watson, 2005, ''Frank Zappa. The Complete Guide to His Music'', p. 59.</ref> "Lucille Has Messed My Mind Up", and the title track, as well as extended live-recorded guitar improvisations combined with a studio backup band dominated by drummer [[Vinnie Colaiuta]] (with whom Zappa had a particularly good musical rapport)<ref>Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', p. 180.</ref> adopting the [[xenochrony]] process. The album contains one of Zappa's most famous guitar "signature pieces", "Watermelon in Easter Hay".<ref>Watson, 2005, ''Frank Zappa. The Complete Guide to His Music'', p. 61.</ref><ref name="DZlinernotes">The other signature pieces are "Zoot Allures" and "Black Napkins" from ''Zoot Allures''. See {{citation| last = Zappa| first = Dweezil| title= Greetings music lovers, Dweezil here| author = Dweezil Zappa| publisher = Liner Notes, ''[[Frank Zappa Plays the Music of Frank Zappa: A Memorial Tribute]]''| year = 1996 }}.</ref>


''Zappa in New York'' also featured a song about sex criminal [[Michael H. Kenyon]], "The Illinois Enema Bandit", in which Don Pardo provides the opening narrative. Like many songs on the album, it contained numerous sexual references,<ref name="lowe"/>{{rp|132}} leading to many critics objecting and being offended by the content.<ref name="lowe"/>{{rp|134}}<ref name="lowe"/>{{rp|261–262}} Zappa dismissed the criticism by noting that he was a journalist reporting on life as he saw it.<ref name="miles"/>{{rp|234}} Predating his later fight against censorship, he remarked: "What do you make of a society that is so primitive that it clings to the belief that certain words in its language are so powerful that they could corrupt you the moment you hear them?"<ref name="HighTimes1980">{{cite news|last=Swenson|first=John|title=Frank Zappa: America's Weirdest Rock Star Comes Clean|date=March 1980|work=[[High Times]] |url=https://afka.net/Articles/1980-03_High_Times.htm |via=afka.net}}</ref> The remaining albums released by Warner without Zappa's approval were ''[[Studio Tan]]'' in 1978 and ''[[Sleep Dirt]]'' and ''[[Orchestral Favorites]]'' in 1979. These releases were not promoted and were largely overlooked in midst of the press about Zappa's legal problems.<ref name="lowe"/>{{rp|138}} The 1991 CD releases of these albums marked the first time they were issued with Zappa's full approval.<ref>{{Cite web|url=https://fzpomd.net/biffyshrew/lather.html|title=Father, I have a confession to make...|website=fzpomd.net}}</ref>
On December 21, 1979, Zappa's movie ''[[Baby Snakes]]'' premiered in New York. The movie's tagline was "A movie about people who do stuff that is not normal".<ref>Baby Snakes, 2003, ''DVD cover'', Eagle Vision.</ref> The 2&nbsp;hour and 40&nbsp;minutes movie was based on footage from concerts in New York around Halloween 1977. It also contained several extraordinary sequences of [[clay animation]] by [[Bruce Bickford]] who had earlier provided animation sequences to Zappa for a 1974 TV special (which later become available on the video ''[[The Dub Room Special]]'' (1982)).<ref name="Bsnakes">Miles, 2004, ''Frank Zappa'', p. 282.</ref> The movie did not do well in theatrical distribution,<ref>{{citation | url = http://www.bigpicturebigsound.com/article_501.shtml | title = Baby Snakes – DVD | last = Sohmer | first = Adam | date = June 8, 2005 | publisher = Big Picture Big Sound }}. Retrieved on January 7, 2008</ref> but won the Premier Grand Prix at the First International Music Festival in Paris in 1981. It became available on DVD in 2003.<ref name="Bsnakes"/>


==1980s: Productive as ever==
===Zappa Records label===
{{see also|Sheik Yerbouti|Joe's Garage|Baby Snakes (soundtrack)}}
[[Image:Zappa-buffalo-ny.jpg|thumb|right|Frank Zappa performing at the [[Buffalo Memorial Auditorium| Memorial Auditorium]], [[Buffalo, New York]], 1980. The concert was released in 2007 as ''[[Buffalo (album)|Buffalo]]''.]]
{{Listen|type=music|filename=Zappa_BobbyBrown.ogg|description=The single became a hit in non-English speaking countries and helped ''[[Sheik Yerbouti]]'' become a best-seller.<ref name="watson96"/>{{rp|351}}|title="Bobby Brown" (1979)|pos=right}}
Zappa released two of his most important projects in 1979. The double LP ''[[Sheik Yerbouti]]'' appeared in March and was the first release on Zappa Records. It became the best-selling album of his career.<ref>
{{cite book |first1=Matt|last1=Groening|author-link=Matt Groening|first2=Don|last2=Menn|editor-last=Menn|editor-first=Don|contribution=The Mother of All Interviews. Act II: Matt Groening joins in on the scrutiny of the central decentralizer|title=Zappa! Guitar Player Presents|date=1992|page=61|place=San Francisco, CA|publisher=Miller Freeman|issn=1063-4533}}</ref> The album contained the [[Grammy Award|Grammy]]-nominated single "Dancin' Fool", which reached No.&nbsp;45 on the ''Billboard'' charts.<ref name="BBsingles">{{cite web |url={{AllMusic|class=artist|id=p74796|pure_url=yes}}|title=Frank Zappa|work=AllMusic |access-date=January 6, 2008}}</ref> It also contained "[[Jewish Princess (song)|Jewish Princess]]", which received attention when the [[Anti-Defamation League]] (ADL) attempted to prevent the song from receiving radio airplay due to its alleged [[antisemitic]] lyrics.<ref name="miles"/>{{rp|234}} Zappa vehemently denied any antisemitic sentiments, and dismissed the ADL as a "noisemaking organization that tries to apply pressure on people in order to manufacture a stereotype image of Jews that suits their idea of a good time."<ref>{{cite journal|title=He's Only 38 and He Knows How to Nasty|last=Peterson|first=Chris|journal=Relix Magazine|date=November 1979 |url=https://www.afka.net/Articles/1979-11_Relix.htm |via=afka.net}}</ref> The album's commercial success was attributable in part to "[[Bobby Brown (song)|Bobby Brown]]". Due to its explicit lyrics, the song did not get airplay in the U.S., but it topped the charts in several European countries where English is not the primary language.<ref name="watson96"/>{{rp|351}}


''[[Joe's Garage]]'' has been described as a "bona fide masterpiece".<ref name="lowe"/>{{rp|140}} The project initially had to be released in two parts due to economic conditions.<ref name=islandear>{{cite web |url=https://www.afka.net/Articles/1979-09_Island_Ear.htm |title=The Island-Ear Interview: Frank Zappa |work=Island Ear – September 24, 1979 |access-date=June 30, 2022}}</ref> The first was a single LP ''Joe's Garage Act I'' in September 1979, followed by a double LP ''Joe's Garage Acts II and III'' in November 1979. The story features singer [[Ike Willis]] as the lead character in a [[rock opera]] about the danger of [[political system]]s,<ref name="lowe"/>{{rp|140}} the suppression of [[freedom of speech]] and music—inspired in part by the 1979 [[Islam]]ic [[Iranian revolution]] that had made music illegal<ref name="miles"/>{{rp|277}}—and about the "strange relationship Americans have with sex and sexual frankness".<ref name="lowe"/>{{rp|140}} The ''Act I'' album reached number 27 on the [[Billboard 200]] chart. It contains the song "Catholic Girls" (a [[riposte]] to the controversies of "Jewish Princess"),<ref name="watson05"/>{{rp|59}} and the title track, which was also released as a single. The second and third acts have extended guitar improvisations, which were recorded live, then combined with studio backing tracks. Zappa described this process as [[xenochrony]]. The band included drummer Vinnie Colaiuta (with whom Zappa had a particularly strong musical rapport)<ref name="Occhiogrosso"/>{{rp|180}} Included is one of Zappa's most famous guitar "signature pieces", "[[Watermelon in Easter Hay]]".<ref name="watson05"/>{{rp|61}}<ref name="DZlinernotes">The other signature pieces are "Zoot Allures" and "Black Napkins" from ''Zoot Allures''. See {{cite book |last=Zappa |first=Dweezil |title= Greetings music lovers, Dweezil here |publisher=Liner Notes, [[Frank Zappa Plays the Music of Frank Zappa: A Memorial Tribute]] |date=1996}}</ref> In 1987, all three acts were reissued together as a 3-LP and 2-CD set.
After spending most of 1980 on the road, Zappa released ''[[Tinsel Town Rebellion]]'' in 1981. It was the first release on his own [[Barking Pumpkin Records]],<ref name="LoweTTR">Lowe, 2006, ''The Words and Music of Frank Zappa'', p. 161.</ref> and it contains songs taken from a 1979 tour, one studio track and material from the 1980 tours. The album is a mixture of complicated instrumentals and Zappa's use of ''[[sprechstimme]]'' (speaking song or voice)—a compositional technique utilized by such composers as [[Arnold Schoenberg]] and [[Alban Berg]]—showcasing some of the most accomplished bands Zappa ever had (mostly featuring drummer Vinnie Colaiuta).<ref name="LoweTTR"/> While some lyrics still raised controversy among critics, in the sense that some found them sexist,<ref>Miles, 2004, ''Frank Zappa'', p. 284.</ref> the political and sociological satire in songs like the title track and "The Blue Light" have been described as a "hilarious critique of the willingness of the American people to believe anything".<ref>Lowe, 2006, ''The Words and Music of Frank Zappa'', p. 165.</ref> The album is also notable for the presence of guitar virtuoso [[Steve Vai]], who joined Zappa's touring band in the fall of 1980.<ref>Miles, 2004, ''Frank Zappa'', p. 283.</ref>


Zappa had been known for his long hair since the mid-1960s, but he had Gail cut it short around August 1979.<ref name=islandear/> That autumn he cancelled tour plans to stay home with newborn daughter Diva, and celebrate the birthdays of children Moon and Dweezil in September.<ref name=gcfreep>{{cite web |url=https://www.afka.net/Articles/1979-09_Gold_Coast_Free_Press.htm |title=Warning! The Real Zappa |work=Gold Coast Free Press |date=September 29, 1979 |access-date=June 30, 2022 |via=afka.net}}</ref> At this time Zappa also completed the [[Utility Muffin Research Kitchen]] (UMRK) studios, which were located at his house,<ref name="Mix2003"/> thereby giving him complete freedom in his work.<ref name="miles"/>{{rp|269}}
The same year the double album ''[[You Are What You Is]]'' was released. Most of it was recorded in Zappa's brand new [[Utility Muffin Research Kitchen]] (UMRK) studios, which were located at his house,<ref name="Mix2003"/> thereby giving him complete freedom to work.<ref>Miles, 2004, ''Frank Zappa'', p. 269.</ref> The album included one complex instrumental, "Theme from the 3<sup>rd</sup> Movement of Sinister Footwear", but focused mainly on rock songs with Zappa's sardonic social commentary—satirical lyrics targeted at teenagers, the media, and religious and political hypocrisy.<ref>{{ citation | url= http://allmusic.com/cg/amg.dll?p=amg&sql=10:gcfyxqw5ldhe | title = You Are What You Is. Review | last = Huey | first = Steve | publisher = Allmusic.com }}. Retrieved on January 7, 2008</ref> "Dumb All Over" is a tirade on religion, as is "Heavenly Bank Account", wherein Zappa rails against [[Televangelism|TV evangelists]] such as [[Jerry Falwell]] and [[Pat Robertson]] for their purported influence on the US administration as well as their use of religion as a means of raising money.<ref name="LoweYAWYI"/> Songs like "Society Pages" and "I'm a Beautiful Guy" show Zappa's dismay with the [[Ronald Reagan|Reaganite]] era and its "obscene pursuit of wealth and happiness".<ref name="LoweYAWYI">Lowe, 2006, ''The Words and Music of Frank Zappa'', pp. 169–175.</ref>
{{Listen|filename=Zappa_SYNPYG.ogg|description=The title track on ''Shut Up 'N Play Yer Guitar'' features Zappa's guitar improvisations.|title="Shut Up 'N Play Yer Guitar Some More"|pos=left}}
In 1981, Zappa also released three instrumental albums, ''[[Shut Up 'N Play Yer Guitar]]'', ''Shut Up 'N Play Yer Guitar Some More'', and ''The Return of the Son of Shut Up 'N Play Yer Guitar'', which were initially sold via mail order, but later released through the [[CBS]] label due to popular demand.<ref>
{{Citation | last = Zappa | first = Frank | title = Absolutely Frank. First Steps in Odd Meters | publisher = Guitar Player Magazine | page = 116. |date=November 1982}}</ref> The albums focus exclusively on Frank Zappa as a guitar soloist, and the tracks are predominantly live recordings from 1979–1980; they highlight Zappa's improvisational skills with "beautiful performances from the backing group as well".<ref>{{citation | last= Swenson |first = John | publisher = Guitar World | date= November, 1981| title = Frank Zappa: Shut Up 'N Play Yer Guitar, Shut Up 'N Play Yer Guitar Some More, The Return of the Son of Shut Up 'N Play Yer Guitar}}</ref> Another guitar-only album, ''[[Guitar (album)|Guitar]]'', was released in 1988, and a third, ''[[Trance-Fusion]]'', which Zappa completed shortly before his death, was released in 2006.


On December 21, 1979, Zappa's movie ''[[Baby Snakes]]'' premiered in New York City. He described it as "A movie about people who do stuff that is not normal".<ref>Baby Snakes, 2003, ''DVD cover'', Eagle Vision.</ref> The 2&nbsp;hour and 40&nbsp;minute movie has footage from concerts in New York around Halloween 1977, with a band featuring keyboardist [[Tommy Mars]] and percussionist [[Ed Mann]] (who would both return on later tours) as well as guitarist [[Adrian Belew]]. It also contained several extraordinary sequences of [[clay animation]] by [[Bruce Bickford (animator)|Bruce Bickford]] who had earlier provided animation sequences to Zappa for a 1974 TV special (which became available on the 1982 video ''[[The Dub Room Special]]'').<ref name="miles"/>{{rp|282}} The movie did not do well in theatrical distribution,<ref>{{cite web |url=http://www.bigpicturebigsound.com/article_501.shtml |title=Baby Snakes|format= DVD|last=Sohmer|first=Adam|date=June 8, 2005|publisher=Big Picture Big Sound |access-date=January 7, 2008}}</ref> but won the Premier Grand Prix at the First International Music Festival in Paris in 1981.<ref name="miles"/>{{rp|282}}
===From hit single to classical performances===
In May 1982, Zappa released ''[[Ship Arriving Too Late to Save a Drowning Witch]]'', which featured his biggest selling single ever, the Grammy-nominated "[[Valley Girl (song)|Valley Girl]]" (topping out at #32 on the ''[[Billboard magazine|Billboard]]'' charts).<ref name="BBsingles"/> In her improvised lyrics to the song, Zappa's daughter [[Moon Zappa|Moon Unit]] satirized the vapid speech of teenage girls from the [[San Fernando Valley]], which popularized many "[[Valspeak]]" expressions such as "gag me with a spoon" and "barf out".<ref>{{ citation | url= http://allmusic.com/cg/amg.dll?p=amg&sql=33:wbfuxxyaldfe | title = Valley Girl. Frank Zappa. Song Review | last = Huey | first = Steve | publisher = Allmusic.com }}. Retrieved on January 7, 2008</ref> Most Americans who only knew Zappa from his few singles successes, now thought of him as a person writing "[[novelty song]]s", even though the rest of the album contained highly challenging music.<ref name="LoweValleyGirl">Lowe, 2006, ''The Words and Music of Frank Zappa'', p. 178.</ref> Zappa was irritated by this,<ref>Miles, 2004, ''Frank Zappa'', p. 304.</ref> and never played the song live.<ref name="LoweValleyGirl"/>


==1980–1993: Later years==
In 1983, two different projects were released, beginning with ''[[The Man From Utopia]],'' a rock-oriented work. The album is eclectic, featuring the vocal-led "Dangerous Kitchen" and "The Jazz Discharge Party Hats", both continuations of the sprechstimme excursions on ''Tinseltown Rebellion.'' The second album, ''[[London Symphony Orchestra, Vol. 1]]'' contained orchestral Zappa compositions conducted by [[Kent Nagano]] and performed by the [[London Symphony Orchestra]]. A second record of these sessions, ''[[London Symphony Orchestra, Vol. 2]]'' was released in 1987. The material was recorded under a tight schedule, and with Zappa providing all funding, helped by the commercial success of "Valley Girl".<ref name="ZappaLSO">Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', pp. 146–156.</ref> This was after Zappa had experienced unsuccessful and financially costly attempts to have orchestral works performed.<ref name="ZappaLSO"/> Zappa was not satisfied with the LSO recordings. One reason is "Strictly Genteel", which was recorded after the trumpet section had been out for drinks on a break. The track took 40 edits to hide out-of-tune notes.<ref name="ZappaLSO"/> Conductor Nagano, who was pleased with the experience, noted that in "fairness to the orchestra, the music is humanly very, very difficult".<ref>Miles, 2004, ''Frank Zappa'', p. 315.</ref> Some reviews noted that the recordings were the best representation of Zappa's orchestral work so far.<ref>{{citation | url=http://allmusic.com/cg/amg.dll?p=amg&sql=10:fcfuxqw5ldhe~T1 | title = London Symphony Orchestra, Vol. 1. Review| first= William| last= Ruhlmann| publisher=Allmusic.com }}. Retrieved on January 7, 2008</ref>
===Beginning of Barking Pumpkin Records label===
{{see also|Tinsel Town Rebellion|Shut Up 'n Play Yer Guitar|You Are What You Is}}
[[File:Zappa-buffalo-ny.jpg|thumb|Zappa performing at the [[Buffalo Memorial Auditorium|Memorial Auditorium]], [[Buffalo, New York]], 1980. The concert was released in 2007 as ''[[Buffalo (Frank Zappa album)|Buffalo]]''.]]
Zappa cut ties with Phonogram after the distributor refused to release his song "[[I Don't Wanna Get Drafted]]", which was recorded in February 1980.<ref>{{cite book|url=https://books.google.com/books?id=1_i5f3jhD9UC&pg=PA3054|title=The New York Times Guide to the Arts of the 20th Century|access-date=April 30, 2012|editor=Bruckner, D. J. R.|date=2002|page=3054|publisher=Taylor & Francis |isbn=978-1-57958-290-6}}</ref> The single was released independently by Zappa in the United States and was picked up by CBS Records internationally.<ref>{{cite web|url=http://www.discogs.com/Frank-Zappa-I-Dont-Wanna-Get-Drafted/release/807608|title=Frank Zappa – I Don't Wanna Get Drafted! (Vinyl) at|year=1980 |publisher=discogs|access-date=April 30, 2012}}</ref>


After spending much of 1980 on the road, Zappa released ''[[Tinsel Town Rebellion]]'' in 1981. It was the first release on his own [[Barking Pumpkin Records]],<ref name="lowe"/>{{rp|161}} and featured live recordings from 1979 and 1980, as well as a new studio track, "Fine Girl". The album is a mixture of complicated instrumentals and Zappa's use of ''[[sprechstimme]]'' (speaking song or voice)—a compositional technique utilized by such composers as [[Arnold Schoenberg]] and [[Alban Berg]]—showcasing some of the most accomplished bands Zappa ever had (mostly featuring drummer Vinnie Colaiuta).<ref name="lowe"/>{{rp|161}} While some lyrics still raised controversy among critics, some of whom found them sexist,<ref name="miles"/>{{rp|284}} the political and sociological satire in songs like the title track and "The Blue Light" have been described as a "hilarious critique of the willingness of the American people to believe anything".<ref name="lowe"/>{{rp|165}} The album is also notable for the presence of guitarist [[Steve Vai]], who joined Zappa's touring band in late 1980.<ref name="miles"/>{{rp|283}}
===Synclavier===
{{Listen|filename=Zappa_NavalAviation.ogg|description=A Zappa composition for classical ensemble from ''Boulez Conducts Zappa: The Perfect Stranger''.|title="Naval Aviation in Art?"|pos=right}}


In 1981, Zappa also released three instrumental albums, ''[[Shut Up 'n Play Yer Guitar]]'', ''Shut Up 'N Play Yer Guitar Some More'', and ''The Return of the Son of Shut Up 'N Play Yer Guitar'', which were initially sold via mail order, but later released through CBS Records (now [[Sony Music Entertainment]]) due to popular demand.<ref>{{cite journal|last=Zappa|first=Frank|title=Absolutely Frank. First Steps in Odd Meters|journal=Guitar Player Magazine|page=116|date=November 1982}}</ref>
For the remainder of his career, much of Zappa's work was influenced by his use of the [[Synclavier]] as a compositional and performance tool. With the complex music he wrote, the Synclavier represented anything he could dream up.<ref name="ZappaSynclavier">Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', pp. 172–173.</ref> The Synclavier could be programmed to play almost anything conceivable to perfection: "With the Synclavier, any group of imaginary instruments can be invited to play the most difficult passages&nbsp;... with ''one-millisecond'' accuracy—every time".<ref name="ZappaSynclavier"/> Even though it essentially did away with the need for musicians,<ref>Miles, 2004, ''Frank Zappa'', p. 319. </ref> Zappa viewed the Synclavier and real-life musicians as separate.<ref name="ZappaSynclavier"/> In 1984, he released four albums. ''[[Boulez Conducts Zappa: The Perfect Stranger]],'' contains orchestral works commissioned and conducted by world-renowned conductor [[Pierre Boulez]] (who was listed as an influence on ''Freak Out!'') and performed by his [[Ensemble InterContemporain]], juxtaposed with premiere Synclavier pieces. Again, Zappa was not satisfied with the performances of his orchestral works as he found them under-rehearsed, but in the album liner notes he respectfully thanks Boulez's demands for precision.<ref>Watson, 2005, ''Frank Zappa. The Complete Guide to His Music'', p. 73.</ref> The Synclavier pieces stood in contrast to the orchestral works, as the sounds were electronically generated and not, as became possible shortly thereafter, [[Sampling (music)|sampled]].


The albums focus exclusively on Frank Zappa as a guitar soloist, and the tracks are predominantly live recordings from 1979 to 1980; they highlight Zappa's improvisational skills with "beautiful performances from the backing group as well".<ref>{{cite magazine |last=Swenson|first=John|magazine=[[Guitar World]] |date=November 1981|title=Frank Zappa: Shut Up 'N Play Yer Guitar, Shut Up 'N Play Yer Guitar Some More, The Return of the Son of Shut Up 'N Play Yer Guitar}}</ref> Another guitar-only album, ''[[Guitar (Frank Zappa album)|Guitar]]'', was released in 1988, and a third, ''[[Trance-Fusion]]'', which Zappa completed shortly before his death, was released in 2006.<ref>{{cite book |title=Guitar Gods: The 25 Players who Made Rock History |edition=illustrated |first1=Bob |last1=Gulla |publisher=ABC-CLIO |date=2009 |isbn=978-0-313-35806-7 |page=[https://books.google.com/books?id=DL3I9qQWdeAC&pg=PA251 251] |url=https://books.google.com/books?id=DL3I9qQWdeAC}}</ref>
The album ''[[Thing-Fish]]'' was an ambitious three-record set in the style of a Broadway play dealing with a [[dystopia]]n "what-if" scenario involving feminism, homosexuality, manufacturing and distribution of the AIDS virus, and a [[eugenics]] program conducted by the United States government.<ref>The musical was eventually produced for the stage in 2003. See {{citation|url=http://www.britishtheatreguide.info/otherresources/interviews/Thing-Fish.htm |title=Thing-Fish - The Return of Frank Zappa|publisher=The British Theatre Guide }}. Retrieved on December 11, 2007</ref> New vocals were combined with previously released tracks and new Synclavier music; "the work is an extraordinary example of [[bricolage]]".<ref>
{{clear}}
{{Citation | last = Carr | first = Paul | last2 = Hand | first2 = Richard J. | title = Frank Zappa and musical theatre: ugly ugly o'phan Annie and really deep, intense, thought-provoking Broadway symbolism | journal = Studies in Musical Theatre | volume = 1 | issue = 1 | pages = pp. 44–51. | year = 2007 | url = http://www.intellectbooks.co.uk/journalarticles.php?issn=17503159&v=1&i=1&d=10.1386/smt.1.1.41/1 | id = }} Full article available by free login only. Retrieved on July 28, 2008</ref> Finally, in 1984, Zappa released ''[[Francesco Zappa (album)|Francesco Zappa]]'', a Synclavier rendition of works by 17th century composer, [[Francesco Zappa]] (no known relation), and ''[[Them or Us]],'' a two-record set of heavily edited live and session pieces.
{{Listen|type=music|filename=Zappa_SYNPYG.ogg|description=The title track on ''[[Shut Up 'N Play Yer Guitar]]'' features Zappa's guitar improvisations.|title="Shut Up 'N Play Yer Guitar Some More" (1981)|pos=left}}


The same year, the double album ''[[You Are What You Is]]'' was released. The album included one complex instrumental, "Theme from the 3rd Movement of Sinister Footwear", but mainly consisted of rock songs with Zappa's sardonic social commentary—satirical lyrics directed at teenagers, the media, and religious and political hypocrisy.<ref>{{cite web|url= {{AllMusic|class=album|id=r53163|pure_url=yes}}|title=You Are What You Is. Review|last=Huey|first=Steve|work=AllMusic|access-date=January 7, 2008}}</ref> "Dumb All Over" is a tirade on religion, as is "Heavenly Bank Account", wherein Zappa rails against [[Televangelism|TV evangelists]] such as [[Jerry Falwell]] and [[Pat Robertson]] for their purported influence on the U.S. administration as well as their use of religion as a means of raising money.<ref name="lowe"/>{{rp|169–175}} Songs like "Society Pages" and "I'm a Beautiful Guy" show Zappa's dismay with the [[Ronald Reagan|Reagan]] era and its "obscene pursuit of wealth and happiness".<ref name="lowe"/>{{rp|169–175}} Zappa made his only music video for a song from this album – "You Are What You Is" – directed by Jerry Watson, produced by Paul Flattery. The video was banned from [[MTV]], though was later featured by [[Mike Judge]] in the ''[[Beavis & Butthead]]'' episode "Canoe".<ref>{{cite web |title="Beavis and Butt-Head" Canoe - Soundtracks |url=https://www.imdb.com/title/tt0857490/soundtrack/ |website=IMDB |access-date=August 11, 2022}}</ref>
===Senate testimony===
[[Image:ZappaSenate1985.JPG|right|thumb|Zappa testifies before the [[US Senate]], 1985]]


Zappa later expanded on his television appearances in a non-musical role. He was an actor or voice artist in episodes of ''[[Faerie Tale Theatre|Shelley Duvall's Faerie Tale Theatre]]'',<ref name="ZappaIMDB">{{IMDb name|id=0953261|name=Frank Zappa profile}}. Retrieved July 30, 2008.</ref> ''[[Miami Vice]]''<ref name="miles"/>{{rp|343}} and ''[[The Ren & Stimpy Show]]''.<ref name="ZappaIMDB"/><ref>{{cite book |last1=Komorowski |first1=Thad |title=Sick Little Monkeys: The Unauthorized Ren & Stimpy Story |date=2017 |publisher=BearManor Media |isbn=978-1629331836 |location=Albany, Georgia}}</ref> A voice part in ''[[The Simpsons]]'' never materialized, to creator [[Matt Groening]]'s disappointment (Groening was a neighbor of Zappa and a lifelong fan).<ref>{{cite magazine|title=Homer and Me|last=Eliscu|first=Jenny |magazine=Rolling Stone|date=November 8, 2002}}</ref>
On September 19, 1985, Zappa testified before the [[United States Senate|US Senate]] Commerce, Technology, and Transportation committee, attacking the Parents Music Resource Center or [[PMRC]], a music organization, co-founded by then-Senator [[Al Gore]]'s wife [[Tipper Gore]]. The PMRC consisted of many wives of politicians, including the wives of five members of the committee, and was founded to address the issue of song lyrics with sexual or satanic content.<ref>Day, 2000, ''Censorship'', p. 53.</ref> Zappa saw their activities as on a path towards [[censorship]],<ref>Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', p. 267.</ref> and called their proposal for voluntary [[Parental Advisory|labelling of records]] with explicit content "extortion" of the music industry.<ref>Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', p. 262.</ref> In his prepared statement, he said:


==="Valley Girl" and classical performances===
<blockquote>The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civil liberties of people who are not children, and promises to keep the courts busy for years dealing with the interpretational and enforcemental problems inherent in the proposal's design. It is my understanding that, in law, First Amendment issues are decided with a preference for the least restrictive alternative. In this context, the PMRC's demands are the equivalent of treating dandruff by decapitation&nbsp;... The establishment of a rating system, voluntary or otherwise, opens the door to an endless parade of moral quality control programs based on things certain Christians do not like. What if the next bunch of Washington wives demands a large yellow "J" on all material written or performed by Jews, in order to save helpless children from exposure to concealed Zionist doctrine?<ref>{{ citation| url=http://www.joesapt.net/superlink/shrg99-529/p51.html| title = Record Labeling. Hearing before the committee on commerce, science and transportation.| publisher = US Government printing office| date = 1985-09-19}}. Retrieved on December 31, 2007</ref></blockquote>
{{see also|Ship Arriving Too Late to Save a Drowning Witch|The Man from Utopia|London Symphony Orchestra (Zappa albums)}}
In May 1982, Zappa released ''[[Ship Arriving Too Late to Save a Drowning Witch]]'', which featured his biggest selling single ever, the [[Grammy Award]]-nominated song "[[Valley Girl (song)|Valley Girl]]" (topping out at No.&nbsp;32 on the ''Billboard'' charts).<ref name="BBsingles"/> In her improvised lyrics to the song, Zappa's daughter [[Moon Zappa|Moon]] satirized the [[patois]] of teenage girls from the [[San Fernando Valley]], which popularized many "[[Valleyspeak]]" expressions such as "gag me with a spoon", "fer sure, fer sure", "grody to the max", and "barf out".<ref>{{cite web|url={{AllMusic|class=song|id=t2677879|pure_url=yes}}|title="Valley Girl" --song review|last=Huey|first=Steve|work=AllMusic|access-date=January 7, 2008}}</ref>


A 1983 album ''[[The Man from Utopia]],'' featured an anti-drug single "[[Cocaine Decisions]]". "The Dangerous Kitchen" and "The Jazz Discharge Party Hats" are continuations of the sprechstimme vocal excursions on ''Tinseltown Rebellion'', and the album also has jazzy rock instrumentals "Mōggio" and "We Are Not Alone". A second 1983 album, ''[[London Symphony Orchestra, Vol. I]]'', includes orchestral Zappa compositions conducted by [[Kent Nagano]] and performed by the [[London Symphony Orchestra]] (LSO). A second record of these sessions, ''[[London Symphony Orchestra, Vol. II]]'' was released in 1987. The material was recorded under a tight schedule with Zappa providing all funding, helped by the commercial success of "Valley Girl".<ref name="Occhiogrosso"/>{{rp|146–156}} Zappa was not satisfied with the LSO recordings. One reason is "Strictly Genteel", which was recorded after the trumpet section had been out for drinks on a break: the track took 40 edits to hide out-of-tune notes.<ref name="Occhiogrosso"/>{{rp|146–156}}
Zappa set excerpts from the PMRC hearings to Synclavier music in his composition "Porn Wars" on the 1985 album ''[[Frank Zappa Meets the Mothers of Prevention]].'' Zappa is heard interacting with Senators [[Fritz Hollings]], [[Slade Gorton]], [[Al Gore]] (who admitted to being a Zappa fan), and in an exchange with Florida Senator [[Paula Hawkins]] over what toys Zappa's children played with. Zappa went on to argue with PMRC representatives on [[CNN]]'s ''[[Crossfire (TV series)|Crossfire]]'' in 1986 and 1987.<ref>{{citation | date=March 1986 |title = Crossfire with Frank Zappa and John Lofton | publisher=CNN [TV Debate]}}</ref> Zappa's passion for American politics was becoming a bigger part of his life. He had always encouraged his fans to [[Voter registration|register to vote]] on album covers, and throughout 1988 he had registration booths at his concerts.<ref>Miles, 2004, ''Frank Zappa'', p. 348.</ref> He even considered running for [[President of the United States]].<ref>Miles, 2004, ''Frank Zappa'', p. 365.</ref>


Conductor Nagano, who was pleased with the experience, noted that "in fairness to the orchestra, the music is humanly very, very difficult".<ref name="miles"/>{{rp|315}} Some reviews noted that the recordings were the best representation of Zappa's orchestral work so far.<ref>{{cite web|url={{AllMusic|class=album|id=r53172|pure_url=yes}}|title=London Symphony Orchestra, Vol. 1. Review|first=William|last=Ruhlmann|work=AllMusic|access-date=January 7, 2008}}</ref> In 1984 Zappa teamed again with Nagano and the Berkeley Symphony Orchestra<ref>{{cite web|url=http://globalia.net/donlope/fz/docs/A_Zappa_Affair.html |title=A Zappa Affair |website=Globalia.net |access-date=December 10, 2016}}</ref> for a live performance of ''A Zappa Affair'' with augmented orchestra, life-size puppets, and moving stage sets. Although critically acclaimed the work was a financial failure, and only performed twice. Zappa was invited by conference organizer [[Thomas Wells (composer)|Thomas Wells]] to be the keynote speaker at the American Society of University Composers at the [[Ohio State University]]. It was there Zappa delivered his famous "Bingo! There Goes Your Tenure" address,<ref>{{cite web |first=Frank |last=Zappa |url=https://otg.brainiac.com/fzfull.htm |title=Bingo! There Goes Your Tenure |year=1984 |archive-url=https://archive.today/20180328152956/https://otg.brainiac.com/fzfull.htm |archive-date=March 28, 2018 |url-status=live }}</ref> and had two of his orchestra pieces, "Dupree's Paradise" and "Naval Aviation in Art?" performed by the [[Columbus Symphony Orchestra]] and ProMusica Chamber Orchestra of Columbus.<ref name="miles"/>{{rp|323}}<ref>{{cite news |last=Kelp |first=Larry |title=Zappa Pokes into The Fine Arts |newspaper=The Oakland Tribune |date=June 18, 1984 |url=https://www.afka.net/Articles/1984-06_Oakland_Tribune.htm |access-date=July 5, 2009 |archive-date=October 4, 2009 |archive-url=https://web.archive.org/web/20091004014926/http://www.afka.net/Articles/1984-06_Tribune.htm |url-status=live }}</ref> Zappa's management relationship with Bennett Glotzer ended in 1984.<ref>Don Menn, "How It All Works. Gail Zappa", Zappa!, 1992, p. 76</ref> Starting in 1985 Gail began managing much of the Zappa business empire, which included a record label, a mail-order company, a video company and a music publishing firm.<ref name="capitalistrocker">{{cite news |date=December 19, 1989 |url=https://www.latimes.com/archives/la-xpm-1989-12-19-fi-721-story.html |title=Frank Zappa, Capitalist Rocker : Entrepreneurship: Zappa got title to his master recordings... |first=Patrice |last=Apodaca |work=[[Los Angeles Times]] |access-date=July 29, 2023}}</ref>
Zappa later expanded on his television appearances in a non-musical role. He was actor or voice artist in episodes of ''[[Faerie Tale Theatre|Shelley Duvall's Faerie Tale Theatre]]'',<ref name="ZappaIMDB">{{citation| url=http://www.imdb.com/name/nm0953261/ | title = Frank Zappa | publisher = IMDb – The Internet Movie Database}}. Retrieved on July 30, 2008</ref> ''[[Miami Vice]]''<ref>Miles, 2004, ''Frank Zappa'', p. 343.</ref> and ''[[The Ren and Stimpy Show]]''.<ref name="ZappaIMDB"/> A voice part in ''[[The Simpsons]]'' never materialized, to creator [[Matt Groening]]'s disappointment.<ref>{{citation | url = http://www.rollingstone.com/artists/thesimpsons/articles/story/5937934/homer_and_me | title = Homer and Me | last = Eliscu | first =Jenny | work = Rolling Stone |date= November 8, 2002}}. Retrieved on July 30, 2008</ref>


===Synclavier works===
===Digital medium and last tour===
{{see also|Boulez Conducts Zappa: The Perfect Stranger|Them or Us|Thing-Fish|Francesco Zappa (album)|Does Humor Belong in Music? (album)}}
Around 1986, Zappa undertook a comprehensive re-release program of his earlier vinyl recordings.<ref> Miles, 2004, ''Frank Zappa'', p. 340.</ref> He personally oversaw the remastering of all his 1960s, 1970s and early 1980s albums for the new digital [[compact disc]] medium.<ref>For a comprehensive comparison of vinyl of CD releases, see {{citation | url = http://www.lukpac.org/~handmade/patio/vinylvscds/index.html | title = The Frank Zappa Album Versions Guide – Index | series=The Zappa Patio | publisher = www.lukpac.org/~handmade/patio}}. Retrieved on January 7, 2008</ref> Certain aspects of these re-issues were, however, criticized by some fans as being unfaithful to the original recordings.<ref>For example, new drum and bass parts were used on the 1960s albums ''We're Only in It for the Money'' and ''Cruising with Ruben & the Jets''. See Miles, 2004, ''Frank Zappa'', p. 327.</ref> Before CDs came onto the market, Zappa had proposed to replace "phonographic record merchandising" of music by "direct digital-to-digital transfer" through phone or cable TV (with royalty payments and consumer billing automatically built into the accompanying software).<ref name="DigitalTransfer">Zappa with Occhiogrosso, 1989, ''The Real Frank Zappa Book'', pp. 337–339.</ref> In 1989, Zappa considered his idea a "miserable flop".<ref name="DigitalTransfer"/>
{{Listen|type=music|filename=Zappa_NavalAviation.ogg|description=A Zappa composition for classical ensemble from ''[[Boulez Conducts Zappa: The Perfect Stranger]]'' (1984)|title="Naval Aviation in Art?" (1984)|pos=right}}
For the remainder of his career, much of Zappa's work was influenced by his use of the [[Synclavier]], an early digital synthesizer, as a compositional and performance tool.<ref name="Occhiogrosso"/>{{rp|172–173}} According to Zappa, "With the Synclavier, any group of imaginary instruments can be invited to play the most difficult passages&nbsp;... with ''one-millisecond'' accuracy—every time".<ref name="Occhiogrosso"/>{{rp|172–173}} Even though it essentially did away with the need for musicians,<ref name="miles"/>{{rp|319}} Zappa viewed the Synclavier and real-life musicians as separate.<ref name="Occhiogrosso"/>{{rp|172–173}}


In late 1984, he released four albums. ''[[Boulez Conducts Zappa: The Perfect Stranger]]'' contains orchestral works commissioned and conducted by celebrated conductor, composer and pianist [[Pierre Boulez]] (who was listed as an influence on ''Freak Out!''), and performed by his [[Ensemble intercontemporain]]. These were juxtaposed with premiere Synclavier pieces. Again, Zappa was not satisfied with the performances of his orchestral works, regarding them as under-rehearsed, but in the album liner notes he respectfully thanks Boulez's demands for precision.<ref name="watson05"/>{{rp|73}} The Synclavier pieces stood in contrast to the orchestral works, as the sounds were electronically generated and not, as became possible shortly thereafter, [[Sampling (music)|sampled]].
The album ''[[Jazz From Hell]],'' released in 1986, earned Zappa his first [[Grammy Award]] in 1987 for [[Grammy Award for Best Rock Instrumental Performance|Best Rock Instrumental Performance]]. Except for one live guitar solo, the album exclusively featured compositions brought to life by the Synclavier. Although an [[instrumental]] album, Meyer Music Markets sold ''Jazz from Hell'' featuring an "explicit lyrics" sticker—a warning label introduced by the [[Recording Industry Association of America]] in an agreement with the PMRC.<ref>{{citation|url=http://ericnuzum.com/banned/incidents/80s.html|title=Censorship Incidents: 1980s|series=Parental Advisory: Music Censorship in America|last=Nuzum|first=Eric|publisher = ericnuzum.com }}. Retrieved on July 23, 2007</ref>


''[[Them or Us]]'' is a two LP set of studio and live rock recordings. It includes a version the [[Allman Brothers Band]] song "[[Whipping Post (song)|Whipping Post]]", and "Be in My Video", Zappa's satirical take on perceived visual clichés of the [[MTV]] channel. ''[[Francesco Zappa (album)|Francesco Zappa]]'', a Synclavier rendition of works by 18th-century composer [[Francesco Zappa]], was also released in 1984.<ref>{{cite book |title=The Rough Guide to Rock |edition=illustrated |publisher=Rough Guides |date=2003 |isbn=978-1-85828-457-6 |page=[https://archive.org/details/roughguidetorock00roug/page/2244 2244] |url=https://archive.org/details/roughguidetorock00roug/page/2244 |url-access=registration}} [https://books.google.com/books?id=Fie47qSuTsoC&pg=PA2244 Extract of page 2244]</ref>
Zappa's last tour in a rock band format took place in 1988 with a 12-piece group which had a repertoire of over 100 (mostly Zappa) compositions, but which split under acrimonious circumstances before the tour was completed.<ref>Miles, 2004, ''Frank Zappa'', pp. 346–350.</ref> The tour was documented on the albums ''[[Broadway the Hard Way]]'' (new material featuring songs with strong political emphasis), ''[[The Best Band You Never Heard in Your Life]]'' (Zappa "standards" and an eclectic collection of cover tunes, ranging from [[Maurice Ravel]]'s ''[[Boléro]]'' to [[Led Zeppelin]]'s "[[Stairway to Heaven]]"), and ''[[Make a Jazz Noise Here]]'' (mostly instrumental and [[avant-garde music]]). Parts are also found on ''You Can't Do That on Stage Anymore'', volumes [[You Can't Do That on Stage Anymore, Vol. 4|4]] and [[You Can't Do That on Stage Anymore, Vol. 6|6]].


The album ''[[Thing-Fish]]'' was an ambitious three-record set in the style of a Broadway play dealing with a [[dystopia]]n "what-if" scenario involving feminism, homosexuality, manufacturing and distribution of the AIDS virus, and a [[eugenics]] program conducted by the United States government.<ref>The musical was eventually produced for the stage in 2003. See {{cite web|url=http://www.britishtheatreguide.info/otherresources/interviews/Thing-Fish.htm|title=Thing-Fish&nbsp;– The Return of Frank Zappa|publisher=The British Theatre Guide|access-date=December 11, 2007|archive-url=https://web.archive.org/web/20080115113542/http://www.britishtheatreguide.info/otherresources/interviews/Thing-Fish.htm|archive-date=January 15, 2008|url-status=dead}}</ref> New vocals were combined with previously released tracks and new Synclavier music; "the work is an extraordinary example of ''[[bricolage]]''".<ref>{{Cite journal|last1=Carr|first1=Paul|last2=Hand|first2=Richard J.|title=Frank Zappa and musical theatre: ugly ugly o'phan Annie and really deep, intense, thought-provoking Broadway symbolism|journal=Studies in Musical Theatre|volume=1|issue=1|pages=44–51|date=2007|url=http://www.intellectbooks.co.uk/journals/view-Article,id=4872|doi=10.1386/smt.1.1.41/1|access-date=July 28, 2008|archive-url=https://web.archive.org/web/20140308110412/http://www.intellectbooks.co.uk/journals/view-Article,id=4872/|archive-date=March 8, 2014|url-status=dead| issn = 1750-3159}} Full article available by free login only.</ref>
==1990s: Classical music and death==
[[Image:Zappa yshark.jpg|thumb|right|Frank Zappa rehearsing with [[Ensemble Modern]], [[Frankfurt am Main]], [[Germany]], 1992]]


=== Merchandising ===
In early 1990, Zappa visited [[Czechoslovakia]] at the request of President [[Václav Havel]], and was asked to serve as consultant for the government on trade, cultural matters and tourism. Havel was a lifelong fan of Zappa who had large influence in the avant-garde and underground scene in eastern Europe in the 1970s and 1980s (a [[The Plastic People of the Universe|Czech rock group]] that was imprisoned in 1976 took its name from Zappa's 1968 song "[[Plastic People]]").<ref>{{citation | last=Mitchell|first=Tony|title=Mixing Pop and Politics: Rock Music in Czechoslovakia before and after the Velvet Revolution |journal=Popular Music. A Changing Europe|volume=11 |publisher= Cambridge University Press|date= May, 1992| pages = pp. 187–203}}</ref> Zappa enthusiastically agreed and began meeting with corporate officials interested in investing in Czechoslovakia. Within a few weeks, however, the US administration put pressure on the Czech government to withdraw the appointment. Havel made Zappa an unofficial [[cultural attaché]] instead.<ref>Miles, 2004, ''Frank Zappa'', pp. 357–361.</ref> Zappa also planned to develop an international consulting enterprise to facilitate trade between the Eastern Bloc and Western businesses.<ref name="Pulse1993">{{citation | last = Ouellette | first = Dan | title = Frank Zappa | publisher = Pulse! Magazine | pages = 48–56. | date = August 1993}}</ref>
Zappa's mail-order merchandise business, Barfko-Swill, established during the 1980s by Zappa's wife Gail, offers t-shirts, videos, posters, sheet music, and collector's recordings, most of them unavailable through other media.<ref>{{Cite web |date=August 4, 2021 |title=Barfko-Swill |url=https://wiki.killuglyradio.com/wiki/Barfko-Swill |access-date=May 2, 2023 |website=Zappa wiki jawaka}}</ref> Gail has explained why Barfko-Swill was founded: "Just piles and piles of fan mail sitting around unanswered or with no response. The first thing that we did was put a list together from the fan mail and made a Barking Pumpkin t-shirt available which we still have – same old shirt, same old logo, same old price – just to see what would happen. Everybody would write to us and ask us if there was something they could get besides records. ... That was really the primary reason for getting into the business – for setting up Barfko-Swill – in those days was to be independent. To not have to rely on a major record company's interest and ability to promote your product. And that was what the challenge was for me. I prefer the autonomy."<ref>{{Cite magazine |last=Wheeler |first=Drew |date=May 1990 |title=Just Plain Folks |url=https://www.afka.net/Articles/1990-05_Billboard_2.htm |magazine=Billboard}}</ref>
{{Listen|filename=Zappa_Nlite.ogg|description=One of Zappa's work for Synclavier on ''Civilization, Phaze III'', cited as his "last great work."<ref>Watson, 2005, ''Frank Zappa. The Complete Guide to His Music'', p. 100.</ref><br />&nbsp;|title="N-Lite"|pos=left}}
Most of Zappa's projects came to a halt in 1990, when he was diagnosed with terminal [[prostate cancer]]. The disease had been developing unnoticed for ten years and was considered inoperable.<ref name="Pulse1993"/> After his diagnosis, Zappa devoted most of his energy to modern orchestral and [[Synclavier]] works. In 1993 he completed ''[[Civilization, Phaze III]]'' shortly before his death. It was a major Synclavier work which he had begun in the 1980s.<ref>Miles, 2004, ''Frank Zappa'', pp. 374–375.</ref><ref>It brought him a posthumous Grammy Award (with Gail Zappa) for [[Grammy Award for Best Boxed or Special Limited Edition Package|Best Recording Package – Boxed]] in 1994. {{citation | url=http://www.grammy.com/GRAMMY_Awards/Winners/Results.aspx | title= GRAMMY Winners | publisher= GRAMMY.com}}. Retrieved on August 18, 2008</ref>


From 1983 to 1993, Barfko-Swill was run by [[Gerry Fialka]],<ref>{{Cite book|last=de Kloet|first=Co|title=Frank & Co|publisher=Haver Producties|year=2020|isbn=978-90-821095-3-5|location=Doetinchem, Netherlands|pages=297}}</ref> who also worked for Zappa as archivist, production assistant, tour assistant, and [[Handyman|factotum]],<ref>{{Cite book|last=Wills|first=Geoff|title=Zappa and Jazz: Did it Really Smell Funny, Frank?|publisher=Matador|year=2015|isbn=978-1784623913|location=Leicester, UK}}</ref><ref>{{Cite news|last=Rosenfeld|first=Hank|date=February 18, 2001|title=McLuhan's Minion|work=Los Angeles Times|url=https://www.latimes.com/archives/la-xpm-2001-feb-18-tm-26777-story.html |archive-url=https://web.archive.org/web/20211209120119/https://www.latimes.com/archives/la-xpm-2001-feb-18-tm-26777-story.html |archive-date=December 9, 2021 |url-status=live}}</ref><ref name=":12">{{Cite journal|last=editorial staff|date=September 13, 2007|title=Gerry Fialka: Questioning the Questions|url=https://argonautnews.com/gerry-fialka-questioning-the-questions/|journal=The Argonaut|access-date=December 9, 2021 |archive-date=December 9, 2021 |archive-url=https://web.archive.org/web/20211209120120/https://argonautnews.com/gerry-fialka-questioning-the-questions/|url-status=dead}}</ref><ref name=":10">{{Cite web |last=Silverman |first=Ted |date=July 27, 2022 |title=Interview: Zappa Band Alum Ike Willis & Stinkfoot Orchestra's Nick Chargin |url=https://www.jambase.com/article/ike-willis-nick-chargin-interview-zappa-tribute-band-stinkfoot-orchestra |website=JamBase}}</ref> and answered the phone for Zappa's [[Barking Pumpkin Records]] hotline.<ref>{{Cite book|last=Watson|first=Ben|title=Academy Zappa: Proceedings of the First International Conference of Esemplastic Zappology|publisher=SAF Publishing|year=2005|isbn=978-0946719792|editor-last=Watson|editor-first=Ben|location=Dundrennan, UK|pages=72|chapter=Houston... Fort... Marcuse: Sin versus Archetype in Zappa's Oeuvre|editor-last2=Leslie|editor-first2=Esther}}</ref><ref>{{Cite book|last=Gamma|title=Academy Zappa: Proceedings of the First International Conference of Esemplastic Zappology|publisher=SAF Publishing|year=2005|isbn=978-0946719792|editor-last=Watson|editor-first=Ben|location=Dundrennan, UK|pages=208|chapter=Poodles: a Zappological reading of Ulysses|editor-last2=Leslie|editor-first2=Esther}}</ref> The 1987 [[VHS]] release of Zappa's film ''[[Baby Snakes]]'' includes, as an extra feature, Fialka giving a tour of Barfko-Swill. He is credited on-screen as "Gerald Fialka Cool Guy Who Wraps Stuff So It Doesn't Break".<ref>{{Cite web|title=gerry fialka|url=https://www.united-mutations.com/f/gerry_fialka.htm|url-status=live|access-date=July 8, 2021|website=United Mutations|archive-url=https://web.archive.org/web/20040105025331/https://www.united-mutations.com/f/gerry_fialka.htm |archive-date=January 5, 2004 }}</ref> A short clip of this tour is also included in the 2020 documentary film ''Zappa''.
In 1991, Zappa was chosen to be one of four featured composers at the world-acclaimed Frankfurt Festival in 1992 (the others were [[John Cage]], [[Karlheinz Stockhausen]] and [[Alexander Knaifel]]).<ref>{{Citation| editor-last = Menn| editor-first = Don | contribution = Andreas Mölich-Zebhauser—Preparing the Ensemble Modern for the Frankfurt Festival| title = Zappa! Guitar Player Presents.| year = 1992| pages = 12–13| place = San Francisco, CA| publisher = Miller Freeman| id = ISSN 1063-4533}}</ref> Zappa was approached by the German chamber ensemble, [[Ensemble Modern]], which was interested in playing his music for the event. Although ill, Zappa invited them to Los Angeles for rehearsals of new compositions and new arrangements of older material.<ref name="milesEM">Miles, 2004, ''Frank Zappa'', p. 369.</ref> In addition to being satisfied with the ensemble's performances of his music, Zappa also got along with the musicians, and the concerts in Germany and Austria were set up for the fall.<ref name="milesEM"/> In September 1992, the concerts went ahead as scheduled, but Zappa could only appear at two in Frankfurt due to illness. At the first concert, he conducted the opening "Overture", and the final "G-Spot Tornado" as well as the theatrical "Food Gathering in Post-Industrial America, 1992" and "Welcome to the United States" (the remainder of the program was conducted by the ensemble's regular conductor Peter Rundel). Zappa received a 20-minute ovation.<ref name="MilesEM">Miles, 2004, ''Frank Zappa'', p. 371.</ref> It would become his last professional public appearance, as the cancer was spreading to such an extent that he was in too much pain to enjoy an event that he otherwise found "exhilarating".<ref name="MilesEM"/> Recordings from the concerts appeared on ''[[The Yellow Shark]]'' (1993), Zappa's last release during his lifetime, and some material from studio rehearsals appeared on the posthumous ''[[Everything Is Healing Nicely]]'' (1999).


=== Digital medium and last tour ===
Frank Zappa died on Saturday, December 4, 1993 in his home surrounded by his wife and children. At a private ceremony the following day, Zappa was interred in an unmarked grave at the [[Westwood Village Memorial Park Cemetery]] in [[Westwood, Los Angeles, California|Westwood, Los Angeles]].<ref>Watson, 2005, ''Frank Zappa. The Complete Guide to His Music'', p. 552.</ref><ref>Miles, 2004, ''Frank Zappa'', pp. 379–380.</ref> On Monday, December 6 his family publicly announced that "Composer Frank Zappa left for his final tour just before 6:00&nbsp;pm on Saturday".<ref>Slaven, 2003, ''Electric Don Quixote'', p. 320.</ref>
{{see also|Frank Zappa Meets the Mothers of Prevention|Jazz from Hell|
Guitar (Frank Zappa album)|Broadway the Hard Way|The Best Band You Never Heard in Your Life|Make a Jazz Noise Here|You Can't Do That on Stage Anymore (disambiguation){{!}}You Can't Do That on Stage Anymore}}
Starting in the mid-1980s, Zappa undertook a comprehensive re-release program of his earlier vinyl recordings.<ref name="miles" />{{rp|340}} He personally oversaw the remastering of all his 1960s, 1970s, and early 1980s albums for the new digital compact disc (CD) medium.{{refn|group="nb"|For a comprehensive comparison of vinyl and CD releases, see {{cite web|url=http://lukpac.org/~handmade/patio/vinylvscds/|title=The Frank Zappa Album Versions Guide&nbsp;– Index|series=The Zappa Patio|publisher=lukpac.org/~handmade/patio|access-date=January 7, 2008}}}} Certain aspects of these re-issues have been criticized by some fans as being unfaithful to the original recordings, with changes made to ''We're Only in It for the Money'', ''Cruising with Ruben & the Jets'', ''Uncle Meat'', and ''Sleep Dirt'' being the most strongly criticized.<ref>Miles, 2004, ''Frank Zappa'', p.&nbsp;327.</ref> Nearly twenty years before the advent of online music stores, Zappa had proposed to replace "phonographic record merchandising" of music by "direct digital-to-digital transfer" through phone or cable TV (with royalty payments and consumer billing automatically built into the accompanying software).<ref name="Occhiogrosso" />{{rp|337–339}} In 1989, Zappa considered his idea a "miserable flop".<ref name="Occhiogrosso" />{{rp|337–339}}

The album ''[[Jazz from Hell]],'' released in 1986, earned Zappa his first [[Grammy Award]] in 1988 for [[Grammy Award for Best Rock Instrumental Performance|Best Rock Instrumental Performance]]. Except for one live guitar solo ("St. Etienne"), the album exclusively featured compositions brought to life by the Synclavier.

Zappa's last tour in a rock and jazz band format took place in 1988 with a 12-piece group which had a repertoire of over 100 (mostly Zappa) compositions, but which split under acrimonious circumstances before the tour was completed.<ref name="miles"/>{{rp|346–350}} The tour was documented on the albums ''[[Broadway the Hard Way]]'' (new material featuring songs with strong political emphasis); ''[[The Best Band You Never Heard in Your Life]]'' (Zappa "standards" and an eclectic collection of cover tunes, ranging from [[Maurice Ravel]]'s ''[[Boléro]]'' to [[Led Zeppelin]]'s "[[Stairway to Heaven]]"); and ''[[Make a Jazz Noise Here]]'' (Zappa's more instrumentally complex and jazz orientated material). An album of guitar solos from this tour also appeared as the posthumous 2006 album ''[[Trance-Fusion]]'', a follow-up to the ''Shut Up 'n Play Yer Guitar'' and ''Guitar'' albums.

More recordings from the 1988 tour would appear as part of ''[[You Can't Do That on Stage Anymore (disambiguation)|You Can't Do That on Stage Anymore]]'', a series of six double CDs compiled by Zappa from unreleased live recordings, dating back to the earliest Mothers recordings from 1965. The six volumes were released between 1988 and 1992. Two further archival live albums, ''[[Playground Psychotics]]'' and ''[[Ahead of Their Time]]'', were released in 1992 and 1993 respectively. The former collected recordings by the early 1970s "Flo & Eddie" era Mothers, while the latter was a complete concert by the original 1960s Mothers at the Royal Festival Hall in 1968 (footage from which has been used in the ''Uncle Meat'' movie).

''[[The Real Frank Zappa Book]]'', co-written with Peter Occhiogrosso, was published by [[Poseidon Press]] in 1989. Zappa appeared on the TV interview show ''[[Larry King Live]]'' to promote it. He explained the title by saying he wrote it in response to previous unauthorized books, which he considered to be stupid and exploitative.<ref>{{cite web | url=https://www.youtube.com/watch?v=aIO57D3ruQU | title=Frank Zappa plugs his autobiography on Larry King Live | website=[[YouTube]] | date=May 22, 2012 }}</ref>

===Health deterioration===
{{see also|The Yellow Shark}}
{{Listen|type=music|filename=Zappa_Nlite.ogg|description=One of Zappa's works for Synclavier on ''[[Civilization Phaze III]]'', cited as his "last great work".<ref name="watson05"/>{{rp|100}}|title="N-Lite" (1994)|pos=right}}
In 1990, Zappa was diagnosed with terminal [[prostate cancer]]. The disease had been developing unnoticed for years and was considered inoperable.<ref name="A.C. Grimes">{{cite web |url=https://www.grunge.com/132678/frank-zappas-tragic-real-life-story/ |title=Frank Zappa's Tragic Real-Life Story |website=[[Grunge.com]] |access-date=May 1, 2022 |date=September 5, 2018 |author=A.C. Grimes}}</ref><ref name="Pulse1993"/> After the diagnosis, Zappa devoted most of his energy to modern orchestral and [[Synclavier]] works. Shortly before his death in 1993 he completed ''[[Civilization Phaze III]]'', a major Synclavier work which he had begun in the 1980s.<ref name="miles"/>{{rp|374–375}}{{refn|group="nb"|It brought him a posthumous [[Grammy Award]] (with Gail Zappa) for [[Grammy Award for Best Boxed or Special Limited Edition Package|Best Recording Package&nbsp;– Boxed]] in 1994. {{cite web |url=http://www.grammy.com/nominees/search|title=Grammy Winners|publisher=National Academy of Recording Arts and Sciences |access-date=August 18, 2008}}}}

In 1991, Zappa was chosen to be one of four featured composers at the Frankfurt Festival in 1992 (the others were [[John Cage]], [[Karlheinz Stockhausen]], and [[Alexander Knaifel]]).<ref>{{cite book |editor-last=Menn| editor-first=Don|contribution=Andreas Mölich-Zebhauser – Preparing the Ensemble Modern for the Frankfurt Festival|title=Zappa! Guitar Player Presents|date=1992|pages=12–13|place=San Francisco, CA|publisher=Miller Freeman|issn=1063-4533}}</ref> Zappa was approached by the German chamber ensemble [[Ensemble Modern]] which was interested in playing his music for the event. Although ill, he invited them to Los Angeles for rehearsals of new compositions and new arrangements of older material.<ref name="miles"/>{{rp|369}} Zappa also got along with the musicians, and the concerts in Germany and Austria were set up for later in the year.<ref name="miles"/>{{rp|369}} Zappa also performed in 1991 in [[Prague]], claiming that "was the first time that he had a reason to play his guitar in 3 years", and that that moment was just "the beginning of a new country", and asked the public to "try to keep your country unique, do not change it into something else".<ref>{{cite web|url=http://globalia.net/donlope/fz/related/Adieu_CA.html |title=Pražský Výběr – Adieu CA |website=Globalia.net |access-date=December 10, 2016}}</ref><ref>{{YouTube|UFtHqDrJ-fA|Frank Zappa Last Performance (Prague 1991)}} at 3:50</ref>

[[John Kricfalusi]], creator of [[Nickelodeon]]'s ''[[The Ren & Stimpy Show]]'', idolized Zappa and got him to voice the [[Pope]] in the episode "[[Powdered Toast Man (episode)|Powdered Toast Man]]"; as Zappa was too ill to head to [[Spümcø]] at [[Los Angeles]], he recorded his lines at his residence. The episode aired in August 1992 to significant controversy without relation to Zappa's appearance.{{sfn|Komorowski|2017|p=145}}

In September 1992, the concerts went ahead as scheduled but Zappa could only appear at two in Frankfurt due to illness. At the first concert, he conducted the opening "Overture", and the final "[[G-Spot Tornado]]" as well as the theatrical "Food Gathering in Post-Industrial America, 1992" and "Welcome to the United States" (the remainder of the program was conducted by the ensemble's regular conductor [[Peter Rundel]]). Zappa received a 20-minute ovation.<ref name="miles"/>{{rp|371}} "G-Spot Tornado" was performed with Canadian dancer [[Louise Lecavalier]]. It was Zappa's last professional public appearance, as the cancer was spreading to such an extent that he was in too much pain to enjoy an event that he otherwise found "exhilarating".<ref name="miles"/>{{rp|371}} Recordings from the concerts appeared on ''[[The Yellow Shark]]'' (1993), Zappa's last release during his lifetime, and some material from studio rehearsals appeared on the posthumous ''[[Everything Is Healing Nicely]]'' (1999).

==Death==
Zappa died from [[prostate cancer]] on December 4, 1993, at his home with his wife and children by his side. On December 6, his family publicly announced that "Composer Frank Zappa left for his final tour just before 6:00&nbsp;pm on Saturday".<ref name="slaven03" />{{rp|320}} He was buried at a private ceremony in a grave at the [[Westwood Village Memorial Park Cemetery]], in Los Angeles. The grave has since been unmarked.<ref name="miles"/>{{rp|379–380}}<ref name="watson05"/>{{rp|552}}

==Musical style and development==
===Genres===
[[File:Frank Zappa 1973.JPG|thumb|Zappa performing in 1973]]
The general phases of Zappa's music have been variously categorized under [[blues rock]],<ref>{{cite magazine |url=https://newrepublic.com/article/160383/weird-frank-zappa-documentary-review |title=How Weird Was Frank Zappa? |last=Semley |first=John |date=November 26, 2020 |magazine=The New Republic |access-date=June 26, 2023|quote=It was also the year Zappa and his band, a blues-rock outfit called the Mothers of Invention}}</ref> [[experimental rock]],<ref name="Rosenberg">{{cite book|last=Rosenberg|first=Stuart|title=Rock and Roll and the American Landscape: The Birth of an Industry and the Expansion of the Popular Culture, 1955–1969|url=https://books.google.com/books?id=736Mu91q_fcC&pg=PA179|date=2009|publisher=iUniverse|isbn=978-1-4401-6458-3|page=179}}</ref> [[jazz]],<ref name="Rosenberg"/> [[classical music|classical]],<ref name="Rosenberg"/> [[avant-pop]],<ref name="avanttribeca">{{cite news|last1=Kozinn|first1=Alann|title='Emerging Avant-Pop': From Charles Ives to Frank Zappa|url=https://www.nytimes.com/2006/05/11/arts/music/11mons.html|work= New York Times|date=May 11, 2006}}</ref> [[experimental pop]],<ref>{{cite book|last=Landy|first=Leigh|author-link=Leigh Landy|title=Experimental Music Notebooks|url=https://books.google.com/books?id=E7zpgjW3-WQC&pg=PA100|date=1994|publisher=Taylor & Francis|isbn=978-3-7186-5554-0}}</ref> [[comedy rock]],<ref name="Comedy rock"/> [[doo-wop]],<ref name="museobit"/><ref>{{cite web|last1=Couture|first1=François|title=Cruising with Ruben & the Jets|url=https://www.allmusic.com/album/cruising-with-ruben-the-jets-mw0000196894 |website=[[AllMusic]]}}</ref> [[jazz fusion]],<ref name="semley2012"/> [[progressive rock]],<ref name="semley2012"/> [[proto-prog]],<ref>{{cite book|last=Greene|first=Doyle|title=Rock, Counterculture and the Avant-Garde, 1966–1970: How the Beatles, Frank Zappa and the Velvet Underground Defined an Era|url=https://books.google.com/books?id=ELeaCwAAQBAJ|date=2016|publisher=McFarland|isbn=978-1-4766-2403-7|page=182}} [https://books.google.com/books?id=ELeaCwAAQBAJ&pg=PA182 Extract of page 182]</ref> [[avant-jazz]],<ref name="semley2012"/> and [[psychedelic rock]].<ref name="semley2012">{{cite web |last1=Semley |first1=John |title=Where to dive into Frank Zappa's weird, unwieldy discography |url=https://www.avclub.com/where-to-dive-into-frank-zappa-s-weird-unwieldy-discog-1798232804 |website=[[The A.V. Club]] |date=August 9, 2012 |access-date=March 14, 2019 |archive-date=2017-12-22 |archive-url=https://web.archive.org/web/20171222052233/https://music.avclub.com/where-to-dive-into-frank-zappa-s-weird-unwieldy-discog-1798232804 |url-status=live }}</ref>

===Influences===
Zappa grew up influenced by [[avant-garde]] composers such as Edgard Varèse, Igor Stravinsky, and Anton Webern; 1950s [[blues]] artists [[Clarence "Gatemouth" Brown]], [[Guitar Slim]], [[Howlin' Wolf]], [[Johnny "Guitar" Watson]], and [[B.B. King]];<ref>{{cite web|url=http://www.afka.net/Articles/1987-01_Guitar_Player.htm|title=Frank Zappa On&nbsp;... The '80s Guitar Clone|last=Dan|first=Forte|date=January 1987|access-date=March 30, 2016}}</ref> Egyptian composer [[Halim El-Dabh]];<ref name="Holmes"/> R&B and [[doo-wop]] groups (particularly local [[pachuco]] groups); and modern jazz. His own heterogeneous ethnic background, and the diverse social and cultural mix in and around greater Los Angeles, were crucial in the formation of Zappa as a practitioner of [[underground music]] and of his later distrustful and openly critical attitude towards "mainstream" social, political and musical movements. He frequently lampooned musical fads like [[psychedelia]], [[rock opera]] and [[disco]].<ref name="watson96"/>{{rp|13}}{{refn|group="nb"|Among his many musical satires are the 1967 songs "Flower Punk" (which parodies the song "[[Hey Joe]]") and "[[Who Needs the Peace Corps?]]", which are critiques of the late-Sixties commercialization of the [[hippie]] phenomenon.<ref>{{cite book|title=The Producer as Composer: Shaping the Sounds of Popular Music|edition=illustrated|first1=Virgil|last1=Moorefield |publisher=MIT Press|date=2010|isbn=978-0-262-51405-7|page=38|url=https://books.google.com/books?id=PZ0R4_Oxr-4C}}</ref>}} Television also exerted a strong influence, as demonstrated by quotations from show themes and advertising jingles found in his later works.<ref name="quotes"/>

In his book ''The Real Frank Zappa Book'', Zappa credited composer [[Spike Jones]] for his frequent use of funny sound effects, mouth noises, and humorous percussion interjections. After explaining his ideas on this, he said "I owe this part of my musical existence to Spike Jones."<ref>{{Cite book |last1=Zappa |first1=Frank |last2=Occhiogrosso |first2=Peter |year=1988 |title=The Real Frank Zappa Book |url=http://pierroule.com/ZappaRealBook/TheRFZBook.htm#8 |archive-url=https://web.archive.org/web/20220408185245/http://pierroule.com/ZappaRealBook/TheRFZBook.htm#8 |archive-date=April 8, 2022 |url-status=live |access-date=December 4, 2021 |via=pierroule.com |publisher=[[Simon & Schuster]]|isbn=0-671-63870-X}}</ref>

===Project/Object===
Zappa's albums make extensive use of [[segue]]d tracks, breaklessly joining the elements of his albums.<ref name="segue">{{cite book |title=Frank Zappa FAQ: All That's Left to Know About the Father of Invention |first1=John |last1=Corcelli |publisher=Hal Leonard Corporation |date=2016 |isbn=978-1-61713-673-3 |page=290 |url=https://books.google.com/books?id=8e7aDgAAQBAJ}} [https://books.google.com/books?id=8e7aDgAAQBAJ&pg=PT209 Extract of page 290]</ref> His total output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas, and characters reappearing across his albums.<ref name="semley2012"/> He also called it a "conceptual continuity", meaning that any project or album was part of a larger project. Everything was connected, and musical themes and lyrics reappeared in different form on later albums. Conceptual continuity clues are found throughout Zappa's entire œuvre.<ref name="miles"/>{{rp|160}}<ref name="quotes">For a comprehensive list of the appearance of parts of "old" compositions or quotes from others' music in Zappa's catalogue, see {{cite web|url=http://globalia.net/donlope/fz/quotes.html|title= FZ Musical Quotes|last=Albertos|first=Román García|series=Information is Not Knowledge|publisher=globia.net/donlope|access-date=January 21, 2008}}</ref>

===Techniques===
====Guitar playing====
Zappa is widely recognized as one of the most significant electric guitar soloists. In a 1983 issue of ''[[Guitar World]]'', John Swenson declared: "the fact of the matter is that [Zappa] is one of the greatest guitarists we have and is sorely unappreciated as such."<ref>{{cite magazine |url=https://www.guitarworld.com/gw-archive/frank-zappa-talks-gear-praises-steve-vai-his-first-guitar-world-interview-1982 |title=Frank Zappa Talks Gear, Praises Steve Vai in His First Guitar World Interview from 1982 |magazine=Guitar World |date=April 22, 2011 |access-date=December 10, 2016 |archive-url=https://web.archive.org/web/20151115230030/http://www.guitarworld.com/frank-zappa-talks-gear-praises-steve-vai-his-first-guitar-world-interview-1982 |archive-date=November 15, 2015 |url-status=dead}}</ref> His idiosyncratic style developed gradually and was mature by the early 1980s, by which time his live performances featured lengthy improvised solos during many songs. A November 2016 feature by the editors of ''Guitar Player'' magazine wrote: "Brimming with sophisticated motifs and convoluted rhythms, Zappa's extended excursions are more akin to symphonies than they are to guitar solos." The symphonic comparison stems from his habit of introducing melodic themes that, like a symphony's main melodies, were repeated with variations throughout his solos. He was further described as using a wide variety of scales and modes, enlivened by "unusual rhythmic combinations". His left hand was capable of smooth [[legato]] technique, while Zappa's right was "one of the fastest pick hands in the business."<ref>{{cite web|url=http://www.guitarplayer.com/artist-lessons/1026/frank-zappa-shut-up-n-learn-his-guitar-techniques--tab--audio/56754 |title=Frank Zappa: Shut Up 'N Learn His Guitar Techniques &#124; TAB + AUDIO |publisher=GuitarPlayer |date=November 23, 2016 |access-date=December 10, 2016}}</ref> In 2016, [[Dweezil Zappa]] explained a distinctive element of his father's guitar improvisation technique was relying heavily on upstrokes much more than many other guitarists, who are more likely to use downstrokes with their picking.<ref name="dweezilimprov" />

His song "Outside Now" from ''[[Joe's Garage]]'' poked fun at the negative reception of Zappa's guitar technique by those more commercially minded, as the song's narrator lives in a world where music is outlawed and he imagines "imaginary guitar notes that would irritate/An executive kind of guy", lyrics that are followed by one of Zappa's characteristically quirky solos in 11/8 time.<ref>{{cite web|author=François Couture |url=https://www.allmusic.com/song/outside-now-mt0006332790 |title="Outside Now" – Frank Zappa &#124; Song Info |website=[[AllMusic]] |access-date=December 10, 2016}}</ref> Zappa transcriptionist Kasper Sloots wrote, "Zappa's guitar solos aren't meant to show off technically (Zappa hasn't claimed to be a big virtuoso on the instrument), but for the pleasure it gives trying to build a composition right in front of an audience without knowing what the outcome will be."<ref>{{cite web|url=http://www.zappa-analysis.com/shuttxt.htm |title=Shut up 'n play yer guitar |website=Zappa-analysis.com |access-date=December 10, 2016}}</ref>

Zappa's guitar style was not without its critics. English guitarist and bandleader [[John McLaughlin (musician)|John McLaughlin]], whose band [[Mahavishnu Orchestra]] toured with the Mothers of Invention in 1973, opined that Zappa was "very interesting as a human being and a very interesting composer" and that he "was a very good musician but he was a dictator in his band," and that he "was taking very long guitar solos [when performing live]—10–15 minute guitar solos and really he should have taken two or three minute guitar solos, because they were a little bit boring."<ref>{{cite web | url=https://www.hit-channel.com/interview-john-mclaughlin-solo-mahavishnu-orchestra-miles-davis/151278 | title=Interview: John McLaughlin (solo, Mahavishnu Orchestra, Miles Davis) • Hit Channel| date=September 22, 2018}}</ref>

In 2000, he was ranked number 36 on [[VH1]]'s ''100 Greatest Artists of Hard Rock''.<ref name="youtube.com">{{Cite web|url=https://www.youtube.com/playlist?list=PLxm64mApR05CJVCePlmcUFluSZyiAvKZ8|title=VH1 100 Greatest Artists of Hard Rock – YouTube|website=YouTube |date=November 6, 2018 |access-date=November 14, 2020}}</ref> In 2004, ''[[Rolling Stone]]'' magazine ranked him at number 71 on its [[Rolling Stone's 100 Greatest Artists of All Time|list of the "100 Greatest Artists of All Time"]],<ref>{{cite magazine|title=100 Greatest Artists|url=https://www.rollingstone.com/music/music-lists/100-greatest-artists-147446/frank-zappa-3-86388/ |magazine=Rolling Stone|date=December 3, 2010 |access-date=March 14, 2019}}</ref> and in 2011 at number 22 on its list of the "100 Greatest Guitarists of All Time".<ref>{{cite magazine|title=100 Greatest Guitarists|url=https://www.rollingstone.com/music/music-lists/100-greatest-guitarists-153675/frank-zappa-7-155589/ |magazine=[[Rolling Stone]] |date=December 18, 2015 |access-date=March 14, 2019}}</ref>

====Tape manipulation====
During recording sessions in New York in 1967, Zappa increasingly used [[audio engineer|tape editing]] as a compositional tool.<ref name="miles"/>{{rp|160}} A prime example is found on the double album ''[[Uncle Meat]]'' (1969),<ref name="james"/>{{rp|104}} where the track "King Kong" is edited from various studio and live performances. Zappa had begun regularly recording concerts,{{refn|group="nb"|In the process, he built up a vast archive of live recordings. In the late 1980s some of these recordings were collected for the 12-CD set ''You Can't Do That on Stage Anymore''.}} and because of his insistence on precise [[Out of tune|tuning]] and timing, he was able to augment his studio productions with excerpts from live shows, and vice versa.<ref name="Mix2003">{{cite web|title=We are The Mothers&nbsp;... and This Is What We Sound Like!|last=Michie|first=Chris|publisher=MixOnline.com|date=January 2003|url=http://mixonline.com/recording/business/audio_mothers_sound|access-date=January 4, 2008|url-status=dead|archive-url=https://web.archive.org/web/20080308055438/http://mixonline.com/recording/business/audio_mothers_sound/|archive-date=March 8, 2008}}</ref> Later, he combined recordings of different compositions into new pieces, irrespective of the [[tempo]] or [[Meter (music)|meter]] of the sources. He dubbed this process "[[xenochrony]]" (strange synchronizations<ref>{{cite web |first=Bob |last=Marshall |title=Interview with Frank Zappa |date=October 22, 1988 |url=https://www.afka.net/Articles/1988-10_Bob_Marshall_Interview.htm |website=afka.net |access-date=October 18, 2023 }}</ref>)—reflecting the Greek "xeno" (alien or strange) and "chronos" (time).<ref name="Mix2003"/>

==Personal life==
===Family===
{{main|Gail Zappa|Moon Zappa|Dweezil Zappa|Ahmet Zappa|Diva Zappa}}
[[File:Simon Prentis & Frank Zappa & Gerry Fialka & Gail Zappa.webp|thumb|Left to right: Simon Prentis (Zappa's "Semantic Scrutinizer"), Zappa, Zappa's production assistant [[Gerry Fialka]], and Zappa's second wife Gail outside Zappa's home recording studio [[Utility Muffin Research Kitchen]] in 1986. Prentis holds a preview cassette of the album ''[[Jazz from Hell|Jazz From Hell]]'' that Fialka had just delivered for Zappa's approval.<ref>{{Cite web |last=Prentis |first=Simon |title=Simon Prentis – interpreter, translator & author |archive-url=https://web.archive.org/web/20160824090119/https://www.simonprentis.net/ |archive-date=August 24, 2016 |url=https://www.simonprentis.net/|url-status=live|access-date=July 24, 2021|website=Simon Prentis}}</ref>]]

Zappa's parents were Francis Vincent Zappa and Rose Marie Zappa (née Colimore). Frank was the eldest of four children, followed by his brothers Bobby and Carl and sister Patrice.

Zappa was married to Kathryn J. "Kay" Sherman from 1960 to 1963. In 1967, he married [[Gail Zappa|Adelaide Gail Sloatman]].<ref>{{cite web|url=http://www.autopsyfiles.org/reports/deathcert/zappa,%20frank_dc.pdf |title=Frank Zappa death certificate |website=Autopsyfiles.org |access-date=December 10, 2016}}</ref><ref>{{cite book|title=Rock Stars Do The Dumbest Things|first1=Margaret|last1=Moser|first2=Bill|last2=Crawford|publisher=Macmillan|date=2007|isbn=978-1-4299-7838-5|page=260|url=https://books.google.com/books?id=exdHqRsPWAUC}} [https://books.google.com/books?id=exdHqRsPWAUC&pg=PT260 Extract of page 260]</ref> He and his second wife had four children: [[Moon Zappa|Moon]] (born 1967), [[Dweezil Zappa|Dweezil]] (born 1969), [[Ahmet Zappa|Ahmet]] (born 1974), and [[Diva Zappa|Diva]] (born 1979).<ref>{{cite book|title=Electric Don Quixote: The Definitive Story Of Frank Zappa|first1=Neil|last1=Slaven|publisher=Omnibus Press|date=2009|isbn=978-0-85712-043-4|page=529|url=https://books.google.com/books?id=4lNRIZm_baQC}} [https://books.google.com/books?id=4lNRIZm_baQC&pg=PT529 Extract of page 529]</ref> Moon and Ahmet sang on Frank's 1981 album ''[[You Are What You Is]]'', while Moon also provided the "[[Valley girl]]" voice on [[Valley Girl (song)|the song of the same name]] on 1982's ''[[Ship Arriving Too Late to Save a Drowning Witch]]''. The song became Frank's only US Top 40 hit single and is credited with popularizing [[valspeak]] and valley girl culture, despite being intended by Frank and Moon as a parody and criticism of it.<ref>{{cite journal|title=Living: How Toe-dully Max Is Their Valley|first1=Michael |last1=Demarest|first2=Alessandra |last2=Stanley|date=September 27, 1982 |journal=[[Time Magazine]] |url=http://www.time.com/time/printout/0,8816,925750,00.html|archive-url=https://archive.today/20120912163312/http://www.time.com/time/printout/0,8816,925750,00.html|url-status=dead|archive-date=September 12, 2012}}</ref><ref>{{cite book|title=The Pacific Region (Series: The Greenwood Encyclopedia of American Regional Cultures) |editor1=Goggans, DiFranco |last1=Donald |last2=Kikisawa |last3=Gaul |last4=Holton |chapter=Language |year= 2004 |publisher=[[Greenwood Publishing Group]] |page=281 |isbn=978-0-313-33043-8 |access-date=2011-11-14 |chapter-url=https://books.google.com/books?id=8-6c1tgoSZkC&pg=PA281}}</ref><ref>{{cite journal|title=Update |journal=Newsweek |volume=106 |issue=1–9 |page=8 |last1=Moley |last2=Muir |last3=Phillips |last4=Smith |last5=Williamson |year= 1985 |url=https://books.google.com/books?id=qtLjAAAAMAAJ&q=zappa+galleria}}{{subscription required}}</ref> An accomplished guitarist in his own right, Dweezil made several guest appearances on stage with Frank during the 1982, 1984, and 1988 tours, and Frank produced Dweezil's first album ''[[Havin' a Bad Day]]'' in 1986.

Following Zappa's death, his widow Gail created the Zappa Family Trust, which owns the rights to Zappa's music and some other creative output: 62 albums released during Zappa's lifetime and 67 posthumously as of September 2024. Upon Gail's death in October 2015, the Zappa children received shares of the trust; Ahmet and Diva received 30% each, Moon and Dweezil received 20% each.<ref name=":1">{{Cite news |title=Inside the Zappa Family Feud |magazine=Rolling Stone |url=https://www.rollingstone.com/music/features/inside-the-zappa-family-feud-w431684 |access-date=August 26, 2022 |archive-url=https://web.archive.org/web/20171208003605/https://www.rollingstone.com/music/features/inside-the-zappa-family-feud-w431684 |archive-date=December 8, 2017 |url-status=dead}}</ref> The original trust, signed by Frank and Gail in 1990, assured the four children would receive equal shares, but this was altered by Gail sometime after Frank's death.<ref>{{cite news|url=https://www.washingtonpost.com/entertainment/music/interactive/2024/frank-zappa-family-feud-moon-unit-dweezil/?pwapi_token=eyJ0eXAiOiJKV1QiLCJhbGciOiJIUzI1NiJ9.eyJyZWFzb24iOiJnaWZ0IiwibmJmIjoxNzIzMzQ4ODAwLCJpc3MiOiJzdWJzY3JpcHRpb25zIiwiZXhwIjoxNzI0NzMxMTk5LCJpYXQiOjE3MjMzNDg4MDAsImp0aSI6IjVkYzYyNzRiLTk1MTktNGE1NS04Y2FlLTBlMWRmNmJjZTMwMiIsInVybCI6Imh0dHBzOi8vd3d3Lndhc2hpbmd0b25wb3N0LmNvbS9lbnRlcnRhaW5tZW50L211c2ljL2ludGVyYWN0aXZlLzIwMjQvZnJhbmstemFwcGEtZmFtaWx5LWZldWQtbW9vbi11bml0LWR3ZWV6aWwvIn0.6E0LOKlbg-2zcEMHZmDR6jirekKrIAiB211xH0D0fHE&itid=gfta|title=Frank Zappa's kids are still grappling with his legacy — and each other|newspaper=[[The Washington Post]] }}</ref>

===Captain Beefheart===
{{main|Captain Beefheart}}
Zappa and [[Captain Beefheart|Don Van Vliet]] met when they were both teenagers and shared an interest in [[rhythm and blues]] and [[Chicago blues]].<ref name=Taylor>Steve Taylor{{cite book |url=https://books.google.com/books?id=KPOsu8JOHO8C&q=Captain+Beefheart&pg=PA53 |title=A to X of Alternative Music|page=53 |publisher=Continuum International Publishing Group |year=2006 |isbn=0826482171|access-date=January 26, 2010 }}</ref> They collaborated from this early stage with Zappa's scripts for "teenage operettas", such as "Captain Beefheart & the Grunt People", with Vliet eventually adopting the Captain Beefheart name. The earliest known recording of either Zappa or Beefheart is a collaboration between them, "Lost in a Whirlpool", recorded around 1958/1959 and included on the posthumous Zappa album ''[[The Lost Episodes]]'' in 1996. In 1963, the pair recorded a demo at the [[Pal Recording Studio]] in Cucamonga as the Soots, seeking support from a major label. Their efforts were unsuccessful, as Vliet's [[Howlin' Wolf]]-influenced vocal style and Zappa's distorted guitar were "not on the agenda" at the time.<ref name="Taylor"/> In 1965, while Zappa formed the Mothers of Invention, Beefheart assembled Captain Beefheart and His Magic Band. Their third album, 1969's critically acclaimed ''[[Trout Mask Replica]]'', was produced by Zappa. That same year, Beefheart provided the vocal on "Willie the Pimp" on the ''[[Hot Rats]]'' album. Beefheart also played the harmonica on "San Ber'dino" (credited as "Bloodshot Rollin' Red") on ''[[One Size Fits All (Frank Zappa album)|One Size Fits All]]'' (1975) and "[[Find Her Finer]]" on ''[[Zoot Allures]]'' (1976).<ref>[http://www.beefheart.com/shop/zapbeef.htm "Frank Zappa featuring Captain Beefheart"] {{webarchive|url=https://web.archive.org/web/20100918125350/http://beefheart.com/shop/zapbeef.htm |date=September 18, 2010 }} The Captain Beefheart Radar Station. Retrieved July 1, 2010.</ref>

Over the years, Zappa and Beefheart's friendship was sometimes expressed in the form of rivalry, as musicians drifted back and forth between their groups. Beefheart joined Zappa's band on the 1975 tour, documented on the ''[[Bongo Fury]]'' album,<ref>{{cite web|url=http://www.discogs.com/Zappa-Beefheart-Mothers-Bongo-Fury/master/35842 |title=''Bongo Fury'' for Mothers link |work=Discogs.com |year=1975 |access-date=July 18, 2011}}</ref> mainly because conflicting contractual obligations made Beefheart unable to tour or record independently at the time. Their relationship grew acrimonious on the tour to the point that they refused to talk to one another. Zappa became irritated by Beefheart, who drew constantly, including while on stage, filling one of his large sketch books with rapidly executed portraits and warped caricatures of Zappa. Musically, Beefheart's primitive style contrasted sharply with Zappa's compositional discipline and abundant technique. Mothers of Invention drummer [[Jimmy Carl Black]] described the situation as "two geniuses" on "ego trips".<ref>{{cite web|url=https://www.youtube.com/watch?v=O3zxyUy0VOY|title=The Artist Formally Known as Captain Beefheart|website=[[YouTube]] |date=June 5, 2021 }}</ref> Estranged for years afterwards, they reconciled by the end of Zappa's life.

==Beliefs and politics==
===Drugs===
Zappa stated, "Drugs do not become a problem until the person who uses the drugs does something to you, or does something that would affect your life that you don't want to have happen to you, like an airline pilot who crashes because he was full of drugs."<ref>{{cite web|url=http://home.online.no/~corneliu/Part03.html |title=Interview by Bob Marshall, October 22, 1988 – Part 03 |url-status=dead |archive-url=https://archive.today/20130223085837/http://home.online.no/~corneliu/Part03.html |archive-date=February 23, 2013 |access-date=October 3, 2016}}</ref> Zappa was a heavy [[Tobacco smoking|tobacco smoker]] for most of his life, and critical of anti-tobacco campaigns.{{refn|group="nb"|He considered such campaigns as [[yuppie]] inventions and noted that "Some people like garlic.&nbsp;... I like pepper, tobacco and coffee. That's my metabolism."<ref name="Occhiogrosso"/>{{rp|234–235}} and once described tobacco as his "favorite vegetable."<ref>{{cite AV media |url=https://www.youtube.com/watch?v=UDYzuwG-gOE&t=481 | archive-url=https://ghostarchive.org/varchive/youtube/20211027/UDYzuwG-gOE| archive-date=October 27, 2021|work=[[Today (U.S. TV program)|The Today Show]] |time=8:01 |publisher=NBC |title=Jamie Gangel interviews Frank Zappa |date=1993}}{{cbignore}}</ref>}}

While he disapproved of drug use, he criticized the [[War on Drugs]], comparing it to [[alcohol prohibition]], and stated that the [[United States Treasury]] would benefit from the decriminalization and regulation of drugs.<ref name="Occhiogrosso"/>{{rp|329}} Describing his philosophical views, Zappa stated, "I believe that people have a right to decide their own destinies; people own themselves. I also believe that, in a democracy, government exists because (and only so long as) individual citizens give it a 'temporary license to exist'—in exchange for a promise that it will behave itself. In a democracy, you own the government—it doesn't own you."<ref name="Occhiogrosso"/>{{rp|315–316, 323–324, 329–330}}

===Government and religion===
[[File:Praga 7 zappa havel.jpg|left|thumb|Zappa with [[Václav Havel]], 1990]]
In a 1991 interview, Zappa reported that he was a registered [[Democratic Party (United States)|Democrat]] but added "that might not last long—I'm going to shred that."<ref>{{YouTube|id=XgJvMwAscO0|''web Interview with Mienfoking Films''}} (4:50)</ref> Describing his political views, Zappa categorized himself as a "[[Conservatism in the United States|practical conservative]]."{{Refn|group="nb"|"Politically, I consider myself to be a (don't laugh) 'Practical Conservative'. I want a smaller, less intrusive government, and lower taxes. What? You too?"<ref name="Occhiogrosso"/>{{rp|315}}}} He favored [[limited government]] and low [[Taxation|taxes]]; he also stated that he approved of national defense, [[Social Security (United States)|social security]], and other federal programs, but only if recipients of such programs are willing and able to pay for them.<ref name="Occhiogrosso"/>{{rp|315–316, 323–324, 329–330}} He opposed military drafts, saying that military service should be voluntary.<ref>{{cite web |url=https://www.udiscovermusic.com/stories/frank-zappa-you-are-what-you-is-feature/ |title='You Are What You Is': Frank Zappa's Savagely Satirical Pop Masterclass |last=Atkins |first=Jamie |date=September 23, 2022 |publisher=uDiscoverMusic |access-date=September 27, 2022}}</ref> He favored capitalism, [[entrepreneurship]], and independent business, stating that musicians could make more from owning their own businesses than from collecting royalties.<ref>{{Cite news|url=https://www.latimes.com/archives/la-xpm-1989-12-19-fi-721-story.html|date=December 19, 1989|title=Frank Zappa, Capitalist Rocker|author1=Apodaca, Patrice|access-date=October 3, 2016|newspaper=[[Los Angeles Times]]}}</ref> He [[Anti-communism|opposed]] communism, stating, "A system that doesn't allow ownership... has—to put it mildly—a fatal design flaw."<ref name="Occhiogrosso"/>{{rp|315–316, 323–324, 329–330}} He had used his album covers to encourage his fans to [[Voter registration|register to vote]], and throughout 1988, he had registration booths at his concerts.<ref name="miles"/>{{rp|348}} He even considered running for president of the United States as an independent.<ref name="miles"/>{{rp|365}}<ref>{{cite book |title=The Routledge History of Social Protest in Popular Music |edition=illustrated |first1=Jonathan C. |last1=Friedman |publisher=Routledge |date=2013 |isbn=978-1-136-44729-7 |page=151 |url=https://books.google.com/books?id=BC16oLUzlSIC}} [https://books.google.com/books?id=BC16oLUzlSIC&pg=PA151 Extract of page 151]</ref>

Zappa was an [[Atheism|atheist]].<ref>{{cite book|last1=Kaylan|first1=Howard|last2=Tamarkin|first2=Jeff|title=Shell Shocked: My Life with the Turtles, Flo and Eddie, and Frank Zappa, etc.|date=2013|publisher=Hal Leonard Corporation|isbn=978-1-4803-4293-4|url=https://books.google.com/books?id=SQ5OjILuPywC|access-date=October 21, 2014|quote=I was an atheist. Zappa was atheist.}}</ref><ref>{{cite book|title=The Oxford Handbook of Atheism|date=2013|publisher=Oxford University Press|isbn=978-0-19-964465-0|page=722|editor1=Stephen Bullivant|editor2=Michael Ruse |quote=Of numerous atheist rock musicians, Frank Zappa ranks among the most outspoken.}}</ref> He recalled his parents being "pretty religious" and trying to make him go to Catholic school despite his resentment. He felt disgust towards [[organized religion]] (Christianity in particular) because he believed that it promoted ignorance and [[anti-intellectualism]]. He held the view that the Garden of Eden story shows that the essence of Christianity is to oppose gaining knowledge.<ref>{{cite interview |first=Frank |last=Zappa |interviewer=[[David Sheff]] |title=Frank Zappa's 1993 Playboy Interview |url=https://www.playboy.com/read/frank-zappa-s-1993-playboy-interview |work=[[Playboy]] |date=May 2, 1993 |access-date=March 14, 2019}}</ref> Some of his songs, concert performances, interviews and public debates in the 1980s criticized and derided Republicans and their policies—President [[Ronald Reagan]], the [[Strategic Defense Initiative|Strategic Defense Initiative (SDI)]], [[televangelism]], and the [[Christian Right]]—and warned that the United States government was in danger of becoming a "fascist theocracy."<ref>{{cite AV media |first=Frank |last=Zappa |date=2003 |title=[[Does Humor Belong in Music? (video)|Does Humor Belong in Music?]] |medium=Motion picture (DVD) |publisher=EMI |orig-date=Recorded 1984}}</ref><ref name="CNN TV Debate">{{cite web|date=March 1986|title=Crossfire with Frank Zappa and John Lofton|publisher=CNN [TV Debate]|url=https://archive.org/details/FrankZappaOnCrossfire|access-date=October 3, 2016}}</ref>

In early 1990, Zappa visited [[Czechoslovakia]] at the request of [[President of the Czech Republic|President]] [[Václav Havel]]. The meeting had been arranged by keyboardist [[Michael Kocáb]]. A longtime admirer of Zappa's commitment to individualism, Havel designated him as Czechoslovakia's "Special Ambassador to the West on Trade, Culture and Tourism."<ref name="Pompilio">{{cite web|last=Pompilio|first=Natalie|title=Frank Zappa: Revolutionary|publisher=Legacy.com|date=December 4, 2013|url=http://www.legacy.com/news/legends-and-legacies/frank-zappa-revolutionary/1726|access-date=November 9, 2014}}</ref> Havel was a lifelong fan of Zappa, who had great influence in the avant-garde and underground scene in Central Europe in the 1970s and 1980s. [[The Plastic People of the Universe]], a [[Czechoslovakia]]n jazz rock group associated with [[Prague underground (culture)|Prague underground culture]], took its name from Zappa's 1967 song "[[Plastic People]]".<ref>{{Cite journal|last=Mitchell|first=Tony|title=Mixing Pop and Politics: Rock Music in Czechoslovakia before and after the Velvet Revolution|journal=Popular Music. A Changing Europe|volume=11|issue=2|date=May 1992|pages=187–203|doi=10.1017/s0261143000004992|s2cid=154964927 }}</ref> Under pressure from Secretary of State, [[James Baker]], Zappa's posting (as Czech 'Special Ambassador') was withdrawn.<ref>{{cite book|title=Negotiated Revolutions: The Czech Republic, South Africa and Chile|first1=George|last1=Lawson|publisher=Ashgate|date=2005|isbn=978-0-7546-4327-2|page=103|url=https://books.google.com/books?id=YrRdTA-B6PcC}}</ref> Havel made Zappa an unofficial [[cultural attaché]] instead.<ref name="miles"/>{{rp|357–361}} Zappa planned to develop an international consulting enterprise to facilitate trade between the former Eastern Bloc and Western businesses.<ref name="Pulse1993">{{cite news|url=https://www.afka.net/Articles/1993-08_Pulse.htm|last=Ouellette|first=Dan|title=Frank Zappa|newspaper=[[Pulse! magazine|Pulse!]]|pages=48–56|date=August 1993}}</ref>

===Anti-censorship activism===
Zappa expressed opinions on censorship when he appeared on [[CNN]]'s ''[[Crossfire (U.S. TV program)|Crossfire]]'' TV series and debated issues with ''Washington Times'' commentator [[John Lofton]] in 1986.<ref name="CNN TV Debate"/> On September 19, 1985, Zappa testified before the [[United States Senate]] Commerce, Technology, and Transportation committee, attacking the [[Parents Music Resource Center]] or PMRC, a music organization co-founded by [[Tipper Gore]], wife of then-senator [[Al Gore]].<ref>{{cite journal |doi=10.1007/s12103-019-09495-3 |last=Deflem |first=Mathieu |date=2020 |url=https://deflem.blogspot.com/2020/03/music-censorship-labeling.html |title=Popular Culture and Social Control: The Moral Panic on Music Labeling |journal=American Journal of Criminal Justice |volume=45 |number=1 |pages=2–24 |s2cid=198196942 |orig-date=July 24, 2019}}</ref> The PMRC consisted of many wives of politicians, including the wives of five members of the committee, and was founded to address the issue of song lyrics with sexual or satanic content.<ref>{{cite book |last=Day |first=Nancy |date=2001 |title=Censorship: or Freedom of Expression? |page=[https://archive.org/details/censorshiporfree00nanc/page/53 53] |publisher=Twenty-First Century Books |isbn=978-0822526285 |url=https://archive.org/details/censorshiporfree00nanc/page/53}}</ref> During Zappa's testimony, he stated that there was a clear conflict of interest between the PMRC due to the relations of its founders to the politicians who were then trying to pass what he referred to as the "Blank Tape Tax." Kandy Stroud, a spokeswoman for the PMRC, announced that Senator Gore (who co-founded the committee) was a co-sponsor of that legislation. Zappa suggested that record labels were trying to get the bill passed quickly through committees, one of which was chaired by Senator Strom Thurmond, who was also affiliated with the PMRC. Zappa further said that this committee was being used as a distraction from that bill being passed, which would lead only to the benefit of a select few in the music industry.<ref name="pmrc-statement">{{cite web |url=https://urbigenous.net/library/zappa.html |title=Frank Zappa: Statement To Congress, September 19, 1985 |date=September 19, 1985 |via=urbigenous.net |access-date=March 14, 2019}}</ref><ref name="cspan">{{cite AV media |url=https://www.c-span.org/video/?69484-1/rock-lyrics-record-labeling |title=Rock Lyrics Record Labeling |date=September 19, 1985 |access-date=March 14, 2019 |work=[[C-SPAN]] |time=1:23:00}}</ref>

Zappa saw their activities as on a path towards censorship<ref name="Occhiogrosso"/>{{rp|267}} and called their proposal for voluntary [[Parental Advisory|labelling of records]] with explicit content "extortion" of the music industry.<ref name="Occhiogrosso"/>{{rp|262}}

In his prepared statement, he said:

<blockquote>The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civil liberties of people who are not children, and promises to keep the courts busy for years dealing with the interpretational and enforcemental problems inherent in the proposal's design. It is my understanding that, in law, [[First Amendment]] issues are decided with a preference for the least restrictive alternative. In this context, the PMRC's demands are the equivalent of treating [[dandruff]] by [[decapitation]].&nbsp;... The establishment of a rating system, voluntary or otherwise, opens the door to an endless parade of moral quality control programs based on things certain Christians do not like. What if the next bunch of Washington wives demands a [[Yellow badge|large yellow "J"]] on all material written or performed by Jews, in order to save helpless children from exposure to concealed Zionist doctrine?<ref name="pmrc-statement"/><ref name="cspan"/><ref>{{cite web |url=http://www.joesapt.net/superlink/shrg99-529/p51.html|title=Record Labeling. Hearing before the committee on commerce, science and transportation|publisher=U.S. Government printing office|date=September 19, 1985|access-date=December 31, 2007}}</ref></blockquote>

Zappa set excerpts from the PMRC hearings to Synclavier music in his composition "Porn Wars" on the 1985 album ''[[Frank Zappa Meets the Mothers of Prevention]]'', and the full recording was released in 2010 as ''[[Congress Shall Make No Law...]]'' Zappa is heard interacting with Senators [[Fritz Hollings]], [[Slade Gorton]] and [[Al Gore]].<ref name="lowe194">{{cite book |title=The Words and Music of Frank Zappa |first1=Kelly | last1=Fisher Lowe |publisher=U of Nebraska Press |date=2007 |isbn=978-0-8032-6005-4 |page=194 |url=https://books.google.com/books?id=uAYfqgGf4yYC}} [https://books.google.com/books?id=uAYfqgGf4yYC&pg=PA194 Extract of page 194]</ref>


==Legacy==
==Legacy==
{{main|Frank Zappa in popular culture}}
===Acclaim and honors===
Zappa was a controversial figure. As [[Geoffrey Himes]] noted in 1993 after the artist's death, Zappa was hailed as a genius by conductor [[Kent Nagano]] and nominated by Czechoslovakian President [[Václav Havel]] to the country's cultural ambassadorship, but he was in his lifetime rejected twice for admission into the [[Rock and Roll Hall of Fame]]. In ''[[Christgau's Record Guide: Rock Albums of the Seventies]]'' (1981), [[Robert Christgau]] dismissed Zappa's music as "sexist adolescent drivel ... with meters and voicings and key changes that are as hard to play as they are easy to forget."<ref name="wp"/> According to Himes:
{{quote box|quote=Frank Zappa was one of the first to try tearing down the barriers between rock, jazz and classical music. In the late Sixties his Mothers of Invention would slip from Stravinsky's "Petroushka" into The Dovells' "Bristol Stomp" before breaking down into saxophone squeals inspired by Albert Ayler|source=—''The Rolling Stone Illustrated History of Rock & Roll''<!-- found on p. 497 -->|width=365px}}


{{blockquote|Admirers and detractors agree that Zappa's music—with its odd time signatures, unorthodox harmonies and fiendishly difficult lines—boasts a rare cerebral complexity. But that's where the agreement ends. Some fans find his sophomoric jokes ("Don't Eat the Yellow Snow") and pop music parodies ("Sheik Yerbouti") a crucial counterbalance to the rarefied density of the music; other devotees find the jokes an irrelevant sideshow to music best appreciated in a chamber or orchestral setting. The critics find the humor's smug iconoclasm a symptom of the essential emptiness of Zappa's intellectual exercises.<ref name="wp"/>}}
Zappa earned widespread critical acclaim in his lifetime and after his death. The 2004 ''Rolling Stone Album Guide'' writes: "Frank Zappa dabbled in virtually all kinds of music—and, whether guised as a satirical rocker, jazz-rock fusionist, guitar virtuoso, electronics wizard, or orchestral innovator, his eccentric genius was undeniable".<ref>{{citation | editor-last=Brackett | editor-first=Nathan | editor2-last =Hoard | editor2-first=Christian | title= The New Rolling Stone Album Guide: Completely Revised and Updated 4th Edition |year=2004|place=New York, NY|publisher=Fireside| page = 903|id= ISBN 0-743-20169-8}}</ref> Even though his work found inspiration from many different genres, Zappa was seen establishing a coherent and personal expression. In 1971, biographer David Walley noted that "The whole structure of his music is unified, not neatly divided by dates or time sequences and it is all building into a composite".<ref>Walley, 1980, ''No Commercial Potential'', p. 3.</ref> On commenting on Zappa's music, politics and philosophy, [[Barry Miles]] noted in 2004 that they cannot be separated: "It was all one; all part of his 'conceptual continuity{{' "}}.<ref>Miles, 2004, ''Frank Zappa'', p. 383.</ref>


===Acclaim and honors===
''Guitar Player Magazine'' devoted a special issue to Zappa in 1992, and asked on the cover "Is FZ America's Best Kept Musical Secret?" Editor Don Menn remarked that the issue was about "The most important composer to come out of modern popular music".<ref>{{Citation| first = Don| last = Menn| editor-last = Menn| editor-first = Don | contribution = From the Editor| title = Zappa! Guitar Player Presents.| year = 1992| page = 3| place = San Francisco, CA| publisher = Miller Freeman| id = ISSN 1063-4533}}</ref> Among those contributing to the issue was composer and [[musicologist]] [[Nicolas Slonimsky]], who conducted premiere performances of works of [[Charles Ives|Ives]] and Varèse in the 1930s.<ref>{{citation | last= Kozinn | first = Allan | url= http://query.nytimes.com/gst/fullpage.html?res=9C04E6D61539F934A15751C1A963958260&sec=&spon=&pagewanted=all | title = Nicolas Slonimsky, Author of Widely Used Reference Works on Music, Dies at 101 | date= December 27, 1996 |newspaper=The New York Times}}. Retrieved on August 17, 2008</ref> He became friends with Zappa in the 1980s,<ref>In December 1981, the then 87 year old Slonimsky made a guest appearance on piano at a Zappa concert. Miles, 2004, ''Frank Zappa'', p. 295–296.</ref> and said "I admire everything Frank does, because he practically created the new musical millennium. He does beautiful, beautiful work&nbsp;... It has been my luck to have lived to see the emergence of this totally new type of music."<ref>{{Citation
{{Quote box|quote=Frank Zappa was one of the first to try tearing down the barriers between rock, jazz, and classical music. In the late Sixties his Mothers of Invention would slip from Stravinsky's "Petroushka" into [[The Dovells]]' "[[Bristol Stomp]]" before breaking down into saxophone squeals inspired by Albert Ayler|source= — ''The Rolling Stone Illustrated History of Rock & Roll'', p. 497|width=365px}}
| editor-last = Menn| editor-first = Don | contribution = Nicolas Slonimsky—The Century's Preeminent Lexicographer Nails Zappa Down| title = Zappa! Guitar Player Presents.| year = 1992| pages = 6–7| place = San Francisco, CA| publisher = Miller Freeman| id = ISSN 1063-4533}}</ref> Conductor Kent Nagano remarked in the same issue that "Frank is a genius. That's a word I don't use often&nbsp;... In Frank's case it is not too strong&nbsp;... He is extremely literate musically. I'm not sure if the general public knows that".<ref>{{Citation| editor-last = Menn| editor-first = Don | contribution = Kent Nagano—Premiering Zappa with the London Symphony Orchestra| title = Zappa! Guitar Player Presents.| year = 1992| pages = 8–11| place = San Francisco, CA| publisher = Miller Freeman| id = ISSN 1063-4533}}</ref> Pierre Boulez stated in ''Musician Magazine''<nowiki>'</nowiki>s posthumous Zappa tribute article that Zappa "was an exceptional figure because he was part of the worlds of rock and classical music and that both types of his work would survive."<ref>{{citation | title= Frank Zappa | last=Isler | first = Scott et al. | date = February, 1994 | publisher = Musician Magazine}}</ref> Many music scholars acknowledge Zappa as one of the most influential composers of his generation.<ref>{{citation | last = Ashby| first = Arved| title = Frank Zappa and the Anti-Fetishist Orchestra| journal = The Musical Quarterly| volume = 83| year = 1999| pages = pp. 557–606.| publisher = Oxford University Press}}</ref><ref>{{citation | last= Grier|first= James | title=The Mothers of Invention and "Uncle Meat": Alienation, Anachronism and a Double Variation | journal= Acta Musicologica | volume = 73| pages = pp. 77–95. | year = 2001 |publisher=International Musicological Society }}</ref><ref>{{Citation| last = Cotter| first = Jim | editor-first=Larry| editor-last=Sitsky| contribution = Frank Zappa (1940–1993)| title = Music of the Twentieth-century Avant-garde. A Biocritical Sourcebook| year = 2002| page = 597| place = Westfort, CT| publisher = Greenwood Publishing Group| id = ISBN 0-313-29689-8}}</ref> As an electric guitarist, he has become highly regarded.<ref name="rs100">He is ranked 45th in {{citation | title = The 100 Greatest Guitarists of All Time | url = http://www.rollingstone.com/news/story/5937559/the_100_greatest_guitarists_of_all_time/ | date = August 27, 2003 | publisher = Rolling Stone}}. Retrieved on July 24, 2008</ref><ref>He is ranked 51st in {{citation | title = The 100 Wildest Guitar Heroes | date = April 2007 | publisher = [[Classic Rock (magazine)|Classic Rock Magazine]] }}</ref>


''[[The Rolling Stone Album Guide]]'' (2004) writes: "Frank Zappa dabbled in virtually all kinds of music—and, whether guised as a satirical rocker, jazz-rock fusionist, guitar virtuoso, electronics wizard, or orchestral innovator, his eccentric genius was undeniable."<ref>{{cite book|editor-last=Brackett|editor-first=Nathan|editor2-last=Hoard|editor2-first=Christian|title=The New Rolling Stone Album Guide: Completely Revised and Updated 4th Edition|date=2004|place=New York|publisher=Fireside|page=[https://archive.org/details/newrollingstonea00brac/page/903 903]|isbn=978-0-7432-0169-8|url=https://archive.org/details/newrollingstonea00brac/page/903}}</ref> Even though his work drew inspiration from many different genres, Zappa was seen as establishing a coherent and personal expression. In 1980, biographer David Walley noted that "The whole structure of his music is unified, not neatly divided by dates or time sequences and it is all building into a composite".<ref name="walley80"/>{{rp|3}} On commenting on Zappa's music, politics and philosophy, [[Barry Miles]] noted in 2004 that they cannot be separated: "It was all one; all part of his 'conceptual continuity'."<ref name="miles"/>{{rp|383}}
In 1994, jazz magazine ''[[Down Beat]]''<nowiki>'</nowiki>s critics poll placed Zappa in its Hall of Fame.<ref>{{citation | url = http://www.downbeat.com/default.asp?sect=stories&subsect=story_detail&sid=720 | title= 1994 Down Beat Critics Poll | publisher= Down Beat Magazine}}. Retrieved on August 12, 2008</ref> Zappa was posthumously inducted into the [[Rock and Roll Hall of Fame]] in 1995. There, it was written that "Frank Zappa was rock and roll's sharpest musical mind and most astute social critic. He was the most prolific composer of his age, and he bridged genres—rock, jazz, classical, avant-garde and even novelty music—with masterful ease".<ref>{{citation | url=http://www.rockhall.com/inductee/frank-zappa | title = Frank Zappa | publisher = The Rock and Roll Hall of Fame and Museum, Inc.}}. Retrieved on August 14, 2008</ref> He received the [[Grammy Lifetime Achievement Award]] in 1997.<ref>{{citation | url=http://www.grammy.com/Recording_Academy/Awards/Lifetime_Awards/|title=GRAMMY.com Lifetime achievement award| publisher=GRAMMY.com}}. Retrieved on August 14, 2008</ref> In 2005, the US [[National Recording Preservation Board]] included ''We're Only in It for the Money'' in the [[National Recording Registry]] as "Frank Zappa's inventive and iconoclastic album presents a unique political stance, both anti-conservative and anti-counterculture, and features a scathing satire on hippiedom and America's reactions to it".<ref>{{citation| url=http://www.loc.gov/rr/record/nrpb/nrpb-2005reg.html | title=The National Recording Registry 2005 | date = May 24, 2005 | series=National Recording Preservation Board | publisher = The Library of Congress }}. Retrieved on August 18, 2008</ref> The same year, ''[[Rolling Stone]]'' magazine ranked him 71 on its list of the 100 Greatest Artists of All Time.<ref name="RSImmortals">{{citation | title = The Immortals| journal = Rolling Stone Magazine, Issue 972| publisher = Rolling Stone| url =http://www.rollingstone.com/news/story/7248602/71_frank_zappa }}. Retrieved on March 13, 2007</ref>
[[File:Zappa.jpg|thumb|left|upright|Zappa in 1977]]
''[[Guitar Player]]'' devoted a special issue to Zappa in 1992, and asked on the cover "Is FZ America's Best Kept Musical Secret?" Editor Don Menn remarked that the issue was about "The most important composer to come out of modern popular music".<ref>{{cite book |first=Don|last=Menn|editor-last=Menn|editor-first=Don|contribution=From the Editor|title=Zappa! Guitar Player Presents|date=1992|page=3|place=San Francisco, CA|publisher=Miller Freeman|issn=1063-4533}}</ref> Among those contributing to the issue was composer and [[musicologist]] [[Nicolas Slonimsky]], who conducted premiere performances of works of [[Charles Ives|Ives]] and Varèse in the 1930s.<ref>{{Cite news |last=Kozinn|first=Allan|url=https://www.nytimes.com/1995/12/27/books/nicolas-slonimsky-author-of-widely-used-reference-works-on-musicdies-at-101.html |title=Nicolas Slonimsky, Author of Widely Used Reference Works on Music, Dies at 101|date=December 27, 1996|newspaper=The New York Times |access-date=August 17, 2008}}</ref> He became friends with Zappa in the 1980s,<ref>In December 1981, the then 87-year-old Slonimsky made a guest appearance on piano at a Zappa concert. Miles, 2004, ''Frank Zappa'', pp.&nbsp;295–296.</ref> and said, "I admire everything Frank does, because he practically created the new musical millennium. He does beautiful, beautiful work&nbsp;... It has been my luck to have lived to see the emergence of this totally new type of music."<ref>{{cite book|editor-last=Menn|editor-first=Don|contribution=Nicolas Slonimsky – The Century's Preeminent Lexicographer Nails Zappa Down|title=Zappa! Guitar Player Presents|date=1992|pages=6–7|place=San Francisco, CA|publisher=Miller Freeman|issn=1063-4533}}</ref> Conductor [[Kent Nagano]] remarked in the same issue that "Frank is a genius. That's a word I don't use often&nbsp;... In Frank's case it is not too strong&nbsp;... He is extremely literate musically. I'm not sure if the general public knows that."<ref>{{cite book |editor-last=Menn|editor-first=Don|contribution=Kent Nagano – Premiering Zappa with the London Symphony Orchestra|title=Zappa! Guitar Player Presents|date=1992|pages=8–11|place=San Francisco, CA|publisher=Miller Freeman|issn=1063-4533}}</ref> [[Pierre Boulez]] told ''[[Musician (magazine)|Musician]]'' magazine's posthumous Zappa tribute article that Zappa "was an exceptional figure because he was part of the worlds of rock and classical music and that both types of his work would survive."<ref>{{cite magazine |title=Frank Zappa |last=Isler |first=Scott |date=February 1994 |magazine=[[Musician (magazine)|Musician]] |via=afka.net |url=https://www.afka.net/Mags/Musician.htm#1994Feb}}</ref> In 1994, jazz magazine ''[[DownBeat]]''{{'}}s critics poll placed Zappa in its Hall of Fame.<ref>{{cite web|url=http://www.downbeat.com/default.asp?sect=stories&subsect=story_detail&sid=720 |title=1994 Down Beat Critics Poll |publisher=Down Beat Magazine |access-date=August 12, 2008 |url-status=dead |archive-url=https://web.archive.org/web/20090216121831/http://www.downbeat.com/default.asp?sect=stories&subsect=story_detail&sid=720 |archive-date=February 16, 2009}}</ref> Zappa was posthumously inducted into the [[Rock and Roll Hall of Fame]] in 1995. There, it was written that "Frank Zappa was rock and roll's sharpest musical mind and most astute social critic. He was the most prolific composer of his age, and he bridged genres—rock, jazz, classical, avant-garde and even novelty music—with masterful ease".<ref>{{cite web|url=http://rockhall.com/inductees/frank-zappa|title=Frank Zappa|publisher=The Rock and Roll Hall of Fame and Museum, Inc.|access-date=August 14, 2008}}</ref> He was ranked number 36 on [[VH1]]'s ''100 Greatest Artists of Hard Rock''<ref name="youtube.com"/> in 2000. In 2005, the U.S. [[National Recording Preservation Board]] included ''We're Only in It for the Money'' in the [[National Recording Registry]] as "Frank Zappa's inventive and iconoclastic album presents a unique political stance, both anti-conservative and anti-counterculture, and features a scathing satire on hippiedom and America's reactions to it".<ref>{{cite web|url=https://www.loc.gov/rr/record/nrpb/registry/nrpb-2005reg.html|title=The National Recording Registry 2005|date=May 24, 2005|series=National Recording Preservation Board|publisher=The Library of Congress|access-date=August 18, 2008}}</ref> The same year, ''[[Rolling Stone]]'' magazine ranked him at No.&nbsp;71 on its list of the 100 Greatest Artists of All Time.<ref name="RSImmortals">{{cite web|url=https://www.rollingstone.com/music/lists/100-greatest-artists-of-all-time-19691231/frank-zappa-20110420|title=100 Greatest Artists|publisher=Rolling Stone Music|access-date=May 1, 2013|date=December 3, 2010|archive-date=November 23, 2017 |archive-url=https://web.archive.org/web/20171123114608/http://www.rollingstone.com/music/lists/100-greatest-artists-of-all-time-19691231/frank-zappa-20110420|url-status=dead}}</ref> In 2011, he was ranked at No.&nbsp;22 on the list of the 100 Greatest Guitarists of All Time by the same magazine.<ref>{{cite magazine|url=https://www.rollingstone.com/music/lists/100-greatest-guitarists-20111123/frank-zappa-20111122|title=45 Frank Zappa|magazine=Rolling Stone|access-date=June 4, 2011|archive-date=December 2, 2017 |archive-url=https://web.archive.org/web/20171202023857/http://www.rollingstone.com/music/lists/100-greatest-guitarists-20111123/frank-zappa-20111122|url-status=dead}}</ref> In 2016, ''[[Guitar World]]'' magazine placed Zappa atop its list of "15 of the best progressive rock guitarists through the years."<ref>{{cite web|access-date=December 12, 2020|url=http://www.guitarworld.com/artist-news-artist-lists/15-prog-rocks-best-guitarists-through-years/29666|date= September 1, 2016 |title=15 of Prog-Rock's Best Guitarists Through the Years |website=[[Guitar World]]|url-status=live|archive-url=https://web.archive.org/web/20160902131114/http://www.guitarworld.com/artist-news-artist-lists/15-prog-rocks-best-guitarists-through-years/29666|archive-date=September 2, 2016}}</ref> The street of [[Partinico]] where his father lived at number 13, Via Zammatà, has been renamed to Via Frank Zappa.<ref>{{cite news |last=Zoppi |first=Maurizio |date=November 29, 2012 |title=La famiglia di Frank Zappa a Partinico alla riscoperta delle origini del chitarrista |url=https://corrieredelmezzogiorno.corriere.it/palermo/notizie/spettacoli/2012/29-novembre-2012/famiglia-frank-zappa-partinicoalla-riscoperta-origini-chitarrista-2112935208190.shtml |work=[[Corriere della Sera]] |location=[[Palermo]], Italy |trans-title=Frank Zappa's family in Partinico rediscovering the guitarist's origins |access-date=December 30, 2017 |language=it}}</ref> Since his death, several musicians have been considered by critics as filling the artistic niche left behind by Zappa, in view of their prolific output, eclecticism and other qualities, including [[Devin Townsend]],<ref>{{cite web|access-date=December 12, 2020|url=https://metalinjection.net/reviews/album-review-devin-townsend-empath|date=March 29, 2019 |title=Album Review: DEVIN TOWNSEND Empath|website=[[Metal Injection]]|first=Jordan |last=Blum|url-status=live|archive-url=https://web.archive.org/web/20190331202634/https://metalinjection.net/reviews/album-review-devin-townsend-empath|archive-date=March 31, 2019}}</ref><ref>{{cite web|access-date=December 12, 2020|url=https://www.ultimate-guitar.com/news/general_music_news/devin_townsend_the_issue_i_have_with_frank_zappa.html|date=March 10, 2017 |title=Devin Townsend: The Issue I Have With Frank Zappa|website=[[Ultimate Guitar]]|url-status=live|archive-url=https://web.archive.org/web/20170311042952/https://www.ultimate-guitar.com/news/general_music_news/devin_townsend_the_issue_i_have_with_frank_zappa.html|archive-date=March 11, 2017}}</ref><ref>{{cite web|access-date=December 12, 2020|url=https://louderthanwar.com/devin-townsend-order-of-magnitude-empath-live-volume-1-album-review/|date=October 19, 2020|title=Devin Townsend: Order Of Magnitude – Empath Live Volume 1 – album review|first= Gareth |last=Allen |website=[[Louder Than War (website)|Louder Than War]]}}</ref><ref>{{cite web|access-date=December 12, 2020|url=https://www.orlandoweekly.com/Blogs/archives/2016/09/06/devin-townsend-project-expect-the-unexpected|date=September 6, 2016|title=Devin Townsend Project: Expect the unexpected|first=Jason|last=Ferguson|website=[[Orlando Weekly]]|archive-date=January 16, 2021 |archive-url=https://web.archive.org/web/20210116093625/https://www.orlandoweekly.com/Blogs/archives/2016/09/06/devin-townsend-project-expect-the-unexpected|url-status=dead}}</ref> [[Mike Patton]]<ref name="wire">{{cite magazine|title=Mike Patton {{!}} Fantômas hysteria|magazine=[[The Wire (magazine)|The Wire]]|date=April 2005 |first=Phil |last=Freeman|number=254}}</ref><ref name="questionnaire">{{cite web|access-date=December 12, 2020|url=http://exclaim.ca/music/article/mike_patton-fantomas|date=April 1, 2005|title=Mike Patton {{!}} The Exclaim! Questionnaire|website=[[Exclaim!]]|url-status=live|archive-url=https://web.archive.org/web/20170907115121/http://exclaim.ca/music/article/mike_patton-fantomas|archive-date=September 7, 2017}}</ref><ref name="prog">{{cite web|access-date=December 12, 2020|url= https://classicrock.net/mike-patton-prog/|date=March 7, 2014|title=Mike Patton – Prog?|first=Raziq |last=Rauf |website=[[Classic Rock (magazine)|Classic Rock]] |location=Germany|language=de|url-status=live|archive-url=https://web.archive.org/web/20200812003551/https://classicrock.net/mike-patton-prog/|archive-date=August 12, 2020}}</ref> and [[Omar Rodríguez-López]].<ref>{{cite web|access-date=December 12, 2020|url=https://thequietus.com/articles/21595-omar-rodrguez-lpez-albums-ipecac-review-7-12-mars-volta-at-the-drive-in|date=January 19, 2017 |title=Omar Rodríguez-López |first=Timothy |last=Archer|website=[[The Quietus]]}}</ref><ref>{{cite web|access-date=December 12, 2020|url=https://imposemagazine.com/music/omar-rodriguez-lopez-and-i-was-totally-destroying-it |date=2011|title=Reviews: Omar Rodriguez Lopez + I Was Totally Destroying It|website=[[Impose (magazine)|Impose]]|first=Anthony Mark |last=Happel}}</ref>

====Grammy Awards====
In the course of his career, Zappa was nominated for nine competitive [[Grammy Award]]s, which resulted in two wins (one posthumous). In 1998, he received the [[Grammy Lifetime Achievement Award]].<ref>{{cite web|url=https://www.grammy.com/grammys/artists/frank-zappa|title=Frank Zappa &#124; Artist|website=grammy.com|publisher=[[The Recording Academy]]|access-date=June 11, 2020}}</ref>
{{awards table}}
|-
|rowspan="2"| [[22nd Annual Grammy Awards|1980]] || "[[Rat Tomago]]" || [[Grammy Award for Best Rock Instrumental Performance|Best Rock Instrumental Performance]] || {{nom}}
|-
| "[[Dancin' Fool]]" || [[Grammy Award for Best Male Rock Vocal Performance|Best Male Rock Vocal Performance]] || {{nom}}
|-
| [[25th Annual Grammy Awards|1983]] || "[[Valley Girl (song)|Valley Girl]]" || [[Grammy Award for Best Rock Performance by a Duo or Group with Vocal|Best Rock Performance by a Duo or Group with Vocal]] || {{nom}}
|-
| [[27th Annual Grammy Awards|1985]] || ''[[Boulez Conducts Zappa: The Perfect Stranger|The Perfect Stranger]]'' || [[Grammy Award for Best Contemporary Classical Composition|Best New Classical Composition]] || {{nom}}
|-
|rowspan="2"| [[30th Annual Grammy Awards|1988]] || "Jazz from Hell" || [[Grammy Award for Best Instrumental Composition|Best Instrumental Composition]] || {{nom}}
|-
| ''[[Jazz from Hell]]'' ||rowspan="2"| [[Grammy Award for Best Rock Instrumental Performance|Best Rock Instrumental Performance (Orchestra, Group or Soloist)]] || {{won}}
|-
| [[31st Annual Grammy Awards|1989]] || ''[[Guitar (Frank Zappa album)|Guitar]]'' || {{nom}}
|-
| [[32nd Annual Grammy Awards|1990]] || ''[[Broadway the Hard Way]]'' || [[Grammy Award for Best Musical Theater Album|Best Musical Cast Show Album]] || {{nom}}
|-
| [[38th Annual Grammy Awards|1996]] || ''[[Civilization Phaze III]]'' || [[Grammy Award for Best Boxed or Special Limited Edition Package|Best Recording Package – Boxed]] || {{won}}
|-
| [[39th Annual Grammy Awards|1997]] || Frank Zappa || [[Grammy Lifetime Achievement Award|Lifetime Achievement Award]] || {{won|Honored}}
{{end}}


===Artists influenced by Zappa===
===Artists influenced by Zappa===
Many musicians, bands and orchestras from diverse genres have been influenced by Zappa's music. Rock artists such as [[The Plastic People of the Universe]],<ref>{{cite web |url=https://www.theguardian.com/music/2009/sep/06/plastic-people-velvet-revolution-1989 |title=1989 and all that: Plastic People of the Universe and the Velvet Revolution |first=Ed |last=Vulliamy |date=September 6, 2009 |work=The Guardian |access-date=June 8, 2020}}</ref> [[Alice Cooper]],<ref>{{cite news |title=Interview with Alice Cooper |last=Quigley |first=Mike |date=September 1969 |publisher=Poppin, Issue #5}}</ref> [[Larry LaLonde]] of [[Primus (band)|Primus]],<ref>{{cite web|first=Doug|last=Elfman|title=Primus plays Hard Rock|url=http://www.reviewjournal.com/lvrj_home/2003/Oct-15-Wed-2003/news/22374264.html|work=[[Las Vegas Review-Journal]]|date=October 15, 2003|access-date=March 14, 2009|archive-date=April 6, 2004 |archive-url=https://web.archive.org/web/20040406235351/http://www.reviewjournal.com/lvrj_home/2003/Oct-15-Wed-2003/news/22374264.html|url-status=dead}}</ref> [[Fee Waybill]] of [[the Tubes]]<ref>{{cite web|last=Randall|first=David|title=Get Ready to ROCK! Interview with singer and frontman of American rock band The Tubes, Fee Waybill|url=http://www.getreadytorock.com/10questions/fee_waybill.htm|date=2004|publisher=getreadytorock.com|access-date=August 13, 2008}}</ref> all cite Zappa's influence, as do [[progressive rock|progressive]], [[alternative rock|alternative]], [[electronic music|electronic]] and [[avant-garde]]/[[experimental rock]] artists like [[Can (band)|Can]],{{refn|group="nb"|"CAN was formed by ex-student of Stockhausen Irmin Schmidt, who, fired by the sounds of Jimi Hendrix and Frank Zappa abandoned his career in classic music to form a group which could utilise and transcend all boundaries of ethnic, electronic experimental and modern classical music." {{cite web|title=CAN – The Lost Tapes|url=http://www.spoonrecords.com/news/losttapes.php|website=Spoon Records}}.}} [[Pere Ubu]],{{refn|group="nb"|"The group is very influenced by Capt. Beefheart and Frank Zappa. The roots of Pere Ubu lie in a comedy cover band called Rocket from the Tombs&nbsp;..."{{cite book|title=Punk Diary: 1970–1979|date=1994|publisher=Vintage|isbn=978-0-09-952211-9|page=22|author=George Gimarc}}.}} [[Yes (band)|Yes]],<ref>{{cite web |author1=Obi-Dan |title=Interview: Original 'Yes' Lead Singer Jon Anderson |url=https://geeksofdoom.com/2011/06/29/interview-original-yes-lead-singer-jon-anderson |website=Geeks of Doom |access-date=November 14, 2020 |date=June 29, 2011}}</ref><ref>{{cite web |author1=Nick Deriso |title=Something Else! Interview: Yes' Steve Howe on Jon Davison, performing classic LPs, a renewed solo focus |url=http://yesworld.com/2013/05/keys-to-shredding-yes-great-new-interview-with-steve-howe/ |website=Yesworld.com |access-date=November 14, 2020 |archive-date=November 16, 2020 |archive-url=https://web.archive.org/web/20201116225057/http://yesworld.com/2013/05/keys-to-shredding-yes-great-new-interview-with-steve-howe/ |url-status=dead }}</ref> [[Soft Machine]],<ref>{{cite news|author1=Pierre Perrone|title=Hugh Hopper: Innovative bassist with Soft Machine and stalwart of the Canterbury scene|url=https://www.independent.co.uk/news/obituaries/hugh-hopper-innovative-bassist-with-soft-machine-and-stalwart-of-the-canterbury-scene-1703161.html|work=The Independent|date=June 11, 2009}}</ref><ref>{{cite book|author1=Graham Bennett|title=Soft Machine: Out-bloody-rageous|date=2005|publisher=SAF|isbn=978-0946719846}}</ref> [[Henry Cow]],<ref>{{cite web|url={{AllMusic|class=artist|id=p4475|pure_url=yes}}|title=Biography: Henry Cow|last=Boisen|first=Myles|work=[[AllMusic]]|access-date=August 13, 2008}}</ref> [[Faust (band)|Faust]],<ref>{{cite book|author1=Andy Wilson|title=Faust – Stretch Out Time 1970–1975|date=2006|isbn=978-0955066450|page=171|publisher=Andy Wilson |quote=Along with The Velvet Underground, Frank Zappa is the most obvious influence at work on Faust. Members of the group studied and admired his music. If Faust had any kind of leader or centre in the early days, other than Uwe, it was Rudolf Sosna, and Sosna was seriously interested in Zappa, forever trying to finally work out and unpick his musical 'system' so as to put it to work himself.}}</ref> [[Devo]],<ref>{{cite web|author1=Pete Feenstra|title=Interview: Gerald Casale (Devo)|url=http://www.getreadytorock.com/rock_stars/devo.htm|website=Get Ready to Rock|publisher=hotdigitsnewmedia|date=June 2007|quote=GC: We didn't know the Tubes at the time, probably not until we were on song number twenty or so, but we got to realise they were deep into what we were doing, while both Zappa and Captain Beefheart were an inspiration to us.}}</ref> [[Kraftwerk]],<ref>{{Cite news|author1=Joe Queenan|title=Vorsprung durch Techno|url=https://www.theguardian.com/music/2008/feb/22/vinylword.joequeenan|newspaper=The Guardian |date=February 22, 2008}}</ref> [[Trey Anastasio]] and [[Jon Fishman]] of [[Phish]],<ref name="RSImmortals"/> [[Jeff Buckley]],<ref>{{cite book|title=Dream Brother: The Lives and Music of Jeff and Tim Buckley|date=2011|publisher=HarperCollins|isbn=978-0-06-211195-1|page=96|author=David Browne}}</ref> [[John Frusciante]],<ref>{{cite magazine|last=Cleveland|first=Barry|url=http://www.emusician.com/eqredirects//article/exclusive-outtakes-from/sep-06/23282|date=September 2006|title=Exclusive Outtakes from GP's Interview with John Frusciante!|magazine=Guitar Player|access-date=August 12, 2008|url-status=dead|archive-url=https://web.archive.org/web/20120825231941/http://www.emusician.com/eqredirects//article/exclusive-outtakes-from/sep-06/23282|archive-date=August 25, 2012}}</ref> [[Steven Wilson]],<ref>{{cite web|last=Prasad|first=Anil|url=http://www.innerviews.org/inner/wilson2.html|title=Steven Wilson: Past Presence|author-link=Anil Prasad|date=2013|access-date=February 4, 2015}}</ref> and [[The Aristocrats (band)|The Aristocrats]].<ref>{{cite web | access-date = February 6, 2017 | url = http://www.phoenixnewtimes.com/music/the-aristocrats-bryan-beller-we-are-a-rowdy-musical-democracy-6597037 | date = January 15, 2014 | title = The Aristocrats' Bryan Beller: "We Are a Rowdy Musical Democracy" | first = Lauren | last = Wise | website = [[Phoenix New Times]]}}</ref>
A number of notable musicians, bands and orchestras from diverse genres have been influenced by Frank Zappa's music. Rock artists like [[Alice Cooper]],<ref>{{citation | title = Interview with Alice Cooper | last = Quigley| first = Mike | date = September 1969 | publisher = Poppin, Issue #5}}</ref> [[Black Sabbath]],<ref>{{citation | url= http://www.black-sabbath.com/interviews/tonygeez_0594.html | publisher = black-sabbath.com | date = May 1994 | title= Black Sabbath Online: Tony Iommi &amp; Geezer Butler Interview }}. Retrieved on August 12, 2008</ref> [[Fee Waybill]] of [[The Tubes]]<ref>{{citation| last= Randall|first=David | title= Get Ready to ROCK! Interview with singer and frontman of American rock band The Tubes, Fee Waybill | url=http://www.getreadytorock.com/10questions/fee_waybill.htm| year=2004 | publisher=getreadytorock.com }}. Retrieved on August 13, 2008</ref> and [[Billy Bob Thornton]]<ref>{{citation|url=http://www.baltimoresun.com/entertainment/music/bal-li.scene14aug14,0,4350962.story | title=Don't box Billy Bob Thornton in|last= Choi | first=Jennifer | date = August 14, 2008 | publisher = The Baltimore Sun }}. Retrieved on August 14, 2008</ref> cite Zappa's influence, as do progressive rock artists like [[Henry Cow]],<ref>{{citation | url=http://allmusic.com/cg/amg.dll?p=amg&sql=11:jifuxqe5ld0e~T1 | title=allmusic ((( Henry Cow > Biography )))|last= Boisen| first= Myles | publisher = allmusic.com | date = }}. Retrieved on August 13, 2008</ref> [[Trey Anastasio]] of [[Phish]],<ref name="RSImmortals"/> and [[John Frusciante]].<ref>{{citation | last = Cleveland | first= Barry | url=http://www.guitarplayer.com/article/exclusive-outtakes-from/Sep-06/23282|date = September 2006 | title= Exclusive Outtakes from GP's Interview with John Frusciante!| publisher = Guitar Player}}. Retrieved on August 12, 2008</ref> Heavy rock and metal acts like [[Mike Portnoy]],<ref>{{citation | url = http://www.mikeportnoy.com/about/mike/bio.asp?menu=about | title = Bio | publisher = mikeportnoy.com }}. Retrieved on August 12, 2008</ref> [[Warren DeMartini]],<ref>{{Citation

| first =
[[Paul McCartney]] regarded ''[[Sgt. Pepper's Lonely Hearts Club Band]]'' as [[the Beatles]]' ''Freak Out!.''<ref>MacDonald, 1994, ''Revolution in the Head'', p. 171.</ref> [[Jimi Hendrix]]<ref>{{cite book|title=Jimi Hendrix: Musician|edition=illustrated|first1=Keith|last1=Shadwick|publisher=Backbeat Books|date=2003|isbn=978-0-87930-764-6|page=117|url=https://books.google.com/books?id=sbiSD1jXeaMC}}</ref> and heavy rock and metal acts like [[Black Sabbath]],<ref>{{cite web|url=http://www.black-sabbath.com/interviews/tonygeez_0594.html|publisher=black-sabbath.com|date=May 1994|title=Black Sabbath Online: Tony Iommi & Geezer Butler Interview|url-status=dead|archive-url=https://web.archive.org/web/20120113135050/http://www.black-sabbath.com/interviews/tonygeez_0594.html|archive-date=January 13, 2012|access-date=August 12, 2008}}</ref> [[Living Colour]],<ref>{{Cite web|last=Berndtson|first=Chad|date=October 5, 2017|title=Interview: Living Colour Guitar Wizard Vernon Reid Talks 'Shade' & Worldwide Touring|url=https://www.jambase.com/article/interview-living-colour-guitar-wizard-vernon-reid-talks-shade-worldwide-touring|access-date=December 4, 2020|website=Jambase}}</ref> [[Simon Phillips (drummer)|Simon Phillips]],<ref>{{cite news|url=http://www.hit-channel.com/interviewsimon-phillips-solototojeff-beckthe/68192|title=Interview:Simon Phillips (solo, Toto, Jeff Beck, The Who)|newspaper=Hit Channel – Ειδήσεις Ελληνική & Ξένη Μουσική Νέα Τραγούδια |publisher=Hit-channel.com|date=June 20, 2014|access-date=May 16, 2015}}</ref> [[Mike Portnoy]],<ref>{{cite web|url=http://www.mikeportnoy.com/aboutmike/bio.aspx|title=about mike|publisher=mikeportnoy.com|access-date=April 22, 2009|archive-date=February 25, 2009 |archive-url=https://web.archive.org/web/20090225201450/http://www.mikeportnoy.com/aboutmike/bio.aspx|url-status=dead}}</ref> [[Warren DeMartini]],<ref>{{cite book|editor-last=Menn|editor-first=Don|contribution=Warren De Martini – Ratt Guitarist Turns Zappa Stylist|title=Zappa! Guitar Player Presents|date=1992|page=14|place=San Francisco, CA|publisher=Miller Freeman|issn=1063-4533}}</ref> [[Alex Skolnick]],<ref>{{cite web |url=https://www.blabbermouth.net/news/testaments-alex-skolnick-launches-rap-alter-ego-skoly-d-takes-down-right-wing-echo-chambers-in-b-i-g-l-i-e-video/ |title=TESTAMENT's ALEX SKOLNICK Launches Rap Alter Ego SKOLY-D, Takes Down Right-Wing Echo Chambers In 'B.I.G. L.I.E.' Video |date=January 6, 2022 |publisher=Blabbermouth |access-date=January 11, 2022}}</ref> [[Steve Vai]],<ref>{{cite web|url=http://www.vai.com/vaiography|title=All About Steve Vai|publisher=Vai.com|access-date=August 12, 2008}}</ref> [[Strapping Young Lad]],<ref name="In Music We Trust interview">{{cite web|last=Sos|first=Mike|date=August 2005|title=Interview: Strapping Young Lad: An extreme metal all-star squad|work=In Music We Trust|url=http://www.inmusicwetrust.com/articles/71h16.html|access-date=January 31, 2008}}</ref> [[System of a Down]],<ref>{{cite magazine|first=Tom|last=Sinclair|title=Mezmerize (2005): System of a Down|url=https://ew.com/article/2005/05/16/mezmerize/|magazine=Entertainment Weekly|date=May 16, 2005|access-date=June 28, 2010|archive-date=August 14, 2009 |archive-url=https://web.archive.org/web/20090814194322/http://www.ew.com/ew/article/0,,1060789,00.html|url-status=live}}</ref> and [[Clawfinger]]<ref>{{cite web|url=http://www.clawfinger.net/main.php?band|title=The official Pages|publisher=clawfinger.net|access-date=August 12, 2008|archive-date=December 30, 2008 |archive-url=https://web.archive.org/web/20081230094826/http://www.clawfinger.net/main.php?band|url-status=dead}}</ref> have acknowledged Zappa as inspiration. On the classical music scene, Tomas Ulrich,<ref>{{cite web|url=http://musicians.allaboutjazz.com/musician.php?id=15347|title=Tomas Ulrich at All about Jazz|work=All About Jazz|access-date=November 13, 2008}}</ref> [[Meridian Arts Ensemble]],<ref>{{cite web|url=http://www.meridianartsensemble.com/about.htm|title=Meridian Arts Ensemble&nbsp;– About Us|publisher=meridianartsensemble.com|access-date=August 12, 2008|archive-url=https://web.archive.org/web/20080705132800/http://www.meridianartsensemble.com/about.htm|archive-date=July 5, 2008|url-status=dead}}</ref> [[Ensemble Ambrosius]]<ref>{{cite web|url=http://www.ensembleambrosius.com/node/2 |title=Academic Zappa: Seriously Taken Musical Study of Frank Zappa's Music – At Last |publisher=ensembleambrosius.com |access-date=December 17, 2010 |url-status=dead |archive-url=https://web.archive.org/web/20120112011024/http://www.ensembleambrosius.com/node/2 |archive-date=January 12, 2012}}</ref> and the Fireworks Ensemble<ref>{{cite web|url=http://fireworksensemble.org/about|title=About fireworks|publisher=fireworksensemble.org|access-date=August 25, 2008}}</ref> regularly perform Zappa's compositions and quote his influence. Contemporary jazz musicians and composers [[Bobby Sanabria]], [[Bill Frisell]]<ref>{{cite web|url=http://www.songtone.com/artists/Frisell/default.html|title=Bill Frisell biography|publisher=Songline/Tonefield Productions|access-date=August 12, 2008|archive-url=https://web.archive.org/web/20101127021659/http://www.songtone.com/artists/Frisell/default.html|archive-date=November 27, 2010|url-status=dead}}</ref> and [[John Zorn]]<ref>{{cite book|title=The Penguin Guide To Jazz on CD, Seventh Edition|last1=Cook|first1=Richard|last2=Morton|first2=Brian|date=2004|place=London|publisher=Penguin Books|page=1721|isbn=978-0-14-101416-6}}</ref> are inspired by Zappa, as is funk legend [[George Clinton (funk musician)|George Clinton]].<ref>{{cite web|url={{AllMusic|class=artist|id=p65136|pure_url=yes}}|title=Biography: George Clinton|last=Bush|first=John|work=[[AllMusic]]|access-date=August 13, 2008}}</ref>
| last =

| author-link =
Other artists affected by Zappa include ambient composer [[Brian Eno]],<ref>{{cite web |author1=Edward Helmore |title=Interview – 'The business is an exciting mess' – Edward Helmore talks to Brian Eno and David Byrne |url=https://www.theguardian.com/music/2009/mar/27/brian-eno-david-byrne |work=The Guardian |access-date=January 13, 2020 |date=March 27, 2009}}</ref><ref>{{Cite news|title=On gospel, Abba and the death of the record: an audience with Brian Eno|url=https://www.theguardian.com/music/2010/jan/17/brian-eno-interview-paul-morley|newspaper=The Guardian|access-date=August 9, 2013|author=Paul Morley|date=January 17, 2010}}</ref> new age pianist [[George Winston]],<ref>{{cite web|url=http://www.georgewinston.com/us/biography |title=George Winston biography |publisher=georgewinston.com |access-date=June 27, 2010 |url-status=dead |archive-url=https://web.archive.org/web/20100331000214/http://www.georgewinston.com/us/biography |archive-date=March 31, 2010}}</ref> electronic composer [[Robert Gluck|Bob Gluck]],<ref>{{cite web|url=http://www.electricsongs.com/gluckbio.html|title=gluckbio.html|publisher=electricsongs.com|access-date=September 1, 2008}}</ref> parodist artist and disk jockey [[Dr. Demento]],<ref>{{cite web|author1=Charlie Jane Anders|title=Doctor Demento pays tribute to Frank Zappa, his musical inspiration|url=https://io9.gizmodo.com/5833271/doctor-demento-pays-tribute-to-frank-zappa|website=Gizmodo|publisher=Gizmodo Media Group|date=August 22, 2011|quote=Demento called Zappa "the most major musical inspiration for me when I began the Dr. Demento Show, and he remains one of our half dozen most requested artists to this day."}}</ref> parodist and novelty composer [["Weird Al" Yankovic]],<ref>{{cite web|url=http://weirdal.com/archives/faq/ |title='Weird Al' Yankovic: Frequently Asked Questions |publisher=weirdal.com |access-date=February 26, 2019 |url-status=live |archive-url=https://web.archive.org/web/20190220231245/http://weirdal.com/archives/faq/ |archive-date=February 20, 2019}}</ref> [[industrial music]] pioneer [[Genesis P-Orridge]],<ref>[[Simon Reynolds|Reynolds, Simon]] (2005). ''Rip It Up and Start Again: Postpunk 1978–1984'', p. 255.</ref> singer [[Cree Summer]],<ref>{{cite web | url=http://www.mtv.com/news/515722/cree-summer/ | archive-url=https://web.archive.org/web/20180413043520/http://www.mtv.com/news/515722/cree-summer/ | url-status=dead | archive-date=April 13, 2018 | title=Cree Summer| website=[[MTV]]}}</ref><ref>{{cite web | url=https://www.chicagotribune.com/1991/03/03/cree-summer/ | title=Cree Summer| website=[[Chicago Tribune]]| date=March 3, 1991}}</ref> [[noise music]] artist Masami Akita of [[Merzbow]],<ref>Martin, 2002, ''Avant Rock'', p. 160.</ref> the Italian pianist [[Stefano Bollani]],<ref>{{cite web | url = https://www.standaard.be/cnt/fk37t3b6 | title = 'Wij schudden Zappa's muziek' | last = Van Keymeulen | first = Karel | date = 23 March 2011 | publisher = De Standaard | access-date = 9 April 2024}}</ref><ref>{{cite web | url = https://www.volkskrant.nl/cultuur-media/briljante-mix-van-stemmingen-en-sferen~b928164c/ | title = Briljante mix van stemmingen en sferen | last = Kamer | first = Gijsbert | date = 19 August 2016 | publisher = De Volkskrant | access-date = 9 April 2024}}</ref> the Italian band [[Elio e le Storie Tese]]<ref name="ondarock">{{cite web|last1=Lo Giudice|first1=Antonio|title=Elio e le Storie Tese. Tecniche di resistenza al nulla|url=http://www.ondarock.it/italia/elioelestorietese.htm|website=Ondarock.it|access-date=August 24, 2015|language=it}}</ref><ref name="repubblica">{{cite web|last1=Tricomi|first1=Antonio|title=La musica senza etichette dei militanti irriverenti|url=http://ricerca.repubblica.it/repubblica/archivio/repubblica/2008/05/04/la-musica-senza-etichette-dei-militanti-irriverenti.html|website=[[la Repubblica]]|access-date=August 24, 2015|language=it|date=May 4, 2008}}</ref><ref name="bravo">{{cite web|last1=Giudici|first1=Luca|title=La vita tesa di Elio|url=http://www.bravonline.it/la-vita-tesa-di-elio-un-concerto-di-elio-e-le-storie-tese/|website=Bravo! Online|access-date=August 24, 2015|language=it|date=May 4, 2008|archive-url=https://web.archive.org/web/20140811214453/http://www.bravonline.it/la-vita-tesa-di-elio-un-concerto-di-elio-e-le-storie-tese/|archive-date=August 11, 2014|url-status=dead}}</ref> and Chilean composer Cristián Crisosto from [[Fulano (band)|Fulano]] and [[Mediabanda]].<ref>{{Cite web|url=https://chileanskies.com/2015/03/los-10-discos-fundamentales-de-cristian-crisosto-clsk-entrevista/|title=Los 10 discos fundamentales de Cristián Crisosto [CLSK Entrevista]|date=March 2, 2015|website=CLSK|language=es-CL|access-date=March 5, 2020}}</ref><ref>{{Cite web|url=https://cientounorevista.com/media-banda-santiago-chile-rock-jazz-eclecticismo/|title=Media Banda de Santiago de Chile es rock jazz, eclecticismo -|date=August 4, 2017|language=es|access-date=March 5, 2020}}</ref><ref>{{Cite web|url=https://www.irock.cl/la-chilena-regina-crisosto-deslumbra-con-su-voz-en-berklee-tributando-a-frank-zappa/|title=La chilena Regina Crisosto deslumbra con su voz en Berklee, tributando a Frank Zappa|author=<!--Staff writer(s); no by-line.-->|date=January 23, 2019 |language=es-CL|access-date=March 5, 2020}}</ref>
| first2 =
| last2 =
| editor-last = Menn
| editor-first = Don
| contribution = Warren De Martini—Ratt Guitarist Turns Zappa Stylist
| title = Zappa! Guitar Player Presents.
| year = 1992
| page = 14
| place = San Francisco, CA
| publisher = Miller Freeman
| id = ISSN 1063-4533
}}
</ref> [[Steve Vai]],<ref>{{citation | url=http://www.vai.com/AllAboutSteve/vaiography.html | title = Vai.com > All About Steve > Vaiography | publisher = Vai.com }}. Retrieved on August 12, 2008</ref> [[System of a Down]],<ref>{{citation|url=http://www.rollingstone.com/news/story/7470955/zappas_making_zappa_film|title=Zappas Making Zappa Film |first=Greg|last=Prato|publisher=Rolling Stone|date= July 7, 2005 }}. Retrieved on November 13, 2008</ref> and [[Clawfinger]]<ref>{{citation | url=http://www.clawfinger.net/main.php?band | title= The official Pages |publisher = clawfinger.net }}. Retrieved on August 12, 2008</ref> acknowledge Zappa's inspiration. On the classical music scene, Tomas Ulrich,<ref>
{{Citation
| url=http://www.allaboutjazz.com/php/musician.php?id=15347
| title = Tomas Ulrich at All about Jazz
| publisher = All About Jazz
}} Retrieved on November 13, 2008</ref> [[Meridian Arts Ensemble]],<ref>{{ citation | url = http://www.meridianartsensemble.com/about.htm | title=Meridian Arts Ensemble - About Us|publisher = meridianartsensemble.com }}. Retrieved on August 12, 2008</ref> and the Fireworks Ensemble <ref>{{citation | url = http://www.fireworksensemble.org/about.htm | title=About fireworks | publisher =fireworksensemble.org }}. Retrieved on August 25, 2008.</ref> regularly perform Zappa's compositions and quote his influence. Contemporary jazz musicians and composers [[Bill Frisell]]<ref>{{citation | url = http://www.songtone.com/artists/Frisell/default.html | title=Bill Frisell Biography | publisher = Songline/Tonefield Productions}}.
Retrieved on August 12, 2008</ref> and [[John Zorn]]<ref>{{citation |title=The Penguin Guide To Jazz On CD, Seventh Edition|last= Cook|first=Richard |last2=Morton|first2=Brian|year=2004|place=London|publisher=Penguin Books|page=1721|isbn=0-14101-416-4}}</ref> are inspired by Zappa, as is funk legend [[George Clinton (funk musician)|George Clinton]].<ref>{{citation | url=http://allmusic.com/cg/amg.dll?p=amg&sql=11:kvfexqr5ldhe~T1 | title=allmusic ((( George Clinton > Biography )))|last= Bush| first= John | publisher = allmusic.com }}. Retrieved on August 13, 2008</ref> Other artists whose work is affected by Zappa include new age pianist [[George Winston]],<ref>{{citation | url = http://www.georgewinston.com/notes/01934-11012-2.php |title= George Winston - Solo Pianist Autumn | publisher = georgewinston.com}}. Retrieved on August 12, 2008</ref> electronic composer [[Robert Gluck|Bob Gluck]],<ref>{{citation|url=http://www.electricsongs.com/gluckbio.html|title=gluckbio.html|publisher=electricsongs.com}}. Retrieved on September 1, 2008</ref> and parody singer [["Weird Al" Yankovic]].<ref>{{citation | url = http://www.weirdal.com/faq.htm | title = "Weird Al" Yankovic: Frequently Asked Questions | publisher = weirdal.com }}. Retrieved on August 12, 2008</ref>


===References in arts and sciences===
===References in arts and sciences===
[[File:Doberan Zappa-Denkmal3.jpg|thumb|right|upright|Frank Zappa bust by Vaclav Cesak in [[Bad Doberan]], Germany]]
Scientists from various fields have honored Zappa by naming new discoveries after him. In 1967, paleontologist Leo P. Plas, Jr. identified an extinct [[mollusc]] in Nevada and named it ''Amaurotoma zappa'' with the motivation "The specific name, ''zappa'', honors Frank Zappa".<ref>{{citation | last= Plas, Jr. | first= Leo P. | title=Upper Wolfcampian (?) Mollusca from the Arrow Canyon Range, Clark County, Nevada|date=March 1972|journal=Journal of Paleontology,|volume=46|pages=pp. 249–260.|date=March, 1972|publisher=SEPM [[Society for Sedimentary Geology]]}}</ref> In the 1980s, biologist Ed Murdy named a [[genus]] of [[gobiidae|gobiid]] fishes of New Guinea ''Zappa'', with a [[species]] named ''Zappa confluentus''.<ref>{{Citation | last=Murdy |first= E. O. | title=A Taxonomic Revision and Cladistic Analysis of the Oxudercine Gobies (Gobiidae: Oxudercinae) | publisher=Records of the Australian Museum | year=1989 | id = ISBN 0-730-56374-X }}</ref> Biologist Ferdinando Boero named in 1987 a Californian [[jellyfish]] ''Phialella zappai'', noting that he had "pleasure in naming this species after the modern music composer".<ref>{{citation | last= Boero | first= Ferdinando | title=Life cycles of Phialella zappai n. sp., Phialella fragilis and Phialella sp. (Cnidaria, Leptomedusae, Phialellidae) from central California|date=April, 1987|journal=Journal of Natural History|volume=21|pages=pp. 465–480.|year=1994|publisher=Taylor & Francis Groups}}</ref> Belgian biologists Bosmans and Bosselaers discovered in the early 1980s a Cameroonese spider, which they in 1994 named ''[[Pachygnatha zappa]]'' because "the ventral side of the abdomen of the female of this species strikingly resembles the artist's legendary moustache".<ref>{{citation | last= Bosmans | first= Robert | last2=Bosselaers | first2=Jan| title=Spiders of the genera ''Pachygnatha'', ''Dyschiriognatha'' and ''Glenognatha'' (Araneae, Tetragnathidae), with a revision of the Afrotropical species|date=October, 1995|journal=Zoologica Scripta|volume=23|pages=pp. 325–352.|year=1994|publisher=The Norwegian Academy of Science and Letters}}</ref> A gene of the bacterium ''[[Proteus mirabilis]]'' that causes urinary tract infecti was in 1995 named ''ZapA'' by three biologists from Maryland. In their scientific article, they "especially thank the late Frank Zappa for inspiration and assistance with genetic nomenclature".<ref>{{citation | last= Wassif | first= Christopher | last2=Cheek | first2=Diana| last3=Belas | first3=Robert|title=Molecular Analysis of a Metalloprotease from ''Proteus mirabilis''|date=October, 1995|journal=Journal of Bacteriology|volume=177|pages=pp. 5790–5798.|publisher=American Society for Microbiology}}</ref> In the late 1990s, American paleontologists Marc Salak and Halard L. Lescinsky discovered a [[animal|metazoan]] fossil, and named it ''Spygori zappania'' to honor "the late Frank Zappa&nbsp;... whose mission paralleled that of the earliest paleontologists: to challenge conventional and traditional beliefs when such beliefs lacked roots in logic and reason".<ref>{{citation | title=Spygoria zappania New Genus and Species, a Cloudina-like Biohermal Metazoan from the Lower Cambrian of Central Nevada|
Scientists from various fields have honored Zappa by naming new discoveries after him. In 1967, paleontologist Leo P. Plas Jr., identified an extinct [[mollusc]] in Nevada and named it ''Amaurotoma zappa'' with the motivation that, "The specific name, ''zappa'', honors Frank Zappa".<ref>{{cite journal|last=Plas|first=Leo P. Jr.|title=Upper Wolfcampian (?) Mollusca from the Arrow Canyon Range, Clark County, Nevada|date=March 1972|journal=[[Journal of Paleontology]]|volume=46 |number=2 |pages=249–260 |url=https://pubs.geoscienceworld.org/jpaleontol/article/46/2/249/107650/Upper-Wolfcampian-Mollusca-from-the-Arrow-Canyon}}</ref>
last=Salak| first=Marc| last2= Lescinsky|first2= Halard L.|

journal = Journal of Paleontology|
In the 1980s, biologist Ed Murdy named a [[genus]] of [[gobiidae|gobiid]] fishes of New Guinea ''Zappa'', with a [[species]] named ''Zappa confluentus''.<ref>{{cite book |last=Murdy|first=E.O.|title=A Taxonomic Revision and Cladistic Analysis of the Oxudercine Gobies (Gobiidae: Oxudercinae)|publisher=Records of the Australian Museum|date=1989|isbn=978-0-7305-6374-7}}</ref> Biologist Ferdinando Boero named a Californian [[jellyfish]] ''Phialella zappai'' (1987), noting that he had "pleasure in naming this species after the modern music composer".<ref>{{cite journal|last=Boero|first=Ferdinando|title=Life cycles of Phialella zappai n. sp., Phialella fragilis and Phialella sp. (Cnidaria, Leptomedusae, Phialellidae) from central California|date=April 1987|journal=Journal of Natural History|volume=21|pages=465–480|doi=10.1080/00222938700771131|issue=2|bibcode=1987JNatH..21..465B }}</ref>
volume = 73 |

date = July, 1999 |
Belgian biologists Bosmans and Bosselaers discovered in the early 1980s a Cameroonese spider, which they in 1994 named ''[[Pachygnatha zappa]]'' because "the ventral side of the abdomen of the female of this species strikingly resembles the artist's legendary moustache".<ref>{{Cite journal|last1=Bosmans|first1=Robert|last2=Bosselaers|first2=Jan|title=Spiders of the genera ''Pachygnatha'', ''Dyschiriognatha'' and ''Glenognatha'' (Araneae, Tetragnathidae), with a revision of the Afrotropical species|date=October 1995|journal=Zoologica Scripta|volume=23|pages=325–352|doi=10.1111/j.1463-6409.1994.tb00392.x|issue=4|s2cid=83546554}}</ref>
pages = pp. 571–576. |

publisher = Paleontological Society }}</ref>
A gene of the bacterium ''[[Proteus mirabilis]]'' that causes urinary tract infections was in 1995 named ''zapA'' by three biologists from Maryland. In their scientific article, they "especially thank the late Frank Zappa for inspiration and assistance with genetic nomenclature".<ref>{{cite journal |last1=Wassif|first1=Christopher|last2=Cheek|first2=Diana|last3=Belas|first3=Robert|title=Molecular Analysis of a Metalloprotease from ''Proteus mirabilis''|date=October 1995|journal=Journal of Bacteriology|volume=177|pages=5790–5798|pmid=7592325|issue=20|pmc=177400|doi=10.1128/jb.177.20.5790-5798.1995}}</ref> Repeating regions of the genome of the human tumor virus [[Kaposi's sarcoma-associated herpesvirus|KSHV]] were named ''frnk'', ''vnct'' and ''zppa'' in 1996 by [[Yuan Chang]] and [[Patrick S. Moore]] who discovered the virus. Also, a 143 base pair repeat sequence occurring at two positions was named ''waka/jwka''.<ref>{{cite journal|title=Nucleotide sequence of the Kaposi sarcoma- associated herpesvirus (HHV8)|last1=Russo|first1=James J.|last2=Bohenzky|first2=Roy A.|last3=Chien|first3=Ming-Cheng|last4=Chen|first4=Jing|last5=Yan|first5=Ming|last6=Maddalena|first6=Dawn|last7=Preston Parry|first7=J.|last8=Peruzzi|first8=Daniela|last9=Edelman|first9=Isidore S.|last10=Chang|first10=Yuan|last11=Moore|first11=Patrick S.|journal=[[Proceedings of the National Academy of Sciences of the United States of America]]|volume=93|date=December 1996|pages=14862–14867|doi=10.1073/pnas.93.25.14862|pmid=8962146|issue=25|pmc=26227|bibcode=1996PNAS...9314862R|doi-access=free}}</ref>
In the late 1990s, American paleontologists Marc Salak and Halard L. Lescinsky discovered a [[animal|metazoan]] fossil, and named it ''Spygori zappania'' to honor "the late Frank Zappa&nbsp;... whose mission paralleled that of the earliest paleontologists: to challenge conventional and traditional beliefs when such beliefs lacked roots in logic and reason".<ref>{{cite journal|title=Spygoria zappania New Genus and Species, a Cloudina-like Biohermal Metazoan from the Lower Cambrian of Central Nevada|last1=Salak|first1=Marc|last2=Lescinsky|first2=Halard L.|journal=[[Journal of Paleontology]]|volume=73|issue=4|date=July 1999|pages=571–576|doi=10.1017/s002233600003239x|bibcode=1999JPal...73..571S |s2cid=132540126 }}</ref>

In 1994, lobbying efforts initiated by psychiatrist John Scialli led the [[International Astronomical Union]]'s [[Minor Planet Center]] to name an [[asteroid]] in Zappa's honor: [[3834 Zappafrank]].<ref>{{cite journal|last=Seachrist|first=Lisa|title=Space Rock Gets Zappa'd|journal=Science|volume=265|issue=5174|date=August 12, 1994|page=871|doi=10.1126/science.265.5174.871-c |pmid=17782133|bibcode=1994Sci...265..871.}}</ref> The asteroid was discovered in 1980 by Czechoslovakian astronomer [[Ladislav Brožek]], and the citation for its naming says that "Zappa was an eclectic, self-trained artist and composer&nbsp;... Before 1989 he was regarded as a symbol of democracy and freedom by many people in Czechoslovakia".<ref>{{cite web|url=http://www.minorplanetcenter.net/iau/special/rocknroll/0003834.html|title=(3834) Zappafrank|publisher=IAU: Minor Planet Center ([[Smithsonian Astrophysical Observatory]])|access-date=August 15, 2008}}</ref>
In 1995, a bust of Zappa by sculptor Konstantinas Bogdanas was installed in [[Vilnius]], the Lithuanian capital {{coord|54.683|25.2759}}. The choice of Zappa was explained as "a symbol that would mark the end of communism, but at the same time express that it wasn't always doom and gloom."<ref name="Pompilio"/> A replica was offered to the city of Baltimore in 2008, and on September 19, 2010—the twenty-fifth anniversary of Zappa's testimony to the U.S. Senate—a ceremony dedicating the replica was held, and the bust was unveiled at a library in the city.<ref>{{cite web|url=https://www.baltimoresun.com/2010/09/16/zappa-comes-home/|title=Zappa comes home|last=The Baltimore Sun|date=September 16, 2010|work=The Baltimore Sun|access-date=September 19, 2010|archive-date=March 6, 2011 |archive-url=https://web.archive.org/web/20110306091117/http://articles.baltimoresun.com/2010-09-16/entertainment/bs-ae-zappa-cover-0917-20100916_1_gail-zappa-southeast-anchor-library-lithuania|url-status=live}}</ref><ref>{{cite web|url=https://www.baltimoresun.com/2010/09/16/zappa-looza-a-full-guide-to-the-weekends-events/|title=Zappa-looza: A full guide to the weekend's events|last=The Baltimore Sun|date=September 16, 2010|work=The Baltimore Sun|access-date=September 19, 2010|archive-date=January 2, 2011 |archive-url=https://web.archive.org/web/20110102145706/http://articles.baltimoresun.com/2010-09-16/news/bs-ae-zappa-rail-0917-2-20100916_1_southeast-anchor-library-zappa-plays-zappa-zappa-related|url-status=live}}</ref>


[[File:Frank-Zappa-Straße in Berlin.jpg|thumb|right|Frank-Zappa-Straße in Berlin]]
In 1994, lobbying efforts initiated by psychiatrist John Scialli led the [[International Astronomical Union]]'s [[Minor Planet Center]] to name an [[asteroid]] in Zappa's honor: ''[[3834 Zappafrank]]''.<ref>{{citation | last= Seachrist| first= Lisa | title=Random Samples | journal= Science. New Series | volume=265 | publisher=American Association for the Advancement of Science | date= August 12, 1994| pages = pp. 870–871. }}</ref> The asteroid was discovered in 1980 by Czechoslovakian astronomer [[Ladislav Brozek]], and the citation for its naming says that "Zappa was an eclectic, self-trained artist and composer&nbsp;... Before 1989 he was regarded as a symbol of democracy and freedom by many people in Czechoslovakia".<ref>{{citation | url= http://cfa-www.harvard.edu/iau/special/rocknroll/0003834.html|title=(3834) Zappafrank | publisher=IAU: Minor Planet Center ([[Smithsonian Astrophysical Observatory]]) }}. Retrieved on August 15, 2008</ref>
In 2002, a bronze bust was installed in German city [[Bad Doberan]], location of the ''[[Zappanale]]'' since 1990, an annual music festival celebrating Zappa.<ref>{{cite web|url=http://zappanale.de|title=Zappanale&nbsp;– Startseite|publisher=zappanale.de|access-date=August 14, 2008}}</ref> At the initiative of musicians community [[ORWOhaus]], the city of Berlin named a street in the [[Marzahn]] district "Frank-Zappa-Straße" in 2007.<ref>{{Cite news|url=https://www.washingtonpost.com/wp-dyn/content/article/2007/07/30/AR2007073000690.html|title=Berlin Names Street After Frank Zappa|agency=The Associated Press|date=July 30, 2007|newspaper=The Washington Post|access-date=August 15, 2008}}</ref> The same year, Baltimore mayor [[Sheila Dixon]] proclaimed August 9 as the city's official "Frank Zappa Day" citing Zappa's musical accomplishments as well as his defense of the [[First Amendment to the United States Constitution]].<ref>{{cite web|url=http://www.zappa.com/whatsnew/news/baltimore.html |title=What's New in Baltimore? |publisher=Zappa.com |access-date=August 15, 2008 |url-status=dead |archive-url=https://web.archive.org/web/20080808113218/http://www.zappa.com/whatsnew/news/baltimore.html |archive-date=August 8, 2008}}</ref>


=== ''Zappa'' documentary ===
In 1995, a bust of Zappa by renowned sculptor Konstantinas Bogdanas was installed in the [[Lithuania]]n capital [[Vilnius]]. A replica was in 2008 offered to the city of Baltimore.<ref>{{citation | url=http://www.cbsnews.com/stories/2008/05/07/national/main4078921.shtml | title = Zany Lithuanians To Donate Zappa Statue. | last = The Associated Press | date = May 7, 2008 | publisher = CBS News }}. Retrieved on August 14, 2008</ref> In 2002, a bronze bust was installed in German city [[Bad Doberan]], since 1990 location of the ''[[Zappanale]]'', an annual music festival celebrating Zappa.<ref>{{citation | url=http://zappanale.de/ | title = Zappanale - Startseite | publisher = zappanale.de}}. Retrieved on August 14, 2008</ref> At the initiative of musicians community [[ORWOhaus]], the city of [[Berlin]] named a street in the [[Marzahn]] district "Frank-Zappa-Straße" in 2007.<ref>{{citation | url=http://www.washingtonpost.com/wp-dyn/content/article/2007/07/30/AR2007073000690.html | title=Berlin Names Street After Frank Zappa| last = The Associated Press | date = July 30, 2007| publisher = The Washington Post}}. Retrieved on August 15, 2008</ref> The same year, [[Baltimore, Maryland|Baltimore]]'s mayor [[Sheila Dixon]] proclaimed August 9 as the city's official "Frank Zappa Day" citing Zappa's musical accomplishments as well as his defense of the [[First Amendment to the United States Constitution]].<ref>{{citation | url=http://www.zappa.com/whatsnew/news/baltimore.html|title = Zappa.com > What's New in Baltimore? | publisher = zappa.com}}. Retrieved on August 15, 2008</ref>
The biographical documentary ''[[Zappa (2020 film)|Zappa]]'', directed by [[Alex Winter]] and released on November 27, 2020, includes previously unreleased footage from Zappa's personal vault, to which he was granted access by the Zappa Family Trust.<ref>{{Cite magazine|last=Grow|first=Kory|date=July 24, 2015|title=Frank Zappa Documentary by Alex Winter Starts Production|url=https://www.rollingstone.com/movies/movie-news/frank-zappa-documentary-by-alex-winter-starts-production-59287/|access-date=December 30, 2020|magazine=Rolling Stone|language=en-US}}</ref><ref>{{Cite web|last=Tangcay|first=Jazz|date=November 29, 2020|title=Alex Winter on Telling the Story of 'Paradoxical' Frank Zappa in New Doc: 'It Took Us Years to Get it Right'|url=https://variety.com/2020/film/news/alex-winter-frank-zappa-documentary-1234840123/|access-date=December 30, 2020|website=Variety|language=en-US}}</ref>


==Discography==
==Discography==
{{main|Frank Zappa discography}}
{{main|Frank Zappa discography}}
During his lifetime, Zappa released 62 albums. Since 1994, the Zappa Family Trust has released 67 posthumous albums, making a total of 129 albums.<ref>{{cite web |url=http://www.zappa.com/music/official |title=Frank Zappa Official Discography |publisher=Zappa.com |access-date=July 29, 2021 |archive-date=December 22, 2017 |archive-url=https://web.archive.org/web/20171222011034/http://www.zappa.com/music/official |url-status=dead }}</ref> The distributor of Zappa's recorded output is [[Universal Music Enterprises]].<ref>{{cite news|url=https://variety.com/2012/music/news/umg-sets-frank-zappa-re-releases-1118055340/|title=UMG sets Frank Zappa re-releases|work=[[Variety (Magazine)|Variety]]|date=June 11, 2012|access-date=March 14, 2019|first=Chris|last=Morris}}</ref> In June 2022, the Zappa Trust announced that it had sold Zappa's entire catalog to Universal Music, including master tapes, song copyrights and trademarks.<ref>{{cite magazine|last1=Kreps |first1=Daniel |title=Frank Zappa's Estate Acquired by Universal Music Group |url=https://www.rollingstone.com/music/music-news/frank-zappa-estate-universal-music-group-1376473/|magazine=[[Rolling Stone]]|date=June 30, 2022}}</ref>


==Notes==
=== Albums ===
{{div col}}
{{reflist|colwidth=30em}}
* ''[[Freak Out!]]'' (1966)
* ''[[Absolutely Free]]'' (1967)
* ''[[We're Only in It for the Money]]'' (1968)
* ''[[Lumpy Gravy]]'' (1968)
* ''[[Cruising with Ruben & the Jets]]'' (1968)
* ''[[Mothermania]]'' (1969)
* ''[[Uncle Meat]]'' (1969)
* ''[[Hot Rats]]'' (1969)
* ''[[Burnt Weeny Sandwich]]'' (1970)
* ''[[Weasels Ripped My Flesh]]'' (1970)
* ''[[Chunga's Revenge]]'' (1970)
* ''[[Fillmore East – June 1971]]'' (1971)
* ''[[200 Motels (soundtrack)|200 Motels]]'' (1971)
* ''[[Just Another Band from L.A.]]'' (1972)
* ''[[Waka/Jawaka]]'' (1972)
* ''[[The Grand Wazoo]]'' (1972)
* ''[[Over-Nite Sensation]]'' (1973)
* ''[[Apostrophe (')]]'' (1974)
* ''[[Roxy & Elsewhere]]'' (1974)
* ''[[One Size Fits All (Frank Zappa album)|One Size Fits All]]'' (1975)
* ''[[Bongo Fury]]'' (1975)
* ''[[Zoot Allures]]'' (1976)
* ''[[Zappa in New York]]'' (1978)
* ''[[Studio Tan]]'' (1978)
* ''[[Sleep Dirt]]'' (1979)
* ''[[Sheik Yerbouti]]'' (1979)
* ''[[Orchestral Favorites]]'' (1979)
* ''[[Joe's Garage|Joe's Garage, Act I]]'' (1979)
* ''[[Joe's Garage|Joe's Garage, Acts II & III]]'' (1979)
* ''[[Tinsel Town Rebellion]]'' (1981)
* ''[[Shut Up 'n Play Yer Guitar]]'' (1981)
* ''[[Shut Up 'n Play Yer Guitar|Shut Up 'n Play Yer Guitar Some More]]'' (1981)
* ''[[Shut Up 'n Play Yer Guitar|Return of the Son of Shut Up 'n Play Yer Guitar]]'' (1981)
* ''[[You Are What You Is]]'' (1981)
* ''[[Ship Arriving Too Late to Save a Drowning Witch]]'' (1982)
* ''[[The Man from Utopia]]'' (1983)
* ''[[Baby Snakes (soundtrack)|Baby Snakes]]'' (1983)
* ''[[London Symphony Orchestra (Zappa albums)|London Symphony Orchestra, Vol. I]]'' (1983)
* ''[[Boulez Conducts Zappa: The Perfect Stranger]]'' (1984)
* ''[[Them or Us]]'' (1984)
* ''[[Thing-Fish]]'' (1984)
* ''[[Francesco Zappa (album)|Francesco Zappa]]'' (1984)
* ''[[Old Masters (box set)|Old Masters, Box I]]'' (1985)
* ''[[Frank Zappa Meets the Mothers of Prevention]]'' (1985)
* ''[[Does Humor Belong in Music? (album)|Does Humor Belong in Music?]]'' (1986)
* ''[[Old Masters (box set)|Old Masters, Box II]]'' (1986)
* ''[[Jazz from Hell]]'' (1986)
* ''[[London Symphony Orchestra (Zappa albums)|London Symphony Orchestra, Vol. II]]'' (1987)
* ''[[Old Masters (box set)|Old Masters, Box III]]'' (1987)
* ''[[Guitar (Frank Zappa album)|Guitar]]'' (1988)
* ''[[You Can't Do That on Stage Anymore, Vol. 1]]'' (1988)
* ''[[You Can't Do That on Stage Anymore, Vol. 2]]'' (1988)
* ''[[Broadway the Hard Way]]'' (1988)
* ''[[You Can't Do That on Stage Anymore, Vol. 3]]'' (1989)
* ''[[The Best Band You Never Heard in Your Life]]'' (1991)
* ''[[Make a Jazz Noise Here]]'' (1991)
* ''[[You Can't Do That on Stage Anymore, Vol. 4]]'' (1991)
* ''[[You Can't Do That on Stage Anymore, Vol. 5]]'' (1992)
* ''[[You Can't Do That on Stage Anymore, Vol. 6]]'' (1992)
* ''[[Playground Psychotics]]'' (1992)
* ''[[Ahead of Their Time]]'' (1993)
* ''[[The Yellow Shark]]'' (1993)
{{div col end}}


=== Posthumous albums ===
==References==
{{div col}}
* {{citation
* ''[[Civilization Phaze III]]'' (1994)
| title = Censorship: Or Freedom of Expression?
* ''[[The Lost Episodes]]'' (1996)
| first = Nancy
* ''[[Läther]]'' (1996)
| last = Day
* ''[[Frank Zappa Plays the Music of Frank Zappa: A Memorial Tribute]]'' (1996)
| location = Minneapolis
* ''[[Have I Offended Someone?]]'' (1997)
| publisher = Twenty-First Century Books, Lerner Publications
* ''[[Mystery Disc]]'' (1998)
| year = 2001
* ''[[Everything Is Healing Nicely]]'' (1999)
| id = ISBN 0-822-52628-X}}
* ''[[FZ:OZ]]'' (2002)
* {{citation
* ''[[Halloween (Frank Zappa album)|Halloween]]'' (2003)
| editor=DeCurtis, Anthony; Henke, James with Holly George-Warren
* ''[[Joe's Corsage]]'' (2004)
| others=Jim Miller (Original Editor)
* ''[[Joe's Domage]]'' (2004)
| title=The Rolling Stone Illustrated History of Rock & Roll
* ''[[Quaudiophiliac]]'' (2004)
| edition=3rd
* ''[[Joe's Xmasage]]'' (2005)
| publisher=Random House
* ''[[Imaginary Diseases]]'' (2006)
| location=New York
* ''[[The MOFO Project/Object]]'' (2006)
| year= 1992
* ''[[The MOFO Project/Object|The MOFO Project/Object (fazedooh)]]'' (2006)
| id = ISBN 0-679-73728-6
* ''[[Trance-Fusion]]'' (2006)
}}
* ''[[Buffalo (Frank Zappa album)|Buffalo]]'' (2007)
* {{citation
* ''[[The Dub Room Special (soundtrack)|The Dub Room Special!]]'' (2007)
| title = Mother! is the Story of Frank Zappa
* ''[[Wazoo (album)|Wazoo]]'' (2007)
| first = Michael
* ''[[One Shot Deal]]'' (2008)
| last = Gray
* ''[[Joe's Menage]]'' (2008)
| publisher = Proteus Books
* ''[[The Lumpy Money Project/Object]]'' (2008)
| location = London
* ''[[Philly '76]]'' (2009)
| year = 1984
* ''[[Greasy Love Songs]]'' (2009)
| id = ISBN 0-862-76146-8}}
* ''[[Congress Shall Make No Law...]]'' (2010)
* {{citation
* ''[[Hammersmith Odeon (album)|Hammersmith Odeon]]'' (2010)
| title = Necessity Is . . .: The Early Years of Frank Zappa & the Mothers of Invention
* ''[[Feeding the Monkies at Ma Maison]]'' (2011)
| first = Billy
* ''[[Carnegie Hall (Frank Zappa album)|Carnegie Hall]]'' (2011)
| last = James
* ''[[Road Tapes, Venue 1]]'' (2012)
| publisher = SAF Publishing Ltd.
* ''[[Understanding America]]'' (2012)
| location = London
* ''[[Finer Moments]]'' (2012)
| year = 2000
* ''[[Baby Snakes (soundtrack)#AAAFNRAA: Baby Snakes – The Compleat Soundtrack|AAAFNRAA: Baby Snakes: The Compleat Soundtrack]]'' (2012)
| id = ISBN 0-946-71951-9}}
* ''[[Road Tapes, Venue 2]]'' (2013)
* {{citation
* ''[[A Token of His Extreme]]'' (2013)
| title = The Words and Music of Frank Zappa
* ''[[Joe's Camouflage]]'' (2014)
| first = Kelly Fisher
* ''[[Roxy by Proxy]]'' (2014)
| last = Lowe
* ''[[Dance Me This]]'' (2015)
| publisher = Praeger Publishers
* ''200 Motels: The Suites'' (2015)
| location = Westport
* ''[[Roxy The Soundtrack]]'' (2015)
| year = 2006
* ''[[Road Tapes, Venue 3]]'' (2016)
| id = ISBN 0-275-98779-5}}
* ''[[The Crux of the Biscuit]]'' (2016)
* {{citation
| title = Frank Zappa
* ''[[Frank Zappa for President]]'' (2016)
* ''ZAPPAtite: Frank Zappa's Tastiest Tracks'' (2016)
| first = Barry
* ''[[Meat Light]]'' (2016)
| last = Miles
* ''[[Chicago '78]]'' (2016)
| publisher = Atlantic Books
* ''[[Little Dots]]'' (2016)
| location = London
* ''[[Halloween 77]]'' (2017)
| year = 2004
* ''[[The Roxy Performances]]'' (2018)
| id = ISBN 1-843-54092-4}}
* ''[[Zappa in New York#40th Anniversary releases 2019|Zappa in New York 40th Anniversary]]'' (2019)
* {{citation
* ''[[Orchestral Favorites#40th Anniversary Track Listing|Orchestral Favorites 40th Anniversary]]'' (2019)
| title = Electric Don Quixote: The Definitive Story of Frank Zappa | first = Neil
* ''[[Halloween 73]]'' (2019)
| last = Slaven
* ''[[The Hot Rats Sessions]]'' (2019)
| publisher = Omnibus Press
* ''[[The Mothers 1970]]'' (2020)
| location = London
* ''[[Halloween 81]]'' (2020)
| year = 2003
* ''Zappa – Original Motion Picture Soundtrack'' (2020)
| id = ISBN 0-711-99436-6}}
* ''[[Zappa '88: The Last U.S. Show]]'' (2021)
* {{citation
* ''[[200 Motels (soundtrack)#50th Anniversary 6CD|200 Motels 50th Anniversary]]'' (2021)
| title = Cocaine Fiends and Reefer Madness: An Illustrated History of Drugs in the Movies
* ''[[The Mothers 1971]]'' (2022)
| last = Sparks
* ''[[Zappa/Erie]]'' (2022)
| first = Michael
* ''[[Zappa '75: Zagreb/Ljubljana]]'' (2022)
| year = 1982
* ''[[Waka/Wazoo]]'' (2022)
| location = New York
* ''[[Zappa '80 Mudd Club/Munich|Zappa '80: Mudd Club/Munich]]'' (2023)
| publisher = Cornwall Books
* ''[[Funky Nothingness]]'' (2023)
| id = ISBN 0-845-34504-4 }}
* ''[[Over-Nite Sensation#2023 50th Anniversary Super Deluxe Edition|Over-Nite Sensation 50th Anniversary]]'' (2023)
* {{citation
* ''[[Whisky a Go Go 1968]]'' (2024)
| title = No Commercial Potential. The Saga of Frank Zappa. Then and Now
* ''Apostrophie (') 50th Anniversary'' (2024)
| first = David
{{div col end}}
| last = Walley
| publisher = E. P. Dutton
| location = New York
| year = 1980
| id = ISBN 0-525-93153-8}}
* {{citation
| title = Frank Zappa: The Negative Dialectics of Poodle Play
| first = Ben
| last = Watson
| year = 1996
| publisher = St. Martin's Griffin
| location = New York
| id = ISBN 0-312-14124-6}}
* {{citation
| title = Frank Zappa. The Complete Guide to His Music
| first = Ben
| last = Watson
| year = 2005
| publisher = Omnibus Press
| location = London
| id = ISBN 1-844-49865-4}}
* {{citation
| title = The Real Frank Zappa Book
| first = Frank with Occhiogrosso, Peter
| last = Zappa
| year = 1989
| publisher = Poseidon Press
| location = New York
| id = ISBN 0-671-63870-X}}
* {{citation
| year = 1993
| contribution = Frank Zappa
| title = The New Rolling Stone Encyclopedia of Rock & Roll
| publisher = Simon & Schuster Inc
| place = New York
| id= ISBN 0-684-81044-1}}


==External links==
==Videography==
{{Guitar}}
{{div col}}
*1971 – [[200 Motels|Frank Zappa's 200 Motels]]
*1976 – A Token of His Extreme
*1979 – [[Baby Snakes]]
*1981 – The Torture Never Stops
*1982 – [[The Dub Room Special|The Dub Room Special!]]
*1985 – [[Does Humor Belong in Music? (video)|Does Humor Belong in Music?]]
*1987 – [[Video from Hell]]
*1987 – [[Uncle Meat (film)|Uncle Meat]]
*1987 – [[The True Story of Frank Zappa's 200 Motels]]
*1987 – [[The Amazing Mr. Bickford]]
*2015 – Roxy The Movie
*2020 – Zappa
{{div col end}}


==Tours==
* [http://www.zappa.com/ The Official Frank Zappa Site]
Tour and the relative video:
* {{imdb name | id=0953261 | name=Frank Zappa}}
{{div col}}
{{commonscat-inline|Frank Zappa}}
* 1966 – The Mothers of Invention US Tour
{{wikiquote-inline}}
* 1967 – The Mothers of Invention World Tour
* 1968 – The Mothers of Invention World Tour (October 25, 1968, The Royal Festival Hall in London – Uncle Meat)
* 1969 – The Mothers of Invention World Tour
* 1970 – The Mothers of Invention World Tour (November 6, 1970, Fillmore West in San Francisco – The True Story of Frank Zappa's 200 Motels)
* 1971 – The Mothers of Invention World Tour (January 28, 1971, Pinewood Studios in London – Frank Zappa's 200 Motels)
* 1972 – The Grand Wazoo (big band) / The Petit Wazoo (small band) World Tour
* 1973 – The Mothers of Invention World Tour (December 8–10, 1973, The Roxy in Los Angeles – Roxy The Movie)
* 1974 – The Mothers of Invention World Tour (August 27, 1974, KCET Sound Stage in Hollywood – A Token Of His Extreme / The Dub Room Special!)
* 1975 – The Mothers of Invention World Tour
* 1976 – Frank Zappa World Tour
* 1977 – Frank Zappa World Tour (October 31, 1977, The Palladium in New York – Baby Snakes)
* 1978 – Frank Zappa World Tour
* 1979 – Frank Zappa European Tour
* 1980 – Frank Zappa World Tour
* 1981 – Frank Zappa North American Tour (October 31, 1981, The Palladium in New York – The Torture Never Stops / The Dub Room Special!)
* 1982 – Frank Zappa European Tour
* 1984 – Frank Zappa World Tour (August 25, 1984, The Pier in New York – Does Humor Belong In Music?)
* 1988 – Frank Zappa World Tour
{{div col end}}


==Touring bands timeline==
&nbsp;
{{#tag:timeline|
{{Frank Zappa}}
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{{Persondata

|NAME= Zappa, Frank
LineData =
|ALTERNATIVE NAMES= Zappa, Frank Vincent
color:black layer:back
|SHORT DESCRIPTION= [[Composer]], [[Musician]], [[Bandleader]], [[Conductor (music)|Conductor]], [[Record producer|Producer]]
at:10/25/1968
|DATE OF BIRTH= {{birth date|1940|12|21|mf=y}}
at:11/06/1970
|PLACE OF BIRTH= [[Baltimore, Maryland|Baltimore]], [[Maryland]]
at:01/28/1971
|DATE OF DEATH= {{death date|1993|12|4|mf=y}}
at:12/08/1973
|PLACE OF DEATH=[[Los Angeles, California|Los Angeles]]
at:08/27/1974
at:10/31/1977
at:10/31/1981
at:08/25/1984

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bar:RonnieCuber text:"Ronnie Cuber"
bar:MikeBrecker text:"Mike Brecker"
bar:LouMarini text:"Lou Marini"
bar:PaulCarman text:"Paul Carman"
bar:KurtMcGettrick text:"Kurt McGettrick"
bar:AlbertWing text:"Albert Wing"
bar:BuzzGardner text:"Buzz Gardner"
bar:BruceFowler text:"Bruce Fowler"
bar:GlennFerris text:"Glenn Ferris"
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bar:SalMarquez text:"Sal Marquez"
bar:KenShroyer text:"Ken Shroyer"
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bar:RandyBrecker text:"Randy Brecker"
bar:JerryKessler text:"Jerry Kessler"
bar:JeanLucPonty text:"Jean-Luc Ponty"
bar:LShankar text:"L. Shankar"

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bar:SalMarquez from:03/24/1973 till:07/08/1973 color:brass
bar:WaltFowler from:04/01/1974 till:05/31/1974 color:brass
bar:BruceFowler from:04/01/1975 till:05/31/1975 color:brass
bar:RandyBrecker from:12/26/1976 till:12/29/1976 color:brass
bar:TomMalone from:12/26/1976 till:12/29/1976 color:brass
bar:BruceFowler from:02/01/1988 till:06/09/1988 color:brass
bar:WaltFowler from:02/01/1988 till:06/09/1988 color:brass

bar:JerryKessler from:09/01/1972 till:09/20/1972 color:strings
bar:JeanLucPonty from:12/16/1972 till:09/30/1973 color:strings
bar:LShankar from:10/27/1978 till:10/31/1978 color:strings
}}
}}

{{Lifetime|1940|1993|Zappa, Frank}}
==Books==
* ''Them or Us'', self-published, 1984, re-published Pinter & Martin Ltd, 2010
* ''[[The Real Frank Zappa Book]]'', New York, Poseidon Press, 1989
* ''Frank Zappa in His Own Words'', Omnibus Press, 1993
* ''The Real Porn Wars'', Gonzo Multimedia, 2014
* ''The Frank Zappa Guitar Book'', Hal Leonard Publishing, 2017 compiled and transcribed by [[Steve Vai]]

==See also==
* [[List of performers on Frank Zappa records]]
* [[Frank Zappa in popular culture]]

==Notes==
{{Reflist|group="nb"|30em}}

==References==
{{Reflist}}

==Bibliography==
{{Refbegin|40em}}
* {{cite book |title=Censorship: Or Freedom of Expression? |first=Nancy |last=Day |location=Minneapolis |publisher=Twenty-First Century Books, Lerner Publications |date=2001 |isbn=978-0-8225-2628-5 |url=https://archive.org/details/censorshiporfree00nanc}}
* {{cite book |title=Frank Zappa, Captain Beefheart and the Secret History of Maximalism |first1=Michel |first2=Andrew |last2=Norris |last1= Delville |location=Oxford |publisher=Salt Publishing |date=2005 |isbn=978-1-84471-059-1}}
* {{cite book |editor1=DeCurtis, Anthony |editor2=Henke, James with Holly George-Warren |others=Jim Miller (Original Editor) |title=The Rolling Stone Illustrated History of Rock & Roll |edition=3rd |publisher=Random House |location=New York |date= 1992 |isbn=978-0-679-73728-5}}
* {{cite book |title=Mother! Is the Story of Frank Zappa |first=Michael |last=Gray |publisher=Proteus Books |location=London |date=1984 |isbn=978-0-86276-146-2}}
* {{cite book |title=Necessity Is&nbsp;...: The Early Years of Frank Zappa & The Mothers of Invention |first=Billy |last=James |publisher=SAF Publishing Ltd. |location=London |date=2000 |isbn=978-0-946719-51-8}}
* {{cite book |title=The Words and Music of Frank Zappa |first=Kelly Fisher |last=Lowe |publisher=Praeger Publishers |location=Westport |date=2006 |isbn=978-0-275-98779-4}}
* {{cite book |title=Avant Rock: Experimental Music from the Beatles to Björk |first=Bill |last=Martin |publisher=Open Court Publishing Company |location=Peru, Illinois |date=2002 |isbn=978-0-8126-9500-7 |url=https://archive.org/details/avantrockexperim00mart}}
* {{cite book |title=Revolution in the head: The Beatles' Records and the Sixties |first=Ian |last=MacDonald |publisher=Fourth Estate Ltd. |date=1994 |isbn=978-1-85702-099-1}}
* {{cite book |title=Frank Zappa |first=Barry |last=Miles |publisher=Atlantic Books |location=London |date=2004 |isbn=978-1-84354-092-2}}
* {{cite book |title=Frank Zappa: The Composer |first=Daniel |last=Schröder |publisher=Büchner-Verlag |location=Darmstadt |date=2017 |isbn=978-3-941310-85-8}}
* {{cite book |title=Electric Don Quixote: The Definitive Story of Frank Zappa |first=Neil |last=Slaven |publisher=Omnibus Press |location=London |date=2003 |isbn=978-0-7119-9436-2}}
* {{cite book |title=Cocaine Fiends and Reefer Madness: An Illustrated History of Drugs in the Movies |last=Sparks |first=Michael |date=1982 |location=New York |publisher=Cornwall Books |isbn=978-0-8453-4504-7}}
* {{cite book |title=No Commercial Potential. The Saga of Frank Zappa. Then and Now |first=David |last=Walley |publisher=E. P. Dutton |location=New York |date=1980 |isbn=978-0-525-93153-9}}
* {{cite book |title=Frank Zappa: The Negative Dialectics of Poodle Play |first=Ben |last=Watson |date=1996 |publisher=St. Martin's Griffin |location=New York |isbn=978-0-312-14124-0}}
* {{cite book |title=Frank Zappa. The Complete Guide to His Music |first=Ben |last=Watson |date=2005 |publisher=Omnibus Press |location=London |isbn=978-1-84449-865-9}}
* {{cite book |title=The Real Frank Zappa Book |first1=Frank |last2=Occhiogrosso |first2=Peter |last1=Zappa |date=1989 |publisher=Poseidon Press |location=New York |isbn=978-0-671-63870-2}}
* {{cite book |date=1993 |contribution=Frank Zappa |title=The New Rolling Stone Encyclopedia of Rock & Roll |publisher=Simon & Schuster Inc |place=New York |isbn=978-0-684-81044-7 |url=https://archive.org/details/newrollingstonee00patr}}
{{Refend}}

==External links==
{{Commons category|Frank Zappa}}
{{Wikiquote|Frank Zappa}}
{{Library resources box|by=no|onlinebooks=no|about=yes|wikititle=Frank Zappa}}
* {{Official website}}
* {{C-SPAN|42212}}
* {{AllMusic|class=artist|id=mn0000138699}}
* {{IMDb name}}
* {{Guardian topic}}
* {{New York Times topic|new_id=person/frank-zappa}}
* {{Rockhall}}

{{Frank Zappa|state=expanded}}
{{Frank Zappa albums}}
{{Ruben and the Jets}}
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Latest revision as of 00:43, 23 December 2024

Frank Zappa
Zappa performing at Ekeberghallen in Oslo, Norway, in 1977
Born
Frank Vincent Zappa

(1940-12-21)December 21, 1940
Baltimore, Maryland, U.S.
DiedDecember 4, 1993(1993-12-04) (aged 52)
Los Angeles, California, U.S.
Resting placePierce Brothers Westwood Village Memorial Park and Mortuary
Occupations
  • Composer
  • guitarist
  • bandleader
Years active1955–1993
Spouses
  • Kay Sherman
    (m. 1960; div. 1963)
  • (m. 1967)
Children
Musical career
OriginLos Angeles, California, U.S.
Genres
Instruments
DiscographyFrank Zappa discography
Labels
Formerly of
Websitezappa.com

Frank Vincent Zappa[nb 1] (/ˈzæpə/ ZAP; December 21, 1940 – December 4, 1993) was an American musician, composer, and bandleader. In a career spanning more than 30 years, Zappa composed rock, pop, jazz, jazz fusion, orchestral and musique concrète works; he also produced almost all of the 60-plus albums that he released with his band the Mothers of Invention and as a solo artist.[2] His work is characterized by nonconformity, improvisation[3] sound experimentation, musical virtuosity and satire of American culture.[4] Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse musicians of his generation.[5][6]

As a mostly self-taught composer and performer, Zappa had diverse musical influences that led him to create music that was sometimes difficult to categorize. While in his teens, he acquired a taste for 20th-century classical modernism, African-American rhythm and blues, and doo-wop music.[7] He began writing classical music in high school, while simultaneously playing drums in rhythm and blues bands, later switching to electric guitar. His debut studio album with the Mothers of Invention, Freak Out! (1966), combined satirical but seemingly conventional rock and roll songs with extended sound collages. He continued this eclectic and experimental approach throughout his career.

Zappa's output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas, and characters reappearing across his albums.[4] His lyrics reflected his iconoclastic views of established social and political processes, structures and movements, often humorously so, and he has been described as the "godfather" of comedy rock.[8] He was a strident critic of mainstream education and organized religion, and a forthright and passionate advocate for freedom of speech, self-education, political participation and the abolition of censorship. Unlike many other rock musicians of his generation, he disapproved of recreational drug use, but supported decriminalization and regulation.

Zappa was a highly productive and prolific artist with a controversial critical standing; supporters of his music admired its compositional complexity, while detractors found it lacking emotional depth.[9] He had greater commercial success outside the US, particularly in Europe. Though he worked as an independent artist, Zappa mostly relied on distribution agreements he had negotiated with the major record labels. He remains a major influence on musicians and composers. His many honors include his posthumous 1995 induction into the Rock and Roll Hall of Fame and the 1997 Grammy Lifetime Achievement Award.

1940–1965: Early life and career

[edit]

Childhood

[edit]

Zappa was born on December 21, 1940, in Baltimore, Maryland, to Rose Marie (née Colimore) and Francis Vincent Zappa. He was of Sicilian, Greek, Arab and French descent.[nb 2]

Frank, the eldest of four children, was raised in an Italian-American household where Italian was often spoken by his grandparents.[1]: 6 [10] The family moved often because his father, a chemist and mathematician, worked in the defense industry. After a time in Florida in the 1940s, the family returned to Maryland, where Zappa's father worked at the Edgewood Arsenal chemical warfare facility of the Aberdeen Proving Ground run by the U.S. Army. Due to their home's proximity to the arsenal, which stored mustard gas, gas masks were kept in the home in case of an accident.[1]: 20–23  This living arrangement had a profound effect on Zappa, and references to germs, germ warfare, ailments and the defense industry occur frequently throughout his work.[11]: 8–9 

Zappa's father often brought mercury-filled lab equipment home from his workplace and gave it to Zappa to play with.[1]: 19  Zappa said that as a child he "used to play with it all the time", often by putting liquid mercury on the floor and using a hammer to spray out mercury droplets in a circular pattern, eventually covering the entire floor of his bedroom with them.[12]

Zappa was often sick as a child, suffering from asthma, earaches and sinus problems. A doctor treated his sinusitis by inserting a pellet of radium into each of Zappa's nostrils. At the time, little was known about the potential dangers of even small amounts of therapeutic radiation and mercury exposure.[11]: 10 

Nasal imagery and references appear in his music and lyrics, as well as in the collage album covers created by his long-time collaborator Cal Schenkel. Zappa believed his childhood diseases might have been due to exposure to mustard gas, released by the nearby chemical warfare facility, and his health worsened when he lived in Baltimore.[1]: 20–23 [11]: 10  In 1952, his family relocated for reasons of health to Monterey, California, where his father taught metallurgy at the Naval Postgraduate School.[1]: 22  They soon moved to the San Diego neighborhood of Clairemont,[13]: 46  and then to the nearby city of El Cajon, before finally returning to San Diego.[14]

First musical interests

[edit]

Since I didn't have any kind of formal training, it didn't make any difference to me if I was listening to Lightnin' Slim, or a vocal group called the Jewels ..., or Webern, or Varèse, or Stravinsky. To me it was all good music.

— Frank Zappa, 1989[1]: 34 

Zappa started at the age of 12, learning drum rudiments at a summer school group course in Monterey, California with a teacher named Keith McKillop. Frank said "Instead of drums, he had us practicing on wooden planks."[1]: 13  Zappa joined his first band at Mission Bay High School in San Diego as a drummer.[1]: 29  At about the same time, his parents bought a phonograph, which allowed him to develop his interest in music, and to begin building his record collection.[11]: 22  According to The Rough Guide to Rock (2003), "as a teenager Zappa was simultaneously enthralled by black R&B (Johnny 'Guitar' Watson, Guitar Slim), doo-wop (The Channels, The Velvets), and modern composers, such as Igor Stravinsky, Anton Webern and Edgard Varèse."[7]

R&B singles were early purchases for Zappa, starting a large collection he kept for the rest of his life.[11]: 36  He was interested in sounds for their own sake, particularly the sounds of drums and other percussion instruments. By age twelve, he had obtained a snare drum and began learning the basics of orchestral percussion.[1]: 29  Zappa's deep interest in modern classical music began[15] when he read a LOOK magazine article about the Sam Goody record store chain that lauded its ability to sell an LP as obscure as The Complete Works of Edgard Varèse, Volume One.[1]: 30–33  The article described Varèse's percussion composition Ionisation, produced by EMS Recordings, as "a weird jumble of drums and other unpleasant sounds". Zappa decided to seek out Varèse's music. After searching for over a year, Zappa found a copy (he noticed the LP because of the "mad scientist" looking photo of Varèse on the cover). Not having enough money with him, he persuaded the salesman to sell him the record at a discount.[1]: 30–33  Thus began his lifelong passion for Varèse's music and that of other modern classical composers. He also liked the Italian classical music listened to by his grandparents, especially Puccini's opera arias.

Zappa's senior yearbook photo, 1958

By 1956, the Zappa family had moved to Lancaster, a small aerospace and farming town in the Antelope Valley of the Mojave Desert close to Edwards Air Force Base; he would later refer to Sun Village (a town close to Lancaster) in the 1973 track "Village of the Sun".[16] Zappa's mother encouraged him in his musical interests. Although she disliked Varèse's music, she was indulgent enough to give her son a long-distance call to the New York composer as a fifteenth birthday present.[1]: 30–33  Unfortunately, Varèse was in Europe at the time, so Zappa spoke to the composer's wife and she suggested he call back later. In a letter, Varèse thanked him for his interest, and told him about a composition he was working on called "Déserts". Living in the desert town of Lancaster, Zappa found this very exciting. Varèse invited him to visit if he ever came to New York. The meeting never took place (Varèse died in 1965), but Zappa framed the letter and kept it on display for the rest of his life.[15][nb 3]

At Antelope Valley High School, Zappa met Don Glen Vliet (who later changed his name to Don Van Vliet and adopted the stage name Captain Beefheart). Zappa and Vliet became close friends, sharing an interest in R&B records and influencing each other musically throughout their careers.[13]: 29–30  Around the same time, Zappa started playing drums in a local band, the Blackouts.[18]: 13  The band was racially diverse and included Euclid James "Motorhead" Sherwood who later became a member of the Mothers of Invention. Zappa's interest in the guitar grew, and in 1957 he was given his first instrument. Among his early influences were Johnny "Guitar" Watson, Howlin' Wolf and Clarence "Gatemouth" Brown. In the 1970s/1980s, he invited Watson to perform on several albums. Zappa considered soloing the equivalent of forming "air sculptures",[19] and developed an eclectic, innovative and highly personal style.[20] He was also influenced by Egyptian composer Halim El-Dabh.[21]

Zappa's interest in composing and arranging flourished in his last high school years. By his final year, he was writing, arranging and conducting avant-garde performance pieces for the school orchestra.[11]: 40  He graduated from Antelope Valley High School in 1958, and later acknowledged two of his music teachers on the sleeve of the 1966 album Freak Out![22]: 23  Due to his family's frequent moves, Zappa attended at least six different high schools, and as a student he was often bored and given to distracting the rest of the class with juvenile antics.[11]: 48  In 1959, he attended Chaffey College but left after one semester, and maintained thereafter a disdain for formal education, taking his children out of school at age 15 and refusing to pay for their college.[11]: 345  While in college, Zappa met Terry Kirkman and played gigs at local coffee houses with him.[23]

Zappa left home in 1959, and moved into a small apartment in Echo Park, Los Angeles. After he met Kathryn J. "Kay" Sherman during his short period of private composition study with Prof. Karl Kohn of Pomona College, they moved in together in Ontario, and were married December 28, 1960.[11]: 58  Zappa worked for a short period in advertising as a copywriter. His sojourn in the commercial world was brief, but gave him valuable insights into its workings.[1]: 40  [24] Throughout his career, he took a keen interest in the visual presentation of his work, designing some of his album covers and directing his own films and videos.

Studio Z

[edit]

Zappa attempted to earn a living as a musician and composer, and played different nightclub gigs, some with a new version of the Blackouts.[11]: 59  Zappa's earliest professional recordings, two soundtracks for the low-budget films The World's Greatest Sinner (1962) and Run Home, Slow (1965) were more financially rewarding. The former score was commissioned by actor-producer Timothy Carey and recorded in 1961. It contains many themes that appeared on later Zappa records.[11]: 63  The latter soundtrack was recorded in 1963 after the film was completed, but it was commissioned by one of Zappa's former high school teachers in 1959 and Zappa may have worked on it before the film was shot.[11]: 55  Excerpts from the soundtrack can be heard on the posthumous album The Lost Episodes (1996).

During the early 1960s, Zappa wrote and produced songs for other local artists, often working with singer-songwriter Ray Collins and producer Paul Buff. Their "Memories of El Monte" was recorded by the Penguins, although only Cleve Duncan of the original group was featured.[25] Buff owned the small Pal Recording Studio in Cucamonga, which included a unique five-track tape recorder he had built. At that time, only a handful of the most sophisticated commercial studios had multi-track facilities; the industry standard for smaller studios was still mono or two-track.[1]: 42  Although none of the recordings from the period achieved major commercial success, Zappa earned enough money to allow him in 1963 to stage a concert of his orchestral music and to broadcast and record it.[11]: 74  In March of that same year Zappa appeared on Steve Allen's syndicated late night show playing a bicycle as a musical instrument[26][27]: 35–36  using drum sticks and a bow borrowed from the band's bass player he proceeded to pluck, bang, and bow the spokes of the bike, producing strange, comical sounds from his newfound instrument. With Captain Beefheart, Zappa recorded some songs under the name of the Soots. They were rejected by Dot Records. Later, the Mothers were also rejected by Columbia Records for having "no commercial potential", a verdict Zappa subsequently quoted on the sleeve of Freak Out![18]: 27 

In 1964, after his marriage started to break up, he moved into the Pal studio and began routinely working 12 hours or more per day recording and experimenting with overdubbing and audio tape manipulation. This established a work pattern that endured for most of his life.[1]: 43  Aided by his income from film composing, Zappa took over the studio from Paul Buff, who was now working with Art Laboe at Original Sound. It was renamed Studio Z.[11]: 80–81  Studio Z was rarely booked for recordings by other musicians. Instead, friends moved in, notably James "Motorhead" Sherwood.[11]: 82–83  Zappa started performing in local bars as a guitarist with a power trio, the Muthers, to support himself.[18]: 26 

An article in the local press describing Zappa as "the Movie King of Cucamonga" prompted the local police to suspect that he was making pornographic films.[11]: 85  In March 1965, Zappa was approached by a vice squad undercover officer, and accepted an offer of $100 (equivalent to $970 in 2023) to produce a suggestive audio tape for an alleged bachelor party. Zappa and a female friend recorded a faked erotic episode. When Zappa was about to hand over the tape, he was arrested, and the police stripped the studio of all recorded material.[11]: 85  The press was tipped off beforehand, and next day's The Daily Report wrote that "Vice Squad investigators stilled the tape recorders of a free-swinging, a-go-go film and recording studio here Friday and arrested a self-styled movie producer".[28] Zappa was charged with "conspiracy to commit pornography".[1]: 57  This felony charge was reduced and he was sentenced to six months in jail on a misdemeanor, with all but ten days suspended.[11]: 86–87  His brief imprisonment left a permanent mark, and was central to the formation of his anti-authoritarian stance.[11]: xv  Zappa lost several recordings made at Studio Z in the process, as the police returned only 30 of 80 hours of tape seized.[11]: 87  Eventually, he could no longer afford to pay the rent on the studio and was evicted.[27]: 40  Zappa managed to recover some of his possessions before the studio was torn down in 1966.[11]: 90–91 

1965–1970: The Mothers of Invention

[edit]

Formation

[edit]

By April 1965, Ray Collins, one of Zappa's friends during the early Studio Z days, was the singer of an R&B band called the Soul Giants, based in Pomona, California. That month, he asked Zappa to take over as guitarist in the Soul Giants, following a fight between Collins and the group's original guitarist.[10] Zappa accepted, and soon assumed leadership and the role as co-lead singer (even though he never considered himself a singer, then or later[29]). He convinced the other members that they should play his music to increase the chances of getting a record contract.[1]: 65–66  The band - comprising Zappa, Collins, Roy Estrada, and Jimmy Carl Black - debuted at the Broadside Club and was renamed the Mothers since this gig took place on May 10, 1965 – Mother's Day.[13]: 42  They increased their bookings after beginning an association with manager Herb Cohen, and gradually gained attention on the burgeoning Los Angeles underground music scene.[22]: 58  In early 1966, they were spotted by leading record producer Tom Wilson when playing "Trouble Every Day", a song about the Watts riots.[11]: 103  Wilson had earned acclaim as the producer for Bob Dylan and Simon & Garfunkel, and was one of the few African-Americans working as a major label pop music producer at this time. Wilson signed the Mothers to the Verve division of MGM, which had built up a strong reputation for its releases of modern jazz recordings in the 1940s and 1950s, but was attempting to diversify into pop and rock audiences. Verve insisted that the band officially rename themselves the Mothers of Invention as Mother was short for motherfucker—a term that, apart from its profane meanings, can denote a skilled musician.[30] Under Zappa's leadership, the Mothers' lineup would be ever-changing during their time together, with members including Collins, Estrada, Black, Elliot Ingber, brothers Bunk and Buzz Gardner, Don Preston, Billy Mundi, Jim Fielder, Jim "Motorhead" Sherwood, Ian Underwood, Art Tripp, and Lowell George.

Debut album: Freak Out!

[edit]

With Wilson credited as producer, the Mothers of Invention, augmented by a studio orchestra, recorded the groundbreaking Freak Out! (1966), which, after Bob Dylan's Blonde on Blonde, was the second rock double album ever released. It mixed R&B, doo-wop, musique concrète,[31]: 25  and experimental sound collages that captured the "freak" subculture of Los Angeles at that time.[22]: 60–61  Although he was dissatisfied with the final product, Freak Out immediately established Zappa as a radical new voice in rock music, providing an antidote to the "relentless consumer culture of America".[11]: 115  The sound was raw, but the arrangements were sophisticated. While recording in the studio, some of the additional session musicians were shocked that they were expected to read the notes on sheet music from charts with Zappa conducting them, since it was not standard when recording rock music.[11]: 112  The lyrics praised non-conformity, disparaged authorities, and had dadaist elements. Yet, there was a place for seemingly conventional love songs.[32]: 10–11  Most compositions are Zappa's, which set a precedent for the rest of his recording career. He had full control over the arrangements and musical decisions and did most overdubs. Wilson provided the industry clout and connections and was able to provide the group with the financial resources needed.[11]: 123  Although Wilson was able to provide Zappa and the Mothers with an extraordinary degree of artistic freedom for the time, the recording did not go entirely as planned. In a 1967 radio interview, Zappa explained that the album's outlandish 11-minute closing track, "Return of the Son of Monster Magnet" was not finished. The track as it appears on the album was only a backing track for a much more complex piece, but MGM refused to allow the additional recording time needed for completion. Much to Zappa's chagrin, it was issued in its unfinished state.[33]

During the recording of Freak Out!, Zappa moved into a house in Laurel Canyon with friend Pamela Zarubica, who appeared on the album.[11]: 112  The house became a meeting (and living) place for many LA musicians and groupies of the time, despite Zappa's disapproval of their illicit drug use.[11]: 122  After a short promotional tour following the release of Freak Out!, Zappa met Adelaide Gail Sloatman. He fell in love within "a couple of minutes", and she moved into the house over the summer.[1]: 65–66  They married in 1967, had four children and remained together until Zappa's death.

Wilson nominally produced the Mothers' second album Absolutely Free (1967), which was recorded in November 1966, and later mixed in New York, although by this time Zappa was in de facto control of most facets of the production. It featured extended playing by the Mothers of Invention and focused on songs that defined Zappa's compositional style of introducing abrupt rhythm changes into songs that were built from diverse elements.[31]: 5  Examples are "Plastic People" and "Brown Shoes Don't Make It", which contained lyrics that lampooned the hypocrisy and conformity of American society, but also of the counterculture of the 1960s.[31]: 38–43  As Zappa put it, "[W]e're satirists, and we are out to satirize everything."[11]: 135–138  At this time Zappa had also recorded material for an album of orchestral works to be released under his own name, Lumpy Gravy, to be released by Capitol Records in 1967. Due to contractual problems, the album was held back. Zappa took the opportunity to radically restructure the material, adding newly recorded improvised dialogue. After the contractual problems were resolved, a new album of the same name was issued by Verve in 1968.[11]: 140–141  It is an "incredible ambitious musical project",[31]: 56  a "monument to John Cage",[22]: 86  which intertwines orchestral themes, spoken words and electronic noises through radical audio editing techniques.[31]: 56 [34][nb 4]

New York period (1966–1968)

[edit]

The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater (at 152 Bleecker Street, above the Cafe au Go Go) during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year.[35]: 62–69  As a result, Zappa and his wife Gail, along with the Mothers of Invention, moved to New York.[11]: 140–141  Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa using hand signals.[11]: 147  Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "gook baby".[1]: 94 

In 1967, filmmaker Ed Seeman paid Zappa $2,000 to produce music for a Luden's cough drops television commercial.[36] Zappa's music was matched with Seeman's animation and the advertisement won a Clio Award for "Best Use of Sound".[37][38] An alternate version of the soundtrack, called "The Big Squeeze", later appeared on Zappa's posthumous 1996 album The Lost Episodes. This version lacks Seeman's narration.

While living in New York City, and interrupted by the band's first European tour, the Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, We're Only in It for the Money (released 1968).[39] It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by the Mothers of Invention and as a solo artist. We're Only in It for the Money featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena.[22]: 90 [32]: 15  He sampled surf music from his Studio Z days in the audio collage Nasal Retentive Caliope Music. The cover photo parodied that of the Beatles' Sgt. Pepper's Lonely Hearts Club Band.[nb 5] The cover art was provided by Cal Schenkel whom Zappa met in New York. This initiated a lifelong collaboration in which Schenkel designed covers for numerous Zappa and Mothers albums.[18]: 88 

Zappa (back) with the Mothers, 1968

Reflecting Zappa's eclectic approach to music, the next album, Cruising with Ruben & the Jets (1968), was very different. It represented a collection of doo-wop songs; listeners and critics were not sure whether the album was a satire or a tribute.[31]: 58  Zappa later remarked that the album was conceived like Stravinsky's compositions in his neo-classical period: "If he could take the forms and clichés of the classical era and pervert them, why not do the same ... to doo-wop in the fifties?"[1]: 88  The opening theme from Stravinsky's The Rite of Spring is sung in "Fountain of Love".

In 1967 and 1968, Zappa made two appearances with the Monkees. The first appearance was on an episode of their TV series, "The Monkees Blow Their Minds", where Zappa, dressed up as Mike Nesmith, interviews Nesmith who is dressed up as Zappa. After the interview, Zappa destroys a car with a sledgehammer as the song "Mother People" plays. He later provided a cameo in the Monkees' movie Head where, leading a cow, he tells Davy Jones "the youth of America depends on you to show them the way." Zappa respected the Monkees and attempted to recruit Micky Dolenz to the Mothers but RCA/Columbia/Colgems would not release Dolenz from his contract.[11]: 158–159 

During the late 1960s, Zappa continued to develop the business side of his career. He and Herb Cohen formed the Bizarre and Straight labels to increase creative control and produce recordings by other artists. These labels were distributed in the US by Warner Bros. Records. Zappa/Mothers recordings appeared on Bizarre along with Wild Man Fischer and Lenny Bruce.[11]: 173–175  Straight released the double album Trout Mask Replica for Captain Beefheart, and releases by Alice Cooper, The Persuasions, and the GTOs. The Mothers' first album on Bizarre was 1969's Uncle Meat, which Zappa described as "most of the music from the Mothers' movie of the same name which we haven't got enough money to finish yet". A version of the Uncle Meat film was released direct-to-video in 1987. Principal photography having never been completed, the VHS videocassette is a "making of" documentary showing rehearsals and background footage from 1968 and interviews with people involved with the uncompleted production.[40]

Zappa and the Mothers on stage in Hamburg, October 1968

During the Mothers' second European tour in September/October 1968 they performed for the Internationale Essener Songtage at the Grugahalle in Essen, Germany; at the Tivoli in Copenhagen, Denmark; for TV programs in Germany (Beat-Club), France, and England; at the Concertgebouw in Amsterdam; at the Royal Festival Hall in London; and at the Olympia in Paris.[41]

Disbandment

[edit]

Zappa and the Mothers of Invention returned to Los Angeles in mid-1968, and the Zappas moved into a house on Laurel Canyon Boulevard, only to move again to Woodrow Wilson Drive.[11]: 178  This was Zappa's home for the rest of his life. Despite being successful in Europe, the Mothers of Invention were not doing well financially.[22]: 116  Their first records were vocally oriented, but as Zappa wrote more instrumental jazz and classical style music for the band's concerts, audiences were confused. Zappa felt that audiences failed to appreciate his "electrical chamber music".[11]: 185–187 [13]: 119–120 

In 1969, there were nine band members and Zappa was supporting the group from his publishing royalties whether they played or not.[22]: 116  In late 1969, Zappa broke up the band. He often cited the financial strain as the main reason,[1]: 107  but also commented on the band members' lack of diligence.[13]: 120  Many band members were bitter about Zappa's decision, and some took it as a sign of Zappa's perfectionism at the expense of human feeling.[11]: 185–187  Others were irritated by 'his autocratic ways',[11]: 123  exemplified by Zappa's never staying at the same hotel as the band members.[11]: 116  Several members would play with Zappa again in subsequent years, while Lowell George and Roy Estrada went on to form the band Little Feat. Zappa assembled remaining unreleased recordings of the band on the albums Burnt Weeny Sandwich and Weasels Ripped My Flesh, both released in 1970.

After he disbanded the Mothers of Invention, Zappa released the acclaimed solo album Hot Rats (1969).[11]: 194 [43] It features, for the first time on record, Zappa playing extended guitar solos and contains one of his most enduring compositions, "Peaches en Regalia", which reappeared several times on future recordings.[31]: 74  He was backed by jazz, blues and R&B session players including violinist Don "Sugarcane" Harris, drummers John Guerin and Paul Humphrey, multi-instrumentalist and former Mothers of Invention member Ian Underwood, and multi-instrumentalist Shuggie Otis on bass, along with a guest appearance by Captain Beefheart on the only vocal track, "Willie the Pimp". It became a popular album in England,[1]: 109  and had a major influence on the development of jazz-rock fusion.[11]: 194 [31]: 74 

1970–1980: A decade of highs and lows

[edit]

Rebirth of the Mothers and filmmaking

[edit]
Frank Zappa, 1970
Zappa on stage at the Theatre de Clichy, Paris, 1971

In 1970, Zappa met conductor Zubin Mehta. They arranged a May 1970 concert where Mehta conducted the Los Angeles Philharmonic augmented by a rock band. According to Zappa, the music was mostly written in motel rooms while on tour with the Mothers of Invention. Some of it was later featured in the movie 200 Motels.[1]: 109  Although the concert was a success, Zappa's experience working with a symphony orchestra was not a happy one.[1]: 88  His dissatisfaction became a recurring theme throughout his career; he often felt that the quality of performance of his material delivered by orchestras was not commensurate with the money he spent on orchestral concerts and recordings.[1]: 142–156 

Later in 1970, Zappa formed a new version of the Mothers (from then on, he mostly dropped the "of Invention"). Along with Ian Underwood, the new band also included British drummer Aynsley Dunbar, jazz keyboardist George Duke, bassist Jeff Simmons, and the two lead singers of the Turtles, Mark Volman and Howard Kaylan, who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie" or "Flo & Eddie" for short.[11]: 201  Another member of the Turtles, Jim Pons, would join on bass in February 1971, following Simmons' departure the previous month and his brief replacement by Martin Lickert.

This version of the Mothers debuted on Zappa's next solo album Chunga's Revenge (1970),[11]: 205  which was followed by the double-album soundtrack to the movie 200 Motels (1971), featuring the Mothers, the Royal Philharmonic Orchestra, Ringo Starr, Theodore Bikel, and Keith Moon. Co-directed by Zappa and Tony Palmer, it was filmed in a week at Pinewood Studios outside London.[18]: 183  Tensions between Zappa and several cast and crew members arose before and during shooting.[18]: 183  The film deals loosely with life on the road as a rock musician.[11]: 207  It was the first feature film photographed on videotape and transferred to 35 mm film, a process that allowed for novel visual effects.[44] It was released to mixed reviews.[31]: 94  The score relied extensively on orchestral music, and Zappa's dissatisfaction with the classical music world intensified when a concert, scheduled at the Royal Albert Hall after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract.[1]: 119–137 

After 200 Motels, the band went on tour, which resulted in two live albums, Fillmore East – June 1971 and Just Another Band from L.A.; the latter included the 20-minute track "Billy the Mountain", Zappa's satire on rock opera set in Southern California. This track was representative of the band's theatrical performances—which used songs to build sketches based on 200 Motels scenes, as well as new situations that often portrayed the band members' sexual encounters on the road.[11]: 203–204 [nb 6]

Accident, attack, and aftermath

[edit]
Zappa with the Mothers, 1971

On December 4, 1971, Zappa suffered his first of two serious setbacks. While performing at Casino de Montreux in Switzerland, the Mothers' equipment was destroyed when a flare set off by an audience member started a fire that burned down the casino.[1]: 112–115  Deep Purple were in the audience that night, and would immortalize the event on their classic 1972 song "Smoke on the Water". A recording of the incident and immediate aftermath can be heard on the bootleg album Swiss Cheese/Fire, released legally as part of Zappa's Beat the Boots II box set. After losing $50,000 (equivalent to $376,000 in 2023) worth of equipment and a week's break, the Mothers played at the Rainbow Theatre, London, with rented gear. During the encore, an audience member, jealous because of his girlfriend's infatuation with Zappa, pushed him off the stage and into the concrete-floored orchestra pit.[45] The band thought Zappa had been killed—he had suffered serious fractures, head trauma and injuries to his back, leg, and neck, as well as a crushed larynx, which ultimately caused his voice to drop a third after healing.[1]: 112–115  A recording of the whole concert, including the attack, was released on the posthumous album The Mothers 1971 in 2022.

Zappa on Stage in Hamburg, December 1971

After the attack Zappa needed to use a wheelchair for an extended period, making touring impossible for over half a year. Upon return to the stage in September 1972, Zappa was still wearing a leg brace, had a noticeable limp and could not stand for very long while on stage. Zappa noted that one leg healed "shorter than the other" (a reference later found in the lyrics of songs "Zomby Woof" and "Dancin' Fool"), resulting in chronic back pain.[1]: 112–115  Meanwhile, the Mothers were left in limbo and eventually formed the core of Flo and Eddie's band as they set out on their own.

Solo albums: Waka/Jawaka and The Grand Wazoo

[edit]

In 1972, Zappa released two strongly jazz-oriented solo LPs, Waka/Jawaka and The Grand Wazoo, which were recorded during the forced layoff from concert touring, using floating line-ups of session players and Mothers alumni.[31]: 101  Musically, the albums were akin to Hot Rats, in that they featured extended instrumental tracks with extended soloing.[11]: 225–226  Zappa began touring again in late 1972.[11]: 225–226  His first effort was a series of concerts in September 1972 with a 20-piece big band referred to as the Grand Wazoo. This was followed by a scaled-down version known as the Petit Wazoo that toured the U.S. for five weeks from October to December 1972.[46]

In December 1972,[47] David Walley published the first biography of Zappa, titled No Commercial Potential. Zappa was severely critical, calling it "a quickie, paperback, sensational book". He said that it contained "gross inaccuracies", described the writing as "not quality workmanship" and claimed that Walley had "just slung together a bunch of quotes".[48] Despite Zappa's complaints, the book was later published in an updated edition in 1980[22] and again in 1996 after Zappa's death.

Top 10 album: Apostrophe (')

[edit]
Zappa giving the finger during a show in Hamburg, September 1974

Zappa then formed and toured with smaller groups that variously included Ian Underwood (reeds, keyboards), Ruth Underwood (vibes, marimba), Sal Marquez (trumpet, vocals), Napoleon Murphy Brock (sax, flute and vocals), Bruce Fowler (trombone), Tom Fowler (bass), Chester Thompson (drums), Ralph Humphrey (drums), George Duke (keyboards, vocals), and Jean-Luc Ponty (violin).

By 1973, the Bizarre and Straight labels were discontinued. Zappa and Cohen then created DiscReet, also distributed by Warner.[11]: 231  Zappa continued a high rate of production through the first half of the 1970s, including the album Apostrophe (') (1974), which reached a career-high No. 10 on the Billboard pop album charts[49] helped by the No. 86 chart hit "Don't Eat The Yellow Snow".[50] Other albums from the period are Over-Nite Sensation (1973), which contained several future concert favourites such as "Dinah-Moe Humm" and "Montana", as well as Roxy & Elsewhere (1974) and One Size Fits All (1975), which are notable for the tight renditions of highly difficult jazz fusion songs in such pieces as "Inca Roads", "Echidna's Arf (Of You)" and "Be-Bop Tango (Of the Old Jazzmen's Church)".[31]: 114–122  A live recording from 1974, You Can't Do That on Stage Anymore, Vol. 2 (1988), captures "the full spirit and excellence of the 1973–1975 band".[31]: 114–122 

Zappa with Captain Beefheart, seated left, during a 1975 concert

In April 1975 Zappa complained about ongoing contractual problems between DiscReet and Warner.[51] Zappa released Bongo Fury (1975), which featured a live recording at the Armadillo World Headquarters in Austin from a tour the same year that reunited him with Captain Beefheart for a brief period.[11]: 248  They later became estranged for a period of years, but were in contact at the end of Zappa's life.[11]: 372 

Business breakups and touring

[edit]

In 1976, Zappa produced the album Good Singin', Good Playin' for Grand Funk Railroad. Zappa's relationship with long-time manager Herb Cohen ended in May 1976.[52] After Cohen cashed one of Zappa's royalty checks from Warner and kept the money for himself, Zappa sued Cohen.[53] Zappa was also upset with Cohen for signing acts he did not approve.[11]: 250 [54] Cohen filed a lawsuit against Zappa in return, which froze the money the pair were expecting to receive from an out-of-court settlement with MGM/Verve over the rights to Zappa's early Mothers of Invention recordings. The MGM settlement was finalized in mid-1977 after two years of negotiations.[55] Litigation with Cohen also prevented Zappa having access to any of his previously recorded material during the trials. Zappa therefore took his personal master copies of the album Zoot Allures (1976) directly to Warner, while bypassing DiscReet.[11]: 253, 258–259  Following the split with Cohen, Zappa hired Bennett Glotzer as new manager.[56]

By late 1976, Zappa was upset with Warner over inadequate promotion of his recordings and he was eager to move on as soon as possible.[57] In March 1977, Zappa delivered four albums (five full-length LPs) to Warner to complete his contract: Zappa in New York (a 2-LP set), Studio Tan, Sleep Dirt and Orchestral Favorites.[54] These albums contained recordings mostly made between 1972 and 1976. Warner failed to meet contractual obligations to Zappa, and in response he filed a multi-million dollar breach of contract lawsuit.[58] During a lengthy legal debate, Warner eventually released the four disputed albums during 1978 and 1979, Zappa in New York having been censored to remove references to guitarist Punky Meadows. Following the split with Warner, Zappa reconfigured the four disputed albums, along with some other material, into a quadruple album called Läther (pronounced "leather") and negotiated distribution with Phonogram Inc. for release on the new Zappa Records label. Läther was scheduled for release on Halloween 1977, but legal action from Warner forced Zappa to shelve this project.[11]: 261 

In December 1977, Zappa appeared on the Pasadena, California radio station KROQ-FM and played the entire Läther album, while encouraging listeners to make tape recordings of the broadcast.[13]: 248  The album integrates many aspects of Zappa's 1970s work: heavy rock, orchestral works, and complex jazz instrumentals, along with Zappa's distinctive guitar solos. Läther was officially released posthumously in 1996. It has been debated as to whether Zappa had conceived the material as a four-LP set from the beginning, or only later when working with Phonogram.[11]: 267 [nb 7] Gail Zappa claimed in 1996 that Läther was Frank's original intention.[59] However, Zappa himself stated in an October 1978 radio interview that "Läther was made out of four albums. Warners has released two of them already and they have two more that they're probably gonna release."[60]

Although Zappa eventually gained the rights to all his material created under the MGM and Warner contracts,[32]: 49  the various lawsuits meant that for a period Zappa's only income came from touring, which he therefore did extensively in 1975–1977 with relatively small, mainly rock-oriented, bands.[11]: 261  Drummer Terry Bozzio became a regular band member, Napoleon Murphy Brock stayed on for a while, and original Mothers of Invention bassist Roy Estrada joined. Among other musicians were bassist Patrick O'Hearn, singer-guitarist Ray White and former Roxy Music keyboardist/violinist Eddie Jobson. In December 1976, Zappa appeared as a featured musical guest on the NBC television show Saturday Night Live.[11]: 262  Zappa's song "I'm the Slime" was performed with a voice-over by SNL booth announcer Don Pardo, who also introduced "Peaches En Regalia" on the same airing. In 1978, Zappa served both as host and musical act on the show, and as an actor in various sketches. The performances included an impromptu musical collaboration with cast member John Belushi during the instrumental piece "The Purple Lagoon". Belushi appeared as his Samurai Futaba character playing the tenor sax with Zappa conducting.[61] However, he earned a ban from the show after the latter episode because he had done what producers called "a disastrous job of hosting" (Zappa reportedly did not get along with cast and crew in the lead-up to recording, then told the audience he was simply reading from cue cards).[62]

Zappa in Toronto, 1977

Zappa's band had a series of Christmas shows in New York City in 1976, recordings of which appear on Zappa in New York and Läther. The band included Ruth Underwood and a horn section (featuring Michael and Randy Brecker). It mixes complex instrumentals such as "The Black Page" and humorous songs like "Titties and Beer".[31]: 132  The former composition, written originally for drum kit but later developed for larger bands, is notorious for its complexity in rhythmic structure and short, densely arranged passages.[63][64]

Zappa in New York also featured a song about sex criminal Michael H. Kenyon, "The Illinois Enema Bandit", in which Don Pardo provides the opening narrative. Like many songs on the album, it contained numerous sexual references,[31]: 132  leading to many critics objecting and being offended by the content.[31]: 134 [31]: 261–262  Zappa dismissed the criticism by noting that he was a journalist reporting on life as he saw it.[11]: 234  Predating his later fight against censorship, he remarked: "What do you make of a society that is so primitive that it clings to the belief that certain words in its language are so powerful that they could corrupt you the moment you hear them?"[29] The remaining albums released by Warner without Zappa's approval were Studio Tan in 1978 and Sleep Dirt and Orchestral Favorites in 1979. These releases were not promoted and were largely overlooked in midst of the press about Zappa's legal problems.[31]: 138  The 1991 CD releases of these albums marked the first time they were issued with Zappa's full approval.[65]

Zappa Records label

[edit]

Zappa released two of his most important projects in 1979. The double LP Sheik Yerbouti appeared in March and was the first release on Zappa Records. It became the best-selling album of his career.[66] The album contained the Grammy-nominated single "Dancin' Fool", which reached No. 45 on the Billboard charts.[67] It also contained "Jewish Princess", which received attention when the Anti-Defamation League (ADL) attempted to prevent the song from receiving radio airplay due to its alleged antisemitic lyrics.[11]: 234  Zappa vehemently denied any antisemitic sentiments, and dismissed the ADL as a "noisemaking organization that tries to apply pressure on people in order to manufacture a stereotype image of Jews that suits their idea of a good time."[68] The album's commercial success was attributable in part to "Bobby Brown". Due to its explicit lyrics, the song did not get airplay in the U.S., but it topped the charts in several European countries where English is not the primary language.[18]: 351 

Joe's Garage has been described as a "bona fide masterpiece".[31]: 140  The project initially had to be released in two parts due to economic conditions.[69] The first was a single LP Joe's Garage Act I in September 1979, followed by a double LP Joe's Garage Acts II and III in November 1979. The story features singer Ike Willis as the lead character in a rock opera about the danger of political systems,[31]: 140  the suppression of freedom of speech and music—inspired in part by the 1979 Islamic Iranian revolution that had made music illegal[11]: 277 —and about the "strange relationship Americans have with sex and sexual frankness".[31]: 140  The Act I album reached number 27 on the Billboard 200 chart. It contains the song "Catholic Girls" (a riposte to the controversies of "Jewish Princess"),[32]: 59  and the title track, which was also released as a single. The second and third acts have extended guitar improvisations, which were recorded live, then combined with studio backing tracks. Zappa described this process as xenochrony. The band included drummer Vinnie Colaiuta (with whom Zappa had a particularly strong musical rapport)[1]: 180  Included is one of Zappa's most famous guitar "signature pieces", "Watermelon in Easter Hay".[32]: 61 [70] In 1987, all three acts were reissued together as a 3-LP and 2-CD set.

Zappa had been known for his long hair since the mid-1960s, but he had Gail cut it short around August 1979.[69] That autumn he cancelled tour plans to stay home with newborn daughter Diva, and celebrate the birthdays of children Moon and Dweezil in September.[71] At this time Zappa also completed the Utility Muffin Research Kitchen (UMRK) studios, which were located at his house,[72] thereby giving him complete freedom in his work.[11]: 269 

On December 21, 1979, Zappa's movie Baby Snakes premiered in New York City. He described it as "A movie about people who do stuff that is not normal".[73] The 2 hour and 40 minute movie has footage from concerts in New York around Halloween 1977, with a band featuring keyboardist Tommy Mars and percussionist Ed Mann (who would both return on later tours) as well as guitarist Adrian Belew. It also contained several extraordinary sequences of clay animation by Bruce Bickford who had earlier provided animation sequences to Zappa for a 1974 TV special (which became available on the 1982 video The Dub Room Special).[11]: 282  The movie did not do well in theatrical distribution,[74] but won the Premier Grand Prix at the First International Music Festival in Paris in 1981.[11]: 282 

1980–1993: Later years

[edit]

Beginning of Barking Pumpkin Records label

[edit]
Zappa performing at the Memorial Auditorium, Buffalo, New York, 1980. The concert was released in 2007 as Buffalo.

Zappa cut ties with Phonogram after the distributor refused to release his song "I Don't Wanna Get Drafted", which was recorded in February 1980.[75] The single was released independently by Zappa in the United States and was picked up by CBS Records internationally.[76]

After spending much of 1980 on the road, Zappa released Tinsel Town Rebellion in 1981. It was the first release on his own Barking Pumpkin Records,[31]: 161  and featured live recordings from 1979 and 1980, as well as a new studio track, "Fine Girl". The album is a mixture of complicated instrumentals and Zappa's use of sprechstimme (speaking song or voice)—a compositional technique utilized by such composers as Arnold Schoenberg and Alban Berg—showcasing some of the most accomplished bands Zappa ever had (mostly featuring drummer Vinnie Colaiuta).[31]: 161  While some lyrics still raised controversy among critics, some of whom found them sexist,[11]: 284  the political and sociological satire in songs like the title track and "The Blue Light" have been described as a "hilarious critique of the willingness of the American people to believe anything".[31]: 165  The album is also notable for the presence of guitarist Steve Vai, who joined Zappa's touring band in late 1980.[11]: 283 

In 1981, Zappa also released three instrumental albums, Shut Up 'n Play Yer Guitar, Shut Up 'N Play Yer Guitar Some More, and The Return of the Son of Shut Up 'N Play Yer Guitar, which were initially sold via mail order, but later released through CBS Records (now Sony Music Entertainment) due to popular demand.[77]

The albums focus exclusively on Frank Zappa as a guitar soloist, and the tracks are predominantly live recordings from 1979 to 1980; they highlight Zappa's improvisational skills with "beautiful performances from the backing group as well".[78] Another guitar-only album, Guitar, was released in 1988, and a third, Trance-Fusion, which Zappa completed shortly before his death, was released in 2006.[79]

The same year, the double album You Are What You Is was released. The album included one complex instrumental, "Theme from the 3rd Movement of Sinister Footwear", but mainly consisted of rock songs with Zappa's sardonic social commentary—satirical lyrics directed at teenagers, the media, and religious and political hypocrisy.[80] "Dumb All Over" is a tirade on religion, as is "Heavenly Bank Account", wherein Zappa rails against TV evangelists such as Jerry Falwell and Pat Robertson for their purported influence on the U.S. administration as well as their use of religion as a means of raising money.[31]: 169–175  Songs like "Society Pages" and "I'm a Beautiful Guy" show Zappa's dismay with the Reagan era and its "obscene pursuit of wealth and happiness".[31]: 169–175  Zappa made his only music video for a song from this album – "You Are What You Is" – directed by Jerry Watson, produced by Paul Flattery. The video was banned from MTV, though was later featured by Mike Judge in the Beavis & Butthead episode "Canoe".[81]

Zappa later expanded on his television appearances in a non-musical role. He was an actor or voice artist in episodes of Shelley Duvall's Faerie Tale Theatre,[82] Miami Vice[11]: 343  and The Ren & Stimpy Show.[82][83] A voice part in The Simpsons never materialized, to creator Matt Groening's disappointment (Groening was a neighbor of Zappa and a lifelong fan).[84]

"Valley Girl" and classical performances

[edit]

In May 1982, Zappa released Ship Arriving Too Late to Save a Drowning Witch, which featured his biggest selling single ever, the Grammy Award-nominated song "Valley Girl" (topping out at No. 32 on the Billboard charts).[67] In her improvised lyrics to the song, Zappa's daughter Moon satirized the patois of teenage girls from the San Fernando Valley, which popularized many "Valleyspeak" expressions such as "gag me with a spoon", "fer sure, fer sure", "grody to the max", and "barf out".[85]

A 1983 album The Man from Utopia, featured an anti-drug single "Cocaine Decisions". "The Dangerous Kitchen" and "The Jazz Discharge Party Hats" are continuations of the sprechstimme vocal excursions on Tinseltown Rebellion, and the album also has jazzy rock instrumentals "Mōggio" and "We Are Not Alone". A second 1983 album, London Symphony Orchestra, Vol. I, includes orchestral Zappa compositions conducted by Kent Nagano and performed by the London Symphony Orchestra (LSO). A second record of these sessions, London Symphony Orchestra, Vol. II was released in 1987. The material was recorded under a tight schedule with Zappa providing all funding, helped by the commercial success of "Valley Girl".[1]: 146–156  Zappa was not satisfied with the LSO recordings. One reason is "Strictly Genteel", which was recorded after the trumpet section had been out for drinks on a break: the track took 40 edits to hide out-of-tune notes.[1]: 146–156 

Conductor Nagano, who was pleased with the experience, noted that "in fairness to the orchestra, the music is humanly very, very difficult".[11]: 315  Some reviews noted that the recordings were the best representation of Zappa's orchestral work so far.[86] In 1984 Zappa teamed again with Nagano and the Berkeley Symphony Orchestra[87] for a live performance of A Zappa Affair with augmented orchestra, life-size puppets, and moving stage sets. Although critically acclaimed the work was a financial failure, and only performed twice. Zappa was invited by conference organizer Thomas Wells to be the keynote speaker at the American Society of University Composers at the Ohio State University. It was there Zappa delivered his famous "Bingo! There Goes Your Tenure" address,[88] and had two of his orchestra pieces, "Dupree's Paradise" and "Naval Aviation in Art?" performed by the Columbus Symphony Orchestra and ProMusica Chamber Orchestra of Columbus.[11]: 323 [89] Zappa's management relationship with Bennett Glotzer ended in 1984.[90] Starting in 1985 Gail began managing much of the Zappa business empire, which included a record label, a mail-order company, a video company and a music publishing firm.[91]

Synclavier works

[edit]

For the remainder of his career, much of Zappa's work was influenced by his use of the Synclavier, an early digital synthesizer, as a compositional and performance tool.[1]: 172–173  According to Zappa, "With the Synclavier, any group of imaginary instruments can be invited to play the most difficult passages ... with one-millisecond accuracy—every time".[1]: 172–173  Even though it essentially did away with the need for musicians,[11]: 319  Zappa viewed the Synclavier and real-life musicians as separate.[1]: 172–173 

In late 1984, he released four albums. Boulez Conducts Zappa: The Perfect Stranger contains orchestral works commissioned and conducted by celebrated conductor, composer and pianist Pierre Boulez (who was listed as an influence on Freak Out!), and performed by his Ensemble intercontemporain. These were juxtaposed with premiere Synclavier pieces. Again, Zappa was not satisfied with the performances of his orchestral works, regarding them as under-rehearsed, but in the album liner notes he respectfully thanks Boulez's demands for precision.[32]: 73  The Synclavier pieces stood in contrast to the orchestral works, as the sounds were electronically generated and not, as became possible shortly thereafter, sampled.

Them or Us is a two LP set of studio and live rock recordings. It includes a version the Allman Brothers Band song "Whipping Post", and "Be in My Video", Zappa's satirical take on perceived visual clichés of the MTV channel. Francesco Zappa, a Synclavier rendition of works by 18th-century composer Francesco Zappa, was also released in 1984.[92]

The album Thing-Fish was an ambitious three-record set in the style of a Broadway play dealing with a dystopian "what-if" scenario involving feminism, homosexuality, manufacturing and distribution of the AIDS virus, and a eugenics program conducted by the United States government.[93] New vocals were combined with previously released tracks and new Synclavier music; "the work is an extraordinary example of bricolage".[94]

Merchandising

[edit]

Zappa's mail-order merchandise business, Barfko-Swill, established during the 1980s by Zappa's wife Gail, offers t-shirts, videos, posters, sheet music, and collector's recordings, most of them unavailable through other media.[95] Gail has explained why Barfko-Swill was founded: "Just piles and piles of fan mail sitting around unanswered or with no response. The first thing that we did was put a list together from the fan mail and made a Barking Pumpkin t-shirt available which we still have – same old shirt, same old logo, same old price – just to see what would happen. Everybody would write to us and ask us if there was something they could get besides records. ... That was really the primary reason for getting into the business – for setting up Barfko-Swill – in those days was to be independent. To not have to rely on a major record company's interest and ability to promote your product. And that was what the challenge was for me. I prefer the autonomy."[96]

From 1983 to 1993, Barfko-Swill was run by Gerry Fialka,[97] who also worked for Zappa as archivist, production assistant, tour assistant, and factotum,[98][99][100][101] and answered the phone for Zappa's Barking Pumpkin Records hotline.[102][103] The 1987 VHS release of Zappa's film Baby Snakes includes, as an extra feature, Fialka giving a tour of Barfko-Swill. He is credited on-screen as "Gerald Fialka Cool Guy Who Wraps Stuff So It Doesn't Break".[104] A short clip of this tour is also included in the 2020 documentary film Zappa.

Digital medium and last tour

[edit]

Starting in the mid-1980s, Zappa undertook a comprehensive re-release program of his earlier vinyl recordings.[11]: 340  He personally oversaw the remastering of all his 1960s, 1970s, and early 1980s albums for the new digital compact disc (CD) medium.[nb 8] Certain aspects of these re-issues have been criticized by some fans as being unfaithful to the original recordings, with changes made to We're Only in It for the Money, Cruising with Ruben & the Jets, Uncle Meat, and Sleep Dirt being the most strongly criticized.[105] Nearly twenty years before the advent of online music stores, Zappa had proposed to replace "phonographic record merchandising" of music by "direct digital-to-digital transfer" through phone or cable TV (with royalty payments and consumer billing automatically built into the accompanying software).[1]: 337–339  In 1989, Zappa considered his idea a "miserable flop".[1]: 337–339 

The album Jazz from Hell, released in 1986, earned Zappa his first Grammy Award in 1988 for Best Rock Instrumental Performance. Except for one live guitar solo ("St. Etienne"), the album exclusively featured compositions brought to life by the Synclavier.

Zappa's last tour in a rock and jazz band format took place in 1988 with a 12-piece group which had a repertoire of over 100 (mostly Zappa) compositions, but which split under acrimonious circumstances before the tour was completed.[11]: 346–350  The tour was documented on the albums Broadway the Hard Way (new material featuring songs with strong political emphasis); The Best Band You Never Heard in Your Life (Zappa "standards" and an eclectic collection of cover tunes, ranging from Maurice Ravel's Boléro to Led Zeppelin's "Stairway to Heaven"); and Make a Jazz Noise Here (Zappa's more instrumentally complex and jazz orientated material). An album of guitar solos from this tour also appeared as the posthumous 2006 album Trance-Fusion, a follow-up to the Shut Up 'n Play Yer Guitar and Guitar albums.

More recordings from the 1988 tour would appear as part of You Can't Do That on Stage Anymore, a series of six double CDs compiled by Zappa from unreleased live recordings, dating back to the earliest Mothers recordings from 1965. The six volumes were released between 1988 and 1992. Two further archival live albums, Playground Psychotics and Ahead of Their Time, were released in 1992 and 1993 respectively. The former collected recordings by the early 1970s "Flo & Eddie" era Mothers, while the latter was a complete concert by the original 1960s Mothers at the Royal Festival Hall in 1968 (footage from which has been used in the Uncle Meat movie).

The Real Frank Zappa Book, co-written with Peter Occhiogrosso, was published by Poseidon Press in 1989. Zappa appeared on the TV interview show Larry King Live to promote it. He explained the title by saying he wrote it in response to previous unauthorized books, which he considered to be stupid and exploitative.[106]

Health deterioration

[edit]

In 1990, Zappa was diagnosed with terminal prostate cancer. The disease had been developing unnoticed for years and was considered inoperable.[107][108] After the diagnosis, Zappa devoted most of his energy to modern orchestral and Synclavier works. Shortly before his death in 1993 he completed Civilization Phaze III, a major Synclavier work which he had begun in the 1980s.[11]: 374–375 [nb 9]

In 1991, Zappa was chosen to be one of four featured composers at the Frankfurt Festival in 1992 (the others were John Cage, Karlheinz Stockhausen, and Alexander Knaifel).[109] Zappa was approached by the German chamber ensemble Ensemble Modern which was interested in playing his music for the event. Although ill, he invited them to Los Angeles for rehearsals of new compositions and new arrangements of older material.[11]: 369  Zappa also got along with the musicians, and the concerts in Germany and Austria were set up for later in the year.[11]: 369  Zappa also performed in 1991 in Prague, claiming that "was the first time that he had a reason to play his guitar in 3 years", and that that moment was just "the beginning of a new country", and asked the public to "try to keep your country unique, do not change it into something else".[110][111]

John Kricfalusi, creator of Nickelodeon's The Ren & Stimpy Show, idolized Zappa and got him to voice the Pope in the episode "Powdered Toast Man"; as Zappa was too ill to head to Spümcø at Los Angeles, he recorded his lines at his residence. The episode aired in August 1992 to significant controversy without relation to Zappa's appearance.[112]

In September 1992, the concerts went ahead as scheduled but Zappa could only appear at two in Frankfurt due to illness. At the first concert, he conducted the opening "Overture", and the final "G-Spot Tornado" as well as the theatrical "Food Gathering in Post-Industrial America, 1992" and "Welcome to the United States" (the remainder of the program was conducted by the ensemble's regular conductor Peter Rundel). Zappa received a 20-minute ovation.[11]: 371  "G-Spot Tornado" was performed with Canadian dancer Louise Lecavalier. It was Zappa's last professional public appearance, as the cancer was spreading to such an extent that he was in too much pain to enjoy an event that he otherwise found "exhilarating".[11]: 371  Recordings from the concerts appeared on The Yellow Shark (1993), Zappa's last release during his lifetime, and some material from studio rehearsals appeared on the posthumous Everything Is Healing Nicely (1999).

Death

[edit]

Zappa died from prostate cancer on December 4, 1993, at his home with his wife and children by his side. On December 6, his family publicly announced that "Composer Frank Zappa left for his final tour just before 6:00 pm on Saturday".[13]: 320  He was buried at a private ceremony in a grave at the Westwood Village Memorial Park Cemetery, in Los Angeles. The grave has since been unmarked.[11]: 379–380 [32]: 552 

Musical style and development

[edit]

Genres

[edit]
Zappa performing in 1973

The general phases of Zappa's music have been variously categorized under blues rock,[113] experimental rock,[114] jazz,[114] classical,[114] avant-pop,[115] experimental pop,[116] comedy rock,[8] doo-wop,[6][117] jazz fusion,[4] progressive rock,[4] proto-prog,[118] avant-jazz,[4] and psychedelic rock.[4]

Influences

[edit]

Zappa grew up influenced by avant-garde composers such as Edgard Varèse, Igor Stravinsky, and Anton Webern; 1950s blues artists Clarence "Gatemouth" Brown, Guitar Slim, Howlin' Wolf, Johnny "Guitar" Watson, and B.B. King;[119] Egyptian composer Halim El-Dabh;[21] R&B and doo-wop groups (particularly local pachuco groups); and modern jazz. His own heterogeneous ethnic background, and the diverse social and cultural mix in and around greater Los Angeles, were crucial in the formation of Zappa as a practitioner of underground music and of his later distrustful and openly critical attitude towards "mainstream" social, political and musical movements. He frequently lampooned musical fads like psychedelia, rock opera and disco.[18]: 13 [nb 10] Television also exerted a strong influence, as demonstrated by quotations from show themes and advertising jingles found in his later works.[121]

In his book The Real Frank Zappa Book, Zappa credited composer Spike Jones for his frequent use of funny sound effects, mouth noises, and humorous percussion interjections. After explaining his ideas on this, he said "I owe this part of my musical existence to Spike Jones."[122]

Project/Object

[edit]

Zappa's albums make extensive use of segued tracks, breaklessly joining the elements of his albums.[123] His total output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas, and characters reappearing across his albums.[4] He also called it a "conceptual continuity", meaning that any project or album was part of a larger project. Everything was connected, and musical themes and lyrics reappeared in different form on later albums. Conceptual continuity clues are found throughout Zappa's entire œuvre.[11]: 160 [121]

Techniques

[edit]

Guitar playing

[edit]

Zappa is widely recognized as one of the most significant electric guitar soloists. In a 1983 issue of Guitar World, John Swenson declared: "the fact of the matter is that [Zappa] is one of the greatest guitarists we have and is sorely unappreciated as such."[124] His idiosyncratic style developed gradually and was mature by the early 1980s, by which time his live performances featured lengthy improvised solos during many songs. A November 2016 feature by the editors of Guitar Player magazine wrote: "Brimming with sophisticated motifs and convoluted rhythms, Zappa's extended excursions are more akin to symphonies than they are to guitar solos." The symphonic comparison stems from his habit of introducing melodic themes that, like a symphony's main melodies, were repeated with variations throughout his solos. He was further described as using a wide variety of scales and modes, enlivened by "unusual rhythmic combinations". His left hand was capable of smooth legato technique, while Zappa's right was "one of the fastest pick hands in the business."[125] In 2016, Dweezil Zappa explained a distinctive element of his father's guitar improvisation technique was relying heavily on upstrokes much more than many other guitarists, who are more likely to use downstrokes with their picking.[3]

His song "Outside Now" from Joe's Garage poked fun at the negative reception of Zappa's guitar technique by those more commercially minded, as the song's narrator lives in a world where music is outlawed and he imagines "imaginary guitar notes that would irritate/An executive kind of guy", lyrics that are followed by one of Zappa's characteristically quirky solos in 11/8 time.[126] Zappa transcriptionist Kasper Sloots wrote, "Zappa's guitar solos aren't meant to show off technically (Zappa hasn't claimed to be a big virtuoso on the instrument), but for the pleasure it gives trying to build a composition right in front of an audience without knowing what the outcome will be."[127]

Zappa's guitar style was not without its critics. English guitarist and bandleader John McLaughlin, whose band Mahavishnu Orchestra toured with the Mothers of Invention in 1973, opined that Zappa was "very interesting as a human being and a very interesting composer" and that he "was a very good musician but he was a dictator in his band," and that he "was taking very long guitar solos [when performing live]—10–15 minute guitar solos and really he should have taken two or three minute guitar solos, because they were a little bit boring."[128]

In 2000, he was ranked number 36 on VH1's 100 Greatest Artists of Hard Rock.[129] In 2004, Rolling Stone magazine ranked him at number 71 on its list of the "100 Greatest Artists of All Time",[130] and in 2011 at number 22 on its list of the "100 Greatest Guitarists of All Time".[131]

Tape manipulation

[edit]

During recording sessions in New York in 1967, Zappa increasingly used tape editing as a compositional tool.[11]: 160  A prime example is found on the double album Uncle Meat (1969),[35]: 104  where the track "King Kong" is edited from various studio and live performances. Zappa had begun regularly recording concerts,[nb 11] and because of his insistence on precise tuning and timing, he was able to augment his studio productions with excerpts from live shows, and vice versa.[72] Later, he combined recordings of different compositions into new pieces, irrespective of the tempo or meter of the sources. He dubbed this process "xenochrony" (strange synchronizations[132])—reflecting the Greek "xeno" (alien or strange) and "chronos" (time).[72]

Personal life

[edit]

Family

[edit]
Left to right: Simon Prentis (Zappa's "Semantic Scrutinizer"), Zappa, Zappa's production assistant Gerry Fialka, and Zappa's second wife Gail outside Zappa's home recording studio Utility Muffin Research Kitchen in 1986. Prentis holds a preview cassette of the album Jazz From Hell that Fialka had just delivered for Zappa's approval.[133]

Zappa's parents were Francis Vincent Zappa and Rose Marie Zappa (née Colimore). Frank was the eldest of four children, followed by his brothers Bobby and Carl and sister Patrice.

Zappa was married to Kathryn J. "Kay" Sherman from 1960 to 1963. In 1967, he married Adelaide Gail Sloatman.[134][135] He and his second wife had four children: Moon (born 1967), Dweezil (born 1969), Ahmet (born 1974), and Diva (born 1979).[136] Moon and Ahmet sang on Frank's 1981 album You Are What You Is, while Moon also provided the "Valley girl" voice on the song of the same name on 1982's Ship Arriving Too Late to Save a Drowning Witch. The song became Frank's only US Top 40 hit single and is credited with popularizing valspeak and valley girl culture, despite being intended by Frank and Moon as a parody and criticism of it.[137][138][139] An accomplished guitarist in his own right, Dweezil made several guest appearances on stage with Frank during the 1982, 1984, and 1988 tours, and Frank produced Dweezil's first album Havin' a Bad Day in 1986.

Following Zappa's death, his widow Gail created the Zappa Family Trust, which owns the rights to Zappa's music and some other creative output: 62 albums released during Zappa's lifetime and 67 posthumously as of September 2024. Upon Gail's death in October 2015, the Zappa children received shares of the trust; Ahmet and Diva received 30% each, Moon and Dweezil received 20% each.[140] The original trust, signed by Frank and Gail in 1990, assured the four children would receive equal shares, but this was altered by Gail sometime after Frank's death.[141]

Captain Beefheart

[edit]

Zappa and Don Van Vliet met when they were both teenagers and shared an interest in rhythm and blues and Chicago blues.[142] They collaborated from this early stage with Zappa's scripts for "teenage operettas", such as "Captain Beefheart & the Grunt People", with Vliet eventually adopting the Captain Beefheart name. The earliest known recording of either Zappa or Beefheart is a collaboration between them, "Lost in a Whirlpool", recorded around 1958/1959 and included on the posthumous Zappa album The Lost Episodes in 1996. In 1963, the pair recorded a demo at the Pal Recording Studio in Cucamonga as the Soots, seeking support from a major label. Their efforts were unsuccessful, as Vliet's Howlin' Wolf-influenced vocal style and Zappa's distorted guitar were "not on the agenda" at the time.[142] In 1965, while Zappa formed the Mothers of Invention, Beefheart assembled Captain Beefheart and His Magic Band. Their third album, 1969's critically acclaimed Trout Mask Replica, was produced by Zappa. That same year, Beefheart provided the vocal on "Willie the Pimp" on the Hot Rats album. Beefheart also played the harmonica on "San Ber'dino" (credited as "Bloodshot Rollin' Red") on One Size Fits All (1975) and "Find Her Finer" on Zoot Allures (1976).[143]

Over the years, Zappa and Beefheart's friendship was sometimes expressed in the form of rivalry, as musicians drifted back and forth between their groups. Beefheart joined Zappa's band on the 1975 tour, documented on the Bongo Fury album,[144] mainly because conflicting contractual obligations made Beefheart unable to tour or record independently at the time. Their relationship grew acrimonious on the tour to the point that they refused to talk to one another. Zappa became irritated by Beefheart, who drew constantly, including while on stage, filling one of his large sketch books with rapidly executed portraits and warped caricatures of Zappa. Musically, Beefheart's primitive style contrasted sharply with Zappa's compositional discipline and abundant technique. Mothers of Invention drummer Jimmy Carl Black described the situation as "two geniuses" on "ego trips".[145] Estranged for years afterwards, they reconciled by the end of Zappa's life.

Beliefs and politics

[edit]

Drugs

[edit]

Zappa stated, "Drugs do not become a problem until the person who uses the drugs does something to you, or does something that would affect your life that you don't want to have happen to you, like an airline pilot who crashes because he was full of drugs."[146] Zappa was a heavy tobacco smoker for most of his life, and critical of anti-tobacco campaigns.[nb 12]

While he disapproved of drug use, he criticized the War on Drugs, comparing it to alcohol prohibition, and stated that the United States Treasury would benefit from the decriminalization and regulation of drugs.[1]: 329  Describing his philosophical views, Zappa stated, "I believe that people have a right to decide their own destinies; people own themselves. I also believe that, in a democracy, government exists because (and only so long as) individual citizens give it a 'temporary license to exist'—in exchange for a promise that it will behave itself. In a democracy, you own the government—it doesn't own you."[1]: 315–316, 323–324, 329–330 

Government and religion

[edit]
Zappa with Václav Havel, 1990

In a 1991 interview, Zappa reported that he was a registered Democrat but added "that might not last long—I'm going to shred that."[148] Describing his political views, Zappa categorized himself as a "practical conservative."[nb 13] He favored limited government and low taxes; he also stated that he approved of national defense, social security, and other federal programs, but only if recipients of such programs are willing and able to pay for them.[1]: 315–316, 323–324, 329–330  He opposed military drafts, saying that military service should be voluntary.[149] He favored capitalism, entrepreneurship, and independent business, stating that musicians could make more from owning their own businesses than from collecting royalties.[150] He opposed communism, stating, "A system that doesn't allow ownership... has—to put it mildly—a fatal design flaw."[1]: 315–316, 323–324, 329–330  He had used his album covers to encourage his fans to register to vote, and throughout 1988, he had registration booths at his concerts.[11]: 348  He even considered running for president of the United States as an independent.[11]: 365 [151]

Zappa was an atheist.[152][153] He recalled his parents being "pretty religious" and trying to make him go to Catholic school despite his resentment. He felt disgust towards organized religion (Christianity in particular) because he believed that it promoted ignorance and anti-intellectualism. He held the view that the Garden of Eden story shows that the essence of Christianity is to oppose gaining knowledge.[154] Some of his songs, concert performances, interviews and public debates in the 1980s criticized and derided Republicans and their policies—President Ronald Reagan, the Strategic Defense Initiative (SDI), televangelism, and the Christian Right—and warned that the United States government was in danger of becoming a "fascist theocracy."[155][156]

In early 1990, Zappa visited Czechoslovakia at the request of President Václav Havel. The meeting had been arranged by keyboardist Michael Kocáb. A longtime admirer of Zappa's commitment to individualism, Havel designated him as Czechoslovakia's "Special Ambassador to the West on Trade, Culture and Tourism."[157] Havel was a lifelong fan of Zappa, who had great influence in the avant-garde and underground scene in Central Europe in the 1970s and 1980s. The Plastic People of the Universe, a Czechoslovakian jazz rock group associated with Prague underground culture, took its name from Zappa's 1967 song "Plastic People".[158] Under pressure from Secretary of State, James Baker, Zappa's posting (as Czech 'Special Ambassador') was withdrawn.[159] Havel made Zappa an unofficial cultural attaché instead.[11]: 357–361  Zappa planned to develop an international consulting enterprise to facilitate trade between the former Eastern Bloc and Western businesses.[108]

Anti-censorship activism

[edit]

Zappa expressed opinions on censorship when he appeared on CNN's Crossfire TV series and debated issues with Washington Times commentator John Lofton in 1986.[156] On September 19, 1985, Zappa testified before the United States Senate Commerce, Technology, and Transportation committee, attacking the Parents Music Resource Center or PMRC, a music organization co-founded by Tipper Gore, wife of then-senator Al Gore.[160] The PMRC consisted of many wives of politicians, including the wives of five members of the committee, and was founded to address the issue of song lyrics with sexual or satanic content.[161] During Zappa's testimony, he stated that there was a clear conflict of interest between the PMRC due to the relations of its founders to the politicians who were then trying to pass what he referred to as the "Blank Tape Tax." Kandy Stroud, a spokeswoman for the PMRC, announced that Senator Gore (who co-founded the committee) was a co-sponsor of that legislation. Zappa suggested that record labels were trying to get the bill passed quickly through committees, one of which was chaired by Senator Strom Thurmond, who was also affiliated with the PMRC. Zappa further said that this committee was being used as a distraction from that bill being passed, which would lead only to the benefit of a select few in the music industry.[162][163]

Zappa saw their activities as on a path towards censorship[1]: 267  and called their proposal for voluntary labelling of records with explicit content "extortion" of the music industry.[1]: 262 

In his prepared statement, he said:

The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civil liberties of people who are not children, and promises to keep the courts busy for years dealing with the interpretational and enforcemental problems inherent in the proposal's design. It is my understanding that, in law, First Amendment issues are decided with a preference for the least restrictive alternative. In this context, the PMRC's demands are the equivalent of treating dandruff by decapitation. ... The establishment of a rating system, voluntary or otherwise, opens the door to an endless parade of moral quality control programs based on things certain Christians do not like. What if the next bunch of Washington wives demands a large yellow "J" on all material written or performed by Jews, in order to save helpless children from exposure to concealed Zionist doctrine?[162][163][164]

Zappa set excerpts from the PMRC hearings to Synclavier music in his composition "Porn Wars" on the 1985 album Frank Zappa Meets the Mothers of Prevention, and the full recording was released in 2010 as Congress Shall Make No Law... Zappa is heard interacting with Senators Fritz Hollings, Slade Gorton and Al Gore.[165]

Legacy

[edit]

Zappa was a controversial figure. As Geoffrey Himes noted in 1993 after the artist's death, Zappa was hailed as a genius by conductor Kent Nagano and nominated by Czechoslovakian President Václav Havel to the country's cultural ambassadorship, but he was in his lifetime rejected twice for admission into the Rock and Roll Hall of Fame. In Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau dismissed Zappa's music as "sexist adolescent drivel ... with meters and voicings and key changes that are as hard to play as they are easy to forget."[9] According to Himes:

Admirers and detractors agree that Zappa's music—with its odd time signatures, unorthodox harmonies and fiendishly difficult lines—boasts a rare cerebral complexity. But that's where the agreement ends. Some fans find his sophomoric jokes ("Don't Eat the Yellow Snow") and pop music parodies ("Sheik Yerbouti") a crucial counterbalance to the rarefied density of the music; other devotees find the jokes an irrelevant sideshow to music best appreciated in a chamber or orchestral setting. The critics find the humor's smug iconoclasm a symptom of the essential emptiness of Zappa's intellectual exercises.[9]

Acclaim and honors

[edit]

Frank Zappa was one of the first to try tearing down the barriers between rock, jazz, and classical music. In the late Sixties his Mothers of Invention would slip from Stravinsky's "Petroushka" into The Dovells' "Bristol Stomp" before breaking down into saxophone squeals inspired by Albert Ayler

The Rolling Stone Illustrated History of Rock & Roll, p. 497

The Rolling Stone Album Guide (2004) writes: "Frank Zappa dabbled in virtually all kinds of music—and, whether guised as a satirical rocker, jazz-rock fusionist, guitar virtuoso, electronics wizard, or orchestral innovator, his eccentric genius was undeniable."[166] Even though his work drew inspiration from many different genres, Zappa was seen as establishing a coherent and personal expression. In 1980, biographer David Walley noted that "The whole structure of his music is unified, not neatly divided by dates or time sequences and it is all building into a composite".[22]: 3  On commenting on Zappa's music, politics and philosophy, Barry Miles noted in 2004 that they cannot be separated: "It was all one; all part of his 'conceptual continuity'."[11]: 383 

Zappa in 1977

Guitar Player devoted a special issue to Zappa in 1992, and asked on the cover "Is FZ America's Best Kept Musical Secret?" Editor Don Menn remarked that the issue was about "The most important composer to come out of modern popular music".[167] Among those contributing to the issue was composer and musicologist Nicolas Slonimsky, who conducted premiere performances of works of Ives and Varèse in the 1930s.[168] He became friends with Zappa in the 1980s,[169] and said, "I admire everything Frank does, because he practically created the new musical millennium. He does beautiful, beautiful work ... It has been my luck to have lived to see the emergence of this totally new type of music."[170] Conductor Kent Nagano remarked in the same issue that "Frank is a genius. That's a word I don't use often ... In Frank's case it is not too strong ... He is extremely literate musically. I'm not sure if the general public knows that."[171] Pierre Boulez told Musician magazine's posthumous Zappa tribute article that Zappa "was an exceptional figure because he was part of the worlds of rock and classical music and that both types of his work would survive."[172] In 1994, jazz magazine DownBeat's critics poll placed Zappa in its Hall of Fame.[173] Zappa was posthumously inducted into the Rock and Roll Hall of Fame in 1995. There, it was written that "Frank Zappa was rock and roll's sharpest musical mind and most astute social critic. He was the most prolific composer of his age, and he bridged genres—rock, jazz, classical, avant-garde and even novelty music—with masterful ease".[174] He was ranked number 36 on VH1's 100 Greatest Artists of Hard Rock[129] in 2000. In 2005, the U.S. National Recording Preservation Board included We're Only in It for the Money in the National Recording Registry as "Frank Zappa's inventive and iconoclastic album presents a unique political stance, both anti-conservative and anti-counterculture, and features a scathing satire on hippiedom and America's reactions to it".[175] The same year, Rolling Stone magazine ranked him at No. 71 on its list of the 100 Greatest Artists of All Time.[176] In 2011, he was ranked at No. 22 on the list of the 100 Greatest Guitarists of All Time by the same magazine.[177] In 2016, Guitar World magazine placed Zappa atop its list of "15 of the best progressive rock guitarists through the years."[178] The street of Partinico where his father lived at number 13, Via Zammatà, has been renamed to Via Frank Zappa.[179] Since his death, several musicians have been considered by critics as filling the artistic niche left behind by Zappa, in view of their prolific output, eclecticism and other qualities, including Devin Townsend,[180][181][182][183] Mike Patton[184][185][186] and Omar Rodríguez-López.[187][188]

Grammy Awards

[edit]

In the course of his career, Zappa was nominated for nine competitive Grammy Awards, which resulted in two wins (one posthumous). In 1998, he received the Grammy Lifetime Achievement Award.[189]

Year Nominee / work Award Result
1980 "Rat Tomago" Best Rock Instrumental Performance Nominated
"Dancin' Fool" Best Male Rock Vocal Performance Nominated
1983 "Valley Girl" Best Rock Performance by a Duo or Group with Vocal Nominated
1985 The Perfect Stranger Best New Classical Composition Nominated
1988 "Jazz from Hell" Best Instrumental Composition Nominated
Jazz from Hell Best Rock Instrumental Performance (Orchestra, Group or Soloist) Won
1989 Guitar Nominated
1990 Broadway the Hard Way Best Musical Cast Show Album Nominated
1996 Civilization Phaze III Best Recording Package – Boxed Won
1997 Frank Zappa Lifetime Achievement Award Honored

Artists influenced by Zappa

[edit]

Many musicians, bands and orchestras from diverse genres have been influenced by Zappa's music. Rock artists such as The Plastic People of the Universe,[190] Alice Cooper,[191] Larry LaLonde of Primus,[192] Fee Waybill of the Tubes[193] all cite Zappa's influence, as do progressive, alternative, electronic and avant-garde/experimental rock artists like Can,[nb 14] Pere Ubu,[nb 15] Yes,[194][195] Soft Machine,[196][197] Henry Cow,[198] Faust,[199] Devo,[200] Kraftwerk,[201] Trey Anastasio and Jon Fishman of Phish,[176] Jeff Buckley,[202] John Frusciante,[203] Steven Wilson,[204] and The Aristocrats.[205]

Paul McCartney regarded Sgt. Pepper's Lonely Hearts Club Band as the Beatles' Freak Out!.[206] Jimi Hendrix[207] and heavy rock and metal acts like Black Sabbath,[208] Living Colour,[209] Simon Phillips,[210] Mike Portnoy,[211] Warren DeMartini,[212] Alex Skolnick,[213] Steve Vai,[214] Strapping Young Lad,[215] System of a Down,[216] and Clawfinger[217] have acknowledged Zappa as inspiration. On the classical music scene, Tomas Ulrich,[218] Meridian Arts Ensemble,[219] Ensemble Ambrosius[220] and the Fireworks Ensemble[221] regularly perform Zappa's compositions and quote his influence. Contemporary jazz musicians and composers Bobby Sanabria, Bill Frisell[222] and John Zorn[223] are inspired by Zappa, as is funk legend George Clinton.[224]

Other artists affected by Zappa include ambient composer Brian Eno,[225][226] new age pianist George Winston,[227] electronic composer Bob Gluck,[228] parodist artist and disk jockey Dr. Demento,[229] parodist and novelty composer "Weird Al" Yankovic,[230] industrial music pioneer Genesis P-Orridge,[231] singer Cree Summer,[232][233] noise music artist Masami Akita of Merzbow,[234] the Italian pianist Stefano Bollani,[235][236] the Italian band Elio e le Storie Tese[237][238][239] and Chilean composer Cristián Crisosto from Fulano and Mediabanda.[240][241][242]

References in arts and sciences

[edit]
Frank Zappa bust by Vaclav Cesak in Bad Doberan, Germany

Scientists from various fields have honored Zappa by naming new discoveries after him. In 1967, paleontologist Leo P. Plas Jr., identified an extinct mollusc in Nevada and named it Amaurotoma zappa with the motivation that, "The specific name, zappa, honors Frank Zappa".[243]

In the 1980s, biologist Ed Murdy named a genus of gobiid fishes of New Guinea Zappa, with a species named Zappa confluentus.[244] Biologist Ferdinando Boero named a Californian jellyfish Phialella zappai (1987), noting that he had "pleasure in naming this species after the modern music composer".[245]

Belgian biologists Bosmans and Bosselaers discovered in the early 1980s a Cameroonese spider, which they in 1994 named Pachygnatha zappa because "the ventral side of the abdomen of the female of this species strikingly resembles the artist's legendary moustache".[246]

A gene of the bacterium Proteus mirabilis that causes urinary tract infections was in 1995 named zapA by three biologists from Maryland. In their scientific article, they "especially thank the late Frank Zappa for inspiration and assistance with genetic nomenclature".[247] Repeating regions of the genome of the human tumor virus KSHV were named frnk, vnct and zppa in 1996 by Yuan Chang and Patrick S. Moore who discovered the virus. Also, a 143 base pair repeat sequence occurring at two positions was named waka/jwka.[248] In the late 1990s, American paleontologists Marc Salak and Halard L. Lescinsky discovered a metazoan fossil, and named it Spygori zappania to honor "the late Frank Zappa ... whose mission paralleled that of the earliest paleontologists: to challenge conventional and traditional beliefs when such beliefs lacked roots in logic and reason".[249]

In 1994, lobbying efforts initiated by psychiatrist John Scialli led the International Astronomical Union's Minor Planet Center to name an asteroid in Zappa's honor: 3834 Zappafrank.[250] The asteroid was discovered in 1980 by Czechoslovakian astronomer Ladislav Brožek, and the citation for its naming says that "Zappa was an eclectic, self-trained artist and composer ... Before 1989 he was regarded as a symbol of democracy and freedom by many people in Czechoslovakia".[251] In 1995, a bust of Zappa by sculptor Konstantinas Bogdanas was installed in Vilnius, the Lithuanian capital 54°40′59″N 25°16′33″E / 54.683°N 25.2759°E / 54.683; 25.2759. The choice of Zappa was explained as "a symbol that would mark the end of communism, but at the same time express that it wasn't always doom and gloom."[157] A replica was offered to the city of Baltimore in 2008, and on September 19, 2010—the twenty-fifth anniversary of Zappa's testimony to the U.S. Senate—a ceremony dedicating the replica was held, and the bust was unveiled at a library in the city.[252][253]

Frank-Zappa-Straße in Berlin

In 2002, a bronze bust was installed in German city Bad Doberan, location of the Zappanale since 1990, an annual music festival celebrating Zappa.[254] At the initiative of musicians community ORWOhaus, the city of Berlin named a street in the Marzahn district "Frank-Zappa-Straße" in 2007.[255] The same year, Baltimore mayor Sheila Dixon proclaimed August 9 as the city's official "Frank Zappa Day" citing Zappa's musical accomplishments as well as his defense of the First Amendment to the United States Constitution.[256]

Zappa documentary

[edit]

The biographical documentary Zappa, directed by Alex Winter and released on November 27, 2020, includes previously unreleased footage from Zappa's personal vault, to which he was granted access by the Zappa Family Trust.[257][258]

Discography

[edit]

During his lifetime, Zappa released 62 albums. Since 1994, the Zappa Family Trust has released 67 posthumous albums, making a total of 129 albums.[259] The distributor of Zappa's recorded output is Universal Music Enterprises.[260] In June 2022, the Zappa Trust announced that it had sold Zappa's entire catalog to Universal Music, including master tapes, song copyrights and trademarks.[261]

Albums

[edit]

Posthumous albums

[edit]

Videography

[edit]

Tours

[edit]

Tour and the relative video:

  • 1966 – The Mothers of Invention US Tour
  • 1967 – The Mothers of Invention World Tour
  • 1968 – The Mothers of Invention World Tour (October 25, 1968, The Royal Festival Hall in London – Uncle Meat)
  • 1969 – The Mothers of Invention World Tour
  • 1970 – The Mothers of Invention World Tour (November 6, 1970, Fillmore West in San Francisco – The True Story of Frank Zappa's 200 Motels)
  • 1971 – The Mothers of Invention World Tour (January 28, 1971, Pinewood Studios in London – Frank Zappa's 200 Motels)
  • 1972 – The Grand Wazoo (big band) / The Petit Wazoo (small band) World Tour
  • 1973 – The Mothers of Invention World Tour (December 8–10, 1973, The Roxy in Los Angeles – Roxy The Movie)
  • 1974 – The Mothers of Invention World Tour (August 27, 1974, KCET Sound Stage in Hollywood – A Token Of His Extreme / The Dub Room Special!)
  • 1975 – The Mothers of Invention World Tour
  • 1976 – Frank Zappa World Tour
  • 1977 – Frank Zappa World Tour (October 31, 1977, The Palladium in New York – Baby Snakes)
  • 1978 – Frank Zappa World Tour
  • 1979 – Frank Zappa European Tour
  • 1980 – Frank Zappa World Tour
  • 1981 – Frank Zappa North American Tour (October 31, 1981, The Palladium in New York – The Torture Never Stops / The Dub Room Special!)
  • 1982 – Frank Zappa European Tour
  • 1984 – Frank Zappa World Tour (August 25, 1984, The Pier in New York – Does Humor Belong In Music?)
  • 1988 – Frank Zappa World Tour

Touring bands timeline

[edit]

Books

[edit]
  • Them or Us, self-published, 1984, re-published Pinter & Martin Ltd, 2010
  • The Real Frank Zappa Book, New York, Poseidon Press, 1989
  • Frank Zappa in His Own Words, Omnibus Press, 1993
  • The Real Porn Wars, Gonzo Multimedia, 2014
  • The Frank Zappa Guitar Book, Hal Leonard Publishing, 2017 compiled and transcribed by Steve Vai

See also

[edit]

Notes

[edit]
  1. ^ Until discovering his birth certificate as an adult, Zappa believed he had been christened "Francis Vincent Zappa" after his father, and he is credited as Francis on some of his early albums. The name on his birth certificate however is "Frank", not "Francis".[1]: 15 
  2. ^ "My ancestry is Sicilian, Greek, Arab and French. My mother's mother was French and Sicilian, and her Dad was Italian (from Naples). She was first generation. The Greek-Arab side is from my Dad. He was born in a Sicilian village called Partinico ..."[1]: 15 
  3. ^ On several of his earlier albums, Zappa paid tribute to Varèse by quoting his: "The present-day composer refuses to die."[17]
  4. ^ The initial orchestra-only recordings were released posthumously on the box set Lumpy Money (2009). See Dolan, Casey (2008-12-08). "The Resurrection of Frank Zappa's Soul". LA Weekly. Archived from the original on 2012-10-04. Retrieved 2009-02-02.
  5. ^ As the legal aspects of using the Sgt. Pepper concept were unsettled, the album was released with the cover and back on the inside of the gatefold, while the actual cover and back were a picture of the group in a pose parodying the inside of the Beatles album.[11]: 151 
  6. ^ During the June 1971 Fillmore concerts Zappa was joined on stage by John Lennon and Yoko Ono. This performance was recorded, and Lennon released excerpts on his album Some Time in New York City in 1972. Zappa later released his version of excerpts from the concert on Playground Psychotics in 1992, including the jam track "Scumbag" and an extended avant-garde vocal piece by Ono (originally called "Au"), which Zappa renamed "A Small Eternity with Yoko Ono.
  7. ^ When the music was first released on CD in 1991, Zappa chose to re-release the four individual albums.[32]: 49  In the liner notes to the 1996 release, Gail Zappa states that "As originally conceived by Frank, Läther was always a 4-record box set."
  8. ^ For a comprehensive comparison of vinyl and CD releases, see "The Frank Zappa Album Versions Guide – Index". The Zappa Patio. lukpac.org/~handmade/patio. Retrieved 2008-01-07.
  9. ^ It brought him a posthumous Grammy Award (with Gail Zappa) for Best Recording Package – Boxed in 1994. "Grammy Winners". National Academy of Recording Arts and Sciences. Retrieved 2008-08-18.
  10. ^ Among his many musical satires are the 1967 songs "Flower Punk" (which parodies the song "Hey Joe") and "Who Needs the Peace Corps?", which are critiques of the late-Sixties commercialization of the hippie phenomenon.[120]
  11. ^ In the process, he built up a vast archive of live recordings. In the late 1980s some of these recordings were collected for the 12-CD set You Can't Do That on Stage Anymore.
  12. ^ He considered such campaigns as yuppie inventions and noted that "Some people like garlic. ... I like pepper, tobacco and coffee. That's my metabolism."[1]: 234–235  and once described tobacco as his "favorite vegetable."[147]
  13. ^ "Politically, I consider myself to be a (don't laugh) 'Practical Conservative'. I want a smaller, less intrusive government, and lower taxes. What? You too?"[1]: 315 
  14. ^ "CAN was formed by ex-student of Stockhausen Irmin Schmidt, who, fired by the sounds of Jimi Hendrix and Frank Zappa abandoned his career in classic music to form a group which could utilise and transcend all boundaries of ethnic, electronic experimental and modern classical music." "CAN – The Lost Tapes". Spoon Records..
  15. ^ "The group is very influenced by Capt. Beefheart and Frank Zappa. The roots of Pere Ubu lie in a comedy cover band called Rocket from the Tombs ..."George Gimarc (1994). Punk Diary: 1970–1979. Vintage. p. 22. ISBN 978-0-09-952211-9..

References

[edit]
  1. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au Zappa, Frank; Occhiogrosso, Peter (1989). Real Frank Zappa Book. Simon and Schuster. ISBN 978-0-671-70572-5.
  2. ^ Ruhlmann, William. "Frank Zappa – Biography & History". AllMusic. Retrieved 2017-08-08.
  3. ^ a b "Dweezil Zappa Teaches Frank Zappa's Improvisation Techniques". Youtube. Reverb.com. 2016-12-06. Retrieved 2024-04-12. Zappa regularly used structured improvisation in a Jazz-like context but also occasionally used what he called "spontaneous composition"
  4. ^ a b c d e f g Semley, John (2012-08-09). "Where to dive into Frank Zappa's weird, unwieldy discography". The A.V. Club. Archived from the original on 2017-12-22. Retrieved 2019-03-14.
  5. ^ Whitaker, Sterling (2015-12-04). "The Day Frank Zappa Died". Ultimate Classic Rock.
  6. ^ a b Maume, Chris (2015-10-12). "Gail Zappa: Frank Zappa's wife, muse and manager who ferociously protected his musical legacy". The Independent. Retrieved 2019-03-14.
  7. ^ a b Buckley, Peter (2003). The Rough Guide to Rock: [The Definitive Guide to More Than 1200 Artists and Bands] (3rd ed.). London: Rough Guides. p. 1211. ISBN 978-1-84353-105-0. As a teenager, Zappa was simultaneously enthralled by black R&B (Johnny 'Guitar' Watson, Guitar Slim), doo-wop (The Channels, The Velvets), the modernist 20th century composers, such as Igor Stravinsky, Anton Webern and Edgard Varèse.
  8. ^ a b "Comedy rock". AllMusic. Retrieved 2020-11-14.
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  24. ^ Myers, Ben (2008-01-18). "Copywriting is still writing". The Guardian. Retrieved 2017-02-21.
  25. ^ Gray, 1984, Mother!, p. 29.
  26. ^ "Video footage of Frank Zappa performing music on a bicycle on Steve Allen's Show in 1963". Twitter feed of Skot Armstrong. Twitter. Retrieved 2021-12-21.
  27. ^ a b Slaven, Neil (1996). Electric Don Quixote. Omnibus Press. ISBN 978-0711959835.
  28. ^ Harp, Ted (March 1965). "Vice Squad Raids Local Film Studio". The Daily Report. Ontario, California.
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  33. ^ "How We Made It Sound That Way", interview on WDET Detroit, November 13, 1967 (excerpt included as part of the MOFO album, 2006)
  34. ^ Couture, François. "Lumpy Gravy. Review". AllMusic. Retrieved 2008-01-02.
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  44. ^ Michael Starks, 1982, Cocaine Fiends and Reefer Madness: An Illustrated History of Drugs in the Movies 1894-1978, ISBN 1579511899, p. 153.
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  46. ^ Official recordings of these bands did not emerge until more than 30 years later on Wazoo (2007) and Imaginary Diseases (2006), respectively.
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  59. ^ Interview with Gail Zappa in the 2020 film "Zappa" produced by Alex Winter
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