Electric Don Quixote: The Definitive Story Of Frank Zappa: The Story of Frank Zappa

“The people who want to censor do not care about saving your children,” he told David Sheff. “They care about one thing – getting re-elected. Let’s face it, folks: Politicians in the United States are the scum of the earth. We have to go after them individually because they’re varmints. The legislation they are passing, piece by piece, converts Ame

Bolero,”

Night School, his concept for a weekday late-night programme. The aim was to show raw, uncut news footage, point out what had been deleted or ignored and speculate on the reasons for each omission. A live band would be in the studio, the musicians doubling as actors in ‘pre-enactments’ of the ‘possible social consequences’ of specific news items.

“Taste is reinforced by what gets broadcast, and it’s reinforced by who receives those stupid awards on those horrible award shows that keep coming up over and over and over again.”2

The final selection, made by the Zappa office from albums supplied by Rhino employee Tom Brown, comprised, As An Am (New York, 1981), Live At The Ark (Boston, 1968), Freaks & Motherfuckers (New York, 1971), Unmitigated Audacity (Indiana, 1974), Any Way The Wind Blows

sprechstimme,

“HONKER believes that WHAT YOU WATCH and WHEN YOU WATCH IT should be a matter of personal choice, and such decisions are not appropriately made by third parties or organised pressure groups. Nonetheless, for the deranged few who feel that censorshipis a good idea, HONKER provides NO-D GLASSES so they can do it to themselves.”9 While all these proje

Frank had once maintained that Americans hated music but loved entertainment. “The reason they hate music,” he explained, “is that they’ve never stopped to listen to what the musical content is because they’re so befuddled by the packaging and merchandising that surround the musical material they’ve been induced to buy. There’s so much peripheral s

Thesaurus Of Scales And Patterns [published when Frank was six years old]