“WILLIE THE PIMP”
“PEACHES EN REGALIA”
TITTIES ‘N BEER
CATHOLIC GIRLS
JOE’S GARAGE
DANCING FOOL
(*the dead*)
(“frank vincent zappa” (december 21, 1940 – december 4, 1993) was an american musician, songwriter, composer, guitarist, record producer, actor and filmmaker)
(in a career spanning more than 30 years, Zappa composed rock, jazz, jazz fusion, orchestral and musique concrète works, and produced almost all of the 60-plus albums that he released with his band the Mothers of Invention and as a solo artist)
(he also directed feature-length films and music videos, and designed album covers)
(as a self-taught composer and performer, Zappa’s diverse musical influences led him to create music that was often difficult to categorize)
(while in his teens, he acquired a taste for 20th-century classical composers such as Edgard Varèse, Igor Stravinsky, and Anton Webern, along with 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; later switching to electric guitar)
(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)
(he continued this eclectic and experimental approach, irrespective of whether the fundamental format was rock, jazz, or classical)
(Zappa’s lyrics reflected his iconoclastic views of established social and political processes, structures and movements, often humorously so)
(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 era, he personally disapproved of and seldom used drugs, but supported their decriminalization and regulation)
(during Zappa’s lifetime, he was a highly productive and prolific artist, earning widespread acclaim from critics and fellow musicians)
(he had some commercial success, particularly in Europe, and worked as an independent artist for most of his career)
(he remains a major influence on musicians and composers)
(‘Sterling Whitaker’ described Zappa as “one of the most innovative and versatile rock musicians of his generation”)
(his honors include an induction into the 1995 ‘Rock and Roll Hall Of Fame’ and the 1997 ‘grammy lifetime achievement award’)
(in 2004, Rolling Stone magazine ranked him at #71 on its list of the “100 Greatest Artists of All Time”, and in 2011 at #22 on its list of the “100 greatest guitarists of all time”)
“zappa’s mishaps”
(did you know that in 1971, while performing an encore with the mothers of invention @ rainbow theatre in london, frank zappa was pushed offstage by an alleged fan onto a concrete-floored orchestra pit?)
(the accident crushed his larynx, causing his voice to drop a third after healing)
(now if only they’d done something about that moustache).
so that’s how it worked back then?
some sort of british invasion backlash?
violence against american rock stars in britain and british rock stars in the americas…
(think lennon)
(i find this much more continentally fascinating than any manufactured east coast / west coast rivalry purported to have happened)
(tupac + biggie are off on some secluded island off the south of france masturbating to their own glorified images)
(i’m wholeheartedly convinced that hip-hop is a fraudulent movement designed to dumb us down as a species)
(what distinguishes hip-hop from other forms of unhinged heart-on-the-sleeve lyrically active rock music?)
(the absence of melody?)
(the egregious sampling of others’ sonic work?)
(but i’m sure that’s the same way the anachronisms of the prior generation felt about yesterday’s pop/new wave music)
the way i see things, there are two lines to be drawn in all musical progressions: communal + isolation.
communal music is a primal tribal war chant.
the communal outcast becomes a classical composer.
he subsequently composes a sonic kingdom of heaven on earth.
this completes the musical cycle, as his work becomes idealized communal music in operatic form.
and america holds a transatlantic prism to world music.
so primal music in africa became blues music in america.
classical music in europe became jazz music in america.
european folk goes country.
(and i believe that japan can subsequently hold a transpacific prism to american music. as in filtering the best of american music through their unique anime lenses. think of it as nuclear revenge.)
and then in the last century, blues music became rock music + jazz music became pop music.
(but “country” remained “country”)
(as they aren’t especially bright and furthermore are wholly regressive by nature)
“zappa’s mishaps”
did you know that in 1971, while performing an encore with the mothers of invention @ rainbow theatre in london, frank zappa was pushed offstage by an alleged fan onto a concrete-floored orchestra pit? the accident crushed his larynx, causing his voice to drop a third after healing. now if only they’d done something about that moustache.
so that’s how it worked back then? some sort of british invasion backlash? violence against american rock stars in britain and british rock stars in the americas (think lennon). i find this much more continentally fascinating than any manufactured east coast / west coast rivalry purported to have happened. tupac + biggie are off on some secluded island off the south of france masturbating to their own glorified images. i’m wholeheartedly convinced that hip-hop is a fraudulent movement designed to dumb us down as a species. what distinguishes hip-hop from other forms of unhinged heart-on-the-sleeve lyrically active rock music? the absence of melody? the egregious sampling of others’ sonic work?
(but i’m sure that’s the same way the anachronisms of the prior generation felt about yesterday’s pop/new wave music)
the way i see things, there are two lines to be drawn in all musical progressions: communal + isolation. communal music is a primal tribal war chant. the communal outcast becomes a classical composer. he subsequently composes a sonic kingdom of heaven on earth. this completes the musical cycle, as his work becomes idealized communal music in operatic form.
and america holds a transatlantic prism to world music. so primal music in africa became blues music in america. classical music in europe became jazz music in america. european folk goes country.
(and i believe that japan can subsequently hold a transpacific prism to american music. as in filtering the best of american music through their unique anime lenses. think of it as nuclear revenge.)
and then in the last century, blues music became rock music + jazz music became pop music. country stayed country (they aren’t very smart, you see)
*punk is to rock what hip-hop is to pop*
what do i mean by that? first of all, what distinguishes rock music from pop music is that rock is meant to be performed live whereas pop is meant to be perfected in a recording studio. a punk is a novice rocker just as a hip-hopper is a novice recording artist. and those that don’t evolve become proud of their ‘punk’ / ‘street’ roots. chalk it up to triumph of a slave mentality (note the historical critical praise heaped on these two alleged art forms).
rum dmc r heeb bots
(brother a: ‘aren’t we all?’)
(joga response: ‘nope, i’m an aryan animal!’)
(“the international jewish conglomerate convinced an entire generation that hip-hop is high art”)
(says the bitter white rocker)
“rap is retard rock produced by plagiarists”
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👈👈👈 ☜ *“XXX”*
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*🌈✨ *TABLE OF CONTENTS* ✨🌷*
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🔥🔥🔥🔥🔥🔥*we won the war* 🔥🔥🔥🔥🔥🔥