Examine individual changes

[ 0 => ''''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}}}} (December 21, 1940&nbsp;– December 4, 1993) was an American singer-songwriter, multi-instrumentalist, composer, and bandleader. His work is characterized by nonconformity, free-form improvisation, sound experiments, musical virtuosity, and satire of American culture.<ref name="semley2012"/> In a career spanning more than 30&nbsp;years, Zappa composed [[Rock music|rock]], [[Pop music|pop]], [[jazz]], [[jazz fusion]], [[orchestra]]l and ''[[musique concrète]]'' works, and 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>{{cite web|url=http://www.allmusic.com/artist/frank-zappa-mn0000138699/biography|title=Frank Zappa – Biography & History|website=[[AllMusic]]|access-date=August 8, 2017}}</ref> Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse rock musicians of his era.<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 |accessdate=March 14, 2019 }}</ref>', 1 => '', 2 => 'As a self-taught composer and performer, Zappa's diverse musical influences 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]|date=November 17, 2003|publisher=Rough Guides|location=London, United Kingdom|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 modernism of Igor Stravinsky and Anton Webem, and the dissonant sound experiments of Edgard Varese.|url=https://archive.org/details/roughguidetorock0003unse/page/1211}}</ref> 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 [[collage]]s. He continued this eclectic and experimental approach whether the fundamental format was rock, jazz, or classical.', 3 => '', 4 => '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 [[iconoclasm|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]]}}</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 personally disapproved of drugs, but supported their decriminalization and regulation.', 5 => '', 6 => 'Zappa was a highly productive and prolific artist with a controversial critical standing; supporters of his music admired its compositional complexity, while critics found it lacking emotional depth. He had some commercial success, particularly in Europe, and worked as an [[independent music|independent artist]] for most of his career. He remains a major influence on musicians and composers. His honors include his 1995 induction into the [[Rock and Roll Hall of Fame]] and the 1997 [[Grammy Lifetime Achievement Award]]. 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}}</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 web|title=100 Greatest Artists|url=https://www.rollingstone.com/music/music-lists/100-greatest-artists-147446/frank-zappa-3-86388/ |website=Rolling Stone|publisher=Jann Wenner|date=December 3, 2010 |accessdate=March 14, 2019 }}</ref> and in 2011 at number 22 on its list of the "100 Greatest Guitarists of All Time".<ref>{{cite web|title=100 Greatest Guitarists|url=https://www.rollingstone.com/music/music-lists/100-greatest-guitarists-153675/frank-zappa-7-155589/ |website=[[Rolling Stone]] |publisher=Jann Wenner|date=December 18, 2015 |accessdate=March 14, 2019 }}</ref>', 7 => '', 8 => '==1940s–1960s: early life and career==', 9 => '===Childhood===', 10 => 'Zappa was born on December 21, 1940, in [[Baltimore]], Maryland. His mother, Rosemarie ({{nee}} Collimore), was of [[Italian Americans|Italian]] (Neapolitan and Sicilian) and [[French Americans|French]] ancestry; his father, whose name was anglicized to Francis Vincent Zappa, was an immigrant from [[Partinico]], [[Sicily]], with [[Greek Americans|Greek]] and [[Arab Americans|Arab]]<!-- do not change this to Lebanese: the cited source says 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 |authorlink=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}}}}', 11 => '', 12 => 'Frank, the eldest of four children, was raised in an Italian-American household where [[Italian language|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| year = 2004|isbn = 978-1-84354-092-2}}</ref>{{rp|8–9}}', 13 => '', 14 => '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,<ref name=miles />{{rp|10}} and although it has since been claimed that nasal radium treatment has causal connections to cancer, no studies have provided enough evidence to confirm this.<ref>{{cite web|url=http://www.cancer.gov/cancertopics/causes-prevention/risk/radiation/nasopharyngeal-radium-fact-sheet|title=Nasopharyngeal Radium Irradiation (NRI) and Cancer|date=January 2003|work=National Cancer Institute|url-status=dead|archiveurl=https://web.archive.org/web/20150411012948/http://www.cancer.gov/cancertopics/causes-prevention/risk/radiation/nasopharyngeal-radium-fact-sheet|archivedate=April 11, 2015}}</ref>', 15 => '', 16 => '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 [[Claremont, California]],<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|year=2003|isbn=978-0-7119-9436-2|url=https://books.google.com/books?id=a4EyfFjQ3DgC}}</ref>{{rp|46}} and then to [[El Cajon, California|El Cajon]], before finally settling in [[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|accessdate=September 11, 2010}}</ref>', 17 => '', 18 => '===First musical interests===', 19 => '{{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}}', 20 => '', 21 => 'Zappa joined his first band at [[Mission Bay High School]] in San Diego as the 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]]), the modernism of [[Igor Stravinsky]] and [[Anton Webern]], and the dissonant sound experiments of [[Edgard Varese]]."<ref name="teentastes"/>', 22 => '', 23 => '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 12, 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.', 24 => '', 25 => '[[File:Frank Zappa HS Yearbook.jpg|thumb|upright|Zappa's senior yearbook photo, 1958]]', 26 => '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|accessdate=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 composer as a 15th birthday present.<ref name=Occhiogrosso />{{rp|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.<ref name="idol">{{cite journal|last=Zappa|first=Frank|title=Edgard Varese: The Idol of My Youth|journal=Stereo Review|pages=61–62|date=June 1971}}</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|year=2011|isbn=978-0-7735-8576-8|page=122|url=https://books.google.com/books?id=WV1ta5rlm58C}} [https://books.google.com/books?id=WV1ta5rlm58C&pg=PA122 Extract of page 122]</ref>}}', 27 => '', 28 => '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/80s, he invited Watson to perform on several albums.) Zappa considered soloing as the equivalent of forming "air sculptures",<ref>{{cite book|title=Frank Zappa|first1=Barry|last1=Miles|publisher=Atlantic Books Ltd|year=2014|isbn=978-1-78239-678-9|page=266|url=https://books.google.com/books?id=A5jCBAAAQBAJ}} [https://books.google.com/books?id=A5jCBAAAQBAJ&pg=PT266 Extract of page 266]</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|year=2005|isbn=978-0-946719-79-2|page=223|url=https://books.google.com/books?id=NBfhgQf1-QwC}} [https://books.google.com/books?id=NBfhgQf1-QwC&pg=PA223 Extract of page 223]</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]]|year=2008|isbn=978-0-415-95781-6|chapter=Early Synthesizers and Experimenters|pages=153–4|chapter-url=https://books.google.com/books?id=hCthQ-bec-QC&pg=PA153|accessdate=June 4, 2011}}</ref>', 29 => '', 30 => '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="walley 1980" />{{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}}', 31 => '', 32 => 'Zappa left home in 1959, and moved into a small apartment in [[Echo Park, Los Angeles]]. After meeting 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 |publisher=[[Guardian Media Group]] |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.', 33 => '', 34 => '===Studio Z===', 35 => '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).', 36 => '', 37 => '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 to stage a concert of his orchestral music in 1963 and to broadcast and record it.<ref name=miles />{{rp|74}} He appeared on [[Steve Allen]]'s syndicated late night show the same year, in which he played a bicycle as a musical instrument.<ref name=slaven96>{{cite book |first=Neil |last=Slaven |date=1996 |title=Electric Don Quixote |isbn=9780711959835 }}</ref>{{rp|35–36}} Using a bow borrowed from the band's bass player, as well as drum sticks, he proceeded to pluck, bang, and bow the spokes of the bike, producing strange, comical sounds from his new found instrument. 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 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| year = 1996| publisher=St. Martin's Griffin| location = New York| isbn = 978-0-312-14124-0}}</ref>{{rp|27}}', 38 => '', 39 => '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}}', 40 => '', 41 => '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|fmt=eq}}) to produce a suggestive audio tape for an alleged [[Bachelor party|stag 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}}', 42 => '', 43 => '==Late 1960s: the Mothers of Invention==', 44 => '===Formation===', 45 => 'In 1965, [[Ray Collins (musician)|Ray Collins]] asked Zappa to take over as guitarist in local R&B band 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<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 was renamed the Mothers, coincidentally on [[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]], while they gradually gained attention on the burgeoning Los Angeles [[underground music]] scene.<ref name="walley 1980" />{{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 notable as 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 | people = Nigel Leigh | title = Interview with Frank Zappa | medium = BBC Late Show | publisher=BBC [TV Show] | location = [[UMRK]], Los Angeles, California |date=March 1993}}</ref>', 46 => '', 47 => '===Debut album: ''Freak Out!''===', 48 => '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| year = 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="walley 1980" />{{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| year = 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 in fact an unfinished piece. The track (as it appears on the album) was created to act as the backing track for a much more complex work, but MGM refused to approve the additional recording time Zappa needed to complete it, so (much to his chagrin) it was issued in this unfinished form.<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>', 49 => '', 50 => '{{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|pos=left}}', 51 => '', 52 => '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.', 53 => '', 54 => '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, rhythmical 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 critical of 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|135–38}} At the same time, Zappa had recorded material for an album of orchestral works to be released under his own name, ''[[Lumpy Gravy]]'', released by [[Capitol Records]] in 1967. Due to contractual problems, the album was pulled. Zappa took the opportunity to radically restructure the contents, adding newly recorded, improvised dialogue. After the contractual problems were resolved, the album was reissued by Verve in 1968.<ref name=miles />{{rp|140–41}} It is an "incredible ambitious musical project",<ref name=lowe />{{rp|56}} a "monument to [[John Cage]]",<ref name="walley 1980" />{{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 |accessdate=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 |accessdate=February 2, 2009}}}}', 55 => '', 56 => '===New York period (1966–1968)===', 57 => '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.<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, 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}}', 58 => '', 59 => 'Zappa uniquely contributed to the avant-garde, anti-establishment music scene of the 1960s, sampling radio tape recordings and incorporating his own philosophical ideals to music and freedom of expression in his pieces. Bands such as [[AMM (group)|AMM]] and [[Faust (band)|Faust]] also contributed to the radio sampling techniques of the 1960s. 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>{{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|accessdate=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="walley 1980" />{{rp|90}}<ref name=watson05 />{{rp|15}} He sampled plundered surf music in ''We're only in It for the Money'', as well as the Beatles' tape work from their song ''[[Tomorrow Never Knows]]''.<ref>Cox and Warner, 2004, ''Audio Culture: Readings in Modern Music'', p. 148.</ref> 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}}', 60 => '', 61 => '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 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=Occhiogrosso />{{rp|88}} A theme from Stravinsky's ''[[The Rite of Spring]]'' is heard during one song.', 62 => '', 63 => '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]], [[The Persuasions]], [[Wild Man Fischer]], and [[the GTOs]], as well as [[Lenny Bruce]]'s last live performance.<ref name=miles />{{rp|173–175}}', 64 => '', 65 => '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 had respect for what the Monkees were doing, and offered [[Micky Dolenz]] a position in the Mothers. RCA/Columbia/Colgems would not allow Dolenz out of his contract.<ref name=miles />{{rp|158–59}}', 66 => '', 67 => 'In the Mothers' second European tour in September/October 1968 they performed for the {{ill|Internationale Essener Songtage|de}} 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]] in Amsterdam; at the [[Royal Festival Hall]] in London; and at the [[Olympia (Paris)|Olympia]] in Paris.<ref>[http://www.zappateers.com/fzshows/6669.html September–October 1968: The 2nd European tour], zappateers.com</ref>', 68 => '', 69 => '===Disbandment===', 70 => '{{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 |accessdate=April 11, 2010}}</ref> |title=Peaches En Regalia|pos=right|}}', 71 => '', 72 => '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 one on Woodrow Wilson Drive.<ref name=miles />{{rp|178}} This was Zappa's home for the rest of his life. Despite being a success with fans in Europe, the Mothers of Invention were not faring well financially.<ref name="walley 1980">{{cite book |first=David |last=Walley |date=December 13, 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 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 name=miles />{{rp|185–187}}<ref name=slaven03 />{{rp|119–120}}', 73 => '[[File:Frank 1.jpg|thumb|upright|left|Zappa with the Mothers of Invention, [[Boulevard de Clichy|Theatre de Clichy]], Paris, 1971]]', 74 => '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="walley 1980" />{{rp|116}} 1969 was also the year Zappa, fed up with MGM Records' interference, left them for [[Warner Bros. Records]]' [[Reprise Records|Reprise]] subsidiary where Zappa/Mothers recordings would bear the Bizarre Records imprint.', 75 => '', 76 => '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 sufficient effort.<ref name=slaven03 />{{rp|120}} Many band members were bitter about Zappa's decision, and some took it as a sign of Zappa's concern for perfection 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 played 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).', 77 => '', 78 => '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|accessdate=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]], multi-instrumentalist and previous member of the Mothers of Invention [[Ian Underwood]], and multi-instrumentalist [[Shuggie Otis]] on bass, 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=Occhiogrosso />{{rp|109}} and had a major influence on the development of the [[jazz-rock fusion]] genre.<ref name=miles />{{rp|194}}<ref name=lowe />{{rp|74}}', 79 => '', 80 => '==1970s==', 81 => '===Rebirth of the Mothers and filmmaking===', 82 => '[[File:FRANK ZAPPA3.jpg|thumb|right|Frank Zappa in Paris, early 1970s]]', 83 => '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|142–56}}', 84 => '', 85 => '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 name=miles />{{rp|201}}', 86 => '', 87 => '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 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.<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 [[35mm movie film|35&nbsp;mm film]], a process that allowed for novel visual effects.<ref>Starks, 1982, ''Cocaine Fiends and Reefer Madness'', 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|119–37}}', 88 => '', 89 => '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|203–04}}{{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.}}', 90 => '', 91 => '===Accident, attack, and aftermath===', 92 => '[[File:Frank Zappa Mothers of Invention 1971.JPG|right|thumb|Zappa with the Mothers, 1971]]', 93 => '', 94 => '{{Listen|type=music|filename=Zappa_WakaJawaka.ogg|description=The closing track on ''Waka/Jawaka'', one of Zappa's jazz-oriented albums.|title="Waka/Jawaka" (1971)|pos=right}}', 95 => '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}} 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. 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 |accessdate=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}}', 96 => '', 97 => '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.', 98 => '', 99 => 'During 1971–72 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|225–26}} Zappa began touring again in late 1972.<ref name=miles />{{rp|225–26}} 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>', 100 => '', 101 => '===Top 10 album: ''Apostrophe ({{'}})''===', 102 => '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).', 103 => '', 104 => 'By 1973 the Bizarre and Straight labels were discontinued. In their place, Zappa and Cohen created [[DiscReet Records]], also distributed by Warner Bros.<ref name=miles />{{rp|231}} Zappa continued a high rate of production through the first half of the 1970s, including the solo 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 > Charts and Awards > Billboard Albums | work=AllMusic |accessdate=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 |accessdate=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 (Frank Zappa song)|Montana]]", and the albums ''[[Roxy & Elsewhere]]'' (1974) and ''[[One Size Fits All (Frank Zappa album)|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=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 1973–75 band".<ref name=lowe />{{rp|114–122}} 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}}', 105 => '', 106 => '===Business breakups and touring===', 107 => '[[File:Frank Zappa - Capt. Beefheart - crop.jpg|thumb|upright|Zappa with [[Captain Beefheart]], seated left, during a 1975 concert]]', 108 => 'Zappa's relationship with long-time manager Herb Cohen ended in 1976. 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 name=miles />{{rp|250}} 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 having 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 name=miles />{{rp|253, 258–59}}', 109 => '', 110 => '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 name=lowe />{{rp|131}} Zappa managed to get an agreement with [[Phonogram Inc.]], 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=miles />{{rp|261}} Zappa responded by appearing on the [[Pasadena, California|Pasadena]], California radio station [[KROQ-FM|KROQ]], allowing them to broadcast ''Läther'' and encouraging listeners to make their own tape recordings.<ref name=slaven03 />{{rp|248}} A lawsuit between Zappa and Warner Bros. followed, during which no Zappa material was released for more than a year. Eventually, Warner Bros. issued different versions of much of the ''Läther'' material in 1978 and 1979 as four individual albums (five full-length LPs) with limited [[promotion (marketing)|promotion]].<ref name=miles />{{rp|267}}{{refn|group=nb|When the music was first released on CD in 1991, Zappa chose to rerelease the four existing albums. ''Läther'' was released posthumously in 1996. It remains debated whether Zappa had conceived the material as a four-LP set from the beginning, or only when approaching Phonogram.<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."}}', 111 => '', 112 => 'Although Zappa eventually gained the rights to all his material created under the MGM and Warner Bros. 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 1975–77 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 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>', 113 => '[[File:The famous mustache and goatee.jpg|thumb|left|Zappa in Toronto, 1977]]', 114 => '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 Warner Bros. culled from the ''Läther'' project, ''[[Zappa in New York]]'' (1978). 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 web|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 (PDF) |work=Master Thesis |publisher=The Florida State University, School of Music |pages=25–48 |year=2004 |accessdate=December 29, 2007 |url-status=dead |archiveurl=https://web.archive.org/web/20080216111952/http://etd.lib.fsu.edu/theses/available/etd-04122004-114345/unrestricted/zappathesis3.pdf |archivedate=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|year=2006|accessdate=October 3, 2016|url-status=dead|archiveurl=https://web.archive.org/web/20081012123657/http://www.richardhemmings.co.uk/001/research/zappology/saddaughter.html|archivedate=October 12, 2008}}</ref>', 115 => '{{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|pos=right}}', 116 => '', 117 => '''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=lowe />{{rp|132}} leading to many critics objecting and being offended by the content.<ref name=lowe />{{rp|134}}<ref name=lowe />{{rp|261–62}} 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}}</ref> The remaining albums released by Warner Bros. Records without Zappa's consent were ''[[Studio Tan]]'' in 1978 and ''[[Sleep Dirt]]'' and ''[[Orchestral Favorites]]'' in 1979, which contained complex suites of instrumentally-based tunes recorded between 1973 and 1976, and whose release was overlooked in the midst of the legal problems.<ref name=lowe />{{rp|138}}', 118 => '', 119 => '===Independent label===', 120 => '{{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" (1976)|pos=right}}', 121 => 'Resolving the lawsuits successfully, Zappa ended the 1970s by releasing two of his most successful albums in 1979: the best-selling album of his career, ''[[Sheik Yerbouti]]'',<ref>', 122 => '{{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|year=1992|page=61|place=San Francisco, CA|publisher=Miller Freeman|issn=1063-4533}}</ref> and in Kelley Lowe's opinion the "bona fide masterpiece",<ref name=lowe />{{rp|140}} ''[[Joe's Garage]]''.<ref>Both albums made it onto the Billboard top 30.{{cite web|url={{AllMusic|class=artist|id=p74796|pure_url=yes}}|title=Frank Zappa> Charts & Awards> Billboard Albums|work=AllMusic|accessdate=January 6, 2008}}</ref>', 123 => '', 124 => 'The double album ''Sheik Yerbouti'' was the first release on [[Zappa Records]], and 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> Charts & Awards> Billboard Singles|work=AllMusic |accessdate=January 6, 2008}}</ref> and "[[Jewish Princess (song)|Jewish Princess]]", which received attention when a Jewish group, the [[Anti-Defamation League]] (ADL), attempted to prevent the song from receiving radio airplay due to its alleged [[anti-Semitic]] lyrics.<ref name=miles />{{rp|234}} Zappa vehemently denied any anti-Semitic 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}}</ref> The album's commercial success was attributable in part to "[[Bobby Brown (song)|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 U.S., but it topped the charts in several European countries where English is not the primary language.<ref name=watson96 />{{rp|351}} The triple LP ''Joe's Garage'' featured lead singer [[Ike Willis]] as the voice of the character "Joe" 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 [[Islamic revolution]] that had made music illegal within its jurisdiction at the time<ref name=miles />{{rp|277}}—and about the "strange relationship Americans have with sex and sexual frankness".<ref name=lowe />{{rp|140}} The album contains rock songs like "Catholic Girls" (a [[riposte]] to the controversies of "Jewish Princess"),<ref name=watson05 />{{rp|59}} "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 name=Occhiogrosso />{{rp|180}} adopting the [[xenochrony]] process. The album contains 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]] |year=1996}}</ref>', 125 => '', 126 => '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, 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 |accessdate=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}}', 127 => '', 128 => '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|accessdate=July 30, 2008}}</ref> ''[[Miami Vice]]''<ref name=miles />{{rp|343}} and ''[[The Ren & Stimpy Show]]''.<ref name="ZappaIMDB"/> 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 journal|title=Homer and Me|last=Eliscu|first=Jenny |journal=Rolling Stone|date=November 8, 2002}}</ref>', 129 => '', 130 => '===Producing===', 131 => '1976 saw the release of ''[[Good Singin', Good Playin']]'' by [[Grand Funk Railroad]] and produced by Zappa.', 132 => '', 133 => '==1980s–1990s==', 134 => '[[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]]''.]]', 135 => 'In 1980, Zappa cut his ties with record distributor Phonogram after the label refused to release his song "[[I Don't Wanna Get Drafted]]".<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|accessdate=April 30, 2012|editor=Bruckner, D. J. R.|year=2002|page=3054|isbn=978-1-57958-290-6}}</ref> It was picked up by [[Sony Music Entertainment|CBS Records]] and released on the Zappa label in the United States and Canada, and by the CBS label 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|publisher=discogs|accessdate=April 30, 2012}}</ref>', 136 => '', 137 => '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 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=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}}', 138 => '', 139 => '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 in his work.<ref name=miles />{{rp|269}} 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|accessdate=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|169–75}} 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|169–75}}', 140 => '{{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|pos=left}}', 141 => '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>{{cite journal|last=Zappa|first=Frank|title=Absolutely Frank. First Steps in Odd Meters|journal=Guitar Player Magazine|page=116|date=November 1982}}</ref>', 142 => '', 143 => '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 |year=2009 |isbn=978-0-313-35806-7 |page=251 |url=https://books.google.com/books?id=DL3I9qQWdeAC}} [https://books.google.com/books?id=DL3I9qQWdeAC&pg=PA251 Extract of page 251]</ref>', 144 => '{{clear}}', 145 => '', 146 => '==="Valley Girl" and classical performances===', 147 => '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 Unit]] satirized the patois of teenage girls from the [[San Fernando Valley]], which popularized many "[[Valspeak]]" 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|accessdate=January 7, 2008}}</ref>', 148 => '', 149 => '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. I]]'', contained 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|146–56}} 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|146–56}}', 150 => '', 151 => '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|accessdate=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 |date= |accessdate=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>', 152 => 'Frank Zappa, [http://minuet.dance.ohio-state.edu/~ralley2/writings/bingo.html "Bingo! There Goes Your Tenure" (1984)] {{Webarchive|url=https://web.archive.org/web/20100627155851/http://minuet.dance.ohio-state.edu/~ralley2/writings/bingo.html |date=June 27, 2010 }} ', 153 => '</ref> and had two of his orchestra pieces, "Dupree's Paradise" and "Naval Aviation in Art?" performed by the [[Columbus Symphony]] 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=http://www.afka.net/Articles/1984-06_Tribune.htm|accessdate=July 5, 2009}}</ref>', 154 => '', 155 => '===Synclavier===', 156 => '{{Listen|type=music|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}}', 157 => '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|172–73}} 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|172–73}} 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}}', 158 => '', 159 => 'In 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]].', 160 => '', 161 => '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|accessdate=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|year=2007|url=http://www.intellectbooks.co.uk/journals/view-Article,id=4872|doi=10.1386/smt.1.1.41/1|accessdate=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}} Full article available by free login only.</ref>', 162 => '', 163 => '''[[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 |year=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>', 164 => '', 165 => '===Digital medium and last tour===', 166 => 'Around 1986, 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 medium.{{refn|group=nb|For a comprehensive comparison of vinyl of 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|accessdate=January 7, 2008}}}} Certain aspects of these re-issues were 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.&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|337–39}} In 1989, Zappa considered his idea a "miserable flop".<ref name=Occhiogrosso />{{rp|337–39}}', 167 => '', 168 => '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. Although an [[instrumental]] album, containing no lyrics, 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 [[Parents Music Resource Center]] (PMRC).<ref>{{cite book|last=Nuzum|first=Eric|year=2001|title=Parental Advisory: Music Censorship in America|publisher=HarperCollins|isbn=978-0-688-16772-1|pages=[https://archive.org/details/parentaladvisory00nuzu/page/39 39, 255]|url=https://archive.org/details/parentaladvisory00nuzu/page/39}}</ref>', 169 => '', 170 => '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|346–50}} 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]]'' to [[The Beatles]]' ''[[I Am The Walrus]]''); and also, ''[[Make a Jazz Noise Here]]''. 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]]. Recordings from this tour also appear on the 2006 album [[Trance-Fusion]].', 171 => '', 172 => '===Health deterioration===', 173 => '{{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}}', 174 => 'In 1990, Zappa was diagnosed with terminal [[prostate cancer]]. The disease had been developing unnoticed for ten years and was considered inoperable.<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|374–75}}{{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 |accessdate=August 18, 2008}}}}', 175 => '', 176 => '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|year=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 |date= |accessdate=December 10, 2016}}</ref><ref>{{YouTube|UFtHqDrJ-fA|Frank Zappa Last Performance (Prague 1991)}} at 3:50</ref>', 177 => '', 178 => '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 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=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).', 179 => '', 180 => '===Death===', 181 => 'Zappa died from prostate cancer on December 4, 1993, 17 days before his 53rd birthday at his home with his wife and children by his side. At a private ceremony the following day, his body was buried in a grave at the [[Westwood Village Memorial Park Cemetery]], in Los Angeles. The grave is unmarked.<ref name=miles />{{rp|379–80}}<ref name=watson05 />{{rp|552}} 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}}', 182 => '', 183 => '==Musical style and development==', 184 => '===Genres===', 185 => '[[File:Frank Zappa 1973.JPG|thumb|Performing in 1973]]', 186 => '', 187 => 'The general phases of Zappa's music have been variously categorized under [[experimental rock]],<ref name="Rosenberg">{{cite book|ref=harv|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|year=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|ref=harv|last=Landy|first=Leigh|authorlink=Leigh Landy|title=Experimental Music Notebooks|url=https://books.google.com/books?id=E7zpgjW3-WQC&pg=PA100|year=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|ref=harv|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|year=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://music.avclub.com/where-to-dive-into-frank-zappa-s-weird-unwieldy-discog-1798232804 |website=[[The A.V. Club]] |date=August 9, 2012 |accessdate=March 14, 2019 }}</ref>', 188 => '', 189 => '===Influences===', 190 => '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|accessdate=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|year=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"/>', 191 => '', 192 => '===Project/Object===', 193 => '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 |year=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|accessdate=January 21, 2008}}</ref>', 194 => '', 195 => '===Techniques===', 196 => '====Guitar playing====', 197 => 'Zappa is widely recognized as one of the most significant electric guitar soloists. In a 1983 issue of ''[[Guitar World]]'', Jon 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=http://www.guitarworld.com/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 |accessdate=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|author= |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 |accessdate=December 10, 2016}}</ref>', 198 => '', 199 => '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]] |accessdate=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 |date= |accessdate=December 10, 2016}}</ref> 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>', 200 => '', 201 => '====Tape manipulation====', 202 => 'In New York, 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">', 203 => '{{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|accessdate=January 4, 2008|url-status=dead|archiveurl=https://web.archive.org/web/20080308055438/http://mixonline.com/recording/business/audio_mothers_sound/|archivedate=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=http://www.afka.net/Articles/1988-10_Bob_Marshall_Interview.htm }}</ref>)—reflecting the Greek "xeno" (alien or strange) and "chronos" (time).<ref name="Mix2003"/>', 204 => '', 205 => '==Personal life==', 206 => '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 |accessdate=December 10, 2016}}</ref><ref>{{cite book|title=Rock Stars Do The Dumbest Things|first1=Margaret|last1=Moser|first2=Bill|last2=Crawford|publisher=Macmillan|year=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]], [[Dweezil Zappa|Dweezil]], [[Ahmet Zappa|Ahmet]], and [[Diva Zappa|Diva]].<ref>{{cite book|title=Electric Don Quixote: The Definitive Story Of Frank Zappa|first1=Neil|last1=Slaven|publisher=Omnibus Press|year=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>', 207 => '', 208 => '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: more than 60 albums were released during Zappa's lifetime and 40 posthumously.<ref name=":0">{{cite news |date=June 24, 2016 |url=https://www.latimes.com/projects/la-ca-ms-frank-zappa-legacy/ |title=It's brother and sister against brother and sister in bitter fight over control of Frank Zappa's legacy |first=Randall |last=Roberts|work=[[Los Angeles Times]] |access-date=March 25, 2017 }}</ref> 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|url=https://www.rollingstone.com/music/features/inside-the-zappa-family-feud-w431684 |title=Inside the Zappa Family Feud|work=Rolling Stone|access-date=March 25, 2017}}</ref>', 209 => '', 210 => '==Beliefs and politics==', 211 => '===Drugs===', 212 => '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 |archiveurl=https://archive.today/20130223085837/http://home.online.no/~corneliu/Part03.html |archivedate=February 23, 2013 |accessdate=October 3, 2016 }}</ref> Zappa was a heavy [[Tobacco smoking|tobacco smoker]] for most of his life, and strongly 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|234–35}} and once described tobacco as his "favorite vegetable."<ref>{{cite AV media |url=https://www.youtube.com/watch?v=UDYzuwG-gOE&t=481 |work=[[Today (U.S. TV program)|The Today Show]] |time=8:01 |publisher=NBC |title=Jamie Gangel interviews Frank Zappa |date=1993 }}</ref>}}', 213 => '', 214 => '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|315–16, 323–24, 329–30}}', 215 => '', 216 => '===Government and religion===', 217 => '[[File:Praga 7 zappa havel.jpg|left|thumb|Zappa with [[Václav Havel]], 1990]]', 218 => '', 219 => '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|315–16, 323–24; 329–30}} 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=http://articles.latimes.com/1989-12-19/business/fi-721_1_frank-zappa|date=December 19, 1989|title=Frank Zappa, Capitalist Rocker|author1=Apodaca, Patrice|accessdate=October 3, 2016|newspaper=[[Los Angeles Times]]}}</ref> He [[Anti-communism|opposed]] communism, stating, "A system that doesn't allow ownership&nbsp;... has—to put it mildly—a fatal design flaw."<ref name=Occhiogrosso />{{rp|315–16, 323–24, 329–30}} 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 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 |year=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>', 220 => '', 221 => 'Zappa was [[Atheism|atheist]].<ref>{{cite web |last=Nugent |first=Michael |title=Famous Atheists |publisher=Michael Nugent |url=http://www.michaelnugent.com/resources/famous-atheists |accessdate=October 3, 2016}}</ref><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.|year=2013|publisher=Hal Leonard Corporation|isbn=978-1-4803-4293-4|url=https://books.google.com/books?id=SQ5OjILuPywC|accessdate=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 news|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 |accessdate=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 |origyear=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|accessdate=October 3, 2016}}</ref>', 222 => '', 223 => 'In early 1990, Zappa visited [[Czechoslovakia]] at the request of [[President of the Czech Republic|President]] [[Václav Havel]]. 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|accessdate=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 (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>{{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}}</ref> Under pressure from Secretary of State [[James Baker]], Zappa's posting was withdrawn.<ref>{{cite book|title=Negotiated Revolutions: The Czech Republic, South Africa and Chile|first1=George|last1=Lawson|publisher=Ashgate|year=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|357–61}} Zappa planned to develop an international consulting enterprise to facilitate trade between the former Eastern Bloc and Western businesses.<ref name="Pulse1993">{{cite news|last=Ouellette|first=Dan|title=Frank Zappa|newspaper=[[Pulse! magazine|Pulse!]]|pages=48–56|date=August 1993}}</ref>', 224 => '', 225 => '===Anti-censorship===', 226 => '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>Deflem, Mathieu. 2020. [https://deflem.blogspot.com/2019/07/music-censorship-labeling.html "Popular Culture and Social Control: The Moral Panic on Music Labeling."] ''American Journal of Criminal Justice'' 45(1):2-24 (First published online 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] |isbn=9780822526285 |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 pointed out 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 |accessdate=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 |accessdate=March 14, 2019 |work=[[C-SPAN]] |time=1:23:00 }}</ref>', 227 => '', 228 => '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}}', 229 => '', 230 => 'In his prepared statement, he said:', 231 => '', 232 => '<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|accessdate=December 31, 2007}}</ref></blockquote>', 233 => '', 234 => '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 |year=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>', 235 => '', 236 => '==Legacy==', 237 => '{{main|Frank Zappa in popular culture}}', 238 => '', 239 => 'Zappa had a controversial critical standing during his lifetime. 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]] and been found by critics to lack emotional depth. 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">{{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]]|accessdate=October 13, 2018}}</ref> According to Himes:', 240 => '', 241 => '{{quote|"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"/>}}', 242 => '', 243 => '===Acclaim and honors===', 244 => '{{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}}', 245 => '', 246 => '''[[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|year=2004|place=New York, 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.', 247 => '', 248 => '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 name="walley 1980" />{{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}}', 249 => '[[File:Zappa.jpg|thumb|left|upright|Zappa in 1977]]', 250 => '''[[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|year=1992|page=3|place=San Francisco, CA|publisher=Miller Freeman|issn=1063-4533}}</ref>', 251 => '', 252 => '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 |accessdate=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;295–96.</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|year=1992|pages=6–7|place=San Francisco, CA|publisher=Miller Freeman|issn=1063-4533}}</ref>', 253 => '', 254 => '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|year=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 book|title=Frank Zappa|last=Isler|first=Scott|date=February 1994|work=Musician Magazine}}</ref>', 255 => '', 256 => '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 |accessdate=August 12, 2008 |url-status=dead |archiveurl=https://web.archive.org/web/20090216121831/http://www.downbeat.com/default.asp?sect=stories&subsect=story_detail&sid=720 |archivedate=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.|accessdate=August 14, 2008}}</ref> He was ranked number 36 on [[VH1]]'s ''100 Greatest Artists of Hard Rock''<ref name="youtube.com"/> in 2000.', 257 => '', 258 => '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|accessdate=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|accessdate=May 1, 2013|date=December 3, 2010}}</ref>', 259 => '', 260 => '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 web|url=https://www.rollingstone.com/music/lists/100-greatest-guitarists-20111123/frank-zappa-20111122|title=45 Frank Zappa|work=Rolling Stone|accessdate=June 4, 2011}}</ref>', 261 => '', 262 => '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=http://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 |access-date=December 30, 2017 |language=it }}</ref>', 263 => '', 264 => '====Grammy Awards====', 265 => '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]]|accessdate=June 11, 2020}}</ref>', 266 => '{{awards table}}', 267 => '|-', 268 => '|rowspan="2"| [[22nd Annual Grammy Awards|1980]] || "[[Rat Tomago]]" || [[Grammy Award for Best Rock Instrumental Performance|Best Rock Instrumental Performance]] || {{nom}}', 269 => '|-', 270 => '| "[[Dancin' Fool]]" || [[Grammy Award for Best Male Rock Vocal Performance|Best Male Rock Vocal Performance]] || {{nom}}', 271 => '|-', 272 => '| [[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}}', 273 => '|-', 274 => '| [[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}}', 275 => '|-', 276 => '|rowspan="2"| [[30th Annual Grammy Awards|1988]] || "Jazz from Hell" || [[Grammy Award for Best Instrumental Composition|Best Instrumental Composition]] || {{nom}}', 277 => '|-', 278 => '| ''[[Jazz from Hell]]'' ||rowspan="2"| [[Grammy Award for Best Rock Instrumental Performance|Best Rock Instrumental Performance (Orchestra, Group or Soloist)]] || {{won}}', 279 => '|-', 280 => '| [[31st Annual Grammy Awards|1989]] || ''[[Guitar (Frank Zappa album)|Guitar]]'' || {{nom}}', 281 => '|-', 282 => '| [[32nd Annual Grammy Awards|1990]] || ''[[Broadway the Hard Way]]'' || [[Grammy Award for Best Musical Theater Album|Best Musical Cast Show Album]] || {{nom}}', 283 => '|-', 284 => '| [[38th Annual Grammy Awards|1996]] || ''[[Civilization Phaze III]]'' || [[Grammy Award for Best Boxed or Special Limited Edition Package|Best Recording Package – Boxed]] || {{won}}', 285 => '|-', 286 => '| [[40th Annual Grammy Awards|1998]] || Frank Zappa || [[Grammy Lifetime Achievement Award|Lifetime Achievement Award]] || {{won|Honored}}', 287 => '{{end}}', 288 => '', 289 => '===Artists influenced by Zappa===', 290 => '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=6 Sep 2009 |work=The Guardian |accessdate=8 Jun 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|accessdate=March 14, 2009}}</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|year=2004|publisher=getreadytorock.com|accessdate=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|publisher=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|year=1994|publisher=Vintage|isbn=978-0-09-952211-9|page=22|author=George Gimarc}}.}} [[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|website=The Independent|publisher=The Independent|date=June 11, 2009}}</ref><ref>{{cite book|author1=Graham Bennett|title=Soft Machine: Out-bloody-rageous|date=2005|publisher=SAF|isbn=9780946719846}}</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]]|accessdate=August 13, 2008}}</ref> [[Faust (band)|Faust]],<ref>{{cite book|author1=Andy Wilson|title=Faust – Stretch Out Time 1970–1975|date=2006|isbn=9780955066450|page=171|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|publisher=Guardian News and Media Limited|date=February 22, 2008}}</ref> [[Trey Anastasio]] of [[Phish]],<ref name="RSImmortals"/> [[Jeff Buckley]],<ref>{{cite book|title=Dream Brother: The Lives and Music of Jeff and Tim Buckley|year=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|accessdate=August 12, 2008|url-status=dead|archiveurl=https://web.archive.org/web/20120825231941/http://www.emusician.com/eqredirects//article/exclusive-outtakes-from/sep-06/23282|archivedate=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|authorlink=Anil Prasad|date=2013|accessdate=February 4, 2015}}</ref> and [[The Aristocrats (band)|The Aristocrats]].<ref>{{cite web | accessdate = 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> [[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|year=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|archiveurl=https://web.archive.org/web/20120113135050/http://www.black-sabbath.com/interviews/tonygeez_0594.html|archivedate=January 13, 2012|accessdate=August 12, 2008}}</ref> [[Simon Phillips (drummer)|Simon Phillips]],<ref>{{cite web|url=http://www.hit-channel.com/interviewsimon-phillips-solototojeff-beckthe/68192|title=Interview:Simon Phillips (solo, Toto, Jeff Beck, The Who)|publisher=Hit-channel.com|date=June 20, 2014|accessdate=May 16, 2015}}</ref> [[Mike Portnoy]],<ref>{{cite web|url=http://www.mikeportnoy.com/aboutmike/bio.aspx|title=about mike|publisher=mikeportnoy.com|accessdate=April 22, 2009}}</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|year=1992|page=14|place=San Francisco, CA|publisher=Miller Freeman|issn=1063-4533}}</ref> [[Steve Vai]],<ref>{{cite web|url=http://www.vai.com/vaiography|title=All About Steve Vai|publisher=Vai.com|accessdate=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|accessdate=January 31, 2008}}</ref> [[System of a Down]],<ref>{{cite web|first=Tom|last=Sinclair|title=Mezmerize (2005): System of a Down|url=http://www.ew.com/ew/article/0,,1060789,00.html|work=Entertainment Weekly|date=May 16, 2005|accessdate=June 28, 2010}}</ref> and [[Clawfinger]]<ref>{{cite web|url=http://www.clawfinger.net/main.php?band|title=The official Pages|publisher=clawfinger.net|accessdate=August 12, 2008}}</ref> acknowledge Zappa's 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|accessdate=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|accessdate=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 |accessdate=December 17, 2010 |url-status=dead |archiveurl=https://web.archive.org/web/20120112011024/http://www.ensembleambrosius.com/node/2 |archivedate=January 12, 2012 }}</ref> and the Fireworks Ensemble<ref>{{cite web|url=http://fireworksensemble.org/about|title=About fireworks|publisher=fireworksensemble.org|accessdate=August 25, 2008}}</ref> regularly perform Zappa's compositions and quote his influence. Contemporary jazz musicians and composers [[Bill Frisell]]<ref>{{cite web|url=http://www.songtone.com/artists/Frisell/default.html|title=Bill Frisell biography|publisher=Songline/Tonefield Productions|accessdate=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|year=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]]|accessdate=August 13, 2008}}</ref>', 291 => '', 292 => '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 |website=The Guardian |publisher=The Guardian |accessdate=13 January 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|accessdate=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 |accessdate=June 27, 2010 |url-status=dead |archiveurl=https://web.archive.org/web/20100331000214/http://www.georgewinston.com/us/biography |archivedate=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|accessdate=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 |accessdate=February 26, 2019 |url-status=live |archiveurl=https://web.archive.org/web/20190220231245/http://weirdal.com/archives/faq/ |archivedate=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/ | title=Cree Summer}}</ref><ref>{{cite web | url=http://articles.chicagotribune.com/1991-03-03/features/9101200190_1_range-rover-tofu-favorite-childhood-memory | title=Cree Summer}}</ref> [[noise music]] artist Masami Akita of [[Merzbow]],<ref>Martin, 2002, ''Avant Rock'', p. 160.</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=2015-03-02|website=CLSK|language=es-CL|access-date=2020-03-05}}</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=2017-08-04|language=es|access-date=2020-03-05}}</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|last=Editor|language=es-CL|access-date=2020-03-05}}</ref>', 293 => '', 294 => '===References in arts and sciences===', 295 => '[[File:Doberan Zappa-Denkmal3.jpg|thumb|right|upright|Frank Zappa bust by Vaclav Cesak in [[Bad Doberan]], Germany]]', 296 => '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, Jr.|first=Leo P.|title=Mollusca from the Arrow Canyon Range, Clark County, Nevada|date=March 1972|journal=[[Journal of Paleontology]]|volume=46|pages=249–60}}</ref>', 297 => '', 298 => '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|year=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=465–80|doi=10.1080/00222938700771131|issue=2}}</ref>', 299 => '', 300 => '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=325–52|doi=10.1111/j.1463-6409.1994.tb00392.x|issue=4|s2cid=83546554}}</ref>', 301 => '', 302 => '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=5790–98|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 the Moore and Chang 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=14862–67|doi=10.1073/pnas.93.25.14862|pmid=8962146|issue=25|pmc=26227|bibcode=1996PNAS...9314862R}}</ref>', 303 => '[[File:Zapp cu.jpg|thumb|left|upright|Frank Zappa monument in [[Vilnius]], Lithuania]]', 304 => '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=571–76|doi=10.1017/s002233600003239x}}</ref>', 305 => '', 306 => '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]])|accessdate=August 15, 2008}}</ref>', 307 => 'In 1995, a bust of Zappa by sculptor Konstantinas Bogdanas was installed in [[Vilnius]], the Lithuanian capital (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=http://articles.baltimoresun.com/2010-09-16/entertainment/bs-ae-zappa-cover-0917-20100916_1_gail-zappa-southeast-anchor-library-lithuania|title=Zappa comes home|last=The Baltimore Sun|date=September 16, 2010|work=The Baltimore Sun|accessdate=September 19, 2010}}</ref><ref>{{cite web|url=http://articles.baltimoresun.com/2010-09-16/news/bs-ae-zappa-rail-0917-2-20100916_1_southeast-anchor-library-zappa-plays-zappa-zappa-related|title=Zappa-looza: A full guide to the weekend's events|last=The Baltimore Sun|date=September 16, 2010|work=The Baltimore Sun|accessdate=September 19, 2010}}</ref>', 308 => '', 309 => '[[File:Frank-Zappa-Straße in Berlin.jpg|thumb|right|Frank-Zappa-Straße in Berlin]]', 310 => '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|accessdate=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|last=The Associated Press|date=July 30, 2007|work=The Washington Post|accessdate=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 |accessdate=August 15, 2008 |url-status=dead |archiveurl=https://web.archive.org/web/20080808113218/http://www.zappa.com/whatsnew/news/baltimore.html |archivedate=August 8, 2008 }}</ref>', 311 => '', 312 => '==Discography==', 313 => '{{main|Frank Zappa discography}}', 314 => 'During his lifetime, Zappa released 62 albums. Since 1994, the Zappa Family Trust has released 50 posthumous albums, making a total of 112 albums. The current 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 |accessdate=March 14, 2019 |first=Chris |last=Morris }}</ref>', 315 => '', 316 => '==See also==', 317 => '* [[List of performers on Frank Zappa records]]', 318 => '* [[Frank Zappa in popular culture]]', 319 => '', 320 => '==Notes==', 321 => '{{Reflist|group=nb|30em}}', 322 => '', 323 => '==References==', 324 => '{{reflist}}', 325 => '', 326 => '==Bibliography==', 327 => '{{refbegin|40em}}', 328 => '* {{cite book|title=Censorship: Or Freedom of Expression?|first=Nancy|last=Day|location=Minneapolis|publisher=Twenty-First Century Books, Lerner Publications|year=2001|isbn=978-0-8225-2628-5|url=https://archive.org/details/censorshiporfree00nanc}}', 329 => '* {{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| year = 2005| isbn = 978-1-84471-059-1}}', 330 => '* {{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| year= 1992|isbn=978-0-679-73728-5}}', 331 => '* {{cite book| title = Mother! Is the Story of Frank Zappa| first = Michael| last = Gray| publisher=Proteus Books| location = London| year = 1984| isbn = 978-0-86276-146-2}}', 332 => '* {{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| year = 2000| isbn = 978-0-946719-51-8}}', 333 => '* {{cite book| title = The Words and Music of Frank Zappa| first = Kelly Fisher| last = Lowe| publisher=Praeger Publishers| location = Westport| year = 2006| isbn = 978-0-275-98779-4}}', 334 => '* {{cite book| title = Avant Rock: Experimental Music from the Beatles to Björk| first = Bill| last = Martin| publisher = Open Court Publishing Company| location = Peru, Illinois| year = 2002| isbn = 978-0-8126-9500-7| url = https://archive.org/details/avantrockexperim00mart}}', 335 => '* {{cite book| title = Revolution in the head: The Beatles' Records and the Sixties| first = Ian| last = MacDonald| publisher=Fourth Estate Ltd.| year = 1994| isbn = 978-1-85702-099-1}}', 336 => '* {{cite book| title = Frank Zappa| first = Barry| last = Miles| publisher=Atlantic Books| location = London| year = 2004|isbn = 978-1-84354-092-2}}', 337 => '* {{cite book| title = Frank Zappa: The Composer | first = Daniel| last = Schröder| publisher=Büchner-Verlag| location = Darmstadt| year = 2017| isbn = 978-3-941310-85-8}}', 338 => '* {{cite book| title = Electric Don Quixote: The Definitive Story of Frank Zappa | first = Neil| last = Slaven| publisher=Omnibus Press| location = London| year = 2003| isbn = 978-0-7119-9436-2}}', 339 => '* {{cite book| title = Cocaine Fiends and Reefer Madness: An Illustrated History of Drugs in the Movies| last = Sparks| first = Michael| year = 1982| location = New York| publisher=Cornwall Books| isbn = 978-0-8453-4504-7}}', 340 => '* {{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| year = 1980| isbn = 978-0-525-93153-9}}', 341 => '* {{cite book| title = Frank Zappa: The Negative Dialectics of Poodle Play| first = Ben| last = Watson| year = 1996| publisher=St. Martin's Griffin| location = New York| isbn = 978-0-312-14124-0}}', 342 => '* {{cite book| title = Frank Zappa. The Complete Guide to His Music| first = Ben| last = Watson| year = 2005| publisher=Omnibus Press| location = London| isbn = 978-1-84449-865-9}}', 343 => '* {{cite book| title = The Real Frank Zappa Book| first = Frank with Occhiogrosso, Peter| last = Zappa| year = 1989| publisher=Poseidon Press| location = New York| isbn = 978-0-671-63870-2}}', 344 => '* {{cite book |year = 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 }}', 345 => '{{refend}}', 346 => '', 347 => '==External links==', 348 => '{{Commons category|Frank Zappa}}', 349 => '{{Wikiquote|Frank Zappa}}', 350 => '{{Library resources box|by=no| Zappa}}', 351 => '* {{Official website}}', 352 => '* {{C-SPAN|frankzappa}}', 353 => '* {{IMDb name|953261}}', 354 => '* {{Guardian topic}}', 355 => '* {{New York Times topic|people/z/frank_zappa}}', 356 => '* {{Rockhall}}', 357 => '', 358 => '{{Frank Zappa|state=expanded}}', 359 => '{{Frank Zappa albums}}', 360 => '{{1995 Rock and Roll Hall of Fame}}', 361 => '{{Portal bar|Freedom of speech|Rock music|Jazz|Biography}}', 362 => '{{Authority control}}', 363 => '', 364 => '{{Featured article}}', 365 => '', 366 => '{{DEFAULTSORT:Zappa, Frank}}', 367 => '[[Category:Frank Zappa| ]]', 368 => '[[Category:1940 births]]', 369 => '[[Category:1993 deaths]]', 370 => '[[Category:20th-century American guitarists]]', 371 => '[[Category:20th-century American male actors]]', 372 => '[[Category:20th-century American singers]]', 373 => '[[Category:American classical musicians]]', 374 => '[[Category:American activists]]', 375 => '[[Category:American anti-communists]]', 376 => '[[Category:American anti-fascists]]', 377 => '[[Category:American comedy musicians]]', 378 => '[[Category:American atheists]]', 379 => '[[Category:American male composers]]', 380 => '[[Category:American music arrangers]]', 381 => 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