By Rebecca Bulnes
By Lee Zimmerman
By Rebecca Bulnes
By S. Pajot
By S. Pajot, Liz Tracy, Kat Bein, & Sean Levisman
By Kat Bein
By Ashley Rogers
I'm just a guy who watches life go by and sometimes writes songs about it.
-- Frank Zappa, 1985
A simple statement from a complicated man. I first met Frank Zappa in March 1968, backstage at Thee Image, a Sunny Isles bowling alley converted into a "psychedelic dungeon," to borrow a phrase from Zappa's third Mothers of Invention album, We're Only in It for the Money. Psychedelic dungeon perfectly describes clubs like Thee Image, where hippies would gather to hear the Turtles or the Lovin' Spoonful. We would breathe in the incense smoke, munch foot-long hot dogs, freak out in the surreal atmosphere of pulsating strobes and cosmically glowing iridescent black lights.
I paid my five dollars at the door -- to hear Frank Zappa and his Mothers play for three hours. There were no chairs. Me and more than 2000 others jammed on a concrete floor. The air-conditioning wasn't working very well, the air was thick with smoke, and I don't mean the cigarette kind.
This was Zappa's first South Florida concert, and many of his fans were disappointed. They came to hear "Suzy Creamcheese" and "Hungry Freaks, Daddy" from Zappa's debut album, Freak Out, a collection of sexually clever and socially relevant lyrics ("Suzy Creamcheese, oh baby/Now, what's got into you?" or "Mr. America, walk on by/Your schools that do not teach/Mr. America, walk on by/The minds that won't be reached").
Instead Zappa gave them two 90-minute sets of experimental jazz in the finest John Coltrane or Eric Dolphy tradition. The show included extensive improvisations by saxophonist Bunk Gardner, keyboard player Don Preston, and bassist Roy Estrada. At one point Zappa closed his eyes, wiped the sweat off his forehead, loosened his ponytail, turned his back on the audience, and launched into a 25-minute guitar solo that would have made Eric Clapton or Jimmy Page blush.
The nearest attempt at theatrics came when Zappa and vocalist Ray Collins ripped the clothes off a Barbie doll and a Ken doll. Following the culmination of the sex act between our now-satisfied Ken and Barbie, the members of the band donned gas masks as Zappa led them into a heart-rending, highly emotional interpretation of the Angels's "My Boyfriend's Back." That turned out to be the only recognizable song of the evening.
Not many performers possess the arrogance to leave out their better-known material, but Frank Zappa was the embodiment of arrogance. You had to come up to his level. That night at Thee Image, I began my climb.
I was a local guitarist and that gave me access to the backstage area, where I was one of several South Florida musicians granted an opportunity to talk with Zappa and the other Mothers about music, sound equipment, life. He seemed bored, but he was polite when the owner of the club introduced us. Zappa raised his eyebrows, glanced over at bassist Roy Estrada, and said, "Hey, Roy, look! Miami hippies!" We became friends that night. It was a friendship that lasted until Zappa's death two and a half weeks ago, on December 4.
Francis Vincent Zappa was born December 21, 1940, in Baltimore. Like the man himself, Zappa's music was constantly changing and completely unpredictable. Just when we got used to the politically pointed lyrics of Freak Out, he gave us the sexual satire of his first solo album, Hot Rats. And just when he was getting irreverent enough for groups like the Anti-Defamation League of B'nai B'rith (which had some problems with his "Jewish Princess") to tell him to shut up, he did. His way. Shut Up and Play Yer Guitar was just one of several forays into progressive instrumentals. This approach would lead to Zappa being recognized by his "peers" with a Grammy in 1988 -- twenty years too late -- for Jazz from Hell.
The Grammy was just another irony in Zappa's life. For much of his career, Zappa's music was rarely played on radio. I came to learn that this frustrated him. He felt that he was blacklisted because of his word choices and political views. Rick Shaw -- the legendary South Florida DJ who dominated the rock market while at WQAM-AM in the Sixties -- agrees that Zappa's iconoclasm prevented his achieving the commercial success reached by many of his contemporaries. "Zappa was always out there making social and anti-war comments," Shaw recalls. "That's probably why his music never really got off the ground as far as airplay is concerned. There never really was much demand for his music on radio. How could you play Frank Zappa back-to-back with 'Sugar, Sugar'?"
Zappa's noncommercial, unconventional approach -- not to mention his pariah status in the halls of the money-grubbing -- led him to create his own record label, aptly dubbed Bizarre, in 1969 to facilitate the composing and recording of his music without some industry exec telling him yea or nay. He also used the label to record and promote other less-than-Top-40-palatable acts such as Captain Beefheart, Alice Cooper, and the GTOs. The last, Girls Together Outrageously, included members of the Plaster Casters, famed for their molds of rock stars' penises (but not Zappa's). "Creatively, Bizarre was a wonderful experience. Bookkeeping and financially, it was a real pain in the ass," Frank told me in 1990.