#Bwompy

[or-fi-s]

Wing-it for bluedraconicknight.bsky.social and geckone.bsky.social Poor Blue saving Geckone from being pelted in the head with a sharp moon stone, and getting nothing but guff. 😔

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[artlessauthorite]

TransforMAYtion day 7: fossil

Day 7: Fossil! Palentologist Radian's found a valuable chunk of amber with precious dinosaur DNA inside! But that's not just a mud puddle she's walking through, it's Liquid Bwompium! It's melded with the triceratops DNA and making her a big cute tricerabwomp lady.  this is going to be interesting for her term paper...

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[bobisnotaperson]

two doodles! stormy wanted to try making her form more bwompy and turn parts of her goop opaque as pseudo-clothing, and sunny just thought a pot would be cozy :3

[dapperblueberrieser]

The massive, primordial urge to straight up grow a massive tail. Just like stuck in a door type tail. A big squishy tail that wags around when happy. A tail that just slowly expands overtime into being a real big thing. Big bwompy tail. Bonus points if it is a tailmaw.

[langnya]

bwompy bwomp

[somethingvinyl]

The lawsuit is over, the ugly covers have all been released—1979 is the year we unkink the hose and all that great music Zappa was working on in ’77 and ’78 comes out. And it does so on his own new label, Zappa Records, distributed by Phonogram but with far more sole administrative control than FZ’s previous record labels. This is the beginning of a truly independent Zappa.

I have such mixed feelings about Sheik Yerbouti. It's unquestionably one of FZ's best albums, and even pretty high on my list of favorite albums of all time. But the lyrics… they are not good. This album completes Zappa's slide from lyrics that are provocative and transgressive to ones that are offensive for the sake of causing offense. His lyrics never get back into the zone of good taste; he stays here for the rest of his career. The intent is the same as it ever was—shock value humor with a dash of asking listeners to question the mores of society. But when you try to be an equal opportunity offender, to be "fair" by offending everybody, you're really missing some social and moral cues. Those in power are not harmed by your offense to the degree that others will be, so your offense is far from equal. And, of course, if you’re going to go for offensive humor, you’ve got to be FUNNY, and Zappa only hits on like 50% of the swings he takes—some of what he sings actually is funny, but so much of it just comes off as mean. And it isn’t just that it didn’t age well (though it didn’t). It had mostly the same negative impact at the time of release.

In any case, the lyrics here range from fun (Baby Snakes, City of Tiny Lites, Dancin' Fool) to despicable (Jewish Princess, Broken Hearts Are for Assholes) with no warning. Probably the most significant song from this album is also its best case study: Bobby Brown Goes Down. The intent is obviously to mock its narrator, a misogynist macho-man rapist, and the first verse does a pretty good (if tasteless) job of doing so. But in taking him down in the next few verses, Zappa mocks women's liberation and the LGBT community, with a tangle of confusion about what it means to be gay, transgender, and kinky—all concepts that Frank showed a lot of interest toward as subcultures similar to his own freak scene of the ‘60s, but doesn’t seem to have taken the time to truly understand. And the worst thing is that the music on Bobby Brown is stellar. The melody is great and works with the lyrics to make the punchlines hit so well, even when they miss the mark for me. It’s no wonder this song was a massive hit across eastern Europe, where they have an ear for great music and the language barrier prevents the lyrics from making their full impact.

Most (all?) of the guitar solos on this album use a technique Zappa called xenochrony (Greek roots: “foreign time”). He had been recording every live show he played for a while, and indeed all the basic tracks for the songs on this album were pulled from live shows (and massively overdubbed). For his guitar solos, he would pull a solo he played for an entirely different song and slap it over the backing track for the new one, finding ones that would interact in new and unexpected ways. It’s prominent on Yo’ Mama, and on Rat Tomago, Rubber Shirt, and Sheik Yerbouti Tango, the last three of which are entirely xenochronous, built from backing instruments that have also been removed from different songs and combined with guitar solos from others. It’s clever and the results here are very cool. He will overuse the technique later, causing a lot of his songs from the ‘80s to sound rather interchangeable, like they’re built out of lego. But for this album, his “Ampex guitar” (as he later called it) is great fun.

The band here is top-notch—Terry Bozzio on drums and frequent screamy vocals, Patrick O’Hearn with his bwompy fretless bass, Ed Mann on marimbas (finally filling the hole Ruth left), the legendary Adrian Belew on guitar (Bowie headhunted him out of Zappa’s band on this tour, beginning Belew’s ascent into guitar stardom). I really can’t overemphasize how, despite how much I hate some of these lyrics, I LOVE this album. It’s the curse of being a Zappa fan… I will not defend him, but nor will I stop listening obsessively.

[arlovinnia]

b'ing your womp rn .... bwomp bwomp ... bwomppp ... bwompbwomp bwomp .... :3

YOU B MY WOMP!!! THE BWOMPIES!!!

[or-fi-s]

Bwompy Wing-it TF for randomfactor.bsky.social

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[or-fi-s]

Wing-it for lynnshark.bsky.social Is being reborn in a bwompy new body a transformation sequence?

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[or-fi-s]

Wing-it for Bluedraconic

Warning: Do not stick anything in the technical machine other than Pokeballs. Do not look too closely while the technical machine is switched on

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[or-fi-s]

Wing-it for dawnfrostwood.bsky.social

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[or-fi-s]

Custom adopt for Calico_Silver92

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[or-fi-s]

Wing-it for timidAuxiliator

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[or-fi-s]

they're puttin chemicals in the water that turn the frickin piranha plants gay

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[or-fi-s]

Wing-it for Greifenherz

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[or-fi-s]

Commission for thegooddoctorwolf

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