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Remembering Frank Zappa, #botd in 1940

Remembering Frank Zappa, born on this day in 1940 (1940-1993).Frank Zappa (short bio)Best Sheet Music download from our Library.Please, subscribe to our Library.TributesFrank Zappa's discographyFrank Zappa - Montana (A Token Of His Extreme)Browse in the Library:

Remembering Frank Zappa, born on this day in 1940 (1940-1993).

Frank Zappa (short bio)

Frank Vincent Zappa (Baltimore, December 21, 1940 - Los Angeles, December 4, 1993) will be an American composer, guitarist, singer and record producer. With a career spanning more than thirty years, Frank Zappa has composed rock, jazz, blues, electronica, classical music and concrete music, or acousmatic music, among others. He will also work as a cinema and video director, and will design album covers. Furthermore, he will be in charge of the production of the most popular albums that he will record with The Mothers of Invention and alone.

The seventh related work is now available on new discs, among originals and posthumous works, thousands of concerts around the world, long lengths, infinite interviews, articles, compositions and more projects that will remain at the same time when it is going to die. With enormous artistic production, according to the professor of Audiovisual Communication at the University of Valencia, Manuel de la Fuente, Zappa perfectly summarizes the cultural and political history of the USA in the second half of the 20th century. In his adolescence he liked avant-garde composers based on percussion with Edgar Varèse, and the rhythm and blues music of the 1950s. He began writing classical music in high school, while playing drums in some bands. rhythm and blues, instrument that will soon change to the guitar electrical. He was a composer and self-taught musician, and through the diversity of musical tastes he managed to create music that was impossible to classify.

The Mothers of Invention's 1966 debut album, Freak Out!, combined conventional rock songs with impossible improvisations and sounds generated in the recording studio. His subsequent albums were a mix of experimental and eclectic music, independently of rock, jazz or classical music. Write the lyrics of all your topics, frequently humorous. He will be critical of political correctness and religion and will be a great defender of freedom of expression and the abolition of censorship. Frank Zappa will be a very prolific artist and will receive great positive reviews. Most of his albums are considered essential in the history of rock, and are recognized as one of the most original guitarists and composers of his time and a reference for a great name of artists. He will have a reputation for commercial success, especially in Europe, so he will be able to be an independent artist for the vast majority of the time his seventh career will last. He was posthumously inducted into the Rock and Roll Hall of Fame in 1995 and received the Grammy Award for his entire career in 1995. Frank Zappa will be married to Kathryn J. 'Kay' Sherman from 1960 to 1964 and to Gail Zappa (Adelaide Gail Sloatman) from 1967 until she dies from prostate cancer in 1993. They will have four fills: Moon Unit, Dweezil, Ahmet Emukha Rodan i Diva Thin Muffin Pigeen. Gail Zappa coordinates family businesses under the Zappa Family Trust name.

Zappa received resounding criticism throughout the world both in life and after his death. Rolling Stone's Album Guide in 2004 wrote: 'Frank Zappa played almost every genre of music, whether as satirical rocker, jazz-rock fusionist, guitar virtuoso, electronic wizard or orchestral innovator, his eccentric genius was indisputable'. Although his work was inspired by various genres, Zappa established a coherent and personal form of expression. In 1971, his biographer David Walley said: 'The whole structure of his music is unified, not divided by dates or time sequences, and is built as a composite'. When talking about Zappa's music, politics and philosophy, Barry Millers said in 2004 that they cannot be separated; 'All was one thing; it was all part of his 'conceptual continuity'.

He received the Grammy Lifetime Achievement Award in 1997. In 2005, the US National Recording Preservation Board listed We're Only in It for the Money on the National Recording Registry, explaining that Frank Zappa's 'inventive and iconoclastic album presents a unique political stance, both anti-conservative and anti-countercultural' , and offers a scathing satire of both hippism and America's reactions to it'. In the same 2005, Rolling Stone magazine put him in place number 71 in the list of 'The 100 greatest artists of all time'

Zappa's music has influenced a large number of musicians, bands and orchestras of various genres. Rock artists like Mr. Bungle, Butthole Surfers, Alice Cooper, Fee Waybill of The Tubes, Primus, Devin Townsend of Strapping Young Lad and Billy Bob Thornton have cited Zappa's influence, as have progressive rock artists such as Henry Cow, Trey Anastasio from Phish, John Frusciante and Fulano. Hard rock and heavy metal formations such as Black Sabbath, Warren DeMartini, Steve Vai, System of a Down, and Clawfinger acknowledge Zappa's inspiration. In the classical music scene, Tomas Ulrich, Meridian Arts Ensemble and The Fireworks Ensemble regularly play Zappa compositions. Contemporary jazz musicians and composers such as Bill Frisell and John Zorn are inspired by Zappa, as is funk legend George Clinton. Other artists in whose work Zappa exerts an important influence are: The Residents, Faust, the new age pianist George Winston, the electronic composer Bob Gluck, the humorous singer 'Weird Al' Yankovic. and noise music artist Masami Akita of Merzbow. Tributes - King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa (Jean-Luc Ponty) (1970) - The BRT Big Band Plays Frank Zappa (BRT Big Band) (1990) - Yahozna Plays Zappa (Yahonza) (1992) - Zappa's Universe—A Celebration of 25 Years of Frank Zappa's Music (Joel Thome/Orchestra of Our Time)(1993) - Harmonia Meets Zappa (Harmonia Ensemble) (1994) - Music by Frank Zappa (Omnibus Wind Ensemble) (1995) - Frankincense: The Muffin Men Play Zappa (Muffin Men) (1997) - Plays The Music of Frank Zappa (The Ed Palerm Big Band) (1997) - Dischordancies Abundant (CoCö Anderson) (1997) - Frankly A Cappella (The Persuasions) (2000) - The Zappa Album (Ensemble Ambrosius) (2000) - Bohuslän Big Band plays Frank Zappa (Bohuslän Big Band) (2000) - Ensemble Modern Plays Frank Zappa: Greggery Peccary & Other Persuasions (Ensemble Modern) (2003) - UMO Jazz Orchestra: UMO plays Frank Zappa feat. Marzi Nyman (2003) - Lemme Take You To The Beach: Surf Instrumental Bands playing the music of Zappa (Cordelia Records) (2005) - Take Your Clothes Off When You Dance (The Ed Palerm Big Band) (2006) - Inventionis Mater: Does Humor Belong in Classical Music? (2012) Frank Zappa's discography

Frank Zappa - Montana (A Token Of His Extreme)

https://www.youtube.com/watch?v=DmcYTShN4Fk Recorded on August 27, 1974 at KCET in Hollywood, A TOKEN OF HIS EXTREME features Frank Zappa with five incredibly talented band members for this extravaganza of live music. The line-up exists of Frank Zappa—guitar, percussion, vocals; George Duke—keyboards, finger cymbals, tambourine, vocals; Napoleon Murphy Brock—sax, vocals; Ruth Underwood—percussion; Tom Fowler—bass; Chester Thompson—drums. Read the full article

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fibula-rasa · 8 years ago

Photo

She Couldn’t Afford a Date

But those days are over, for now Claudette Colbert gets what she wants -- when she wants it

By Nanette Kutner

Like Claudette Colbert’s best picture… it happened one night… a rough twelve years ago.

Mark Hellinger, then a long-legged columnist bordering upon the skinny, accidentally met me and, out of the corner of his mouth, muttered something about having a pair of tickets for an opening to which nobody wanted to go. “So will you?”

Such an invitation was anything but flattering. But I went.

“I don’t think it will be much good,” said Mark.

Neither did I.

We were wrong. Not only was it much good, it was a riot.

There was an actor in it called Walter Huston. You know what happened to him. There was a new likeable chap named Norman Foster. There was also a girl. She didn’t wear any smart costumes, this girl. She wore a tailored suit costing twenty-seven dollars. A tailored suit with a very short skirt and you noticed her legs in the sheerest of stockings. Then you noticed her acting. The girl’s name was Claudette Colbert. The play, incidentally, was “The Barker.”

During intermission, the first night big-wigs stood around the lobby. There was a kind of scared young man there also. He didn’t know much about the theatre and the first nighters didn’t know anything about him. But there he was -- Claudette Colbert’s brother -- and he was going to find out whether his sister was in a hit -- or bust.

So he simply walked straight up to one of the critics. He picked a good one, Walter Winchell.

“What do you think of the play?” he asked.

Mr. Winchell’s answer was no answer to give anybody’s brother. Mr Winchell is alleged to have said, “How can I think of the play when all anyone can think about is that girl’s legs!”

And the moral of the story, and it has one, is this…

Claudette Colbert tells me she paid for those stockings herself. And she had to buy a new pair every night. And she didn’t have any too much money either. You see, this was her first hit. Before, there had been long stretches of no work, many rehearsals, short runs and salaries that were promises.

“Yet I had to have the stockings.” said Claudette. “They were too sheer to be good for more than one wearing. They cost plenty. Still, they were worth it, for I wore them in order to call attention to my legs.

“You know what competition is on the stage or, for that matter, in any field. The beginner has to stand out. If I couldn’t act, it would have been a different story. They might have notice my legs, yes, but that would have been that. I knew I had the ability to back up the attention I received. It was just that in order to attract it first, I had to take advantage of every point.

“This business of standing out from the rest, of not being lost among the herd, that’s something.” She sighed, adding, “I don’t mean now, when I can afford my permanents. I mean at the start.

“Listen.” She leaned forward eagerly. “There was a time I couldn’t afford a boy friend. Honest. I had exactly five dollars as spending money for three whole months.

“Now, how many boys will invite a girl out, a girl who can’t possibly keep up? Don’t misunderstand, I think that after a boy grows to know a girl and her real values, what she wears doesn’t matter so much. But you’ve got to catch his eye first -- like the stockings in the play. That’s one reason why it costs to be a girl, only,” and she laughed that every ready laugh of hers, “don’t you dare call this piece ‘The Woman Pays.’

“I do think few men realize what it actually does cost, in plain dollars and cents, for a girl to go out with them. Young boys are always grumbling about their expenses, how they have to squander their allowance on the girl friend, dinner, a movie, perhaps a soda later, maybe a taxi or gas for the car. I’ll bet it never dawns on them what it costs the girl -- a new dress, a hair set, stockings, a hat to go with the dress.

“The ‘go with’ part is always the worst. Years ago, a best beau presented me with a bright red leather pocketbook. I owned absolutely nothing that went with it. So I had to pawn a ring in order to hie myself out and buy a complete outfit, or he would have been insulted upon seeing me not carry his gift.

“And when a girl likes a boy she goes out of her way to please him. I know a girl who fell in love with a man who wanted her to learn to rhumba. She spent twenty-five dollars on a series of lessons and,” here came the Colbert laugh again, “before she had taken them all, she had lost the man. She only had the remainder of the lessons -- and the bill.

Girls always feel they have to dress to attract men. I marvel when I pass an office building and see the young women come swarmig from the place, each one looking spotless, smart, dressed to kill, her skirt the correct length, her coar the right coat. This is especially true of American girls.

“They can say what they want about the French, but actually it is only the very wealthy French woman, the one with unlimited funds at her command, who is capable of outdoing others. She makes a career out of clothes. The little midinette you are always hearing about could take a few pointers from the American girl.

“I look at her -- our truly unbeatable American girl. An I’m glad to have this chance to express my admiration. I (Continued on page 86)

know how much pinching and scraping goes into that Sunday best. Believe me, I know.” She smiled reminiscently.

“See these,” she held out her hand for me to examine her fingernails.

They were nails that didn’t look as if they belonged to a movie star. Here were no long pointed claws. Here were just normal nails covering the tips of nice shaped fingers, used to working. They were neatly, evenly polished, these nails, and not too red.

“I manicure them myself,” said Claudette Colbert.

“What, you!”

“Yes, me. You see, when I was broke, I had to do it. And I got so in the habit that now I can’t bear ro have anyone touch my fingers.”

We were interrupted by a knock on the door. It was the maid carrying a tray crowded with tea things.

“Right here, please.” directed Colbert, pointing to the low table in front of the sofa.

Without the slightest trace of formality, she was on her knees, pouring tea, carelessly shoving plates around, childishly stuffing a piece of sponge cake into her mouth and making an awful face after she had tasted it.

She was acting all over the place, and she was doing this to be kind, to show me she was regular and to make me feel at home.

This was her dressing-room at the studio, a room with a homey look, a room that didn’t appear too new, a room giving the effect of sunshine although little sun entered, of gay drapes and upholstery and maple and a certain youthful daintiness, a room like the Claudette of pictures, Claudette of the heart-shaped face.

She’s not like that. She has re-decorated her home for the third time. And her face is not so heart shaped. And her manner not so girlish. Instead, there is something surer about her, something sturdy. She knows what she wants. She gets what she wants. She has a strength and a poise and a will of her own. You feel it, every minute.

Her laugh is deep and hearty and always ready, a shade too ready. It is a spotlight, vacuum cleaner kind of laugh, picking up everything and seemingly glad to turn on herself.

“I know I’m difficult copy,” she remarked.

I tried to analyze why she is difficult copy. She isn’t like a blank wall star, the kind that never speaks unless you dig for the words. No, Claudette Colbert rattles on and on. She dominates and steers the works. I have only seen this conversational competence, this deliberate willingness-to-talk in one other person… Grace Moore.

Yet, nearly everything she said, when analyzed, was nothing, was the talk of a clever woman, chatter, chatter, in and out, swiftly, smartly skirting danger signals.

So it got to be small talk. Talk about shoes.

“I always wear opera pumps. It makes a woman’s foot look prettier. And I’ve suddenly acquired -- growing of the feet! I’ve gone from Triple A to Double A and I see in the future just a plain ordinary A!”

Talk about cigarettes. She smokes the nicotineless kind.

Talk about hair. Hers is lighter than you’d expect. She wears it short with the bang curly, and it’s soft like Shirley Temple’s.

Talk as mixed as a salad. Her house is being fumigated against termites. Her sinus is totally cured. A lunatic wrote threatening letters and how wonderful she thinks the G-men are. And, suddenly, excited talk about the picture, just completed.

“Ben Hecht wrote it. He’s called it ‘It’s a Wonderful World.’ When he was asked why, he said because most people are worried to death nowadays. When they discover a title like that shining at them, ‘It’s a Wonderful World,’ they’ll want to go right in and see it. Maybe he’s right.”

She is thrilled about this picture because she worked with Director Woody Van Dyke.

“His technique is unique. Imagine, we finished in fifteen days instead of the customary eight to nine weeks. Why, it usually takes me fifteen days to powder my nose.” Claudette laughed.

“We went right through that picture, all one takes. That’s his method. Then he previews it, sees what’s wrong, and goes to it with re-takes. It’s a marvelous, exhilarating method, perhaps, the method of the future.”

She talked about the theatre, and she talked as someone talks who loves the theatre. She knew all the good plays. She has great faith in good dialogue.

Look at ‘It Happened One Night.’ That was all in the dialogue. Why, we did it again on the air, only the other evening, and it still sounded swell.”

Another knock on the door, this time a young man to get her to choose a still from “Zaza.”

“It’s to be given to a perfume manufacturer because he makes my favorite kind.”

When I left her she stood in the doorway in her print dress, green and garnet colored, a large pin looking like a garnet colored starfish at her throat, a garnet colored coat on the chair behind her, while outside, a patient chauffeur sitting at the wheel of a limousine.

There she stood, Claudette Colbert, with all the accessories, all the trimmings, far, far away from the girl with five dollars, the girl who couldn’t afford a date. And not really far away at all, because she still remembers and understands and is very grateful. She hasn’t forgotten how to put herself in your place, and so, you like her a lot.

Claudette Colbert feature from Modern Screen, August 1939.

#claudette colbert #old movies #classic film #classic movies #old hollywood #film #film stars #1930s #vintage #interview #magazine #botd #modern screen

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