Frank's musical temperament was mercurial. Musically, he did what interested him, the result being the stunningly eclectic repertoire we now have to tap into, which makes possible a seemingly inexhaustible variety of conceptual continuities.
He had moods, too. Compare Frank's jovial mischief-making on the live Baby Snakes album with his more formalistic affect on Does Humor Belong in Music?
But it's musically that Frank's all over the map. So for the Oct. 5 Zappa's Grubby Chamber, let's contrast and compare various tokens of Frank's extreme. There's his complex, tightly arranged pieces, like the "Black Page," and his guttural rock, like say, "Rat Tomago." Wholesome-esque pop ditties like "Let Me Take You To The Beach," and naughty, naughty exercises like "Dinah-Moe Humm." Vocal-intensive pieces like the whole medley comprised of "Society Pages," "I'm A Beautiful Guy,"Beauty Knows No Pain," "Charlie's Enormous Mouth," "Any Downers?" and "Conehead" vs. purely instrumental bits like... well, there's so many. And how about Frank's R&B/doo-wop predilections, say Ruben & the Jets, vs. his classical tendencies, as with Boulez Conducts Zappa: The Perfect Stranger.
So, it's Contrast and Compare night on the next Zappa's Grubby Chamber. And in that spirit, let's consider that April '93 edition of Playboy.
Frank's interview started on page 55. Turn the page and what do you see? Chuck Norris for new Right Guard® Sport Stick.
Chuck believed that "The best defense is not to offend." It seems safe to say that Frank was not an adherent of that particular strategy.
what the fuck is up
with Chuck's left hand?