Zappa: A Biography

Zappa: A Biography
by Barry Miles

Zappa: A Biography
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Book Summary Information

Author: Barry Miles
Edition: Paperback
Audio: English (Unknown); English (Original Language); English (Published)
Published: 2005-09-16
ISBN: 080214215X
Number of pages: 480
Publisher: Grove Press

Book Reviews of Zappa: A Biography

Book Review: A giant of experimental music, full of fascinating contradictions
Summary: 5 Stars

This book, when it is not being contorted to fit its author's crippling leftist prejudices, generally does justice to a fascinating member of the musical pantheon.

Among the things I liked best about it, besides the exhaustive look at Frank Zappa's early days, is the evocation of the LA Happenings scene in the mid-1960s - the Freak-Out lead-up to 1967's Summer of Love along the Sunset Strip, the place where so much of the counterculture was spawned. What made it more than just a street with a bunch of bars on it is rarely spelled out as well as it is here.

The Mothers of Invention were every bit as seminal as the Grateful Dead or the Merry Pranksters. The original Mothers broke up the same week as Woodstock; they'd been doing their thing for five years before that, and the America where they were doing it was vastly different in 1965 than it was in 1970.

Zappa was a bundle of contradictions. Over three decades of comic, satirical lyrics, he continually derided commercial culture, but no rock musician was a harder-headed businessman than Frank Zappa. It is rare that anyone this creative can also get in there, make money and successfully battle to remain independent, while still remaining focused enough to put out good work. He ridiculed uptight, family-values America and sentimental notions of love, but built a pretty good family and enduring marriage himself. He practically created the concept of Freaking Out, but eschewed drugs. He was one of his generation's archetypal rebels, but ridiculed his own hip young fans.

Zappa's music is some of the most successful modernist music ever made - continually new and refreshing, a Niagara torrent of interesting sounds, accessible in a genre frequently unlistenable. But he topped it with scatological lyrics that hurt both his music's commercial potential as well as acceptance of his music at the other end, in the most creative circles, as academy types were turned off by it.

Miles speaks truth when he says Zappa will be remembered for his music, not his lyrics. The future will little care what he thought about a society now vanished. Also, while Zappa's lyrics may represent social commentary, in another sense they represent pure goofing -amusement for him and his band during long hours of rehearsal and touring. He and his family characterized them as a sort of journalism; he was reporting what he and those around him saw, filtered through his ironic sensibility but not necessarily passing judgment on it. In yet another sense, though, he used voices and lyrics as musical sounds.

Perhaps the contradictions resolve this way: this hard-headed businessman used the cheesy sensationalism of the Mothers - the stage antics and talk-dirty lyrics - to keep his ambitious experimental music commercially viable at all. He was less an out-beyond-the-pale rock musician than he was a shrewdly successful experimental one. Experimental musicians are usually distinguished by their anonymity, famous only among their peers and the cognoscenti. Most can't quit their day job. But last night, 15 years after Zappa's death, his name was on a dozen CDs at the local Barnes and Noble. Zappa was successful enough to keep the Mothers viable through the era of rock emporiums; Miles doesn't make the connection, but I think it highly significant that Zappa broke up the band right around Woodstock. Rock had now entered the world of the huge concert, and perhaps Zappa doubted his band's ability to draw that well. But until then, there were enough rock music fans, art-happening types drawn by his stage shows, the burgeoning drug crowd, and bored teenagers enjoying his critique of their lives, to pay his band's bills.

Zappa was popular during my high school days partly because his lyrics struck so close to our suburban homes, and because their dirtiness appealed to 16-year-old boys. ("There was a little man, a crooked little man, who lived in Montreal, with a wife and a kid and a car and a house and a teenaged daughter with a see-through blouse, who loved to get drunk and ball - Magdalena.") I think few of us realized then how inherently interesting his music was, Magdalena's see-through blouse notwithstanding. Then one day I bought a remaindered copy of "Hot Rats" for 99 cents. It was all instrumental, except for one song. And suddenly I had no interest at all in yellow snow, brown shoes, or Billy the Mountain's draft status. I'd never really cared that much in the first place; I didn't despise my own family and neighbors enough to really identify with his lyrics. Now, I saw more clearly that his music alone was striking.

One irony Miles fails to see: Zappa's in-your-face lyrics were in part a reaction to the censorship battles of the 1950s and early 1960s, but he was himself an early target of the new PC censorship, as feminists started declaring "that's not funny!" to a man who saw the entire world as ridiculous. Miles, taking the feminists' side, fails to see the irony in this.

Miles' biggest weakness is his doctrinaire leftism. He loses objectivity, and his sense of Zappa's fascinating internal contradictions, whenever Zappa's politics challenge his own He can't stand back and consider that Zappa rails against Reagan (he is willing, of course, to quote those diatribes at length) while simultaneously being pro-business, anti-union and anti-communist. I don't care much what Miles thinks about business, unions or communism; I'm far more curious how Zappa squared these apparent circles. Miles treats Zappa like a lion of the avant-garde, but when it suits him (usually when Zappa's politics fail to pass Miles' muster) derides him as no intellectual. Sorry, I can't see someone with Zappa's lifetime musical achievement not meriting that term. Miles finds fault with Zappa's anti-Communism and refusal to perform in the Eastern bloc. but has apparently not noticed that Zappa was right: Communism was a failure and a historic crime -in which the Mileses of the world are complicit, accessories after the fact at the very least. They're still digging up mass graves from Stalin's purges; denying Communist crimes is like denying the Holocaust. Miles is all for Zappa's anarchic, no-holds-barred sense of ridicule throughout his life - until it is aimed, say, at feminism or homosexuality, when it suddenly goes beyond the PC pale.

Zappa's excellence is clearly tied to his unbelievable work ethic - recording thousands of hours of tape, finding uses for them years later, subjecting any given project to thousands of edits, demanding perfection and all the hours it took to get it, from his musicians. The world has 65 rarely boring albums as a result. But Miles uses this as a bludgeon to declare Zappa a "control freak" and to attack his workaholism as a form of family abuse, a familiar feminist ploy with which to batter traditional men. And in many respects, Zappa was a traditional man.

Yet one more irony.


Summary of Zappa: A Biography

Ten years after his death, Frank Zappa continues to influence popular culture. With almost one hundred recordings still in print, Zappa remains a classic American icon. Scores of bands have been influenced by (and have shamelessly imitated) his music, and a talented roster of musicians passed through Zappa?s bands. Now comes the definitive biography of Zappa by Barry Miles, best-selling author of Hippie and Paul McCartney: Many Years from Now, who knew Zappa personally and was present at the recording of some of his most important albums. Miles follows Zappa from his sickly Italian-American childhood in the 1940s (his father worked for the military and was used to test the effectiveness of new biological warfare agents) to his youthful pursuit of what was a lifelong dream: becoming a classical composer. Zappa brings together the many different personalities of this music legend together for the first time: the self-taught musician and composer who gained fame with the “rock? band the Mothers of Invention; the political antagonist who mocked presidents while being invited by Vaclav Havel to represent Czechoslovakia?s cultural interests in the United States, and Zappa the family man who was married to the same woman for over thirty years.

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