Politics in the Project/Object

The Music of Frank Zappa
MUGC 4890-001 • MUGC 5890-001
Dr. Joseph Klein"
IV. Politics"
Politics in the Project/Object"
While FZ was politically engaged throughout his entire adult life, the nature and
degree of his political activism transformed over the years. "
1960s:
§  FZ’s distrust of “the system” may be traced to his arrest in 1962 on charges of
obscenity
and pornography, when he was entrapped by undercover vice squad
"
agents in San Bernardino, California. "
§  Frequent targets in the 1960s were hippie subculture
(“Flower Punk,” 1967), California Governor Ronald
Reagan (“The Chrome-Plated Megaphone of Destiny,”
1968), conformity (“Plastic People,” 1967), race
relations (“Trouble Every Day,” 1966). "
§  Very few direct political references occur during this
period; most of the themes are more universal."
Politics in the Project/Object"
While FZ was politically engaged throughout his entire adult life, the nature and
degree of his political activism transformed over the years. "
1970s:
§  FZ’s It is during this period that FZ’s libertarian point of view (e.g., procapitalism,
anti-union) began to manifest itself primarily as a result of the quest for
"
complete control of his own creative work—vis-à-vis his relationships with record
company executives, concert organizers, and members of his band."
§  Targets include US President Richard Nixon (“Dickie’s Such an Asshole,”
1973), cultural stereotypes (“Jewish Princess,” 1979), religion (“Catholic Girls,”
1979), and totalitarianism (Joe’s Garage, 1979)."
Suppression of free thought is perhaps best represented
in the album Joe’s Garage, the theme of which is life in
a society where music has been deemed illegal."
Politics in the Project/Object"
While FZ was politically engaged throughout his entire adult life, the nature and
degree of his political activism transformed over the years. "
1980s:
§  FZ becomes more politically active as the result of Ronald Reagan’s
ascendance
to the US Presidency in 1981. This is manifested not only in FZ’s
"
music but in various radio, television, and print interviews, and in his 1988
autobiography, The Real Frank Zappa Book."
§  Frequent targets during the 1980s were US President Ronald Reagan and"
members of the Reagan administration (Broadway the Hard
Way, 1988), religious fanaticism (“Dumb All Over,” 1981),
labor unions (“Stick Together,” 1983), political correctness
(Thing Fish, 1983), and censorship (“Porn Wars,” 1986). "
§  Voter registration booths were installed in FZ concert venues
and albums included the admonition “Register to Vote”—both
in the album tracks and in the printed liner notes. "
§  1985 appearance before the US Senate Commerce,
Technology, and Transportation Committee concerning record
labeling (PMRC); 1988 tour which featured several new
politically-motivated songs."
Politics in the Project/Object"
While FZ was politically engaged throughout his entire adult life, the nature and
degree of his political activism transformed over the years. "
1990s:
§  Following the collapse of the Soviet Union, FZ became increasingly aware of his
impact
as a cultural icon to the people of the former Soviet-block countries. In 1990
"
he met Czech President Vaclav Havel, who appointed him as a consultant to the
Czech government on issues concerning trade, tourism, and cultural exchange—a
short-lived appointment once US Secretary of State James Baker intervened. "
§  FZ became a reporter with the Financial News Network (FNN)."
§  New political issues include environmentalism
(“Outrage at Valdez”), poverty, abortion (“Food
Gathering in Post-Industrial America”), and
immigration (“Welcome to the United States”), all
referenced in the final album released during his
lifetime, The Yellow Shark (1993)."
§  FZ continued his political activism in spite of
deteriorating health, including a proposed run for the
US Presidency during the 1992 election season."
Politics as Conceptual Continuity"
Social and Political references abound in FZ’s work, manifested in a number of ways:"
§  Titles: Even FZ’s purely instrumental works are often imbued with strong
political overtones, manifested in the titles: “One Man, One Vote” (1985), “The
Beltway Bandits” (1986), “Star Wars Won’t Work” (1988), and “Pentagon
Afternoon” (1992)."
§  Program notes: Works such as “The Chrome-Plated Megaphone of
Destiny” (1968) and “Love Story” (1984) include provocative or politically charged
program notes, even though the titles of the works themselves do not reflect such
content."
§  Lyrics: The most overt sociopolitical references are those that appear in FZ’s
lyrics, some more general, such as “Brown Shoes Don’t Make It” (1967) and “Hot
Plate Heaven at the Green Hotel” (1988); others more direct and specific, such as
“Dickie’s Such an Asshole” (1973) and “Promiscuous” (1988)."
§  Album design: This consists of images, quotes, and concepts—not including
lyrics and song titles. Examples include images of a crass consumer society on
the reverse side of Absolutely Free (1967), the “warning label” parody included on
the cover of Frank Zappa Meets the Mothers of Prevention (1985), and FZ’s
caricature of Ronald Reagan inside the cover of Broadway the Hard Way (1988)."
Politics as Conceptual Continuity"
Social and Political references abound in FZ’s work, manifested in a number of ways:"
§  Music: FZ’s most abstract approach to sociopolitical commentary occurs in the
music itself. Although this is often directly associated with the lyrics, it may also be
achieved independently in a number of ways, including:"
•  Quotation: Perhaps the most obvious musical technique used by FZ, this consists of
borrowing pre-existing musical materials that have clear extra-musical connotations. Such
works as “Rhymin’ Man” (1988) and “Jesus Thinks You’re a Jerk” (1988) are perhaps
the most explicit examples of this technique."
•  Extended performance techniques: This refers to the use of instrumental and vocal
effects that are outside of the “normal” mode of play, as well as electronic music utilizing
synthesis (e.g., Synclavier) and musique concrète techniques. The effect of this
expanded timbral and textural palette allowed FZ to heighten dramatic tension and
reinforce the subject matter of his more programmatic works. Examples include “Porn
Wars” (1985) and “Food Gathering in Post-Industrial America” (1992)."
•  Stylistic and technical diversity: FZ appropriated a wide variety of musical styles and
compositional techniques (e.g., rhythm & blues, atonality, jazz, musique concrète, country
& western, etc.), often juxtaposing them in a jarring manner to provide an ironic or cynical
commentary on the political message. One of the best examples of this is “Brown Shoes
Don’t Make It” (1967)."
Politics in the Project/Object"
§  “Brown Shoes Don’t Make It” (Absolutely Free)"
§  “The Chrome-Plated Megaphone of Destiny” (We’re Only In It for the Money)"
§  “Rudy Wants to Buy Yez a Drink” (Chunga’s Revenge) [unions]"
§  “Stick Together” (Man From Utopia) [unions]"
§  “Porn Wars” (Meets the Mothers of Prevention)"
§  “Dickie’s Such an Asshole” (Broadway the Hard Way) [Richard Nixon]"
§  “Rhymin’ Man” (Broadway the Hard Way) [Jesse Jackson]"
§  “Promiscuous” (Broadway the Hard Way) [C. Everett Koop] "
§  “Hot Plate Heaven at the Green Hotel” (Broadway the Hard Way)"
§  “When the Lie’s So Big” (Broadway the Hard Way)"
§  “Welcome to the United States” (The Yellow Shark)"
§ 
Joe’s Garage !
§  Thing-Fish!
“Brown Shoes Don’t Make It” (Absolutely Free, 1967)"
§  Targets corrupt politicians by emphasizing their deviant sexual behavior and
phony “public” lives."
§  Other themes include conformity, television culture, futility of the educational
system, and the drudgery of life in the labor force."
§  Sharp juxtapositions of widely contrasting musical styles, including atonality,
“spy movie” jazz, 1950s doo-wop, 1920s vaudeville, 1960s “beach pop”,
musique concrète."
“Brown Shoes Don’t Make It” (Absolutely Free, 1967)"
“Brown Shoes Don’t Make It” (Absolutely Free, 1967)"
“Brown Shoes Don’t Make It” (Absolutely Free, 1967)"
“The Chrome-Plated Megaphone of Destiny” (We’re Only In It for the Money, 1968)"
§  Original album cover was a parody of The Beatles Sergeant Pepper’s Lonely
Hearts Club Band album from the previous year. "
§  Music heavily influenced by composer Edgard Varèse and musique concrète."
“The Chrome-Plated Megaphone of Destiny” (We’re Only In It for the Money, 1968)"
§  Original album cover was a parody of The Beatles Sergeant Pepper’s Lonely
Hearts Club Band album from the previous year. "
§  Music heavily influenced by composer Edgard Varèse and musique concrète."
§  Includes references to Franz Kafka’s story “In the Penal Colony”, Japanese
internment camps in California during World War II, and then California Governor
Ronald Reagan’s solution to “the hippie problem.”"
§  FZ’s program notes request that the listener read Kafka’s story before listening
to the music."
“The Chrome-Plated Megaphone of Destiny” (We’re Only In It for the Money, 1968)"
Liner Notes"
1.  Instructions for the use of this material… READ CAREFULLY:
2.  If you have already worked your way through “IN THE PENAL COLONY” by Franz Kafka,
skip instruction #2, #3, #4.
3.  Everybody else: go dig up a book of short stories and read “IN THE PENAL COLONY.”
4.  DO NOT LISTEN TO THIS PIECE UNTIL YOU HAVE READ THE STORY.
5.  After you have read the story, put down the book and turn on the record player… it is now safe to
listen (DO NOT READ AND LISTEN AT THE SAME TIME).
6.  As you listen, think of the concentration camps in California constructed during World War II to
house potentially dangerous oriental citizens… the same camps which many say are now being
researched for use as part of the FINAL SOLUTION to the NON-CONFORMIST (hippy?)
PROBLEM today. You might allow yourself (regardless of the length of your hair or how you
feel about greedy wars or paid assassins) to imagine YOU ARE A GUEST AT CAMP REAGAN.
You might imagine you have been invited to try out a new RECREATIONAL DEVICE
(designed by the Human Factors Engineering Lab as a method or relieving tension and pent-up
hostilities among the members of the CAMP STAFF… a thankless job which gives little or no
ego gratification… even for the chief warden).
7.  At the end of the piece, the name of YOUR CRIME will be carved on your back. "
Thing-Fish, 1984"
§  Self-referential parody of musical theater tradition."
§  Commentary on government conspiracies, real or imagined — specifically, the
Tuskegee Syphilis Experiment (1932-72) and the AIDS epidemic."
§  Commentary on the Women’s Liberation movement and civil rights issues
(specifically regarding African Americans and homosexuals)."
§  Conceptual continuity includes potatoes, animals (ducks), religion (specifically
Catholicism), negrocious dialect, repurposed songs from other albums."
Link"
“Prologue” (Thing-Fish, 1984)"
De cocksucker done whiffed up a secret POTIUM . . . an'
right 'long wid it, de ATROCIOUS IDEA dat what he
been boilin' up down deahhhh jes' mights be de FINAL
SOLUTIUM to DE WHITE MAIN'S 'BOIDENNN', ef
yo' acquire my drift . . .
Well, he were sure he had a GOOD THING GOIN' . . .
but, dere was always de possobility dat somethin' might
fuck up, so, he planned to have a little test, jes' to check
it all out befo' he dump't it in de wattuh supply.
Thing-Fish:
Sho'tly denafter, wit HIGH-LEVEL GUBNINT
COROBBERATIUM, he arranged to have a good-will
visit to SAN QUENTIM, 'long wit some country-westin
mu-zishnin's, 'n sprinkle a little bit of it on some of de
boys in deahh (since dey done used a few of 'em befo'
when dey was messin' wit de ZYPH'LISS).
Once upon a time, musta been 'round October,
few years back, in one o' dose TOP SECRET
LABMO-TORIES de gubbnint keep stashed
away underneath Virginia, an EVIL PRINCE,
occasion'ly employed as a part-time
THEATRICAL CRITICIZER set to woikin' on a
plot fo de systematic GENOCIDICAL
REMOVE'LANCE of all unwanted highlyrhythmic individj'lls an' sissy-boys!
So, heah dey come wit de POTIUM, dump'nit all in de
mash potatoes!
Den dey wen' up to de warden's office fo' some HOT
TODDY, watchin' a little football while dey's waitin' to
see what gone happen!
“Prologue” (Thing-Fish, 1984)"
Fact o' de matter were: NOTHIN' HAPPENED, so dey
went off'n dribbled it in a special shipnint of GALOOT
CO-LOG-NUH dat went out 'bouts NOVEMBER!
Next thing y'know, fagnits be droppin' off like flies . . .
'long wit a large number of severely-tanned individj'lls,
pre-zumnably of HAY'CHEN EXTRAKMENT!
But NOT DE BOYS IN DE REST HOME! Oh no! Mixin'
de shit wit de mash potatoes done SMOOTHED IT OUT a
little, so's it wouldn't KILL yo' ass, BUT, it sho' would
make y'ugly! 'N ef y'was already UGLY, it'd make yo ass
MEAN 'n UGLY . . . 'n ef you was already MEAN 'n
UGLY, it'd turn ya into a strange, UNKNOWN
KREETCHUH, never befo' seen on BROADWAY!
Thass right! It'd turn ya' into a 'MAMMY NUN'! Head like
a potato . . . lips like a duck . . . big ol' hands, puffin' up!
BIG ONES! Science! ME-jev'l re-LIJ-mus costumery all
over yo' BODY! Yow! Oh yeah! Mmmm-hmmm!
Parents Music Research Center"
 The “Washington Wives”"
Tipper Gore at the PMRC "
Hearings (September 1985)"
Parents Music Research Center"
“The Filthy Fifteen”"
Rank
Artist
Title
Lyric Content
1"
Prince"
“Darling Nikki”"
Sex"
2"
Sheena Easton"
“Sugar Walls”"
Sex"
3"
Judas Priest"
“Eat Me Alive”"
Sex"
4"
Vanity "
“Strap On Robbie Baby”"
Sex"
5"
Mötley Crüe"
“Bastard”"
Violence"
6"
AC/DC"
“Let Me Put My Love Into You”"
Sex"
7"
Twisted Sister"
“We’re Not Gonna Take It”"
Violence"
8"
Madonna"
“Dress You Up”"
Sex"
9"
W.A.S.P"
“Animal (Fuck Like A Beast)”"
Sex/Language"
10"
Def Leppard"
“High ‘n’ Dry (Saturday Night)”"
Drugs/Alcohol"
11"
Mercyful Fate"
“Into the Coven”"
Occult"
12"
Black Sabbath"
“Trashed”"
Drugs/Alcohol"
13"
Mary Jane Girls"
“In My House”"
Sex"
14"
Venom"
“Possessed”"
Occult"
15"
Cyndi Lauper"
“She Bop”"
Sex"
“Porn Wars” (Meets the Mothers of Prevention, 1985)"
§  FZ’s response to censorship and the PMRC’s attempt to label albums."
§  Music is entirely electronic, utilizing the Synclavier and musique concrète
manipulations of recorded testimony from the 1985 PMRC Senate Hearings."
§  Recordings are layered in a surrealistic collage emphasizing the more salacious
details from the proceedings."
§  Includes several references to other FZ albums as part of the Conceptual
Continuity."
“Porn Wars” (Meets the Mothers of Prevention, 1985)"
WARNING/GUARANTEE
This album contains material which a truly free society would neither fear nor
surpress. In some socially retarded areas, religious fanatics and ultra-conservative
political organizations violate your First Amendment Rights by attempting to
censor rock & roll albums. We feel that this is un-Constitutional and un-American.
As an alternative to these government-supported programs (designed to keep you
docile and ignorant), Barking Pumpkin is pleased to provide stimulating digital
audio entertainment for those of you who have outgrown -the ordinary-. The
language and concepts contained herein are GUARANTEED NOT TO CAUSE
ETERNAL TORMENT IN THE PLACE WHERE THE GUY WITH THE HORNS
AND THE POINTED STICK CONDUCTS HIS BUSINESS. This guarantee is as
real as the threats of the video fundamentalists who use attacks on rock music in
their attempt to transform America into a nation of check-mailing nincompoops (in
the name of Jesus Christ). If there is a hell, its fires wait for them, not us."
“Porn Wars” (Meets the Mothers of Prevention, 1985)"
here, because having attended that pres, presentation, the
redeeming social value I find that is inaudible. I have a
hard time understanding it, then. Paul, since I traveled the
country for 3 years, 'n they said they could not understand
me. Maybe I could make a good rock star. I don't know.
Heh . . . But in all candor, I would tell you it's, it's
outrageous filth. So, I'll be looking from this Senator's
standpoint, not just to bring pressures but to try to see if
there is some constitutional provisions to tax, or approach
that can be used on the Congress to limit this outrageous
filth. Chairman: Senator Trible. Chairman (John Danforth): The reason for this hearing
is not to promote any legislation. Indeed, I don't know of
any suggestion that any legislation be passed. But to
simply provide a forum for airing the issue itself, for
ventilating the issue, for bringing it out in the public
domain. Senator Hollings. Senator Hollings: I've had the opportunity to, ah, attend
a, a showing, you might say, or presentation of, ah, this
porn rock, as they call it. In the test of pornography, one of
the things to look at is it, it does not have any redeeming
social value. Ah, there could be an exception
Senator Trible: Rape, incest, sexual violence . . . Senator Hollings: It's outrageous filth . . . Senator Trible: Is like sandpaper to the soul . . . Now, the
effects of such lyrics on a well adjusted child may not be
cataclysmic Senator Hollings: It's outrageous filth! Senator Trible: Rather the emotional damage is more
subtle Senator Hawkins: Fire and chains and . . . Senator Hollings: It's outrageous filth! Senator Hawkins: Other . . . objectionable . . . tools of
gratification in some twisted mind . . . Johnny Guitar Watson: YEAH! “Porn Wars” (Meets the Mothers of Prevention, 1985)"
Senator Trible: Now, the effects of such lyrics on a
well adjusted child may not be cataclysmic . . . Senator Hollings: Porn Rock . . . Senator Trible: Rather the emotional damage is more
subtle Senator Hollings: Willy nilly over the air ?: (And hear it now . . . hear it . . . hear it . . . ) Senator Hollings: If I could find some way
constitutionally to do away with it, I would. Senator Hawkins: Fire and chains and . . . other . . .
objectionable . . . Senator Hollings: Rock porn Senator Hawkins: Tools of gratification in some
twisted mind . . . Johnny Guitar Watson: YEAH! Senator Trible: Now, the effects of such lyrics on a
well adjusted child may not be cataclysmic . . . Senator Hollings: Porn rock! Senator Trible: Now, the effects of such lyrics on a
well adjusted child may not be cataclysmic . . . Senator Hollings: Porn rock! Senator Trible: Rather the emotional damage . . . Senator Hollings: If I could find some way
constitutionally to do away with it, I would. Senator Hawkins: This issue is too hot not to cool
down Senator Trible: Now, the effects of such lyrics on a
well adjusted child may not be cataclysmic . . . Senator Trible: Rather the emotional damage is more subtle
Senator Hollings: Porn Rock Senator Hollings: Porn Rock Senator Hollings: Porn Rock . . . Burn! Burn . . . ! Senator Hollings: Willy nilly over the air Senator Hollings: Willy nilly over the air Senator Hollings: Willy nilly over the air Senator Hollings: Rock porn . . . rock porn . . . rock porn . . .
Senator Hawkins: This issue is too hot not to cool down Senator Hawkins: Fire and chains and . . . other . . .
objectionable . . . tools of gratification in some twisted
mind . . . Senator Hawkins: This issue is too hot not to cool down Senator Hollings: Porn Rock Senator Hollings: Porn Rock! Senator Hollings: Porn Rock Senator Hollings: Porn Rock! Senator Hawkins: This issue is too . . . Spider: This must be the end of the world! All the people
turning into pigs and ponies . . . I can't let it happen to me! Senator Exon: What is the reason for these hearings in front
of the Commerce Committee? FZ: Sex! Well . . . FZ: Sex!
“Porn Wars” (Meets the Mothers of Prevention, 1985)"
Senator Hawkins: Thank you. I think that statement
tells the story to this committee. Rev. Jeff Ling: "Listen you little slut, do as you are
told" Senator Exon: What is the reason . . . FZ: Sex! Senator Exon: For these hearings in front of the
Commerce Committee? FZ: Sex! Underwear FZ: Bondage! Rev. Jeff Ling: Listen you little slut Rev. Jeff Ling: Listen you little slut, do as you are told FZ: Sex, and lots of it Rev. Jeff Ling: Fixed her good. FZ: Sex! Sex! Sex! Sex! . . . Senator Hawkins: I would be interested to see what
toys your kids ever had. FZ: Why would you be interested? Senator Hawkins: Just as a point of interest in this . . . FZ: Well, come on over to the house. I'll show 'em to
you . . . Really! Senator Hawkins: I . . . I might do that. Senator Trible: Rape, incest, sexual violence . . . is like
sandpaper to the soul . . . Senator Trible: Now, the effects of such lyrics on a
well adjusted child may not be cataclysmic Senator Hollings: It's outrageous filth! Senator Trible: Rather the emotional damage is more subtle Senator Hawkins: Fire and chains and . . . other Senator Hollings: It's outrageous filth! Senator Hawkins: Objectionable . . . tools of gratification in
some twisted minds . . . Johnny Guitar Watson: YEAH! Senator Trible: Now the effects of such lyrics on a well
adjusted child may not be cataclysmic . . . Senator Hollings: Porn rock Senator Hollings: Willy nilly over the air Senator Trible: Rather the emotional damage is more subtle Senator Hawkins: Fire and chains and . . . other Senator Hollings: If I could find some way constitutionally to
do away with it, I would. Senator Hawkins: Objectionable . . . tools of gratification in
some twisted minds . . . Senator Trible: Now the effects of such lyrics on a well
adjusted child may not be cataclysmic . . . Johnny Guitar Watson: YEAH! Senator Hollings: Something that we have got to give some
kind of attention to.
Senator Trible: The mere announcement of this hearing led to
cries of censorship. Senator Trible: Now the effects of such lyrics on a well
adjusted child may not be cataclysmic . . . Senator Hollings: Porn Rock “Porn Wars” (Meets the Mothers of Prevention, 1985)"
I, ah, respect you as a true original and a tremendously
talented musician. Senator Trible: Now the effects of such lyrics on a well
adjusted child may not be cataclysmic . . . Senator Hollings: If I could find some way
constitutionally to do away with it, I would. Senator Trible: Rather the emotional damage…
Chairman: Thank you very much, Mr. Zappa. You
understand that the, the, ah, previous witnesses were
not asking for legislation. And I, I don't know, I can't
speak for Senator Hollings, but I think that the
prevailing view here is that nobody is asking for
legislation. The question is just focusing on what a lot
of people perceived to be a problem, and you have
indicated that you at least understand that there is
another point of view. Spider: Ooh, wait a minute! Senator Hollings: Maybe I could make a good rock-star, I
don't know Rev. Jeff Ling: Come with . . . come with . . . come with
daddy! Senator Hollings: Maybe I could make a good rock-star, I
don't know Rev. Jeff Ling: Come with . . . come with daddy! Senator Hollings: Maybe I could make a good rock-star, I
don't know Rev. Jeff Ling: Come with . . . come with . . . come with
daddy! Senator Hollings: Willy nilly over the air Senator Hollings: Willy nilly over the air Senator Hollings: Willy nilly over the air Spider: They don't even understand their own music . . . of
course nobody does, but . . . John: They don't, they don't even know what they're doing Spider: No! John: I've, I've seen 'em a couple of times . . . Spider: Did . . . did you see their uniforms? John: Unbelievable! Monica: Which ones? They, the red ones? John: All those rhinestones over their rings and things like
that Monica: Do you know what I . . .
Chairman: Senator Gore. Senator Gore: Thank you very much, Mr. Chairman. I
found your statement very interesting and, ah, let me
say although I disagree with some of the statements
that you make and have made on other occasions, I
have been a fan of your music, believe it or not. And I,
“Porn Wars” (Meets the Mothers of Prevention, 1985)"
Johnny Guitar Watson: YEAH! Senator Hollings: If I could find some way constitutionally to
do away with it I would Senator Hollings: Willy nilly over the air Senator Hawkins: This issue is too hot not to cool down Senator Hollings: So, I'll be looking from this Senator's
standpoint, not just to bring pressures but to try to see if there
is some constitutional provisions to tax, or approach that can
be used on the Congress to limit this outrageous filth. Johnny Guitar Watson: YEAH! John: Gold lamé hoof-covers . . . Unbelievable! Senator Hollings: Maybe I could make a good rockstar Senator Hollings: Maybe I could make a good rockstar Rev. Jeff Ling: Gonna drive my love inside you etc. Senator Hollings: It's outrageous filth Senator Hollings: It's outrageous filth Rev. Jeff Ling: Come with daddy! etc., etc. Senator Hollings: Rock, rock, Porn Rock! Senator Hollings: Rock porn etc. Senator Hollings: Willy nilly over the air Senator Hollings: An' I think your suggestion is a
good one. If you print those words, that would go a
long way to satisfying everyone's objections, I . . . FZ: All we have to do is find out how it is going to be
paid for. Pyromania No questions Burn the building! Burn! Burn! Burn!
Thing-Fish: We'll get back to de wimp and his low-budget conceptium of
personal freedom in just a moment. But foist, welcome to:
WHAT DE FUCK GWINE ON HERE? (A celebratium o' de
American way o' life!) I see some o' y'all be FROWNIN' . . .
'cause mebbe y'think what I's tellin' ya' is a LIE! Am I right?
Les' jes' have a test . . . How many o' you nice folks think I
knows what I's talkin' 'bout? RAISE Y'HAIN UP! Uh-huh!
An' how many thinks my potato been bakin' too long? RAISE
YO MIZZABLE HAIN UP! Uh-huh! Now . . . how many you
folks is CONVINCED de gubnint be totally
'UNCONCERNED' wit de proliferatium o' UNDESIRABLE
TENANTS in de CONDOMINIUM o' LIFE? An' how many
folks believe THEY number won't come up, next time de
breeze blow fum de Easterly directium? Les' face it, peoples!
Ugly as I mights be, I AM YO' FUTCHUM! Ain't that right,
“Porn Wars” (Meets the Mothers of Prevention, 1985)"
SISTER OB'DEWLLA? Hmm hmm! Oh, oh yeah! Thass
right! Tipper Gore: A voluntary . . . voluntary . . . voluntary . . . Tipper Gore: A voluntary labeling is not censorship . . . Chairman: Senator Gorton. Senator Gorton: Mr. Zappa, I, ah, am astounded at the
courtesy and soft-voiced nature of the comments of my
friend, the Senator from Tennessee. I can only say that I
found your statement to be boorish, ah, incredibly and
insensitively insulting to the people that were here
previously; that you could manage to give the first
amendment of the Constitution of the United States a bad
name, if I felt that you had the slightest understanding of
it, which I do not. You do not have the slightest
understanding of the difference between Government
action and private action, and you have certainly
destroyed any case you might otherwise have had with
this Senator. Thank you, Mr. Chairman. Rev. Jeff Ling: Degradation . . . humiliation . . . Well . . . Rev. Jeff Ling: Gonna drive my love inside of you Well . . . FZ: Is this private action? Senator Hawkins: In chains . . . Rev. Jeff Ling: Listen you little slut, do as you are told . . . Senator Hawkins?: There's no absolute right . . . Senator Hawkins?: There's no absolute right . . . Well . . . Well . . . Rev. Jeff Ling: Dressed in leather bondage, masks . . . Well . . . Rev. Jeff Ling: Bend up and smell my anal vapor There's no . . . There's no . . . FZ: Is this private action? Chairman: Mr. Zappa, thank you very much for your
testimony. FZ: Thank you. Chairman: Next witness is John Denver . . . Senator Hollings: We haven't got 'em whipped on this one
yet. You got a bear by the tail here, uh? Jeezis!
Rev. Jeff Ling: Degradation. Humiliation. Thrusting,
shoving. Animals humping. Senator Hawkins?: There's no absolute right to free
speech FZ: I don't think this is constitutional . . . Tipper Gore: A voluntary labeling is not censorship . . . Rev. Jeff Ling: Bend up and smell my anal vapor Politics in the Project/Object"
 Reverend Jesse Jackson"
US Surgeon General "
C. Everett Koop#
“Rhymin’Man” (Broadway the Hard Way, 1988)"
§  Commentary on Reverend Jesse Jackson."
§  Music is a parody of Country & Western music, including “fake Johnny Cash”
delivery by singer."
§  Includes over a dozen musical quotations directly related to the content of the
lyrics; e.g., Chopin’s Marche funebre, the themes from “Mission Impossible” and
“The Untouchables”, “Happy Days Are Here Again”, “Hail to the Chief”, “Hava
Nagila”, “La Cucaracha”."
“Rhymin’ Man” (Broadway the Hard Way, 1988)"
Rhymin’ man,
Tall and tan,
Rhyme or reason,
Play your hand ---
Rhyme on this --- rhyme on that
Oh, you naughty democrat!
They say when Doctor King got shot, (w/”Twilight Zone” Theme) Marche funebre (Chopin)
Jesse hatched an awful plot, (w/”Twilight Zone” Theme)
Mission Impossible Theme (Schifrin)
Dipped his hands in the doctors blood, (w/”Twilight Zone” Theme)
The Untouchables Theme (Riddle)
’n rubbed his shirt like playin’ with mud
“Mississippi Mud” (Cavanaugh/Barris) Looked around for all the press
fake “Pressroom” music"
’n said: check me out, my name is Jess!
generic “buffoon” music [ascending]
Ill be known from towns n farms --
generic “buffoon” music [descending]
Doctor King died in my arms!
cadential gesture"
“Rhymin’ Man” (Broadway the Hard Way, 1988)"
Rhymin’ man,
Tall and tan,
Rhyme or reason,
Play your hand ---
Rhyme on this --- rhyme on that
Oh, you naughty democrat!
A few years later, legend says,
“Happy Days Are Here Again” [1st phrase]"
Rhymin man made a run for prez
“Happy Days Are Here Again” [2nd phrase]
Farrakhan made him a clown,
“Entry of the Gladiators” (Fucik)"
Over there near Hymie-town
“Hava Nagila” [1st phrase] Said he was a diplomat --
“Hail to the Chief” Hobbin an-a-knobbin with Arafat
“Hava Nagila” [2nd phrase]"
Castro was simpatico,
“La Cucaracha”
But the U.S. voters, they said: no!
cadential gesture"
"
Rhymin’ man,
Tall and tan,
Rhyme or reason,
Play your hand ---
Rhyme on this --- rhyme on that
Oh, you naughty democrat!
“Rhymin’ Man” (Broadway the Hard Way, 1988)"
Okay, here we go again!
“Happy Days Are Here Again” (1st phrase)
Rhymin’ man says he’s your friend
“Happy Days Are Here Again” (2nd phrase) Any fool can make a rhyme ---
“Frere Jaques” (1st phrase) Cowboys do it all the time
“Frere Jaques” (2nd phrase)
People say: now he’s mature!
“My Sharona” Cowboys rhyme that with horse manure
“My Sharona” Horse manure!
That’s for sure!
You been cheatin’ --
We kept score!
Are you this? Or are you that? Oh, you naughty
Democrat!
“Hallelujah! I’m a Bum” (McClintock) “Promiscuous” (Broadway the Hard Way, 1988)"
ANAL SEX
ANAL SEX
ANAL SEX
ANAL SEX He says it is not good for us
We just can't be promiscuous
He's just a doctor -- he should know
It's the work of the Devil, so
Girls, don't blow! DON'T BLOW
DON'T BLOW Don't blow Jimmy, don't blow Bobby
Get yourself another hobby
(If Jesus practiced medicine
I'm sure he'd do it
Just like him) Here we go!
The Surgeon General, Doctor Koop
S'posed to give you all the poop
But when he's with P.M.R.C.
The poop he's scoopin' Amazes me C-Span showed him, all dressed up
In his phoney Doctor God get-up
He looked in the camera and fixed his specs
'N gave a fascinating lecture
'Bout anal sex
Is Doctor Koop a man to trust?
It seems at least that Reagan must
(And Ron's a trusting sort of guy --
He trusts Ed Meese
I wonder why?) I WONDER WHY
WONDER WHY
“Promiscuous” (Broadway the Hard Way, 1988)"
The A.M.A. has just got caught
For doin' stuff they shouldn't ought
All they do is lie and lie
Where's Doctor Koop?
He's standin' by Surgeon General? What's the deal?
Is your epidemic real?
Are we leaving something out?
Something we can't talk about?
A little green monkey over there
Kills a million people?
That's not fair!
Did it really go that way?
Did you ask the C.I.A.?
Would they take you serious,
Or have THEY been
Promiscuous
Have THEY been Promiscuous
Have THEY been Promiscuous
Have THEY been Promiscuous