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 the 1940s, the family returned to Maryland, where <mask>'s father worked at the Edgewood Arsenal chemical warfare facility of the Aberdeen Proving Ground run by the U.S. Army. Due to their home's proximity to the arsenal, which stored mustard gas, gas masks were kept in the home in case of an accident. This living arrangement had a profound effect on <mask>, and references to germs, germ warfare, ailments and the defense industry occur frequently throughout his work. <mask> was often sick as a child, suffering from asthma, earaches and sinus problems. A doctor treated his sinusitis by inserting a pellet of radium into each of <mask>'s nostrils.At the time, little was known about the potential dangers of even small amounts of therapeutic radiation, and although it has since been claimed that nasal radium treatment has causal connections to cancer, no studies have provided enough evidence to confirm this. Nasal imagery and references appear in his music and lyrics, as well as in the collage album covers created by his long-time collaborator Cal Schenkel. <mask> believed his childhood diseases might have been due to exposure to mustard gas, released by the nearby chemical warfare facility, and his health worsened when he lived in Baltimore. In 1952, his family relocated for reasons of health to Monterey, California, where his father taught metallurgy at the Naval Postgraduate School. They soon moved to Clairemont, and then to El Cajon, before finally settling in nearby San Diego. First musical interests

<mask> joined his first band at Mission Bay High School in San Diego as the drummer. At about the same time, his parents bought a

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type: original

texts: phonograph, which allowed him to develop his interest in music, and to begin building his record collection.According to The Rough Guide to Rock (2003), "as a teenager <mask> was simultaneously enthralled by black R&B (Johnny 'Guitar' Watson, Guitar Slim), doo-wop (The Channels, The Velvets), the modernism of Igor Stravinsky and Anton Webern, and the dissonant sound experiments of Edgard Varese." R&B singles were early purchases for <mask>, starting a large collection he kept for the rest of his life. He was interested in sounds for their own sake, particularly the sounds of drums and other percussion instruments. By age twelve, he had obtained a snare drum and began learning the basics of orchestral percussion. <mask>'s deep interest in modern classical music began when he read a LOOK magazine article about the Sam Goody record store chain that lauded its ability to sell an LP as obscure as The Complete Works of Edgard Varèse, Volume One. The article described Varèse's percussion composition Ionisation, produced by EMS Recordings, as "a weird jumble of drums and other unpleasant sounds". <mask> decided to seek out Varèse's music.After searching for over a year, <mask> found a copy (he noticed the LP because of the "mad scientist" looking photo of Varèse on the cover). Not having enough money with him, he persuaded the salesman to sell him the record at a discount. Thus began his lifelong passion for Varèse's music and that of other modern classical composers. He also liked the Italian classical music listened to by his grandparents, especially Puccini's opera arias. By 1956, the <mask> family had moved to Lancaster, a small aerospace and


texts: farming town in the Antelope Valley of the Mojave Desert close to Edwards Air Force Base; he would later refer to Sun Village (a town close to Lancaster) in the 1973 track "Village of the Sun". <mask>'s mother encouraged him in his musical interests. Although she disliked Varèse's music, she was indulgent enough to give her son a long-distance call to the New York composer as a fifteenth birthday present.Unfortunately, Varèse was in Europe at the time, so <mask> spoke to the composer's wife and she suggested he call back later. In a letter, Varèse thanked him for his interest, and told him about a composition he was working on called "Déserts". Living in the desert town of Lancaster, <mask> found this very exciting. Varèse invited him to visit if he ever came to New York. The meeting never took place (Varèse died in 1965), but <mask> framed the letter and kept it on display for the rest of his life. At Antelope Valley High School, <mask> met Don Glen Vliet (who later changed his name to Don Van Vliet and adopted the stage name Captain Beefheart). <mask> and Vliet became close friends, sharing an interest in R&B records and influencing each other musically throughout their careers.Around the same time, <mask> started playing drums in a local band, the Blackouts. The band was racially diverse and included Euclid James "Motorhead" Sherwood who later became a member of the Mothers of Invention. <mask>'s interest in the guitar grew, and in 1957 he was given his first instrument. Among his early influences were Johnny "Guitar" Watson, Howlin' Wolf and Clarence "Gatemouth" Brown. In the 1970s/1980s, he invited Watson to perform on several albums.

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texts:
 <mask> considered soloing as the equivalent of forming "air sculptures", and developed an eclectic, innovative and highly personal style. He was also influenced by Egyptian composer Halim El-Dabh.<mask>'s interest in composing and arranging flourished in his last high-school years. By his final year, he was writing, arranging and conducting avant-garde performance pieces for the school orchestra. He graduated from Antelope Valley High School in 1958, and later acknowledged two of his music teachers on the sleeve of the 1966 album Freak Out! Due to his family's frequent moves, <mask> attended at least six different high schools, and as a student he was often bored and given to distracting the rest of the class with juvenile antics. In 1959, he attended Chaffey College but left after one semester, and maintained thereafter a disdain for formal education, taking his children out of school at age 15 and refusing to pay for their college. <mask> left home in 1959, and moved into a small apartment in Echo Park, Los Angeles. After he met Kathryn J."Kay" Sherman during his short period of private composition study with Prof. Karl Kohn of Pomona College, they moved in together in Ontario, and were married December 28, 1960. <mask> worked for a short period in advertising as a copywriter. His sojourn in the commercial world was brief, but gave him valuable insights into its workings. Throughout his career, he took a keen interest in the visual presentation of his work, designing some of his album covers and directing his own films and videos. Studio Z
Zappa attempted to earn a living as a musician and composer, and played different nightclub gigs,

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texts: some with a new version of the Blackouts. <mask>'s earliest professional recordings, two soundtracks for the low-budget films The World's Greatest Sinner (1962) and Run Home Slow (1965) were more financially rewarding. The former score was commissioned by actor-producer Timothy Carey and recorded in 1961.It contains many themes that appeared on later <mask> records. The latter soundtrack was recorded in 1963 after the film was completed, but it was commissioned by one of <mask>'s former high school teachers in 1959 and <mask> may have worked on it before the film was shot. Excerpts from the soundtrack can be heard on the posthumous album The Lost Episodes (1996). During the early 1960s, <mask> wrote and produced songs for other local artists, often working with singer-songwriter Ray Collins and producer Paul Buff. Their "Memories of El Monte" was recorded by the Penguins, although only Cleve Duncan of the original group was featured. Buff owned the small Pal Recording Studio in Cucamonga, which included a unique five-track tape recorder he had built. At that time, only a handful of the most sophisticated commercial studios had multi-track facilities; the industry standard for smaller studios was still mono or two-track.Although none of the recordings from the period achieved major commercial success, <mask> earned enough money to allow him to stage a concert of his orchestral music in 1963 and to broadcast and record it. He appeared on Steve Allen's syndicated late night show the same year, in which he played a bicycle as a musical instrument. Using a bow borrowed from the band's bass player, as well as drum sticks, he proceeded to pluck,


texts: bang, and bow the spokes of the bike, producing strange, comical sounds from his newfound instrument. With Captain Beefheart, <mask> recorded some songs under the name of the Soots. They were rejected by Dot Records. Later, the Mothers were also rejected by Columbia Records for having "no commercial potential", a verdict <mask> subsequently quoted on the sleeve of Freak Out! In 1964, after his marriage started to break up, he moved into the Pal studio and began routinely working 12 hours or more per day recording and experimenting with overdubbing and audio tape manipulation.This established a work pattern that endured for most of his life. Aided by his income from film composing, <mask> took over the studio from Paul Buff, who was now working with Art Laboe at Original Sound. It was renamed Studio Z. Studio Z was rarely booked for recordings by other musicians. Instead, friends moved in, notably James "Motorhead" Sherwood. <mask> started performing in local bars as a guitarist with a power trio, the Muthers, to support himself. An article in the local press describing <mask> as "the Movie King of Cucamonga" prompted the local police to suspect that he was making pornographic films.In March 1965, <mask> was approached by a vice squad undercover officer, and accepted an offer of $100 () to produce a suggestive audio tape for an alleged stag party. <mask> and a female friend recorded a faked erotic episode. When <mask> was about to hand over the tape, he was arrested, and the police stripped the studio of all recorded material. The press was tipped off beforehand, and next day's The Daily Report wrote that "Vice Squad investigators stilled


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 the tape recorders of a free-swinging, a-go-go film and recording studio here Friday and arrested a self-styled movie producer". <mask> was charged with "conspiracy to commit pornography". This felony charge was reduced and he was sentenced to six months in jail on a misdemeanor, with all but ten days suspended. His brief imprisonment left a permanent mark, and was central to the formation of his anti-authoritarian stance.<mask> lost several recordings made at Studio Z in the process, as the police returned only 30 of 80 hours of tape seized. Eventually, he could no longer afford to pay the rent on the studio and was evicted. <mask> managed to recover some of his possessions before the studio was torn down in 1966. Late 1960s: the Mothers of Invention

Formation
In 1965, Ray Collins asked <mask> to take over as guitarist in local R&B band the Soul Giants, following a fight between Collins and the group's original guitarist. <mask> accepted, and soon assumed leadership and the role as co-lead singer (even though he never considered himself a singer, then or later). He convinced the other members that they should play his music to increase the chances of getting a record contract. The band was renamed the Mothers, coincidentally on Mother's Day.They increased their bookings after beginning an association with manager Herb Cohen, and gradually gained attention on the burgeoning Los Angeles underground music scene. In early 1966, they were spotted by leading record producer Tom Wilson when playing "Trouble Every Day", a song about the Watts riots. Wilson had earned acclaim as the producer for Bob Dylan and Simon & Garfunkel, and was one of the


texts: few African-Americans working as a major label pop music producer at this time. Wilson signed the Mothers to the Verve division of MGM, which had built up a strong reputation for its releases of modern jazz recordings in the 1940s and 1950s, but was attempting to diversify into pop and rock audiences. Verve insisted that the band officially rename themselves the Mothers of Invention as Mother was short for motherfucker—a term that, apart from its profane meanings, can denote a skilled musician. Debut album: Freak Out! With Wilson credited as producer, the Mothers of Invention, augmented by a studio orchestra, recorded the groundbreaking Freak Out!(1966), which, after Bob Dylan's Blonde on Blonde, was the second rock double album ever released. It mixed R&B, doo-wop, musique concrète, and experimental sound collages that captured the "freak" subculture of Los Angeles at that time. Although he was dissatisfied with the final product, Freak Out immediately established <mask> as a radical new voice in rock music, providing an antidote to the "relentless consumer culture of America". The sound was raw, but the arrangements were sophisticated. While recording in the studio, some of the additional session musicians were shocked that they were expected to read the notes on sheet music from charts with <mask> conducting them, since it was not standard when recording rock music. The lyrics praised non-conformity, disparaged authorities, and had dadaist elements. Yet, there was a place for seemingly conventional love songs.Most compositions are <mask>'s, which set a precedent for the rest of his recording career. He had full control over the

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texts: arrangements and musical decisions and did most overdubs. Wilson provided the industry clout and connections and was able to provide the group with the financial resources needed. Although Wilson was able to provide <mask> and the Mothers with an extraordinary degree of artistic freedom for the time, the recording did not go entirely as planned. In a 1967 radio interview, <mask> explained that the album's outlandish 11-minute closing track, "Return of the Son of Monster Magnet" was not finished. The track as it appears on the album was only a backing track for a much more complex piece, but MGM refused to allow the additional recording time needed for completion. Much to <mask>'s chagrin, it was issued in its unfinished state.During the recording of Freak Out!, <mask> moved into a house in Laurel Canyon with friend Pamela Zarubica, who appeared on the album. The house became a meeting (and living) place for many LA musicians and groupies of the time, despite <mask>'s disapproval of their illicit drug use. After a short promotional tour following the release of Freak Out!, <mask> met Adelaide Gail Sloatman. He fell in love within "a couple of minutes", and she moved into the house over the summer. They married in 1967, had four children and remained together until <mask>'s death. Wilson nominally produced the Mothers' second album Absolutely Free (1967), which was recorded in November 1966, and later mixed in New York, although by this time <mask> was in de facto control of most facets of the production. It featured extended playing by the Mothers of Invention and focused on songs that defined <mask>'s compositional style of introducing

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 abrupt, rhythmical changes into songs that were built from diverse elements.Examples are "Plastic People" and "Brown Shoes Don't Make It", which contained lyrics critical of the hypocrisy and conformity of American society, but also of the counterculture of the 1960s. As <mask> put it, "[W]e're satirists, and we are out to satirize everything." At the same time, <mask> had recorded material for an album of orchestral works to be released under his own name, Lumpy Gravy, released by Capitol Records in 1967. Due to contractual problems, the album was pulled. <mask> took the opportunity to radically restructure the contents, adding newly recorded, improvised dialogue. After the contractual problems were resolved, the album was reissued by Verve in 1968. It is an "incredible ambitious musical project", a "monument to John Cage", which intertwines orchestral themes, spoken words and electronic noises through radical audio editing techniques.New York period (1966–1968)
The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater (at 152 Bleecker Street, above the Cafe au Go Go) during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year. As a result, <mask> and his wife Gail, along with the Mothers of Invention, moved to New York. Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of <mask>'s music. Everything was directed by <mask> using hand signals. Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, <mask>

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texts: managed to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by <mask> to pretend that it was a "gook baby".Situated in New York, and interrupted by the band's first European tour, the Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, We're Only in It for the Money (released 1968). It was produced by <mask>, with Wilson credited as executive producer. From then on, <mask> produced all albums released by the Mothers of Invention and as a solo artist. We're Only in It for the Money featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena. He sampled plundered surf music in We're only in It for the Money, as well as the Beatles' tape work from their song "Tomorrow Never Knows". The cover photo parodied that of the Beatles' Sgt. Pepper's Lonely Hearts Club Band.The cover art was provided by Cal Schenkel whom <mask> met in New York. This initiated a lifelong collaboration in which Schenkel designed covers for numerous <mask> and Mothers albums. Reflecting <mask>'s eclectic approach to music, the next album, Cruising with Ruben & the Jets (1968), was very different. It represented a collection of doo-wop songs; listeners and critics were not sure whether the album was a satire or a tribute. <mask> later remarked that the album was conceived like Stravinsky's compositions in his neo-classical period: "If he could take the forms and clichés of the classical era and pervert them, why not do the same ... to doo-wop in the


texts:
 fifties?" A theme from Stravinsky's The Rite of Spring is heard during one song. In 1967 and 1968, <mask> made two appearances with the Monkees.The first appearance was on an episode of their TV series, "The Monkees Blow Their Minds", where <mask>, dressed up as Mike Nesmith, interviews Nesmith who is dressed up as <mask>. After the interview, <mask> destroys a car with a sledgehammer as the song "Mother People" plays. He later provided a cameo in the Monkees' movie Head where, leading a cow, he tells Davy Jones "the youth of America depends on you to show them the way." <mask> respected the Monkees and recruited Micky Dolenz to the Mothers but RCA/Columbia/Colgems would not release Dolenz from his contract. During the late 1960s, <mask> continued to develop the business side of his career. He and Herb Cohen formed the Bizarre Records and Straight Records labels to increase creative control and produce recordings by other artists. These labels were distributed in the US by Warner Bros. Records.Zappa/Mothers recordings appeared on Bizarre along with Wild Man Fischer and Lenny Bruce. Straight released the double album Trout Mask Replica for Captain Beefheart, and releases by Alice Cooper, The Persuasions, and the GTOs. In the Mothers' second European tour in September/October 1968 they performed for the  at the Grugahalle in Essen, Germany; at the Tivoli in Copenhagen, Denmark; for TV programs in Germany (Beat-Club), France, and England; at the Concertgebouw in Amsterdam; at the Royal Festival Hall in London; and at the Olympia in Paris. Disbandment

<mask> and the Mothers of Invention returned to Los Angeles in mid-1968, and the Zappas


texts: moved into a house on Laurel Canyon Boulevard, only to move again to Woodrow Wilson Drive. This was <mask>'s home for the rest of his life. Despite being successful in Europe, the Mothers of Invention were not doing well financially. Their first records were vocally oriented, but as <mask> wrote more instrumental jazz and classical style music for the band's concerts, audiences were confused.<mask> felt that audiences failed to appreciate his "electrical chamber music". In 1969 there were nine band members and <mask> was supporting the group from his publishing royalties whether they played or not. In late 1969, <mask> broke up the band. He often cited the financial strain as the main reason, but also commented on the band members' lack of diligence. Many band members were bitter about <mask>'s decision, and some took it as a sign of <mask>'s perfectionism at the expense of human feeling. Others were irritated by 'his autocratic ways', exemplified by <mask>'s never staying at the same hotel as the band members. Several members played for <mask> in years to come.Remaining recordings of the band from this period were collected on Weasels Ripped My Flesh and Burnt Weeny Sandwich (both released in 1970). After he disbanded the Mothers of Invention, <mask> released the acclaimed solo album Hot Rats (1969). It features, for the first time on record, <mask> playing extended guitar solos and contains one of his most enduring compositions, "Peaches en Regalia", which reappeared several times on future recordings. He was backed by jazz, blues and R&B session players including violinist Don "Sugarcane" Harris, drummers John Guerin and Paul Humphrey,

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 multi-instrumentalist and former Mothers of Invention member Ian Underwood, and multi-instrumentalist Shuggie Otis on bass, along with a guest appearance by Captain Beefheart on the only vocal track, "Willie the Pimp". It became a popular album in England, and had a major influence on the development of jazz-rock fusion. 1970s

Rebirth of the Mothers and filmmaking

In 1970 <mask> met conductor Zubin Mehta. They arranged a May 1970 concert where Mehta conducted the Los Angeles Philharmonic augmented by a rock band.According to <mask>, the music was mostly written in motel rooms while on tour with the Mothers of Invention. Some of it was later featured in the movie 200 Motels. Although the concert was a success, <mask>'s experience working with a symphony orchestra was not a happy one. His dissatisfaction became a recurring theme throughout his career; he often felt that the quality of performance of his material delivered by orchestras was not commensurate with the money he spent on orchestral concerts and recordings. Later in 1970, <mask> formed a new version of the Mothers (from then on, he mostly dropped the "of Invention"). It included British drummer Aynsley Dunbar, jazz keyboardist George Duke, Ian Underwood, Jeff Simmons (bass, rhythm guitar), and three members of the Turtles: bass player Jim Pons, and singers Mark Volman and Howard Kaylan, who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie", or "Flo & Eddie". This version of the Mothers debuted on <mask>'s next solo album Chunga's Revenge (1970), which was followed by the double-album soundtrack to the movie 200 Motels


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 (1971), featuring the Mothers, the Royal Philharmonic Orchestra, Ringo Starr, Theodore Bikel, and Keith Moon.Co-directed by <mask> and Tony Palmer, it was filmed in a week at Pinewood Studios outside London. Tensions between <mask> and several cast and crew members arose before and during shooting. The film deals loosely with life on the road as a rock musician. It was the first feature film photographed on videotape and transferred to 35 mm film, a process that allowed for novel visual effects. It was released to mixed reviews. The score relied extensively on orchestral music, and <mask>'s dissatisfaction with the classical music world intensified when a concert, scheduled at the Royal Albert Hall after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract.After 200 Motels, the band went on tour, which resulted in two live albums, Fillmore East – June 1971 and Just Another Band from L.A.; the latter included the 20-minute track "Billy the Mountain", <mask>'s satire on rock opera set in Southern California. This track was representative of the band's theatrical performances—which used songs to build sketches based on 200 Motels scenes, as well as new situations that often portrayed the band members' sexual encounters on the road. Accident, attack, and aftermath

On December 4, 1971, <mask> suffered his first of two serious setbacks. While performing at Casino de Montreux in Switzerland, the Mothers' equipment was destroyed when a flare set off by an audience member started a fire that burned down the casino. Immortalized


texts: in Deep Purple's song "Smoke on the Water", the event and immediate aftermath can be heard on the bootleg album Swiss Cheese/Fire, released legally as part of <mask>'s Beat the Boots II compilation. After losing $50,000 () worth of equipment and a week's break, the Mothers played at the Rainbow Theatre, London, with rented gear. During the encore, an audience member jealous because of his girlfriend's infatuation with <mask> pushed him off the stage and into the concrete-floored orchestra pit.The band thought <mask> had been killed—he had suffered serious fractures, head trauma and injuries to his back, leg, and neck, as well as a crushed larynx, which ultimately caused his voice to drop a third after healing. After the attack <mask> needed to use a wheelchair for an extended period, making touring impossible for over half a year. Upon return to the stage in September 1972, <mask> was still wearing a leg brace, had a noticeable limp and could not stand for very long while on stage. <mask> noted that one leg healed "shorter than the other" (a reference later found in the lyrics of songs "Zomby Woof" and "Dancin' Fool"), resulting in chronic back pain. Meanwhile, the Mothers were left in limbo and eventually formed the core of Flo and Eddie's band as they set out on their own. During 1971–1972 Zappa released two strongly jazz-oriented solo LPs, Waka/Jawaka and The Grand Wazoo, which were recorded during the forced layoff from concert touring, using floating line-ups of session players and Mothers alumni. Musically, the albums were akin to Hot Rats, in that they featured extended instrumental tracks with extended soloing.<mask> began touring


texts:
 again in late 1972. His first effort was a series of concerts in September 1972 with a 20-piece big band referred to as the Grand Wazoo. This was followed by a scaled-down version known as the Petit Wazoo that toured the U.S. for five weeks from October to December 1972. Top 10 album: Apostrophe ()
<mask> then formed and toured with smaller groups that variously included Ian Underwood (reeds, keyboards), Ruth Underwood (vibes, marimba), Sal Marquez (trumpet, vocals), Napoleon Murphy Brock (sax, flute and vocals), Bruce Fowler (trombone), Tom Fowler (bass), Chester Thompson (drums), Ralph Humphrey (drums), George Duke (keyboards, vocals), and Jean-Luc Ponty (violin). By 1973 the Bizarre and Straight labels were discontinued. In their place, <mask> and Cohen created DiscReet Records, also distributed by Warner. <mask> continued a high rate of production through the first half of the 1970s, including the solo album Apostrophe (') (1974), which reached a career-high No.10 on the Billboard pop album charts helped by the No. 86 chart hit "Don't Eat The Yellow Snow". Other albums from the period are Over-Nite Sensation (1973), which contained several future concert favorites, such as "Dinah-Moe Humm" and "Montana", and the albums Roxy & Elsewhere (1974) and One Size Fits All (1975) which feature ever-changing versions of a band still called the Mothers, and are notable for the tight renditions of highly difficult jazz fusion songs in such pieces as "Inca Roads", "Echidna's Arf (Of You)" and "Be-Bop Tango (Of the Old Jazzmen's Church)". A live recording from 1974, You Can't Do That on Stage Anymore, Vol. 2 (1988), captures "the full spirit and


texts:
 excellence of the 1973–1975 band". <mask> released Bongo Fury (1975), which featured a live recording at the Armadillo World Headquarters in Austin from a tour the same year that reunited him with Captain Beefheart for a brief period. They later became estranged for a period of years, but were in contact at the end of <mask>'s life.Business breakups and touring

In 1976 <mask> produced the album Good Singin', Good Playin' for Grand Funk Railroad. <mask>'s relationship with long-time manager Herb Cohen ended in May 1976. <mask> sued Cohen for skimming more than he was allocated from DiscReet Records, as well as for signing acts of which <mask> did not approve. Cohen filed a lawsuit against <mask> in return, which froze the money <mask> and Cohen had gained from an out-of-court settlement with MGM over the rights of the early Mothers of Invention recordings. It also prevented <mask> having access to any of his previously recorded material during the trials. <mask> therefore took his personal master copies of the rock-oriented Zoot Allures (1976) directly to Warner, thereby bypassing DiscReet. Following the split with Cohen, Zappa hired Bennett Glotzer as new manager.By late 1976 <mask> was upset with Warner over inadequate promotion of his recordings and he was eager to move on as soon as possible. In March 1977 <mask> delivered four albums (five full-length LPs) to Warner to complete his contract. These albums contained recordings mostly made between 1972 and 1976. Warner failed to meet contractual obligations to <mask>, but after a lengthy legal dispute they did eventually release these recordings during 1978 and 1979 in censored form.

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texts: Also, in 1977 <mask> prepared a four-LP box set called Läther (pronounced "leather") and negotiated distribution with Phonogram Inc. for release on the Zappa Records label. The Läther box set was scheduled for release on Halloween 1977, but legal action from Warner forced <mask> to shelve this project. In December 1977 <mask> appeared on the Pasadena, California radio station KROQ-FM and played the entire Läther album, while encouraging listeners to make tape recordings of the broadcast.Both sets of recordings (five-LP and four-LP) have much of the same material, but each also has unique content. The albums integrate many aspects of <mask>'s 1970s work: heavy rock, orchestral works, and complex jazz instrumentals, along with <mask>'s distinctive guitar solos. Läther was officially released posthumously in 1996. It is still debated as to whether <mask> had conceived the material as a four-LP set from the beginning, or only later when working with Phonogram. Although <mask> eventually gained the rights to all his material created under the MGM and Warner contracts, the various lawsuits meant that for a period <mask>'s only income came from touring, which he therefore did extensively in 1975–1977 with relatively small, mainly rock-oriented, bands. Drummer Terry Bozzio became a regular band member, Napoleon Murphy Brock stayed on for a while, and original Mothers of Invention bassist Roy Estrada joined. Among other musicians were bassist Patrick O'Hearn, singer-guitarist Ray White and keyboardist/violinist Eddie Jobson.In December 1976, <mask> appeared as a featured musical guest on the NBC television show Saturday Night Live. <mask>'s song

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texts: "I'm the Slime" was performed with a voice-over by SNL booth announcer Don Pardo, who also introduced "Peaches En Regalia" on the same airing. In 1978, <mask> served both as host and musical act on the show, and as an actor in various sketches. The performances included an impromptu musical collaboration with cast member John Belushi during the instrumental piece "The Purple Lagoon". Belushi appeared as his Samurai Futaba character playing the tenor sax with <mask> conducting. <mask>'s band had a series of Christmas shows in New York City in 1976, recordings of which appear on <mask> in New York (1978) and also on the four-LP Läther project. The band included Ruth Underwood and a horn section (featuring Michael and Randy Brecker).It mixes complex instrumentals such as "The Black Page" and humorous songs like "Titties and Beer". The former composition, written originally for drum kit but later developed for larger bands, is notorious for its complexity in rhythmic structure and short, densely arranged passages. <mask> in New York also featured a song about sex criminal Michael H. Kenyon, "The Illinois Enema Bandit", in which Don Pardo provides the opening narrative. Like many songs on the album, it contained numerous sexual references, leading to many critics objecting and being offended by the content. <mask> dismissed the criticism by noting that he was a journalist reporting on life as he saw it. Predating his later fight against censorship, he remarked: "What do you make of a society that is so primitive that it clings to the belief that certain words in its language are so powerful that they could corrupt you the moment you hear them?"


texts:
 The remaining albums released by Warner without <mask>'s approval were Studio Tan in 1978 and Sleep Dirt and Orchestral Favorites in 1979.These releases were largely overlooked in midst of the press about <mask>'s legal problems. Zappa Records label

Zappa released two of his most important projects in 1979. These were the best-selling album of his career, Sheik Yerbouti, and what author Kelley Lowe called the "bona fide masterpiece", Joe's Garage. The double album Sheik Yerbouti appeared in March 1979 and was the first release to appear on Zappa Records. It contained the Grammy-nominated single "Dancin' Fool", which reached No. 45 on the Billboard charts. It also contained "Jewish Princess", which received attention when a Jewish group, the Anti-Defamation League (ADL), attempted to prevent the song from receiving radio airplay due to its alleged anti-Semitic lyrics.<mask> vehemently denied any anti-Semitic sentiments, and dismissed the ADL as a "noisemaking organization that tries to apply pressure on people in order to manufacture a stereotype image of Jews that suits their idea of a good time." The album's commercial success was attributable in part to "Bobby Brown". Due to its explicit lyrics about a young man's encounter with a "dyke by the name of Freddie", the song did not get airplay in the U.S., but it topped the charts in several European countries where English is not the primary language. Joe's Garage initially had to be released in two parts. The first was a single LP Joe's Garage Act I in September 1979, followed by a double LP Joe's Garage Acts II and III in November 1979. The albums feature singer Ike Willis as lead


texts: character "Joe" in a rock opera about the danger of political systems, the suppression of freedom of speech and music—inspired in part by the 1979 Islamic Iranian revolution that had made music illegal—and about the "strange relationship Americans have with sex and sexual frankness". The first act contains the song "Catholic Girls" (a riposte to the controversies of "Jewish Princess"), and the title track, which was also released as a single.The second and third acts have extended guitar improvisations, which were recorded live, then combined with studio backing tracks. <mask> described this process as xenochrony. In this period the band included drummer Vinnie Colaiuta (with whom <mask> had a particularly strong musical rapport)  Joe's Garage contains one of <mask>'s most famous guitar "signature pieces", "Watermelon in Easter Hay". This work later appeared as a three-LP, or two-CD set. On December 21, 1979, <mask>'s movie Baby Snakes premiered in New York. The movie's tagline was "A movie about people who do stuff that is not normal". The 2 hour and 40 minutes movie was based on footage from concerts in New York around Halloween 1977, with a band featuring keyboardist Tommy Mars and percussionist Ed Mann (who would both return on later tours) as well as guitarist Adrian Belew.It also contained several extraordinary sequences of clay animation by Bruce Bickford who had earlier provided animation sequences to <mask> for a 1974 TV special (which became available on the 1982 video The Dub Room Special). The movie did not do well in theatrical distribution, but won the Premier Grand Prix at the First International Music Festival in Paris in


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 1981. 1980s–1990s

<mask> cut ties with Phonogram after the distributor refused to release his song "I Don't Wanna Get Drafted", which was recorded in February 1980. The single was released independently by <mask> in the United States and was picked up by CBS Records internationally. After spending much of 1980 on the road, <mask> released Tinsel Town Rebellion in 1981. It was the first release on his own Barking Pumpkin Records, and it contains songs taken from a 1979 tour, one studio track and material from the 1980 tours. The album is a mixture of complicated instrumentals and <mask>'s use of sprechstimme (speaking song or voice)—a compositional technique utilized by such composers as Arnold Schoenberg and Alban Berg—showcasing some of the most accomplished bands <mask> ever had (mostly featuring drummer Vinnie Colaiuta).While some lyrics still raised controversy among critics, some of whom found them sexist, the political and sociological satire in songs like the title track and "The Blue Light" have been described as a "hilarious critique of the willingness of the American people to believe anything". The album is also notable for the presence of guitarist Steve Vai, who joined <mask>'s touring band in late 1980. The same year the double album You Are What You Is was released. Most of it was recorded in <mask>'s brand new Utility Muffin Research Kitchen (UMRK) studios, which were located at his house, thereby giving him complete freedom in his work. The album included one complex instrumental, "Theme from the 3rd Movement of Sinister Footwear", but mainly consisted of rock songs with <mask>'s sardonic social commentary—satirical


texts: lyrics directed at teenagers, the media, and religious and political hypocrisy. "Dumb All Over" is a tirade on religion, as is "Heavenly Bank Account", wherein Zappa rails against TV evangelists such as Jerry Falwell and Pat Robertson for their purported influence on the U.S. administration as well as their use of religion as a means of raising money. Songs like "Society Pages" and "I'm a Beautiful Guy" show <mask>'s dismay with the Reagan era and its "obscene pursuit of wealth and happiness".<mask> made his only music video for a song from this album - "You Are What You Is" - directed by Jerry Watson, produced by Paul Flattery. It was banned from MTV. <mask>'s management relationship with Bennett Glotzer ended in 1984. From then on Gail acted as co-manager with <mask> of all his business interests. In 1981, <mask> also released three instrumental albums, Shut Up 'n Play Yer Guitar, Shut Up 'N Play Yer Guitar Some More, and The Return of the Son of Shut Up 'N Play Yer Guitar, which were initially sold via mail order, but later released through CBS Records (now Sony Music Entertainment) due to popular demand. The albums focus exclusively on <mask> as a guitar soloist, and the tracks are predominantly live recordings from 1979 to 1980; they highlight <mask>'s improvisational skills with "beautiful performances from the backing group as well". Another guitar-only album, Guitar, was released in 1988, and a third, Trance-Fusion, which <mask> completed shortly before his death, was released in 2006.<mask> later expanded on his television appearances in a non-musical role. He was an actor or voice artist in episodes of Shelley Duvall's Faerie

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 Tale Theatre, Miami Vice and The Ren & Stimpy Show. A voice part in The Simpsons never materialized, to creator Matt Groening's disappointment (Groening was a neighbor of <mask> and a lifelong fan). "Valley Girl" and classical performances
In May 1982, <mask> released Ship Arriving Too Late to Save a Drowning Witch, which featured his biggest selling single ever, the Grammy Award-nominated song "Valley Girl" (topping out at No. 32 on the Billboard charts). In her improvised lyrics to the song, <mask>'s daughter Moon satirized the patois of teenage girls from the San Fernando Valley, which popularized many "Valspeak" expressions such as "gag me with a spoon", "fer sure, fer sure", "grody to the max", and "barf out". In 1983, two different projects were released, beginning with The Man from Utopia, a rock-oriented work.The album is eclectic, featuring the vocal-led "Dangerous Kitchen" and "The Jazz Discharge Party Hats", both continuations of the sprechstimme excursions on Tinseltown Rebellion. The second album, London Symphony Orchestra, Vol. I, contained orchestral Zappa compositions conducted by Kent Nagano and performed by the London Symphony Orchestra (LSO). A second record of these sessions, London Symphony Orchestra, Vol. II was released in 1987. The material was recorded under a tight schedule with <mask> providing all funding, helped by the commercial success of "Valley Girl". <mask> was not satisfied with the LSO recordings.One reason is "Strictly Genteel", which was recorded after the trumpet section had been out for drinks on a break: the track took 40 edits to hide out-of-tune notes. Conductor Nagano, who was pleased with the


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 experience, noted that "in fairness to the orchestra, the music is humanly very, very difficult". Some reviews noted that the recordings were the best representation of <mask>'s orchestral work so far. In 1984 <mask> teamed again with Nagano and the Berkeley Symphony Orchestra for a live performance of A Zappa Affair with augmented orchestra, life-size puppets, and moving stage sets. Although critically acclaimed the work was a financial failure, and only performed twice. <mask> was invited by conference organizer Thomas Wells to be the keynote speaker at the American Society of University Composers at the Ohio State University. It was there <mask> delivered his famous "Bingo!There Goes Your Tenure" address, and had two of his orchestra pieces, "Dupree's Paradise" and "Naval Aviation in Art?" performed by the Columbus Symphony and ProMusica Chamber Orchestra of Columbus. Synclavier

For the remainder of his career, much of <mask>'s work was influenced by his use of the Synclavier, an early digital synthesizer, as a compositional and performance tool. According to <mask>, "With the Synclavier, any group of imaginary instruments can be invited to play the most difficult passages ... with one-millisecond accuracy—every time". Even though it essentially did away with the need for musicians, <mask> viewed the Synclavier and real-life musicians as separate. In 1984, he released four albums. Boulez Conducts Zappa: The Perfect Stranger contains orchestral works commissioned and conducted by celebrated conductor, composer and pianist Pierre Boulez (who was listed as an influence on Freak Out!), and performed by his Ensemble InterContemporain. These


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 were juxtaposed with premiere Synclavier pieces. Again, <mask> was not satisfied with the performances of his orchestral works, regarding them as under-rehearsed, but in the album liner notes he respectfully thanks Boulez's demands for precision. The Synclavier pieces stood in contrast to the orchestral works, as the sounds were electronically generated and not, as became possible shortly thereafter, sampled. The album Thing-Fish was an ambitious three-record set in the style of a Broadway play dealing with a dystopian "what-if" scenario involving feminism, homosexuality, manufacturing and distribution of the AIDS virus, and a eugenics program conducted by the United States government. New vocals were combined with previously released tracks and new Synclavier music; "the work is an extraordinary example of bricolage". <mask>, a Synclavier rendition of works by 18th-century composer <mask>, was also released in 1984.Merchandising
Zappa’s mail-order merchandise business Barfko-Swill was run by Gerry Fialka, who also worked for Zappa as archivist and production assistant from 1983 to 1993 and answered the phone for <mask>’s Barking Pumpkin Records hotline. Fialka appears giving a tour of Barfko-Swill in the 1987 VHS release (but not the original 1979 film release) of <mask>'s film Baby Snakes. He is credited on-screen as "GERALD FIALKA Cool Guy Who Wraps Stuff So It Doesn't Break". A short clip of this tour is also included in the 2020 documentary film Zappa. Digital medium and last tour
Around 1986, <mask> undertook a comprehensive re-release program of his earlier vinyl recordings. He personally oversaw the remastering of all his 1960s,

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 1970s and early 1980s albums for the new digital compact disc medium. Certain aspects of these re-issues were criticized by some fans as being unfaithful to the original recordings.Nearly twenty years before the advent of online music stores, <mask> had proposed to replace "phonographic record merchandising" of music by "direct digital-to-digital transfer" through phone or cable TV (with royalty payments and consumer billing automatically built into the accompanying software). In 1989, <mask> considered his idea a "miserable flop". The album Jazz from Hell, released in 1986, earned <mask> his first Grammy Award in 1988 for Best Rock Instrumental Performance. Except for one live guitar solo ("St. Etienne"), the album exclusively featured compositions brought to life by the Synclavier. <mask>'s last tour in a rock and jazz band format took place in 1988 with a 12-piece group which had a repertoire of over 100 (mostly <mask>) compositions, but which split under acrimonious circumstances before the tour was completed. The tour was documented on the albums Broadway the Hard Way (new material featuring songs with strong political emphasis); The Best Band You Never Heard in Your Life (<mask> "standards" and an eclectic collection of cover tunes, ranging from Maurice Ravel's Boléro to Led Zeppelin's Stairway to Heaven to The Beatles' I Am The Walrus); and also, Make a Jazz Noise Here. Parts are also found on You Can't Do That on Stage Anymore, volumes 4 and 6.Recordings from this tour also appear on the 2006 album Trance-Fusion. Health deterioration

In 1990, <mask> was diagnosed with terminal prostate cancer. The disease had been developing


texts: unnoticed for years and was considered inoperable. After the diagnosis, <mask> devoted most of his energy to modern orchestral and Synclavier works. Shortly before his death in 1993 he completed Civilization Phaze III, a major Synclavier work which he had begun in the 1980s. In 1991, <mask> was chosen to be one of four featured composers at the Frankfurt Festival in 1992 (the others were John Cage, Karlheinz Stockhausen, and Alexander Knaifel). <mask> was approached by the German chamber ensemble Ensemble Modern which was interested in playing his music for the event.Although ill, he invited them to Los Angeles for rehearsals of new compositions and new arrangements of older material. <mask> also got along with the musicians, and the concerts in Germany and Austria were set up for later in the year. <mask> also performed in 1991 in Prague, claiming that "was the first time that he had a reason to play his guitar in 3 years", and that that moment was just "the beginning of a new country", and asked the public to "try to keep your country unique, do not change it into something else". In September 1992, the concerts went ahead as scheduled but <mask> could only appear at two in Frankfurt due to illness. At the first concert, he conducted the opening "Overture", and the final "G-Spot Tornado" as well as the theatrical "Food Gathering in Post-Industrial America, 1992" and "Welcome to the United States" (the remainder of the program was conducted by the ensemble's regular conductor Peter Rundel). <mask> received a 20-minute ovation. G-Spot Tornado was performed with Canadian dancer Louise Lecavalier.It was <mask>'s last professional public


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 appearance as the cancer was spreading to such an extent that he was in too much pain to enjoy an event that he otherwise found "exhilarating". Recordings from the concerts appeared on The Yellow Shark (1993), <mask>'s last release during his lifetime, and some material from studio rehearsals appeared on the posthumous Everything Is Healing Nicely (1999). <mask> died from prostate cancer on December 4, 1993, 17 days before his 53rd birthday at his home with his wife and children by his side. At a private ceremony the following day, his body was buried in a grave at the Westwood Village Memorial Park Cemetery, in Los Angeles. The grave is unmarked. On December 6, his family publicly announced that "Composer <mask> left for his final tour just before 6:00 pm on Saturday". Musical style and development

Genres

The general phases of <mask>'s music have been variously categorized under experimental rock, jazz, classical, avant-pop, experimental pop, comedy rock, doo-wop, jazz fusion, progressive rock, proto-prog, avant-jazz, and psychedelic rock.Influences
<mask> grew up influenced by avant-garde composers such as Edgard Varèse, Igor Stravinsky, and Anton Webern; 1950s blues artists Clarence "Gatemouth" Brown, Guitar Slim, Howlin' Wolf, Johnny "Guitar" Watson, and B.B. King; Egyptian composer Halim El-Dabh; R&B and doo-wop groups (particularly local pachuco groups); and modern jazz. His own heterogeneous ethnic background, and the diverse social and cultural mix in and around greater Los Angeles, were crucial in the formation of <mask> as a practitioner of underground music and of his later distrustful and openly critical attitude towards

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 "mainstream" social, political and musical movements. He frequently lampooned musical fads like psychedelia, rock opera and disco. Television also exerted a strong influence, as demonstrated by quotations from show themes and advertising jingles found in his later works. In his book The Real Frank Zappa Book, <mask> credited composer Spike Jones for <mask>'s frequent use of funny sound effects, mouth noises, and humorous percussion interjections. After explaining his ideas on this, he said "I owe this part of my musical existence to Spike Jones."Project/Object
Zappa's albums make extensive use of segued tracks, breaklessly joining the elements of his albums. His total output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas, and characters reappearing across his albums. He also called it a "conceptual continuity", meaning that any project or album was part of a larger project. Everything was connected, and musical themes and lyrics reappeared in different form on later albums. Conceptual continuity clues are found throughout <mask>'s entire œuvre. Techniques

Guitar playing
<mask> is widely recognized as one of the most significant electric guitar soloists. In a 1983 issue of Guitar World, John Swenson declared: "the fact of the matter is that [<mask>] is one of the greatest guitarists we have and is sorely unappreciated as such."His idiosyncratic style developed gradually and was mature by the early 1980s, by which time his live performances featured lengthy improvised solos during many songs. A November 2016 feature by the editors of Guitar Player magazine wrote: "Brimming with

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texts: sophisticated motifs and convoluted rhythms, <mask>'s extended excursions are more akin to symphonies than they are to guitar solos." The symphonic comparison stems from his habit of introducing melodic themes that, like a symphony's main melodies, were repeated with variations throughout his solos. He was further described as using a wide variety of scales and modes, enlivened by "unusual rhythmic combinations". His left hand was capable of smooth legato technique, while <mask>'s right was "one of the fastest pick hands in the business." In 2016, Dweezil <mask> explained a distinctive element of his father's guitar improvisation technique was relying heavily on upstrokes much more than many other guitarists, who are more likely to use downstrokes with their picking. His song "Outside Now" from Joe's Garage poked fun at the negative reception of <mask>'s guitar technique by those more commercially minded, as the song's narrator lives in a world where music is outlawed and he imagines "imaginary guitar notes that would irritate/An executive kind of guy", lyrics that are followed by one of <mask>'s characteristically quirky solos in 11/8 time.Zappa transcriptionist Kasper Sloots wrote, "<mask>'s guitar solos aren't meant to show off technically (<mask> hasn't claimed to be a big virtuoso on the instrument), but for the pleasure it gives trying to build a composition right in front of an audience without knowing what the outcome will be." <mask>'s guitar style was not without its critics. English guitarist and bandleader John McLaughlin, whose band Mahavishnu Orchestra toured with the Mothers of Invention in 1973, opined that <mask> was "very


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 interesting as a human being and a very interesting composer" and that he "was a very good musician but he was a dictator in his band," and that he "was taking very long guitar solos [when performing live]– 10–15 minute guitar solos and really he should have taken two or three minute guitar solos, because they were a little bit boring." In 2000, he was ranked number 36 on VH1's 100 Greatest Artists of Hard Rock. In 2004, Rolling Stone magazine ranked him at number 71 on its list of the "100 Greatest Artists of All Time", and in 2011 at number 22 on its list of the "100 Greatest Guitarists of All Time". Tape manipulation
In New York, <mask> increasingly used tape editing as a compositional tool. A prime example is found on the double album Uncle Meat (1969), where the track "King Kong" is edited from various studio and live performances.<mask> had begun regularly recording concerts, and because of his insistence on precise tuning and timing, he was able to augment his studio productions with excerpts from live shows, and vice versa. Later, he combined recordings of different compositions into new pieces, irrespective of the tempo or meter of the sources. He dubbed this process "xenochrony" (strange synchronizations)—reflecting the Greek "xeno" (alien or strange) and "chronos" (time). Personal life

<mask> was married to Kathryn J. "Kay" Sherman from 1960 to 1963. In 1967, he married Adelaide Gail Sloatman. He and his second wife had four children: Moon, Dweezil, Ahmet, and Diva.Following <mask>'s death, his widow Gail created the Zappa Family Trust, which owns the rights to <mask>'s music and some other creative output: more than 60 albums


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 were released during <mask>'s lifetime and 40 posthumously. Upon Gail's death in October 2015, the <mask> children received shares of the trust; Ahmet and Diva received 30% each, Moon and Dweezil received 20% each. Beliefs and politics

Drugs
<mask> stated, "Drugs do not become a problem until the person who uses the drugs does something to you, or does something that would affect your life that you don't want to have happen to you, like an airline pilot who crashes because he was full of drugs." <mask> was a heavy tobacco smoker for most of his life, and strongly critical of anti-tobacco campaigns. While he disapproved of drug use, he criticized the War on Drugs, comparing it to alcohol prohibition, and stated that the United States Treasury would benefit from the decriminalization and regulation of drugs. Describing his philosophical views, <mask> stated, "I believe that people have a right to decide their own destinies; people own themselves. I also believe that, in a democracy, government exists because (and only so long as) individual citizens give it a 'temporary license to exist'—in exchange for a promise that it will behave itself.In a democracy, you own the government—it doesn't own you." Government and religion

In a 1991 interview, <mask> reported that he was a registered Democrat but added "that might not last long—I'm going to shred that". Describing his political views, <mask> categorized himself as a "practical conservative". He favored limited government and low taxes; he also stated that he approved of national defense, social security, and other federal programs, but only if recipients of such programs are willing and


texts: able to pay for them. He favored capitalism, entrepreneurship, and independent business, stating that musicians could make more from owning their own businesses than from collecting royalties. He opposed communism, stating, "A system that doesn't allow ownership ... has—to put it mildly—a fatal design flaw." He had always encouraged his fans to register to vote on album covers, and throughout 1988 he had registration booths at his concerts.He even considered running for president of the United States as an independent. <mask> was an atheist. He recalled his parents being "pretty religious" and trying to make him go to Catholic school despite his resentment. He felt disgust towards organized religion (Christianity in particular) because he believed that it promoted ignorance and anti-intellectualism. He held the view that the Garden of Eden story shows that the essence of Christianity is to oppose gaining knowledge. Some of his songs, concert performances, interviews and public debates in the 1980s criticized and derided Republicans and their policies, President Ronald Reagan, the Strategic Defense Initiative (SDI), televangelism, and the Christian Right, and warned that the United States government was in danger of becoming a "fascist theocracy". In early 1990, <mask> visited Czechoslovakia at the request of President Václav Havel.Havel designated him as Czechoslovakia's "Special Ambassador to the West on Trade, Culture and Tourism". Havel was a lifelong fan of <mask>, who had great influence in the avant-garde and underground scene in Central Europe in the 1970s and 1980s (a Czech rock group that was imprisoned in 1976 took its name from


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 <mask>'s 1968 song "Plastic People"). Under pressure from Secretary of State James Baker, <mask>'s posting was withdrawn. Havel made <mask> an unofficial cultural attaché instead. <mask> planned to develop an international consulting enterprise to facilitate trade between the former Eastern Bloc and Western businesses. Anti-censorship
<mask> expressed opinions on censorship when he appeared on CNN's Crossfire TV series and debated issues with Washington Times commentator John Lofton in 1986. On September 19, 1985, <mask> testified before the United States Senate Commerce, Technology, and Transportation committee, attacking the Parents Music Resource Center or PMRC, a music organization co-founded by Tipper Gore, wife of then-senator Al Gore.The PMRC consisted of many wives of politicians, including the wives of five members of the committee, and was founded to address the issue of song lyrics with sexual or satanic content. During <mask>'s testimony, he stated that there was a clear conflict of interest between the PMRC due to the relations of its founders to the politicians who were then trying to pass what he referred to as the "Blank Tape Tax." Kandy Stroud, a spokeswoman for the PMRC, announced that Senator Gore (who co-founded the committee) was a co-sponsor of that legislation. <mask> suggested that record labels were trying to get the bill passed quickly through committees, one of which was chaired by Senator Strom Thurmond, who was also affiliated with the PMRC. <mask> further pointed out that this committee was being used as a distraction from that bill being passed, which would lead only to the benefit of a select few in the


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 music industry. <mask> saw their activities as on a path towards censorship and called their proposal for voluntary labelling of records with explicit content "extortion" of the music industry. In his prepared statement, he said:

The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civil liberties of people who are not children, and promises to keep the courts busy for years dealing with the interpretational and enforcemental problems inherent in the proposal's design.It is my understanding that, in law, First Amendment issues are decided with a preference for the least restrictive alternative. In this context, the PMRC's demands are the equivalent of treating dandruff by decapitation. ... The establishment of a rating system, voluntary or otherwise, opens the door to an endless parade of moral quality control programs based on things certain Christians do not like. What if the next bunch of Washington wives demands a large yellow "J" on all material written or performed by Jews, in order to save helpless children from exposure to concealed Zionist doctrine? <mask> set excerpts from the PMRC hearings to Synclavier music in his composition "Porn Wars" on the 1985 album <mask>pa Meets the Mothers of Prevention, and the full recording was released in 2010 as Congress Shall Make No Law... <mask> is heard interacting with Senators Fritz Hollings, Slade Gorton and Al Gore. Legacy

<mask> had a controversial critical standing during his lifetime.As Geoffrey Himes noted in 1993 after the artist's death, <mask> was hailed as a genius by conductor Kent Nagano and nominated by

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 Czechoslovakian President Václav Havel to the country's cultural ambassadorship, but he was in his lifetime rejected twice for admission into the Rock and Roll Hall of Fame and been found by critics to lack emotional depth. In Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau dismissed <mask>'s music as "sexist adolescent drivel ... with meters and voicings and key changes that are as hard to play as they are easy to forget." According to Himes:

Acclaim and honors

The Rolling Stone Album Guide (2004) writes: "<mask> dabbled in virtually all kinds of music—and, whether guised as a satirical rocker, jazz-rock fusionist, guitar virtuoso, electronics wizard, or orchestral innovator, his eccentric genius was undeniable." Even though his work drew inspiration from many different genres, <mask> was seen as establishing a coherent and personal expression. In 1971, biographer David Walley noted that "The whole structure of his music is unified, not neatly divided by dates or time sequences and it is all building into a composite". On commenting on <mask>'s music, politics and philosophy, Barry Miles noted in 2004 that they cannot be separated: "It was all one; all part of his 'conceptual continuity'." Guitar Player devoted a special issue to <mask> in 1992, and asked on the cover "Is FZ America's Best Kept Musical Secret?"Editor Don Menn remarked that the issue was about "The most important composer to come out of modern popular music". Among those contributing to the issue was composer and musicologist Nicolas Slonimsky, who conducted premiere performances of works of Ives and Varèse in the 1930s. He became friends

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texts: with <mask> in the 1980s, and said, "I admire everything <mask> does, because he practically created the new musical millennium. He does beautiful, beautiful work ... It has been my luck to have lived to see the emergence of this totally new type of music." Conductor Kent Nagano remarked in the same issue that "<mask> is a genius. That's a word I don't use often ...In <mask>'s case it is not too strong ... He is extremely literate musically. I'm not sure if the general public knows that." Pierre Boulez told Musician magazine's posthumous Zappa tribute article that <mask> "was an exceptional figure because he was part of the worlds of rock and classical music and that both types of his work would survive." In 1994, jazz magazine DownBeats critics poll placed <mask> in its Hall of Fame. <mask> was posthumously inducted into the Rock and Roll Hall of Fame in 1995. There, it was written that "<mask> was rock and roll's sharpest musical mind and most astute social critic.He was the most prolific composer of his age, and he bridged genres—rock, jazz, classical, avant-garde and even novelty music—with masterful ease". He was ranked number 36 on VH1's 100 Greatest Artists of Hard Rock in 2000. In 2005, the U.S. National Recording Preservation Board included We're Only in It for the Money in the National Recording Registry as "<mask>'s inventive and iconoclastic album presents a unique political stance, both anti-conservative and anti-counterculture, and features a scathing satire on hippiedom and America's reactions to it". The same year, Rolling Stone magazine ranked him at No. 71 on its list of the 100 Greatest Artists of All Time. In 2011, he

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 was ranked at No. 22 on the list of the 100 Greatest Guitarists of All Time by the same magazine.In 2016, Guitar World magazine placed <mask> atop of its list "15 of the best progressive rock guitarists through the years." The street of Partinico where his father lived at number 13, Via Zammatà, has been renamed to Via Frank Zappa. Since his death, several musicians have been considered by critics as filling the artistic niche left behind by <mask>, in view of their prolific output, eclecticism and other qualities, including Devin Townsend, Mike Patton and Omar Rodríguez-López. Grammy Awards
In the course of his career, <mask> was nominated for nine competitive Grammy Awards, which resulted in two wins (one posthumous). In 1998, he received the Grammy Lifetime Achievement Award. |-
|rowspan="2"| 1980 || "Rat Tomago" || Best Rock Instrumental Performance ||
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| "Dancin' Fool" || Best Male Rock Vocal Performance ||
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| 1983 || "Valley Girl" || Best Rock Performance by a Duo or Group with Vocal ||
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| 1985 || The Perfect Stranger || Best New Classical Composition ||
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|rowspan="2"| 1988 || "Jazz from Hell" || Best Instrumental Composition ||
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| Jazz from Hell ||rowspan="2"| Best Rock Instrumental Performance (Orchestra, Group or Soloist) ||
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| 1989 || Guitar ||
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| 1990 || Broadway the Hard Way || Best Musical Cast Show Album ||
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| 1996 || Civilization Phaze III || Best Recording Package – Boxed ||
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| 1998 || <mask> || Lifetime Achievement Award ||

Artists influenced by Zappa
Many musicians, bands and orchestras from diverse genres have been influenced by <mask>'s music. Rock artists such as The Plastic People of the

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 Universe, Alice Cooper, Larry LaLonde of Primus, Fee Waybill of the Tubes all cite Zappa's influence, as do progressive, alternative, electronic and avant-garde/experimental rock artists like Can, Pere Ubu, Yes, Soft Machine, Henry Cow, Faust, Devo, Kraftwerk, Trey Anastasio and Jon Fishman of Phish, Jeff Buckley, John Frusciante, Steven Wilson, and The Aristocrats.Paul McCartney regarded Sgt. Pepper's Lonely Hearts Club Band as the Beatles' Freak Out!. Jimi Hendrix and heavy rock and metal acts like Black Sabbath, Simon Phillips, Mike Portnoy, Warren DeMartini, Alex Skolnick, Steve Vai, Strapping Young Lad, System of a Down, and Clawfinger have acknowledged <mask> as inspiration. On the classical music scene, Tomas Ulrich, Meridian Arts Ensemble, Ensemble Ambrosius and the Fireworks Ensemble regularly perform <mask>'s compositions and quote his influence. Contemporary jazz musicians and composers Bobby Sanabria, Bill Frisell and John Zorn are inspired by <mask>, as is funk legend George Clinton. Other artists affected by <mask> include ambient composer Brian Eno, new age pianist George Winston, electronic composer Bob Gluck, parodist artist and disk jockey Dr. Demento, parodist and novelty composer "Weird Al" Yankovic, industrial music pioneer Genesis P-Orridge, singer Cree Summer, noise music artist Masami Akita of Merzbow, and Chilean composer Cristián Crisosto from Fulano and Mediabanda. References in arts and sciences

Scientists from various fields have honored <mask> by naming new discoveries after him.In 1967, paleontologist Leo P. Plas, Jr., identified an extinct mollusc in Nevada and named it Amaurotoma zappa with the motivation


texts: that, "The specific name, zappa, honors <mask>". In the 1980s, biologist Ed Murdy named a genus of gobiid fishes of New Guinea Zappa, with a species named Zappa confluentus. Biologist Ferdinando Boero named a Californian jellyfish Phialella zappai (1987), noting that he had "pleasure in naming this species after the modern music composer". Belgian biologists Bosmans and Bosselaers discovered in the early 1980s a Cameroonese spider, which they in 1994 named Pachygnatha zappa because "the ventral side of the abdomen of the female of this species strikingly resembles the artist's legendary moustache". A gene of the bacterium Proteus mirabilis that causes urinary tract infections was in 1995 named zapA by three biologists from Maryland. In their scientific article, they "especially thank the late <mask> for inspiration and assistance with genetic nomenclature". Repeating regions of the genome of the human tumor virus KSHV were named frnk, vnct and zppa in 1996 by Yuan Chang and Patrick S. Moore who discovered the virus.Also, a 143 base pair repeat sequence occurring at two positions was named waka/jwka. In the late 1990s, American paleontologists Marc Salak and Halard L. Lescinsky discovered a metazoan fossil, and named it Spygori zappania to honor "the late <mask> ... whose mission paralleled that of the earliest paleontologists: to challenge conventional and traditional beliefs when such beliefs lacked roots in logic and reason". In 1994, lobbying efforts initiated by psychiatrist John Scialli led the International Astronomical Union's Minor Planet Center to name an asteroid in Zappa's honor: 3834 Zappafrank. The asteroid was discovered in

masks:
Frank Zappa
Frank Zappa
Frank Zappa


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 1980 by Czechoslovakian astronomer Ladislav Brožek, and the citation for its naming says that "<mask> was an eclectic, self-trained artist and composer ... Before 1989 he was regarded as a symbol of democracy and freedom by many people in Czechoslovakia". In 1995, a bust of <mask> by sculptor Konstantinas Bogdanas was installed in Vilnius, the Lithuanian capital . The choice of Zappa was explained as "a symbol that would mark the end of communism, but at the same time express that it wasn't always doom and gloom." A replica was offered to the city of Baltimore in 2008, and on September 19, 2010 — the twenty-fifth anniversary of Zappa's testimony to the U.S. Senate — a ceremony dedicating the replica was held, and the bust was unveiled at a library in the city.In 2002, a bronze bust was installed in German city Bad Doberan, location of the Zappanale since 1990, an annual music festival celebrating <mask>. At the initiative of musicians community ORWOhaus, the city of Berlin named a street in the Marzahn district "Frank-Zappa-Straße" in 2007. The same year, Baltimore mayor Sheila Dixon proclaimed August 9 as the city's official "Frank Zappa Day" citing <mask>'s musical accomplishments as well as his defense of the First Amendment to the United States Constitution. Zappa documentary
The biographical documentary Zappa, directed by Alex Winter and released on November 27, 2020, includes previously unreleased footage from <mask>'s personal vault, to which he was granted access by the Zappa Family Trust. Discography

During his lifetime, Zappa released 62 albums. Since 1994, the Zappa Family Trust has released 57 posthumous albums, making a


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<mask> "<mask>" <mask> (born June 3, 1982) is a former professional Canadian football slotback who played for 15 years in the Canadian Football League (CFL). He is a two-time Grey Cup champion, winning in 2008 and 2014 with the Calgary Stampeders. In his first season, he won the CFL Rookie of the Year award, followed by five West Division All-Star and three CFL All-Star awards. He is second all-time as a Stampeder in receptions (805), receiving yards (11,250), and touchdown catches (65) behind Allen Pitts. He also has the club record for consecutive games with a reception, with 166. On August 24, 2017, <mask> became the CFL all-time leader in receptions with 1,030 catches (he finished his career with 1,051). <mask> attended Southern Arkansas University and was named an NCAA Division II All-American in 2003.He attended high school in Jacksboro, Texas where he participated in track, specializing in the triple jump. Professional career

Calgary Stampeders

In 2004, <mask> led the Stampeders in receptions (72), receiving yards (1045), touchdowns (8) and punt return yards (385) and was recognized as the Rookie of the Year by the Canadian Football League. <mask> finished the 2005 CFL season with 1,379 receiving yards, nine touchdowns and 80 receptions, second in the league. 2006 was another strong year for <mask> with the Stampeders as he posting 77 receptions, 1,114 receiving yards and five touchdowns and was named to the 2006 CFL Western Division All-Star team. The 2007 CFL season saw <mask> achieve 67 receptions, 1,101 receiving yards, and 5 touchdowns. <mask> also had a career long 85 yard reception and was again a CFL Western Division All-Star. <mask> helped lead Calgary to

masks: Nikolas Nik Lewis Lewis Lewis Lewis Lewis Lewis Lewis Lewis Lewis


texts: the 96th Grey Cup championship with 87 receptions for 1,109 yards and 10 touchdowns in the 2008 regular season.In 2009, <mask> had another 1,000-yard season by reaching the plateau in the last 15 minutes in the last game of the regular season. <mask> scored his first and only touchdown of the season in the 17th game of the regular season, earning the unusual distinction of having the lowest touchdowns scored for a 1,000-yard receiver in the history of the CFL. As of the end of this season, <mask> has caught a pass in all 105 games that he has played in. In 2011 <mask> partnered with Joffrey Reynolds to create www.calmb4storm.com an organization that gives fans an opportunity to experience things otherwise unattainable. In a 2012 poll of over 250 of his fellow players in the CFL, <mask> was voted "Toughest to Bring Down" out of all other players in the league, with 35% of all votes cast. He also received 8.4% of all votes cast in the category "Toughest Player", finishing third, and placed fourth in the category "Nastiest Player." He received 7.8% of all votes cast in the category "Best Hands", finishing fifth, and he ranked fourth in the category "Best Clutch Performer."Players on the roster of the Calgary Stampeders were not permitted to vote for <mask>. He was the only player to rank in the top five in more than three categories. During the 2012 CFL Playoffs <mask> sent out the following Tweet "I just bought OJ’s gloves on eBay. Now all I need is a white girl named Nicole." The Tweet was soon deleted by <mask>. <mask> was fined an undisclosed amount by the CFL for violating its social media policy. <mask> subsequently made apologies on two successive days, and announced

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Lewis
Lewis
Lewis
Nik Lewis
Lewis
Lewis
Lewis
Lewis
Lewis
Lewis


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 he was donating the paycheque from his next game (the 2012 Western Final) to a women's charity.<mask> finished the season with over 1,200 yards and 10 touchdowns. It was the 9th consecutive season in which he recorded 1,000 yards. In Week 8 of the 2013 CFL season <mask> suffered a fractured fibula as he was tackled by BC linebacker Solomon Elimimian. He was expected to miss around 6 weeks due to the injury. However, he instead sat out the rest of the season, which also left his 1,000-yard receiving streak at nine. <mask> saw a diminished role in 2014, highlighted by his consecutive games with a catch streak snapped in week 5 against the Edmonton Eskimos. He was held without a reception in a regular season game for the first time since June 20, 2004, with the streak ending at 166.He posted career-low totals in receiving yards and failed to score a touchdown in any game of the season, also a career low. Despite the frustrating season, <mask> helped the Stampeders qualify for the 102nd Grey Cup, a game in which he set up Calgary's first touchdown with a 13-yard catch that brought the ball to the one-yard line. He won his second Grey Cup championship following the Stampeders' 20-16 win over the Hamilton Tiger-Cats. After 11 seasons with the Stamps, <mask> was not re-signed following the 2014 season, and became a free agent on February 10, 2015. Montreal Alouettes
On February 25, 2015, <mask> and the Montreal Alouettes of the Canadian Football League agreed to a one-year contract. Following a somewhat mediocre 2015 season <mask> was re-signed by the Alouettes. He had a resurgent year in 2016, accomplishing his tenth 1,000 yard season of his career, and his first since

masks: Lewis Lewis Lewis Lewis Lewis Lewis Lewis


texts:
 2012.<mask> lead the team with 102 receptions and 1,136 yards receiving. At 34 years of age the Alouettes and <mask> agreed to a two-year contract extension, keeping him with the club through the 2018 season. On August 24, 2017, <mask> surpassed Geroy Simon's career reception mark to become the all-time CFL receptions leader after recording his 1,030th catch. On October 27, 2017, <mask> told Lee Jones of TSN that he had played his last game after his Alouettes fell to the Saskatchewan Roughriders, 12-37. On May 17, 2018, <mask> officially announced his retirement. Statistics

References

Further reading

External links

 Personal & Foundation Official Website
 Montreal Alouettes bio
 Calgary Stampeders bio
 CFL bio and statistics

1982 births
Living people
African-American players of American football
African-American players of Canadian football
American football wide receivers
BC Lions coaches
Calgary Stampeders players
Canadian Football League Rookie of the Year Award winners
Canadian football slotbacks
Canadian football wide receivers
Montreal Alouettes players
People from Mineral Wells, Texas
Players of American football from Texas
Southern Arkansas Muleriders football players
21st-century African-American sportspeople
20th-century African-American

masks:
Lewis
Nik Lewis
Lewis
Lewis
Lewis


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<mask> (1600 – 24 October 1669), an English lawyer, voluble author, polemicist and political figure, was a prominent Puritan opponent of church policy under <mask>, Archbishop of Canterbury (1633–1645). His views were presbyterian, but he became known in the 1640s as an Erastian, arguing for overall state control of religious matters. Early life
Born at Swainswick, near Bath, Somerset, <mask> was educated at Bath Grammar School and Oriel College, Oxford. He graduated as a BA on 22 January 1621, entered as a student of Lincoln's Inn in the same year, and was called to the bar in 1628. According to Anthony Wood, he was confirmed in his militant puritanism by the influence of John Preston, then a lecturer at Lincoln's Inn. In 1627 he published his first of over 200 works, a theological treatise entitled The Perpetuity of a Regenerate Man's Estate. This was followed in the next three years by three others attacking Arminianism and its teachers.In the preface to one of them he appealed to Parliament to suppress anything written against Calvinist doctrine and to force the clergy to subscribe to the conclusion of the Synod of Dort. Prynne was a strong disciplinarian. After arguing that the custom of drinking healths was sinful, he asserted that for men to wear their hair long was "unseemly and unlawful unto Christians", while it was "mannish, unnatural, impudent, and unchristian" for women to cut it short. 1630s
Like many Puritans abhorring decadence, Prynne strongly opposed religious feast days, including Christmas, and revelry such as

masks:
William Prynne
William Laud
William Prynne


texts: stage plays. He included in his Histriomastix (1632) a denunciation of actresses which was widely felt to be an attack on Queen Henrietta Maria. This book led to the most prominent incidents in his life, but the timing was accidental. About 1624 Prynne had begun a book against stage-plays; on 31 May 1630 he gained a licence to print it and about November 1632 it was published.Histriomastix has over a thousand pages, in which he presents plays as unlawful, incentives to immorality, and condemned by the Scriptures, Church Fathers, modern Christian writers, and pagan philosophers. By chance, the Queen and her ladies, in January 1633, took part in the performance of Walter Montagu's The Shepherd's Paradise: this was an innovation at court. A passage reflecting on the character of female actors in general was construed as an aspersion on the Queen; passages attacking the spectators of plays and magistrates who failed to suppress them, pointed by references to Nero and other tyrants, were taken as seen on King Charles I. The Chancellor of the Exchequer, Lord Cottington, ordered Historiomatrix to "be burnt, in the most public manner that can be." As David Cressy has pointed out, this was an innovative act of public censorship. It imported continental public book-burning by the hangman for the first time. "Though not used in England", Lord Cottington noted, this manner of book burning suited Prynne's work because of its "strangeness and heinousness".<mask>, as attorney-general, took proceedings against Prynne in the Star-chamber.After a


texts: year's imprisonment in the Tower of London, he was sentenced on 17 February 1634 to life imprisonment, a fine of £5,000, expulsion from Lincoln's Inn, deprival of his Oxford University degree, and amputation of both his ears in the pillory, where he was held on 7–10 May. His book was burnt before him, and with over a thousand pages it suffocated Prynne in its smoke. On 11 June Prynne addressed a letter to Archbishop Laud, whom he saw as his chief persecutor, charging him with illegality and injustice. Laud handed the letter to the Attorney-General as material for a new prosecution, but when Prynne was required to own his handwriting, he contrived to get hold of the letter and tore it to pieces. Prynne wrote in the Tower and published anonymous tracts against episcopacy and the Book of Sports. In A Divine Tragedy lately acted, or a Collection of sundry memorable Examples of God's Judgment upon Sabbath-breakers he introduced Noy's recent death as a warning. In an appendix to John Bastwick's Flagellum Pontificis and in A Breviate of the Bishops' intolerable Usurpations he attacked prelates in general (1635).An anonymous attack on Matthew Wren, Bishop of Norwich brought him again before the Star Chamber. On 14 June 1637 Prynne was sentenced once more to a fine of £5,000, to imprisonment for life, and to lose the rest of his ears. At the proposal of Chief Justice John Finch, he was also to be branded on the cheeks with the letters S. L., standing for "seditious libeller". Prynne was pilloried on 30 June in company with Henry Burton and


texts:
 John Bastwick; Prynne was handled barbarously by the executioner. He made, as he returned to his prison, a couple of Latin verses explaining the 'S. L.' with which he was branded to mean 'stigmata laudis' ("sign of praise", or "sign of Laud"). His imprisonment was then much closer: no pens or ink, nor any books allowed but the Bible, the prayer book, and some orthodox theology.To isolate him from his friends, he was sent first to Carnarvon Castle in July 1637, and then to Mont Orgueil in Jersey. The governor, Sir Philip Carteret treated Prynne well, which he repaid by defending Carteret's character in 1645. when he was accused as a malignant and a tyrant. He occupied his imprisonment by writing verse. 1640s
He was released by the Long Parliament in 1640. The House of Commons declared the two sentences against him illegal, restored him to his degree and to his membership of Lincoln's Inn, and voted him pecuniary reparation (as late as October 1648 he was still trying to collect it). He supported the Parliamentary cause in the English Civil War, particularly in the press, and in many pamphlets, while still pursuing the bishops. In 1643 Prynne became involved in the controversy which followed the surrender of Bristol by Nathaniel Fiennes.Together with his ally Clement Walker, he presented articles of accusation against Fiennes to the House of Commons (15 November 1643), managed the case for the prosecution at the court-martial, which took place in the following December, and secured a condemnation of the offending officer. Prynne was


texts: also one of the counsel for the parliament at the trial of Lord Maguire in February 1645. He was able to have the satisfaction of overseeing the trial of <mask>d, which was to end in Laud's execution. He collected and arranged evidence to prove the charges against him, bore testimony himself in support of many of them, hunted up witnesses against the archbishop, and assisted the counsel for the prosecution in every way. At the time some thought he was clearly tampering with the witnesses. Prynne had the duty of searching Laud's room in the Tower for papers. He published a redacted edition of Laud's diary and a volume intended to serve as an introduction to his trial.After Laud's execution, Prynne was charged by the House of Commons (4 March 1645) to produce an account of the trial; other controversies prevented him from finishing the book. In the rapidly shifting climate of opinion of the time, <mask>, having been at the forefront of radical opposition, soon found himself a conservative figure, defending Presbyterianism against the Independents favoured by Oliver Cromwell and the army. From 1644 he wrote pamphlets against Independents. He attacked John Goodwin and crossed his old companion in suffering, Henry Burton. The proposal to lift the thirteenth-century ban on the residence of Jews, being promoted then in England by Manasseh ben Israel, among others, inspired him with a pamphlet against the scheme, called in brief the Short Demurrer. The pamphlet was printed shortly before the Whitehall Conference, and was influential in

masks:
William Lau
Prynne


texts: strengthening opinion against the readmission of the Jews. In particular, Prynne doubts the probability that the Jews would be converted to Christianity once in England.Oliver Cromwell allowed the Jews to return to the British Isles on the condition that the Jews attend compulsory Christian sermons on a Sunday, to encourage their conversion to Christianity. Cromwell based this decision on St. Paul's epistle to the Romans 10:15. The offer of the crown to Cromwell by the "petition and advice" suggested a parallel between Cromwell and Richard III. Similarly, when the Protector, as Cromwell then was styled, set up a House of Lords, Prynne expanded the tract in defence of their rights which he had published in 1648 into an historical treatise of five hundred pages. These writings, however, attracted little attention. After the fall of Richard Cromwell he regained the popular ear. As soon as the Long Parliament was re-established, Prynne got together a few of the members excluded by Pride's purge and endeavoured to take his place in the house.On 7 May 1659 he was kept back by the guards, but on 9 May he managed to get in, and kept his seat there for a whole sitting. Arthur Haslerig and Sir Henry Vane threatened him, but Prynne told them he had as good right there as either, and had suffered more for the rights of parliament than any of them. They could only get rid of him by adjourning the house, and forcibly keeping him out when it reassembled. On 27 December when the parliament was again restored after its interruption by John


texts:
 Lambert, Prynne and his friends made a fresh attempt to enter, but were once more excluded. From May 1659 to February 1660 he went on publishing tracts on the case of the "secluded members and attacks on the ref-formed Rump Parliament and the army". Marchamont Nedham, Henry Stubbe, John Rogers, and others printed serious answers to his arguments, while obscure libellers ridiculed him. On 21 February 1660 George Monck ordered the guards of the house to readmit the secluded members.Prynne, girt with an old basket-hilted sword, marched into Westminster Hall at their head; though the effect was spoiled when Sir <mask> tripped on the sword. The house charged him to bring in a bill for the dissolution of the Long parliament. In the debate on the bill Prynne asserted the rights of Charles II of England and claimed that the writs should be issued in his name. He also helped to forward the Restoration by accelerating the passing of the Militia Bill, which placed the control of the forces in the hands of the king's friends. A letter which he addressed to Charles II shows that he was personally thanked by the king for his services. From 1660

Prynne supported the Restoration, and was rewarded with public office. In April 1660 he was elected MP for Bath in the Convention Parliament.He was bitter against the regicides and the supporters of the previous government, trying to restrict the scope of the Act of Indemnity. He successfully moved to have Charles Fleetwood excepted, and urged the exclusion of Richard Cromwell and Judge Francis Thorpe.


texts: He proposed punitive and financial measures of broad scope, was zealous for the disbanding of the army, and was one of the commissioners appointed to pay it off. In the debates on religion he was one of the leaders of the presbyterians, spoke against the Thirty-nine Articles, denied the claims of the bishops, urged the validity of presbyterian ordination, and supported the bill for turning the king's ecclesiastical declaration into law. As a politician Prynne was during his latter years of minor importance. He was re-elected MP for Bath to the Cavalier Parliament of May 1661. He asserted his presbyterianism by refusing to kneel when the two houses received the sacrament together.A few weeks earlier he had published a pamphlet demanding the revision of the prayer-book, but the new parliament was opposed to any concessions to nonconformity. On 15 July a pamphlet by Prynne against the Corporation Bill was voted scandalous and seditious. In January 1667 Prynne was one of the managers of Lord Mordaunt's impeachment. He spoke several times on Clarendon's impeachment, and opposed the bill for his banishment. On constitutional subjects and points of procedure his opinion had weight, and in 1667 he was privately consulted by the king on the question whether a parliament which had been prorogued could be convened before the day fixed for its resumption. He became the Keeper of Records in the Tower of London; as a writer his most lasting works belong to that period, for the amount of historical material they contain. Histriomastix is the one


texts:
 of his works that receives attention from modern scholars, but for its relevance to English Renaissance theatre.Anthony à Wood found him affable, obliging towards researchers, and courteous in the fashion of the early part of the century. Prynne died unmarried on 24 October 1669. He was buried in the undercroft of the chapel of Lincoln's Inn. References

Sources
Kirby, Ethyn <mask>. <mask>: A Study in Puritanism. Cambridge, MA, Harvard University Press, 1931. Lamont, <mask>. Puritanism and Historical Controversy.Montreal, McGill-Queen's Press, 1996. Fitch, Thomas. Caroline Puritanism as exemplified in the life and work of <mask>. PhD thesis Edinburgh, 1949. External links

1600 births
1669 deaths
17th-century English writers
17th-century English male writers
17th-century Presbyterians
Alumni of Oriel College, Oxford
English barristers
English MPs 1640–1648
English MPs 1660
English MPs 1661–1679
English political writers
English Presbyterians
English religious writers
Erastians
Members of Lincoln's Inn
Members of the pre-1707 English Parliament for constituencies in Cornwall
People from Bath and North East Somerset
Prisoners and detainees of

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Williams
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William M
William Prynne


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Paramount Chief <mask> OBE, GCOR (26 January 1921 – 9 September 2006) was a Sierra Leonean paramount chief and politician. In 1957, she became the first elected female Member of Parliament in Sierra Leone. She was re-elected in 1962. During the government of Milton Margai, <mask> became Sierra Leone and sub-Saharan Africa's first female Cabinet Minister. <mask> represented Sierra Leone abroad and her travels took her all over Africa, Europe, North America and the Middle East. In 1957 as a guest of the State Department, she toured the United States for 4 months during which she met with Vice-President Richard Nixon. Biography

Early life and education

On 21 January 1921, <mask> was born into one of Sierra Leone's most powerful families in the town of Moyamba, Moyamba District in the Southern Province of British Sierra Leone.Her mother was <mask> and her father Paramount Chief <mask> were both ethnic Mendes. Like his father, Paramount Chief Momoh <mask>, Julius was Paramount Chief of Kaiyamba Chiefdom. <mask> was educated at the Harford School for Girls in Moyamba, and the Women Teacher's College, then at Fourah Bay College in Freetown. Marriage

In 1944 <mask> married the powerful Paramount Chief <mask> Pathbana II of Marampa, Masimera Chiefdom, an ethnic Temne. Their cross-tribal union was a shining example of national cohesion. From 1944 to 1952 Gulama resided at Lunsar where she was chief Consort. The couple had seven children, including Frances, Francis Obai, Jubilee, Alex Soccoh, June, Julius Maada, and Jilo.Koblo was multilingual and spoke fluent English, Mende, Temne, and Sherbro. Political career

<mask> had a distinguished career in politics and was

masks:
Ella Koblo Gulama
Gulama
Gulama
Gulama
Lucy Gulama
Julius Gulama
Gulama
Ella
Gulama
Bai Koblo
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texts: a pioneering female leader. Her life was defined by service. She was a member of the Sierra Leone People's Party (SLPP), which her father helped establish. In 1957 <mask> embarked on a political career and became a Member of the Moyamba District Council. She was the first woman to be elected to Sierra Leone's House of Representatives as Paramount Chief Member for Moyamba District. In 1962 she was re-elected and Prime Minister Milton Margai made her a Cabinet Minister.She was the first woman to hold a ministerial post in sub-Saharan Africa. From 1960 to 1967 <mask> was President of the Federation of Women's Organisations in Sierra Leone. During her chieftaincy, she had the streets of Moyamba paved and hired a British construction company to install clean tap water. In the 1967 general elections <mask> regained her seat and was serving in the government of Sir Albert Margai. However the opposition All People's Congress (APC) had narrowly won a parliamentary majority. A power struggle between the candidates, Margai of the SLPP and Siaka Stevens of the APC ensued, destabilising the country and resulting in a rapid succession of military coups. When Steven's APC party eventually ascended to power and began their 30-year grip on Sierra Leone.Gulama was accused of collaborating with her brother-in-law David Lansana in his coup d'état against Stevens. She placed under arrest and held at Pademba Road prison for over a year. She was later exonerated and released. While she was in prison Stevens appointed her husband Paramount Chief <mask> Pathbana II to his cabinet. Her estranged husband's acceptance of the position strengthened the innuendo that <mask>'s relationship

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Gulama
Gulama
Gulama
Bai Koblo
Gulama


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 with Sir Albert Margai was mouch more than a professional one. Gulama was briefly forced into political exile after Sir Albert Margai lost power. In the early 1970s, Gulama revamped her political career and became the leader of the APC Women's Organisation of Moyamba District.From 1985 to 1991 <mask> served as the president of the National Organization for Women (Sierra Leone). In 1992, she was unanimously re-elected Paramount Chief of Kaiyamba Chiefdom. Gulama collaborated with several NGOs to develop the infrastructural and agriculture of her Chiefdom and district. Sierra Leone Civil War

The mercenary Revolutionary United Front (RUF) ravaged Sierra Leone and devastated Moyamba District, killing tens of thousands of people and destroying everything Gulama had spent her life building up. When the rebels began a campaign to assassinate every paramount chief in the country. Chief Bunduka of Kailahun District and Paramount Chief Bonai Fei of Bo were brutally executed by the rebels. When <mask>'s chiefdom was attacked and the rebels set fire to her compound and burned it to the ground.<mask> was forced to refugee to the nation's capital Freetown. She returned to Moyamba and began the re-construction of her Chiefdom and Moyamba District but Gulama's health began to fail her. Nevertheless, she was able to continue her service to her country with the Sierra Leone Export Development and Investment Corporation (SLEDIC) (1994–1996) as one of the directors of The Sierra Leone Commercial Bank Limited. Feminism

One of <mask>'s passions was the promotion of education for girls and the improvement of the female condition in Sierra Leone. She served at her alma mater,

masks: Gulama Gulama Gulama Gulama