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<mask> (May 11, 1919 – May 13, 1973) was a highly decorated officer of the United States Marine Corps who reached the rank of major general. <mask> received the Navy Cross, the United States military's second-highest decoration awarded for valor in combat, for his actions during the Recapture of Guam in July 1944. He later commanded the 1st Marine Division at the end of Vietnam War. Early years and World War II

<mask><mask> was born on May 11, 1919, in Bryan, Texas, the son of Henry A<mask> and his wife Josephine Baker. He attended high school in Dallas in 1937 and then graduated from the University of Texas at Austin in June 1941 with a Bachelor of Arts degree. While at university, <mask> was named a Phi Beta Kappa and also enlisted in the Marine Corps Reserve in May 1941. After graduation, Widdecke attended the Officer Candidate School at the Marine Corps School in Quantico.After completing his courses he was commissioned in the Marine Corps Reserve as a second lieutenant on November 1, 1941. He was then ordered to the Reserve Officer Course, also at Quantico. While he was on this course, the Japanese attacked Pearl Harbor in December 1941. <mask> then served as a recruiting officer in San Antonio, Texas, until April 1942, when he joined the 2nd Raider Battalion at San Diego under the command of Lieutenant Colonel Evans Carlson. He was also integrated in the regular Marine Corps during that time. With the activation of 22nd Marine Regiment under Colonel John T. Walker, <mask> was promoted to the rank of first lieutenant and appointed commander of Headquarters Company of 1st Battalion. His unit subsequently sailed to Samoa, in the South Pacific, at the end of June 1942 and served as a jungle training unit until February 1944.During that time, <mask> was promoted to captain and was appointed commander of 1st Battalion's Company C.

The 22nd Marines were ordered to take part in the assault on Eniwetok Atoll on February 22 and <mask> led his company ashore on Parry Island under heavy enemy mortar and machine gun fire. With his men, he participated in a headlong attack against the entrenched Japanese. For his gallantry in action, <mask> was decorated with the Silver Star and also received the Navy Unit Commendation. After the battle, <mask> and his regiment were ordered to Guadalcanal for rest and further training in April 1944. The 22nd Marines were now attached to the 1st Provisional Marine Brigade under Brigadier General Lemuel C. Shepherd. The 1st Brigade received orders to take part in the assault on Guam in July 1944. The regiment landed on Guam on July 21 as the left flank of the invasion force.<mask> and his men secured a position on the beach in the face of strong opposition and prepared for the attack against the fanatic Japanese holding Orote Peninsula and its strategic airfield. Under his leadership, his company sustained the momentum of the subsequent attacks despite the bitterness of the action and the many casualties sustained by his Marines. With his company's advance disrupted by heavy machine-gun, rifle, artillery and mortar barrages, on July 25, <mask> organized his men led them in a charge through heavy fire. The Japanese position was captured although <mask> was himself seriously wounded. <mask> was decorated with the Navy Cross, the second highest decoration in bravery and was ordered to the field hospital. His wounds required special treatment and he was evacuated to the United States for further hospitalization in September 1944. He remained in the Naval Hospital in San Diego until March 1945.Postwar career

After recovering from his wounds, for which he received a Purple Heart, <mask> was promoted to the rank of major. He was subsequently attached to the Division of Reserve at Headquarters Marine Corps. He served under Major General William T. Clement until February 1948, when he was sent to Quantico to attend the Junior Course at Marine Corps School. On completing the course in August 1948, he sailed for Guam, where he was appointed assistant chief of staff for personnel within 1st Provisional Marine Brigade under Brigadier General Edward A. Craig. In April 1949, <mask> was posted to Fleet Marine Force, Pacific, also at Guam, as assistant chief of staff for personnel. In June 1950, <mask> was ordered back to the United States and appointed an instructor in the Tactical Operations Group, Marine Corps Educational Center, at Quantico. While in this capacity, he was promoted to the rank of lieutenant colonel in November 1951.<mask> remained at Quantico and served as an instructor in the Tactics section, Senior Course from July 1952 to August 1953. This assignment ended, when he was ordered to the Army Command and Staff College at Fort Leavenworth in Kansas for regular courses. <mask> graduated in June 1954 and immediately left for Korea, where he assumed command of the 2nd Battalion, 1st Marines, 1st Marine Division. However, the armistice was already in effect and he took part only in the defense of Korean Demilitarized Zone. In January 1955, he was appointed commander of the Headquarters Battalion, 1st Marine Division. Two months later, he returned with the division to Camp Pendleton. His next duties brought him to Washington, D.C., in July 1955, when he was appointed assistant director of Marine Corps Institute and commanding officer of the institute's detachment.<mask> remained in this capacity only until January 1956, when he was chosen by Commandant Randolph M. Pate as his Aide-de-Camp. He left Washington in July 1958 and returned to San Diego, where he assumed duties as the commanding officer of the 1st Recruit Training Battalion at Marine Corps Recruit Depot. <mask> served later as executive officer of Recruit Training Command there and was promoted to the rank of colonel in July 1960. He left California in August 1961 in order to attend Army War College at Carlisle Barracks, Pennsylvania. He graduated in June 1962 and also attended off-duty educational courses at George Washington University in order to complete a Master of Arts degree in International Affairs. He was then ordered to Panama and spent the next three years as head of the military assistance, plans and policy, Joint Staff of United States Southern Command under General Andrew P. O'Meara. During his time there, <mask> was engaged in the administration of military and economic aid to South American countries and received the Joint Service Commendation Medal for this service.Vietnam War

In August 1965, <mask> assumed command of the 5th Marine Regiment at Camp Pendleton and supervised its deployment to Okinawa, Japan in early 1966. The 5th Marines were stationed in Japan until the end of May of that year, when <mask> led them to Da Nang in South Vietnam. During July 1966, the commanding general of 1st Marine Division, Lewis J<mask>, planned and ordered Operation Colorado. The main objective of this search and destroy operation was to locate and destroy units of the 2nd North Vietnamese Division in the Quảng Nam Province. He later acted as chief of staff, Task Force X-Ray under Brigadier General William A. Stiles in the Chu Lai area and took part in combat with Vietcong and North Vietnamese troops. <mask> served in Vietnam until the end of December 1966 and received the Legion of Merit with "V" Device and the Vietnam Gallantry Cross with Bronze Star for his service in Vietnam.<mask> was posted to Honolulu, Hawaii, and appointed chief of staff, Fleet Marine Force, Pacific under Lieutenant General Victor H. Krulak. While in this capacity, <mask> was promoted to the rank of brigadier general. In September 1968, <mask> was transferred to the Headquarters Marine Corps in Washington, D.C. and relieved Major General Clifford B. Drake as director of Marine Corps Reserve. During his tenure, he was responsible for the administration of all reserve marine troops, which were used as reinforcements for combat units in Vietnam. He was also promoted to the rank of major general on August 7, 1969, and received his second Legion of Merit for his service in this capacity. However <mask> was ordered back to Vietnam in April 1970, when the commander of 1st Marine Division, Edwin B. Wheeler, suffered serious injuries in a helicopter crash. <mask> was appointed his substitute.<mask> oversaw Operation Imperial Lake during September of that year with the task of destroying North Vietnamese troops in Que Son. During that operation the Son Thang massacre occurred. Controversy arose when <mask> reduced the sentences of the two convicted Marines from five years and life imprisonment respectively to one year of prison. He later led Operation Catawba Falls against communist forces in the same region. Following the operations in Quảng Nam Province in the fall-winter period of 1970, <mask> began preparing 1st Marine Division for redeployment to the United States. The 1st Marine Division arrived at Camp Pendleton on April 30, 1971, where it was welcomed by President Richard Nixon and a crowd of 15,000 spectators. Following the President's speech, <mask> turned over the command to Brigadier General Ross T. Dwyer and personally assumed command of I Marine Amphibious Force, which controlled Marine air and ground units on the West Coast.For his second tour of duty in Vietnam, <mask> was decorated with Navy Distinguished Service Medal and several decorations from the Government of South Vietnam. <mask> retired from the Marine Corps on July 1, 1971, after 30 years of military service. He died on May 13, 1973, while on a trip to La Paz, Mexico, two days after his 54th birthday. He was survived by his wife and a brother, Henry August <mask> Jr. who served in the United States Navy. Decorations

Here is the ribbon of General Widdecke:

See also

Recapture of Guam
1st Marine Division
List of 1st Marine Division Commanders

References

1919 births
1973 deaths
People from Bryan, Texas
University of Texas at Austin alumni
Elliott School of International Affairs alumni
United States Army Command and General Staff College alumni
United States Army War College alumni
United States Marine Corps generals
United States Marine Corps personnel of World War II
United States Marine Corps personnel of the Korean War
United States Marine Corps personnel of the Vietnam War
Recipients of the Navy Cross (United States)
Recipients of the Navy Distinguished Service Medal
Recipients of the Silver Star
Recipients of the Legion of Merit
Recipients of the National Order of Vietnam
Recipients of the Gallantry Cross (Vietnam)
Recipients of the Distinguished Service Order (Vietnam)

masks:
Charles Fred Widdecke
Widdecke
Charles F
. Widdecke
. Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
. Fields
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
Widdecke
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Widdecke


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<mask> (March 13, 1881 – October 31, 1968) was an American sportsman and coach who played as a right-handed pitcher in Major League Baseball, and later became a football and baseball coach and administrator at several colleges. Early life and playing career
<mask> was born in Denver, Colorado, and was recruited by Dartmouth College after displaying his skill in two sports. He played football at the University of Colorado in the 1901 season under coach Fred Folsom, a Dartmouth alumnus who became that school's coach in 1903. Glaze enrolled at Dartmouth in 1902, being followed there by his younger brother, John. Under Folsom, he played a notable role in the school's first-ever football victory over Harvard in 1903, a game in which Harvard dedicated its new stadium. In 1905, Glaze was named an All-American as an end by Walter Camp, even though at 5'8" and 153 pounds he was the smallest player on Dartmouth's team that year. Glaze also played baseball at Dartmouth, and pitched a no-hitter against Columbia.During summers, Glaze played semi-pro ball in Colorado, using the assumed name "<mask>" to protect his college eligibility. Among the Colorado teams Glaze played for was the "Big Six" team in Trinidad, where he pitched in 1905. In 1905 he met an opposing catcher named John Tortes, a Native American, and encouraged him to apply to Dartmouth due to the school's charter making specific provisions for the education of Native Americans. As Tortes had dropped out of school, several Dartmouth alumni conspired to create a false background for him, and he enrolled until the ruse was discovered some time after his first semester. Nonetheless, the catcher attracted notice from various baseball figures, and he went on to a 9-year major league career from 1909 to 1917 under the name Chief Meyers; he maintained a strong affinity to Dartmouth, and credited Glaze with his start in the sport. After graduating in 1906, Glaze signed with the Boston Americans, as the press referred to them in 1906. The team would later be known as the Boston Red Sox.Over three years, Glaze posted a record of 15 wins against 21 losses, with 137 strikeouts and a 2.89 earned run average in 61 games and 340 innings pitched. A career highlight took place on August 31 of his rookie year, when he outdueled Philadelphia Athletics star pitcher Rube Waddell. Glaze began coaching in the offseasons, starting as a 1906 football assistant at Dartmouth; he also helped coach their baseball team in 1908. He left the Red Sox following the 1908 season, and spent the next several years with a number of minor league teams. Coaching career
In 1910, Glaze became the football coach at Baylor University. His teams had a record of 12–10–3 from 1910 through 1912, including a 6–1-1 mark in his first year. Glaze became the head coach of the University of Southern California's football team for the 1914 and 1915 seasons, compiling a 7–7 record.He was the first coach after USC's teams began to be known as the Trojans. Before his arrival, USC had not played football for the previous three seasons; like many universities at the time, the school had switched to rugby and did not field football teams during the 1911 through 1913 seasons. After competing primarily against southern California teams throughout its history, USC was now beginning to include major colleges from other areas on its schedule. The 1914 season finale at Oregon State was the first against a major college opponent since a 1905 loss at Stanford, and was also USC's first game ever outside of California. The highlight of Glaze's brief tenure occurred the following year with the inauguration of the long-standing series with California. At the time, Cal was considered the traditionally dominant team of West Coast football, and Glaze managed to lead USC to a 28–10 road victory before falling to Cal, 23–21, at home later the same season; however, it was Cal's first year resuming football after having switched to rugby for the previous nine seasons. Glaze was succeeded in 1916 by Dean Cromwell, who was USC's football coach before the switch to rugby.Glaze also coached the Trojans baseball team, represented by the university's law school, in the 1915 season to a 5–10 record, and guided the USC track team the same spring. He also coached the USC basketball team in 1915–16, with a record of 8–21 against exclusively southern California competition. Glaze became football coach at Drake University in 1916, with a record of 3–10–2, and then became football coach at Colorado State Teachers College (now the University of Northern Colorado) in 1917–18 as the school resumed football after 11 years, with a record of 2–6. He coached football at the Colorado School of Mines in 1919–20, with a record of 0–10–2. From 1921 to 1924 he coached at Lake Forest College, leading the football team to a 10–12–3 record from 1921 to 1923, and the basketball team to an 11–32 mark from 1921 to 1924. During his career, Glaze also coached at the University of Rochester, Texas Christian University and St. Viator College. Marriage, later life, and death
Glaze married Evaline Leavitt in 1907; she died in 1927, the year he retired from coaching to go into business in Denver.In 1930, he became superintendent of the Boston and Maine Railroad's terminal in Charlestown, Massachusetts, and he married Winifred Bonar Demuth the same year. In 1946 the couple retired to California, moving to Cambria, California in 1951. In his later years, Glaze struck up a friendship with former American League outfielder Sam Crawford, who had a cottage several miles away; coincidentally, Crawford had been one of Glaze's successors as USC's baseball coach. Glaze stayed fit, walking three to five miles daily with his dogs when he was in his 80s. He died at age 86 in Atascadero, California. Head coaching record

College football

References

External links

1881 births
1968 deaths
Baylor Bears football coaches
Colorado Mines Orediggers football coaches
Drake Bulldogs football coaches
Lake Forest Foresters football coaches
Northern Colorado Bears football coaches
Rochester Yellowjackets football coaches
St. Viator Irish football coaches
USC Trojans football coaches
Major League Baseball pitchers
Boston Red Sox players
Baseball players from Denver
Beaumont Oilers players
Indianapolis Indians players
Providence Grays (minor league) players
Topeka Jayhawks players
Minor league baseball managers
College men's basketball head coaches in the United States
Baylor Bears men's basketball coaches
Colorado Mines Orediggers men's basketball coaches
Drake Bulldogs men's basketball coaches
Lake Forest Foresters men's basketball coaches
Northern Colorado Bears men's basketball coaches
USC Trojans men's basketball coaches
American men's basketball coaches
Basketball coaches from Colorado
Baylor Bears baseball coaches
Colorado Mines Orediggers baseball coaches
USC Trojans baseball coaches
USC Trojans track and field coaches
American football ends
Dartmouth Big Green football players
Colorado Buffaloes football players
All-American college football players
Players of American football from Denver
Dartmouth Big Green baseball players
Sportspeople from Denver
Louisville Coal Miners players

masks:
Daniel Ralph Glaze
Glaze
Ralph Pearce


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<mask> (1485 - 15 November 1547), also known as <mask> of Portugal,  was a Portuguese archbishop, the only Archbishop of Funchal, holder of the largest Catholic jurisdiction in the world, ever created, which had as suffragans the dioceses like Angra do Heroísmo, São Tomé, Santiago and Goa. From its area, the future Diocese (today Archdiocese) of São Salvador da Bahia, would be dismembered and created in 1551. Biography
He was the son of <mask>, ecclesiastical bishop of Évora, and <mask>. Due to his paternal line, he was a descendant of João I of Portugal. Thus, he was brother of the 1st Count of Vimioso, Francis of Portugal. Ecclesiastic career

Portugal
His aristocratic background, despite being marked by illegitimacy, would be decisive for his career, which began with the completion of a solid program of theological studies, which started in Lisbon and continued in Valladolid and Paris, following the which he related to important figures of European humanism, with emphasis on Erasmus, to whom he was introduced in 1520. In 1522 <mask> returns to Portugal, and through his family links is given an canonical stipend the chancellorship of the Cathedral of Évora, which was at the time led by his father.He cumulated these benefits with the priory of the church of Barcelos and the commendation of the Monastery of Saint George, in Coimbra

In 1523, he governed the diocese of Viseu in the name of Afonso de Portugal, until the arrival of its Bishop <mask> Chaves. Rome
In 1525 he was sent to Rome as a Portuguese ambassador. He would later be appointed apostolic nuncio by Pope Clement VII to King João III with powers of legacy a latere in the kingdoms and domains of the Portuguese crown. In <mask> was sent back to the pontifical court in 1532, this time in charge of opening negotiations with the aim of achieving the establishment of the Inquisition in Portugal. Appointment as Archbishop of Funchal
On February 10, 1533, while in Rome, <mask> is appointed as archbishop of Funchal, following the concession of the category of metropolitan to the ecclesiastical province of Funchal, obtained from Clement VII on January 31 of the same year. Nevertheless, the bulls that would make the elevation of <mask> were not issued, which may have been due, on one hand, to his condition as an illegitimate son and, on the other, to some unavailability of King João III in honouring the financial charges that he was obliged to when nominating <mask> for the position. At that time, in order to elevate the ecclesiastical circumscription of Funchal to a metropolis, the king had committed himself to increase the archbishop's income by 200,000 réis, that is, to double the remuneration previously attributed to the Bishop of Funchal, therefore, generating new expenses for the Crown.<mask> would later complain about the omission of such bulls in 1535, and because of it, the actual existence of the archdiocese of Funchal was questioned. Despite such bureaucratic constraints, <mask> assumed the title of Archbishop of Funchal, Primate of the Indies and all new lands discovered and to be discovered. Reasons for the appointment
The circumstances underlying the monarch's will to allow the appointment as Archbishop would be linked to the desire to reward services previously provided by <mask>, and to favour his predisposition to act in the strict defence of the royal interests regarding the establishment of the Inquisition in Portugal. Nevertheless, <mask>'s action in Rome was apparently more oriented towards the search for a legitimation of his birth that in turn would allow his promotion to Cardinal, than centred on the mission that the monarch had entrusted to him. The creation of <mask> as Archbishop of Funchal was also rooted on the need to find a structure that, without disturbing the position of any of the other two national metropolitans, that of Braga and the Lisbon, would authorize the establishment of several overseas dioceses and promote ecclesiastical decentralization in the new territories of the empire. Such was immediately accomplished between 1533 and 1534 the dioceses of Cape Verde, S. Tomé, Goa and Angra were created. Later, in 1547, he was elected bishop of the Algarve, but he was not confirmed, because he died before taking office.Funchal
Despite never having personally visited Madeira, the seat of his archdiocese, <mask> <mask> did not neglect the responsibilities that his position entailed. Human Resources
As archbishop he ordered the creation of two new canonries, four new chaplaincies and one sacristan, with the aiming of improving the living conditions of the islanders and local clergy. Representatives in the Archdiocese
Recognizing that his absence could jeopardize the normal function of the archdiocese, <mask> sent the Bishop of Rociona, D. Ambrósio Brandão, to Madeira, in 1538, accompanied by two visitors, Jordão Jorge and Álvaro Dias, “chaplain, familiar and continuous dinner of the Most Illustrious and Reverend Lord D<mask> <mask>”. Shortly after arriving to Madeira, D. Ambrósio neglected the tasks that were assigned to him, performing ordinations all over the Island in the second half of the year and, having finished his duties, he returned to mainland Portugal. The same did not happen with the visitors, who remained until the following year, also visiting the parishes and taking steps to correct the non-conformities they encountered. The performance of the visitors was not well received by the Madeiran faithful, historical sources affirm that they “carried out their office throughout the island, not with that kindness in which the Bishopric was created, but rather with much rigour and harshness”, reason why they were “disliked” by the population. Ecclesiastical Inspections
During the time of their stay, the visitors appointed by <mask> <mask> reported the following non-conformities and threatened those who practised them with excomunication: speaking during masses, singing, dancing and sleeping in church.As for the Madeiran clergy the visitors appointed by <mask> were expected to persevere in teaching doctrine to the faithful, to be vigilant in relation to unmarried couples and to those who married illegally, to ring the bell three times a day, to be concerned with cleaning the altars and vestments. Relics
In an effort to promote the status of his archdiocese, <mask> <mask> sent to Funchal religious relics to be stored in the cathedral's altar. Family life
He fathered two children, with Catarina <mask>:

 Eliseu <mask>
 Cecília <mask>

Death
<mask> died in November 15, 1547, he died, before being able to take office as Bishop of Silves. With him the Archdiocese of Funchal disappeared, which, as early as 1539, had been amputated from its jurisdiction over the East, whose lands, from the Cape of Good Hope, came to be under the direct control of the Diocese of Goa. The Archdiocese of Funchal would be formally extinct in 1551. References

Portuguese Roman Catholic bishops
Funchal
House of Braganza
1485 births
1547 deaths

masks:
Dom Martinho de Portugal
Martinho
Afonso de Portugal
Filipa de Macedo
Martinho
João de
Martinho
Martinho
Martinho
Martinho
Martinho
Martinho
Martinho
Martinho
Martinho
Martinho
de Portugal
Martinho
. Martinho
de Portugal
Martinho
de Portugal
Martinho
Martinho
de Portugal
de Sousa
de Portugal
de Portugal
Martinho


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<mask> (born 1954) is an American religious and workers' rights activist, and current executive director of the Virginia Interfaith Center for Public Policy (VICPP), a non-partisan advocacy coalition based in Richmond, Virginia. <mask> is a nationally known promoter of social justice who leads VICPP's advocacy, outreach, and development work. She wrote a book on faith-based organizing entitled Lives Matter: A Handbook for Christian Organizing. <mask> moved to Virginia from Chicago, where she founded and served as executive director of Interfaith Worker Justice, the nation's largest network of people of faith engaging in local and national actions to improve wages, benefits, and conditions for workers. Prior to that, <mask> was national organizing director for Bread for the World and an instructor at the Midwest Academy. In 1991, she founded the Chicago Interfaith Committee on Worker Issues. Leading efforts for a living wage, she is widely quoted in national newspapers and broadcast media as an expert on worker justice issues.She has also written books and articles on wage issues and community organizing. Personal life
Born in Cincinnati, Ohio, and raised a conservative evangelical, <mask> graduated from Barnard College in New York City with a bachelor's degree in religion. She later received a master's degree in economics from the New School for Social Research in New York. <mask> is married to David Orr, a long-time Chicago reform politician. She has twin sons from her previous marriage to Stephen Coats, who died in 2013. <mask> is a member of Wesley United Methodist Church in Richmond, where she sings in the choir. She served as the choir director at Good News Community Church (UCC) for 27 years.Career
In 1976, <mask> became director of organizing for Bread for the World, a Christian organization that works to relieve and combat hunger. During this time, she wrote her first book, Lives Matter: A Handbook for Christian Organizing. <mask> left Bread for the World in 1986 and became an instructor at the Midwest Academy, a community organizing training institute in Chicago, Illinois. She focused on low-income housing organizations and other social change organizations. While at the Midwest Academy, <mask> and her colleagues co-authored Organizing for Social Change, a fundamental text in community-based organizing. In 1989, <mask> became involved with the Pittston Coal strike by coal miners at Pittston Coal. Attempting to organize religious leaders to support the workers, she was startled to find that almost no religious organizations had labor liaisons.She started an informal network of religious leaders to share information about campaigns for worker justice that year. In 1991, <mask> founded the Chicago Interfaith Committee on Worker Issues. It was an all-volunteer group led by <mask> and four influential Chicago religious leaders. In 1996, using a $5,000 inheritance from her grandmother, <mask> launched the National Interfaith Committee for Worker Justice. The organization initially was run out of her home. By 1998, the organization had 29 affiliates throughout the country. The group changed its name to Interfaith Worker Justice in 2005, by which time it had grown to 59 local affiliates and a full-time staff of 10.IWJ has been active on a number of workers' rights and worker justice issues. It has developed 20 workers centers around the country, and programs such as “Labor in the Pulpits” and “Seminary Summer,” which "places seminary and rabbinical students with unions for summer internships." In 2012, when Walmart was celebrating its 50th anniversary, she called on the corporation to ensure a living wage for its employees. In 2017, <mask> became Executive Director for the Virginia Interfaith Center for Public Policy (VICPP), in Richmond, Virginia where she has led many economic, racial, social, and environmental justice legislative victories. She mobilized a historic faith advocacy campaign and played a leadership role in the statewide Healthcare for All Virginians coalition advocating Medicaid expansion, which passed in 2018. During the 2019 Virginia General Assembly, <mask> led VICPP's efforts to win two wage theft reform bills: one to remove the Jim Crow exemptions from the Virginia Minimum Wage, and the other to require employers to provide a paystub to workers explaining how they are paid. VICPP was also involved in numerous other legislation, including tuition equity, environmental justice, tenants' rights, and criminal justice reform.<mask> publicized the findings of "The High Cost of Being Poor in Virginia," a report released in October 2016 by the Virginia Interfaith Center for Public Policy and the Coalition on Human Needs. With the help of Rev. David Gortner, of the Virginia Theological Seminary she co-founded a private living wage program in Alexandria, Virginia. The program offers certification and recognition to businesses that pay their workers a wage in line with living costs of the city. Awards and honors
<mask> was named one of 14 “Faith Leaders to Watch” in 2014 by the Center for American Progress, and one of Utne Reader’s “50 Visionaries Who Are Changing Your World” in 2009. <mask> was selected for the 2012 Pacem in Terris Peace and Freedom Award. The award commemorates Pope John XXIII's 1963 encyclical letter, Pacem in terris, which means "Peace on Earth".<mask> joins previous award recipients including Dorothy Day, Martin Luther King Jr., Mother Teresa, and Archbishop Desmond Tutu. Selected publications

Books
 Wage Theft in America: Why Millions of Working Americans Are Not Getting Paid – And What We Can Do About It. The New Press. 2008. Available at www.iwj.org or www.wagetheft.org
Lives Matter: A Handbook for Christian Organizing. Lanham, Md. : Sheed and Ward, 1986.Co-authored books
<mask>, <mask>, et al. Organizing for Social Change. 2d ed. Washington: Seven Locks Press, 2001. References

External links
Virginia Interfaith Center for Public Policy website

1954 births
20th-century Methodists
21st-century Methodists
Activists from Chicago
Activists from Ohio
Activists from Virginia
American activists
American United Methodists
Barnard College alumni
Christians from Illinois
Christians from Ohio
Christians from Virginia
People from Cincinnati
Living people
The New School alumni
Workers' rights activists

masks:
Kimberly Ann Bobo
Bobo
Bobo
Bobo
Bobo
Bobo
Bobo
Bobo
Bobo
Bobo
Bobo
Bobo
Bobo
Bobo
Bobo
Bobo
Bobo
Bobo
Bobo
Bobo
Bobo
Kim


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<mask> (December 21, 1940 – December 4, 1993) was an American musician, singer, composer, songwriter and bandleader. His work is characterized by nonconformity, free-form improvisation, sound experiments, musical virtuosity and satire of American culture. In a career spanning more than 30 years, <mask> composed rock, pop, jazz, jazz fusion, orchestral  and musique concrète works, and produced almost all of the 60-plus albums that he released with his band the Mothers of Invention and as a solo artist. <mask> also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse musicians of his generation. As a self-taught composer and performer, <mask> had diverse musical influences that led him to create music that was sometimes difficult to categorize. While in his teens, he acquired a taste for 20th-century classical modernism, African-American rhythm and blues, and doo-wop music.He began writing classical music in high school, while at the same time playing drums in rhythm-and-blues bands, later switching to electric guitar. His 1966 debut album with the Mothers of Invention, Freak Out!, combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. He continued this eclectic and experimental approach whether the fundamental format was rock, jazz, or classical. <mask>'s output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas, and characters reappearing across his albums. His lyrics reflected his iconoclastic views of established social and political processes, structures and movements, often humorously so, and he has been described as the "godfather" of comedy rock. He was a strident critic of mainstream education and organized religion, and a forthright and passionate advocate for freedom of speech, self-education, political participation and the abolition of censorship. Unlike many other rock musicians of his generation, he disapproved of recreational drug use, but supported decriminalization and regulation.<mask> was a highly productive and prolific artist with a controversial critical standing; supporters of his music admired its compositional complexity, while critics found it lacking emotional depth. He had greater commercial success outside the US, particularly in Europe. Though he worked as an independent artist, <mask> mostly relied on distribution agreements he had negotiated with the major record labels. He remains a major influence on musicians and composers. His honors include his 1995 induction into the Rock and Roll Hall of Fame and the 1997 Grammy Lifetime Achievement Award. 1940s–1960s: early life and career

Childhood
<mask> was born on December 21, 1940, in Baltimore, Maryland. His mother, Rose Marie ( Colimore), was of Italian (Neapolitan and Sicilian) and French ancestry; his father, whose name was anglicized to Francis Vincent <mask>, was an immigrant from Partinico, Sicily, with Greek and Arab ancestry.<mask>, the eldest of four children, was raised in an Italian-American household where Italian was often spoken by his grandparents. The family moved often because his father, a chemist and mathematician, worked in the defense industry. After a time in Florida in 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 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 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. <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, 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, 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 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 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 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 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

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 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> 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 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 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, 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 (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 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 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 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. 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 "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?" 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

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 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 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 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 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 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 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 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, 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 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 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 "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 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),

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