View source for Frank Zappa

{{Short description|American musician (1940–1993)}}
{{Redirect|Zappa}}
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{{Use American English|date=July 2022}}
{{Use mdy dates|date=March 2024|cs1-dates=y}}
{{Infobox person
| name               = Frank Zappa
| image              = Zappa 16011977 01 300.jpg
| alt                = 
| caption            = Zappa performing at [[Ekeberghallen]] in [[Oslo]], Norway, in 1977
| birth_name         = Frank Vincent Zappa
| birth_date         = {{birth date|1940|12|21|mf=y}}
| birth_place        = [[Baltimore]], Maryland, U.S.
| death_date         = {{death date and age|1993|12|4|1940|12|21|mf=y}}
| death_place        = [[Los Angeles]], California, U.S.
| resting_place      = [[Pierce Brothers Westwood Village Memorial Park and Mortuary]]
| occupation         = {{hlist|Composer|songwriter|conductor|actor|filmmaker}}
| years_active       = 1955–1993
| party              = 
| spouse             = {{unbulleted list
 | {{marriage|Kay Sherman|1960|1963|end=divorce}}
 | {{marriage|[[Gail Zappa|Gail Sloatman]]|September 21, 1967<!--|December 4, 1993|end=his death-->}}
 }}
| children           = {{hlist|[[Moon Zappa|Moon]]|[[Dweezil Zappa|Dweezil]]|[[Ahmet Zappa|Ahmet]]|[[Diva Zappa|Diva]]}}
| module             = {{Infobox musical artist|embed=yes
 | background     = solo_singer
 | origin         = Los Angeles, California, U.S.
 | instruments    = {{hlist|Guitar||vocals|[[Synclavier]]|drums|percussion}}
 | genre          = {{hlist|<!-- Do not add genres like art/prog/jazz/experimental/symphonic rock. This infobox would be enormous if every style Zappa ever played was included. -->[[Rock music|Rock]]|[[progressive rock]]|[[blues]]|[[experimental music|experimental]]|[[jazz]]|[[jazz fusion|fusion]]|[[classical music|classical]]|[[Pop music|pop]]|[[avant-garde music|avant-garde]]|[[doo-wop]]|[[comedy music|comedy]]|[[electronic music|electronic]]|[[musique concrète]]}}
 | discography    = [[Frank Zappa discography]]
 | label          = {{hlist|[[Verve Records|Verve]]|[[Bizarre Records|Bizarre]]|[[Straight Records|Straight]]|[[DiscReet Records|DiscReet]]|[[Zappa Records|Zappa]]|[[Barking Pumpkin Records|Barking Pumpkin]]|[[Rykodisc]]}}
 | past_member_of = {{hlist|[[The Mothers of Invention]]}}
}}
| website            = {{URL|Zappa.com}}
}}

'''Frank Vincent Zappa'''{{refn|group="nb"|Until discovering his birth certificate as an adult, Zappa believed he had been christened "Francis Vincent Zappa" after his father, and he is credited as Francis on some of his early albums. However, the name on his birth certificate is "Frank".<ref name="Occhiogrosso"/>{{rp|15}}}} (December 21, 1940&nbsp;– December 4, 1993) was an American composer, songwriter, electric guitarist, conductor, actor, satirist, filmmaker and activist. In a career spanning more than 30&nbsp;years, Zappa composed [[Rock music|rock]], [[Pop music|pop]], [[jazz]], [[jazz fusion]], [[orchestra]]l and ''[[musique concrète]]'' works; he additionally produced nearly all the 60-plus albums he released with his band [[<!--Do not capitalize-->the Mothers of Invention]] and as a solo artist.<ref name="WRAM">{{cite web|url=http://www.allmusic.com/artist/frank-zappa-mn0000138699/biography|title=Frank Zappa – Biography & History|website=[[AllMusic]] |first=William |last=Ruhlmann |access-date=August 8, 2017}}</ref> His work, which predominantly features [[electric guitar]] work, is characterized by [[wikt:nonconformity|nonconformity]], [[Musical improvisation|improvisation]]<ref name="dweezilimprov">{{cite web |url=https://www.youtube.com/watch?v=3dKh4PRio8g&t=87s |title=Dweezil Zappa Teaches Frank Zappa's Improvisation Techniques |date=2016-12-06 |website=Youtube |publisher=Reverb.com |access-date=2024-04-12 |quote=Zappa regularly used structured improvisation in a Jazz-like context but also occasionally used what he called "spontaneous composition"}}</ref> sound experimentation, [[Virtuoso|musical virtuosity]] and [[satire]] of American culture.<ref name="semley2012"/> Zappa also directed feature-length films and [[music video]]s, and designed album covers. He is considered one of the most innovative and stylistically diverse musicians of his generation.<ref>{{cite web|last1=Whitaker|first1=Sterling|title=The Day Frank Zappa Died|url=http://ultimateclassicrock.com/frank-zappa-death/|website=[[Ultimate Classic Rock]]|date=December 4, 2015}}</ref><ref name="museobit">{{cite news|last1=Maume|first1=Chris|title=Gail Zappa: Frank Zappa's wife, muse and manager who ferociously protected his musical legacy|url=https://www.independent.co.uk/news/obituaries/gail-zappa-frank-zappas-wife-muse-and-manager-who-ferociously-protected-his-musical-legacy-a6691251.html |work=[[The Independent]]|date=October 12, 2015 |access-date=March 14, 2019}}</ref>

As a mostly self-taught composer and performer, Zappa 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 (music)|modernism]], African-American [[rhythm and blues]], and [[doo-wop]] music.<ref name="teentastes">{{cite book|last1=Buckley|first1=Peter|title=The Rough Guide to Rock: [The Definitive Guide to More Than 1200 Artists and Bands]|year= 2003|publisher=Rough Guides|location=London|isbn=978-1-84353-105-0|page=[https://archive.org/details/roughguidetorock0003unse/page/1211 1211]|edition=3rd|quote=As a teenager, Zappa was simultaneously enthralled by black R&B (Johnny 'Guitar' Watson, Guitar Slim), doo-wop (The Channels, The Velvets), the modernist 20th century composers, such as Igor Stravinsky, Anton Webern and Edgard Varèse.|url=https://archive.org/details/roughguidetorock0003unse/page/1211}}</ref> He began writing classical music in high school, while simultaneously playing drums in rhythm-and-blues bands, later switching to electric guitar. His debut studio album with the Mothers of Invention, ''[[Freak Out!]]'' (1966), combined satirical but seemingly conventional [[rock and roll|rock-and-roll]] songs with extended sound collages. He continued this eclectic and experimental approach throughout his career.

Zappa's output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas and characters reappearing throughout his albums.<ref name="semley2012"/> 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]].<ref name="Comedy rock">{{cite web |url=http://www.allmusic.com/subgenre/comedy-rock-ma0000012139/artists |title=Comedy rock |website=[[AllMusic]] |access-date=November 14, 2020}}</ref> 

Politically, Zappa was a [[Libertarianism in the United States|libertarian]], emphasizing [[Civil liberties|individual liberty]], [[freedom of speech]] and [[Night-watchman state|minimal government interference]]. He opposed [[censorship]], advocated for [[Free market|free markets]] and [[Moral responsibility|personal responsibility]].<ref name=":0" /> He was a strident critic of mainstream education and [[organized religion]], and a forthright and passionate advocate for [[autodidacticism|self-education]], [[homeschooling]], and political participation. Unlike many other rock musicians of his generation, he disapproved of [[recreational drug use]], but supported [[Drug liberalization|decriminalization]] and regulation, comparing the [[war on drugs]] to [[Prohibition|alcohol prohibition]].<ref>{{Cite web |last=Kibbe |first=Matt |date=1990-03-01 |title=Zapping the Do-Gooders |url=https://reason.com/1990/03/01/zapping-the-do-gooders/ |access-date=2025-10-15 |website=Reason.com |language=en-US}}</ref>

Zappa was a highly productive and prolific musician with a controversial critical standing; supporters of his music admired its compositional complexity, while detractors found it lacking emotional depth.<ref name="wp">{{cite news|last=Himes|first=Geoffrey|date=December 12, 1993|url=https://www.washingtonpost.com/archive/lifestyle/style/1993/12/12/pop-recordings/2e1e34bf-05aa-438b-b2c7-20f8e640600d/|title=Pop Recordings|newspaper=[[The Washington Post]]|access-date=October 13, 2018}}</ref> He had greater commercial success outside the U.S., particularly in Europe. Though he worked as an [[independent music|independent artist]], Zappa mostly relied on distribution agreements he had negotiated with the major [[record label]]s. He remains a major influence on musicians. His many honors include his posthumous 1995 induction into the [[Rock and Roll Hall of Fame]] and the 1997 [[Grammy Lifetime Achievement Award]].

==1940–1965: Early life and career==
===Childhood===
Zappa was born on December 21, 1940, in [[Baltimore]], Maryland, to Rose Marie ({{nee}} Colimore) and Francis Vincent Zappa. He was predominantly of Sicilian descent but also had Greek, Arab and French ancestors.{{refn|group="nb"|"My ancestry is Sicilian, Greek, [[Arbëreshë people|Arbëresh]], and French. My mother's mother was French and Sicilian, and her Dad was Italian (from Naples). She was first generation. The Greek-Arab side is from my Dad. He was born in a Sicilian village called Partinico&nbsp;..."<ref name="Occhiogrosso">{{cite book |last1=Zappa |first1=Frank |author-link=Frank Zappa |last2=Occhiogrosso |first2=Peter |title=Real Frank Zappa Book |date=1989 |publisher=Simon and Schuster |isbn=978-0-671-70572-5 |url=https://archive.org/details/realfrankzappabo0000zapp}}</ref>{{rp|15}}}}

The eldest of four children, he was raised in an Italian-American household where Italian was often spoken by his grandparents.<ref name="Occhiogrosso"/>{{rp|6}}<ref name="Rolling Stone Book">''The New Rolling Stone Encyclopedia of Rock & Roll'', 1993.</ref> 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 Zappa'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.<ref name="Occhiogrosso"/>{{rp|20–23}} This living arrangement had a profound effect on Zappa, and references to germs, germ warfare, ailments and the defense industry occur frequently throughout his work.<ref name="miles">{{cite book| title = Frank Zappa| first = Barry| last = Miles| publisher=Atlantic Books| location = London| date = 2004|isbn = 978-1-84354-092-2}}</ref>{{rp|8–9}}

Zappa's father often brought [[Mercury (element)|mercury]]-filled lab equipment home from his workplace and gave it to Zappa to play with.<ref name="Occhiogrosso"/>{{rp|19}}  Zappa said that as a child he "used to play with it all the time", often by putting liquid mercury on the floor and using a hammer to spray out mercury droplets in a circular pattern, eventually covering the entire floor of his bedroom with them.<ref>{{cite book |title=Real Frank Zappa Book |date=1989 |publisher=Simon and Schuster |isbn=978-0-671-70572-5 |url=https://books.google.com/books?id=FB0O_HCpBy0C&pg=PA19 |access-date=May 1, 2022}}</ref>

Zappa was often sick as a child, suffering from [[asthma]], [[earache]]s and [[Paranasal sinuses|sinus]] problems. A doctor treated his sinusitis by inserting a pellet of [[radium]] into each of Zappa's nostrils. At the time, little was known about the potential dangers of even small amounts of therapeutic radiation and mercury exposure.<ref name="miles"/>{{rp|10}}

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]]. Zappa 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.<ref name="Occhiogrosso"/>{{rp|20–23}}<ref name="miles"/>{{rp|10}} In 1952, his family relocated for reasons of health to [[Monterey, California]], where his father taught [[metallurgy]] at the [[Naval Postgraduate School]].<ref name="Occhiogrosso"/>{{rp|22}} They soon moved to the [[San Diego]] neighborhood of [[Clairemont, San Diego|Clairemont]],<ref name="slaven03">{{cite book |title=Electric Don Quixote: The Definitive Story of Frank Zappa |edition=2nd |first1=Neil |last1=Slaven |publisher=Music Sales Group|date=2003|isbn=978-0-7119-9436-2|url=https://books.google.com/books?id=a4EyfFjQ3DgC}}</ref>{{rp|46}} and then to the nearby city of [[El Cajon, California|El Cajon]], before finally returning to San Diego.<ref>{{cite web|url=http://sandiegotroubadour.com/wp-content/pdf/2005_11_Nov.pdf|title=Counter Culture Coincidence|work=San Diego Troubadour|last=Mendoza|first=Bart|page=4|date=November 11, 2005|access-date=September 11, 2010}}</ref>

===First musical interests===
{{quote box|quote=Since I didn't have any kind of formal training, it didn't make any difference to me if I was listening to [[Lightnin' Slim]], or a vocal group called the Jewels&nbsp;..., or [[Webern]], or [[Varèse]], or [[Stravinsky]]. To me it was all good music.|source= — Frank Zappa, 1989<ref name="Occhiogrosso"/>{{rp|34}}|width=25em}}

At the age of 12, Zappa started learning [[drum rudiment]]s at a summer school group course in Monterey, California with a teacher named Keith McKillop. Frank said "Instead of drums, he had us practicing on wooden planks."<ref name="Occhiogrosso"/>{{rp|13}} Zappa joined his first band at [[Mission Bay High School]] in San Diego as a drummer.<ref name="Occhiogrosso"/>{{rp|29}} 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.<ref name="miles"/>{{rp|22}} According to ''[[Rough Guide|The Rough Guide to Rock]]'' (2003), "as a teenager Zappa was simultaneously enthralled by black R&B ([[Johnny "Guitar" Watson|Johnny 'Guitar' Watson]], [[Guitar Slim]]), doo-wop ([[The Channels]], [[The Velvets]]), and modern composers, such as [[Igor Stravinsky]], [[Anton Webern]] and [[Edgard Varèse]]."<ref name="teentastes"/>

R&B singles were early purchases for Zappa, starting a large collection he kept for the rest of his life.<ref name="miles"/>{{rp|36}} 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.<ref name="Occhiogrosso"/>{{rp|29}} Zappa's deep interest in modern classical music began<ref name="idol"/> when he read a ''[[Look (American magazine)|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''.<ref name="Occhiogrosso"/>{{rp|30–33}} The article described Varèse's percussion composition ''[[Ionisation (Varèse)|Ionisation]]'', produced by [[EMS Recordings]], as "a weird jumble of drums and other unpleasant sounds". Zappa decided to seek out Varèse's music. After searching for over a year, Zappa 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.<ref name="Occhiogrosso"/>{{rp|30–33}} 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 [[Giacomo Puccini|Puccini]]'s opera arias.

[[File:Frank Zappa HS Yearbook.jpg|thumb|upright|Zappa's senior yearbook photo, 1958]]
By 1956, the Zappa family had moved to [[Lancaster, California|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".<ref>{{cite web|url=http://globalia.net/donlope/fz/lyrics/Roxy_and_Elsewhere.html#Village|title=Lyrics of Village Of The Sun|first=Frank|last=Zappa|date=December 1973|work=Village Of The Sun, Roxy and Elsewhere|access-date=October 20, 2016}}</ref> Zappa'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.<ref name="Occhiogrosso"/>{{rp|30–33}} Unfortunately, Varèse was in Europe at the time, so Zappa spoke to the [[Louise Varèse|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, Zappa 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 Zappa framed the letter and kept it on display for the rest of his life.<ref name="idol">{{cite journal |last=Zappa |first=Frank |date=June 1971 |title=Edgard Varèse: The Idol of My Youth |url=https://www.worldradiohistory.com/Archive-All-Audio/Archive-HiFI-Stereo/70s/HiFi-Stereo-Review-1971-06.pdf |journal=Stereo Review |volume=26 |issue=6 |pages=62–68 |via=World Radio History}}</ref>{{refn|group="nb"|On several of his earlier albums, Zappa paid tribute to Varèse by quoting his: "The present-day composer refuses to die."<ref>{{cite book|title=Friendly Remainders: Essays in Music Criticism after Adorno|first1=Murray|last1=Dineen|publisher=McGill-Queen's Press|date=2011|isbn=978-0-7735-8576-8|page=[https://books.google.com/books?id=WV1ta5rlm58C&pg=PA122 122] |url=https://books.google.com/books?id=WV1ta5rlm58C }}</ref>}}

At [[Antelope Valley High School]], Zappa met Don Glen Vliet (who later changed his name to Don Van Vliet and adopted the stage name [[Captain Beefheart]]). Zappa and Vliet became close friends, sharing an interest in R&B records and influencing each other musically throughout their careers.<ref name="slaven03"/>{{rp|29–30}} Around the same time, Zappa started playing drums in a local band, the Blackouts.<ref name="watson96"/>{{rp|13}} The band was racially diverse and included [[Jim Sherwood|Euclid James "Motorhead" Sherwood]] who later became a member of the Mothers of Invention. Zappa'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. Zappa considered soloing the equivalent of forming "air sculptures",<ref>{{cite book|title=Frank Zappa|first1=Barry|last1=Miles|publisher=Atlantic Books Ltd|date=2014|isbn=978-1-78239-678-9|page=[https://books.google.com/books?id=A5jCBAAAQBAJ&pg=PT266 266] |url=https://books.google.com/books?id=A5jCBAAAQBAJ}}</ref> and developed an eclectic, innovative and highly personal style.<ref>{{cite book|title=Academy Zappa: Proceedings of the First International Conference of Esemplastic Zappology (ICE-Z)|edition=illusdtrated|first1=Ben|last1=Watson|first2=Esther|last2=Leslie|publisher=SAF Publishing Ltd|date=2005|isbn=978-0-946719-79-2|page=[https://books.google.com/books?id=NBfhgQf1-QwC&pg=PA223 223] |url=https://books.google.com/books?id=NBfhgQf1-QwC}}</ref> He was also influenced by Egyptian composer [[Halim El-Dabh]].<ref name="Holmes">{{cite book|title=Electronic and experimental music: technology, music, and culture|first=Thom|last=Holmes|edition=3rd|publisher=[[Taylor & Francis]]|date=2008|isbn=978-0-415-95781-6|chapter=Early Synthesizers and Experimenters|pages=153–154|chapter-url=https://books.google.com/books?id=hCthQ-bec-QC&pg=PA153|access-date=June 4, 2011}}</ref>

Zappa's interest in composing and arranging flourished in his last high school years. By his final year, he was writing, [[arrangement|arranging]] and conducting avant-garde performance pieces for the school orchestra.<ref name="miles"/>{{rp|40}} 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!]]''<ref name="walley80"/>{{rp|23}} Due to his family's frequent moves, Zappa 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.<ref name="miles"/>{{rp|48}} 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.<ref name="miles"/>{{rp|345}} While in college, Zappa met [[Terry Kirkman]] and played gigs at local [[coffee house]]s with him.<ref>{{Cite book |last=Searles |first=Malcolm C. |title=The Association 'Cherish' |date=October 5, 2018 |publisher=Troubador Publishing Ltd |isbn=978-1-78901-361-0 |pages=7 |language=English}}</ref>

Zappa 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, California|Ontario]],<ref>{{Cite web |date=2019-12-21 |title=Frank Zappa zig-zagged around downtown Ontario in early 1960s |url=https://www.dailybulletin.com/2019/12/21/frank-zappa-zig-zagged-around-downtown-ontario-in-early-1960s/ |access-date=2025-04-16 |website=Daily Bulletin |language=en-US}}</ref><ref>{{Cite web |date=2021-01-10 |title=Frank Zappa once shared pizza and advice with Ontario teen band |url=https://www.dailybulletin.com/2021/01/10/frank-zappa-once-shared-pizza-and-advice-with-ontario-teen-band/ |access-date=2025-04-16 |website=Daily Bulletin |language=en-US}}</ref> and were married December 28, 1960.<ref name="miles"/>{{rp|58}} Zappa 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.<ref name="Occhiogrosso"/>{{rp|40}}<ref>{{cite web |url=https://www.theguardian.com/books/booksblog/2008/jan/18/copywritingisstillwriting |title=Copywriting is still writing |last=Myers |first=Ben |date=January 18, 2008 |website=The Guardian  |access-date=February 21, 2017}}</ref> 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.<ref name="miles"/>{{rp|59}} Zappa'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 Zappa records.<ref name="miles"/>{{rp|63}} The latter soundtrack was recorded in 1963 after the film was completed, but it was commissioned by one of Zappa's former high school teachers in 1959 and Zappa may have worked on it before the film was shot.<ref name="miles"/>{{rp|55}} Excerpts from the soundtrack can be heard on the posthumous album ''[[The Lost Episodes]]'' (1996).

During the early 1960s, Zappa wrote and produced songs for other local artists, often working with singer-songwriter [[Ray Collins (musician)|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.<ref>Gray, 1984, ''Mother!'', p. 29.</ref> Buff owned the small [[Pal Recording Studio]] in [[Rancho Cucamonga, California|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 [[Multitrack recording|multi-track]] facilities; the industry standard for smaller studios was still mono or two-track.<ref name="Occhiogrosso"/>{{rp|42}} Although none of the recordings from the period achieved major commercial success, Zappa earned enough money to allow him in 1963 to stage a concert of his orchestral music and to broadcast and record it.<ref name="miles"/>{{rp|74}} In March of that same year Zappa appeared on [[Steve Allen]]'s syndicated late night show playing a bicycle as a musical {{nowrap|instrument<ref>{{cite web |title=Video footage of Frank Zappa performing music on a bicycle on Steve Allen's Show in 1963 |url=https://twitter.com/SkotArmstrong/status/1473331952929296384 |website=Twitter feed of Skot Armstrong |publisher=[[Twitter]] |access-date=December 21, 2021}}</ref><ref name="slaven96">{{cite book |first=Neil |last=Slaven |date=1996 |title=Electric Don Quixote |publisher=Omnibus Press |isbn=978-0711959835}}</ref>{{rp|35–36}}{{mdash}}}}{{hsp}}using drum sticks and a bow borrowed from the band's bass player he proceeded to pluck, bang, and bow the spokes of the bike, producing strange, comical sounds from his newfound instrument. With Captain Beefheart, Zappa 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 Zappa subsequently quoted on the sleeve of ''[[Freak Out!]]''<ref name="watson96">{{cite book| title = Frank Zappa: The Negative Dialectics of Poodle Play| first = Ben| last = Watson| date = 1996| publisher=St. Martin's Griffin| location = New York| isbn = 978-0-312-14124-0}}</ref>{{rp|27}}

In 1964, after his marriage started to break up, he moved into the Pal studio and began routinely working 12&nbsp;hours or more per day recording and experimenting with [[overdubbing]] and [[Reel-to-reel audio tape recording#As a musical instrument|audio tape manipulation]]. This established a work pattern that endured for most of his life.<ref name="Occhiogrosso"/>{{rp|43}} Aided by his income from film composing, Zappa took over the studio from Paul Buff, who was now working with [[Art Laboe]] at [[Original Sound]]. It was renamed Studio Z.<ref name="miles"/>{{rp|80–81}} Studio Z was rarely booked for recordings by other musicians. Instead, friends moved in, notably James "Motorhead" Sherwood.<ref name="miles"/>{{rp|82–83}} Zappa started performing in local bars as a guitarist with a [[power trio]], the Muthers, to support himself.<ref name="watson96"/>{{rp|26}}

An article in the local press describing Zappa as "the Movie King of Cucamonga" prompted the local police to suspect that he was making [[pornography|pornographic]] films.<ref name="miles"/>{{rp|85}} In March 1965, Zappa was approached by a [[Vice unit|vice squad]] undercover officer, and accepted an offer of $100 ({{Inflation|US|100|1965|r=-1|fmt=eq}}) to produce a suggestive audio tape for an alleged [[bachelor party]]. Zappa and a female friend recorded a faked erotic episode. When Zappa was about to hand over the tape, he was arrested, and the police stripped the studio of all recorded material.<ref name="miles"/>{{rp|85}} 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".<ref>{{cite news |last= Harp |first=Ted |title=Vice Squad Raids Local Film Studio | newspaper=The Daily Report | place = Ontario, California | date = March 1965}}</ref> Zappa was charged with "conspiracy to commit pornography".<ref name="Occhiogrosso"/>{{rp|57}} This [[felony]] charge was reduced and he was sentenced to six months in jail on a [[misdemeanor]], with all but ten days suspended.<ref name="miles"/>{{rp|86–87}} His brief imprisonment left a permanent mark, and was central to the formation of his anti-authoritarian stance.<ref name="miles"/>{{rp|xv}} Zappa lost several recordings made at Studio Z in the process, as the police returned only 30 of 80 hours of tape seized.<ref name="miles"/>{{rp|87}} Eventually, he could no longer afford to pay the rent on the studio and was evicted.<ref name="slaven96"/>{{rp|40}} Zappa managed to recover some of his possessions before the studio was torn down in 1966.<ref name="miles"/>{{rp|90–91}}

==1965–1970: The Mothers of Invention==
===Formation===
By April 1965, [[Ray Collins (musician)|Ray Collins]], one of Zappa's friends during the early Studio Z days, was the singer of an R&B band called the Soul Giants, based in [[Pomona, California]]. That month, he asked Zappa to take over as guitarist in the Soul Giants, following a fight between Collins and the group's original guitarist.<ref name="Rolling Stone Book"/> Zappa accepted, and soon assumed leadership and the role as co-lead singer (even though he never considered himself a singer, then or later<ref name="HighTimes1980"/>). He convinced the other members that they should play his music to increase the chances of getting a record contract.<ref name="Occhiogrosso"/>{{rp|65–66}} The band - comprising Zappa, Collins, [[Roy Estrada]], and [[Jimmy Carl Black]] - debuted at the Broadside Club and was renamed the Mothers since this gig took place on May 10, 1965{{snd}}[[Mother's Day (United States)|Mother's Day]].<ref name="slaven03"/>{{rp|42}} They increased their bookings after beginning an association with manager [[Herb Cohen]], and gradually gained attention on the burgeoning Los Angeles [[underground music]] scene.<ref name="walley80"/>{{rp|58}} In early 1966, they were spotted by leading record producer [[Tom Wilson (record producer)|Tom Wilson]] when playing "Trouble Every Day", a song about the [[Watts riots]].<ref name="miles"/>{{rp|103}} 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 Records|Verve]] division of [[MGM Records|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.<ref>{{cite news | author=<!-- not stated --> | title = BBC Late Show: Frank Zappa interview with Nigel Leigh | medium = TV Show | publisher = [[BBC]] | location = [[UMRK]], Los Angeles, California |date=11 March 1993}}</ref> Under Zappa's leadership, the Mothers' lineup would be ever-changing during their time together, with members including Collins, Estrada, Black, [[Elliot Ingber]], brothers [[Bunk Gardner|Bunk]] and [[Buzz Gardner]], [[Don Preston]], [[Billy Mundi]], [[Jim Fielder]], [[Jim Sherwood|Jim "Motorhead" Sherwood]], [[Ian Underwood]], [[Art Tripp]], and [[Lowell George]].

===Debut album: ''Freak Out!''===
{{See also|Freak Out!|Absolutely Free|Lumpy Gravy}}
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]],<ref name="lowe">{{cite book| title = The Words and Music of Frank Zappa| first = Kelly Fisher| last = Lowe| publisher=Praeger Publishers| location = Westport| date = 2006| isbn = 978-0-275-98779-4}}</ref>{{rp|25}} and experimental [[sound collage]]s that captured the "freak" subculture of Los Angeles at that time.<ref name="walley80"/>{{rp|60–61}} Although he was dissatisfied with the final product, ''Freak Out'' immediately established Zappa as a radical new voice in rock music, providing an antidote to the "relentless consumer culture of America".<ref name="miles"/>{{rp|115}} The sound was raw, but the arrangements were sophisticated. While recording in the studio, some of the additional [[session musician]]s were shocked that they were expected to read the notes on sheet music from [[Chord chart|charts]] with Zappa conducting them, since it was not standard when recording rock music.<ref name="miles"/>{{rp|112}} The lyrics praised non-conformity, disparaged authorities, and had [[dada]]ist elements. Yet, there was a place for seemingly conventional love songs.<ref name="watson05">{{cite book| title = Frank Zappa. The Complete Guide to His Music| first = Ben| last = Watson| date = 2005| publisher=Omnibus Press| location = London| isbn = 978-1-84449-865-9}}</ref>{{rp|10–11}} Most compositions are Zappa'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 [[Overdubbing|overdubs]]. Wilson provided the industry clout and connections and was able to provide the group with the financial resources needed.<ref name="miles"/>{{rp|123}} Although Wilson was able to provide Zappa 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, Zappa 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 Zappa's chagrin, it was issued in its unfinished state.<ref>"How We Made It Sound That Way", interview on WDET Detroit, November 13, 1967 (excerpt included as part of the [[The MOFO Project/Object|MOFO]] album, 2006)</ref>

{{Listen|type=music|filename=Zappa_HungryFreaks.ogg|description=The opening track on ''[[Freak Out!]]''. The album has "consistently been voted as one of top 100 greatest albums ever made".<ref name="miles"/>{{rp|115}}<br />&nbsp;|title="Hungry Freaks Daddy" (1966)|pos=left}}

During the recording of ''Freak Out!'', Zappa moved into a house in [[Laurel Canyon, Los Angeles|Laurel Canyon]] with friend Pamela Zarubica, who appeared on the album.<ref name="miles"/>{{rp|112}} The house became a meeting (and living) place for many LA musicians and [[groupie]]s of the time, despite Zappa's disapproval of their illicit drug use.<ref name="miles"/>{{rp|122}} After a short promotional tour following the release of ''Freak Out!'', Zappa met [[Gail Zappa|Adelaide Gail Sloatman]]. He fell in love within "a couple of minutes", and she moved into the house over the summer.<ref name="Occhiogrosso"/>{{rp|65–66}} They married in 1967, had four children and remained together until Zappa's death.

Wilson nominally produced the Mothers' second album ''[[Absolutely Free]]'' (1967), which was recorded in November 1966, and later [[Audio mixing (recorded music)|mixed]] in New York, although by this time Zappa 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 Zappa's compositional style of introducing abrupt rhythm changes into songs that were built from diverse elements.<ref name="lowe"/>{{rp|5}} Examples are "Plastic People" and "Brown Shoes Don't Make It", which contained lyrics that lampooned the hypocrisy and conformity of American society, but also of the [[counterculture of the 1960s]].<ref name="lowe"/>{{rp|38–43}} As Zappa put it, "[W]e're satirists, and we are out to satirize everything."<ref name="miles"/>{{rp|135–138}} At this time, Zappa had also recorded material for an album of orchestral works to be released under his own name, ''[[Lumpy Gravy (1967 album)|Lumpy Gravy]],'' to be released by [[Capitol Records]] in 1967. Due to contractual problems, the album was held back. Zappa took the opportunity to radically restructure the material, adding newly recorded improvised dialogue. After the contractual problems were resolved, [[Lumpy Gravy|a new album of the same name]] was issued by Verve in 1968.<ref name="miles"/>{{rp|140–141}} It is an "incredible ambitious musical project",<ref name="lowe"/>{{rp|56}} a "monument to [[John Cage]]",<ref name="walley80"/>{{rp|86}} which intertwines orchestral themes, spoken words and electronic noises through radical [[audio engineer|audio editing]] techniques.<ref name="lowe"/>{{rp|56}}<ref>{{cite web |url={{AllMusic|class=album|id=r22630|pure_url=yes}} | title=Lumpy Gravy. Review | last= Couture |first = François |work=AllMusic |access-date=January 2, 2008}}</ref>{{refn|group="nb"|The initial orchestra-only recordings were released posthumously on the box set ''[[Lumpy Money]]'' (2009). See {{Cite journal |title=The Resurrection of Frank Zappa's Soul |url=http://www.laweekly.com/2008-12-11/music/the-resurrection-of-frank-zappa-8217-s-soul/1 |date=December 8, 2008 |first=Casey |last=Dolan |journal=LA Weekly |access-date=February 2, 2009 |archive-date=October 4, 2012  |archive-url=https://web.archive.org/web/20121004152903/http://www.laweekly.com/2008-12-11/music/the-resurrection-of-frank-zappa-8217-s-soul/1/ |url-status=dead }}}}

===New York period (1966–1968)===
{{see also|We're Only in It for the Money|Cruising with Ruben & the Jets|Uncle Meat|Ahead of Their Time}}
The Mothers of Invention played in New York in late 1966 and were offered a contract at the [[Garrick Cinema|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.<ref name="james">{{cite book |last=James |first=Billy |date=2000 |title=Necessity Is ...: The Early Years of Frank Zappa & The Mothers of Invention |publisher=SAF Publishing Ltd |location=London |isbn=978-0946719518}}</ref>{{rp|62–69}} As a result, Zappa and his wife Gail, along with the Mothers of Invention, moved to New York.<ref name="miles"/>{{rp|140–141}} Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa using hand signals.<ref name="miles"/>{{rp|147}} Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa 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 Zappa to pretend that it was a "[[gook]] baby".<ref name="Occhiogrosso"/>{{rp|94}}

In 1967, filmmaker [[Ed Seeman]] paid Zappa $2,000 to produce music for a [[Luden's]] cough drops television commercial.<ref>{{cite web | url=https://www.youtube.com/watch?v=ZsbDne3sZRQ | title=Luden's Cough Drops Commercial | website=[[YouTube]] | date=April 24, 2017 }}</ref> Zappa's music was matched with Seeman's animation and the advertisement won a [[Clio Awards|Clio Award]] for "Best Use of Sound".<ref>{{cite web | url=https://www.zeroto180.org/frank-zappas-clio-award/ | title=Frank Zappa's Clio Award | date=June 30, 2015 }}</ref><ref>{{cite web | url=https://www.youtube.com/watch?v=WAUvFst5bOI | title=Zappa's Luden's Cough Drops | website=[[YouTube]] | date=February 27, 2008 }}</ref> An alternate version of the soundtrack, called "The Big Squeeze", later appeared on Zappa's posthumous 1996 album ''[[The Lost Episodes]]''. This version lacks Seeman's narration.

While living in New York City, 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).<ref>{{cite web|url={{AllMusic|class=album|id=r22631|pure_url=yes}}|title=We're Only in It for the Money. Review|last=Huey|first=Steve|work=AllMusic|access-date=January 2, 2008}}</ref> It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa 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.<ref name="walley80"/>{{rp|90}}<ref name="watson05"/>{{rp|15}} He sampled surf music from his Studio Z days in the audio collage ''Nasal Retentive Caliope Music''. The cover photo parodied that of [[the Beatles]]' ''[[Sgt. Pepper's Lonely Hearts Club Band]]''.{{refn|group="nb"|As the legal aspects of using the ''Sgt. Pepper'' concept were unsettled, the album was released with the cover and back on the inside of the gatefold, while the actual cover and back were a picture of the group in a pose parodying the inside of the Beatles album.<ref name="miles"/>{{rp|151}}}} The cover art was provided by [[Cal Schenkel]] whom Zappa met in New York. This initiated a lifelong collaboration in which Schenkel designed covers for numerous Zappa and Mothers albums.<ref name="watson96"/>{{rp|88}}
[[File:The Mothers of Invention (1968).jpg|thumb|left|Zappa (back) with the Mothers, 1968]]
Reflecting Zappa'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.<ref name="lowe"/>{{rp|58}} Zappa 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&nbsp;... to doo-wop in the fifties?"<ref name="Occhiogrosso"/>{{rp|88}} The opening theme from Stravinsky's ''[[The Rite of Spring]]'' is sung in "Fountain of Love".

In 1967 and 1968, Zappa made two appearances with [[the Monkees]]. The first appearance was on an episode of [[The Monkees (TV series)|their TV series]], "The Monkees Blow Their Minds", where Zappa, dressed up as [[Michael Nesmith|Mike Nesmith]], interviews Nesmith who is dressed up as Zappa. After the interview, Zappa destroys a car with a sledgehammer as the song "Mother People" plays. He later provided a cameo in the Monkees' movie [[Head (film)|''Head'']] where, leading a cow, he tells [[Davy Jones (musician)|Davy Jones]] "the youth of America depends on you to show them the way." Zappa respected the Monkees and attempted to recruit [[Micky Dolenz]] to the Mothers but RCA/Columbia/Colgems would not release Dolenz from his contract.<ref name="miles"/>{{rp|158–159}}

During the late 1960s, Zappa continued to develop the business side of his career. He and Herb Cohen formed the [[Bizarre Records|Bizarre]] and [[Straight Records|Straight]] 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]].<ref name="miles"/>{{rp|173–175}} Straight released the double album ''[[Trout Mask Replica]]'' for [[Captain Beefheart]], and releases by [[Alice Cooper]], [[The Persuasions]], and [[the GTOs]]. The Mothers' first album on Bizarre was 1969's ''[[Uncle Meat]]'', which Zappa described as "most of the music from the Mothers' movie of the same name which we haven't got enough money to finish yet". A version of the ''[[Uncle Meat (film)|Uncle Meat]]'' film was released direct-to-video in 1987. Principal photography having never been completed, the VHS videocassette is a "making of" documentary showing rehearsals and background footage from 1968 and interviews with people involved with the uncompleted production.<ref>{{cite web | url=https://archive.org/details/uncle-meat-full-film | title=Uncle Meat Full Film 1987 | date=December 8, 1987 }}</ref>
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During the Mothers' second European tour in September/October 1968, they performed for the Internationale Essener Songtage at the [[Grugahalle]] in [[Essen]], Germany; at the [[Tivoli Gardens|Tivoli]] in Copenhagen, Denmark; for TV programs in Germany (''[[Beat-Club]]''), France, and England; at the [[Concertgebouw, Amsterdam|Concertgebouw]] in Amsterdam; at the [[Royal Festival Hall]] in London; and at the [[Olympia (Paris)|Olympia]] in Paris.<ref>{{cite web |url=https://www.zappateers.com/fzshows/6669.html |title=September–October 1968: The 2nd European tour |website=zappateers.com |access-date=October 18, 2023 }}</ref>

===Disbandment===
{{see also|Hot Rats|Burnt Weeny Sandwich|Weasels Ripped My Flesh}}
{{Listen|type=music|filename=Zappa_PeachesEnRegalia.ogg|description=The opening track on ''[[Hot Rats]]'' is considered one of Zappa's most enduring compositions.<ref name="lowe"/>{{rp|74}}<ref name="Allmusic Peaches">{{cite web |url={{AllMusic|class=song|id=t2677929|pure_url=yes}} |title=Peaches en Regalia [Song Review] |last=Couture |first=François |work=AllMusic |access-date=April 11, 2010}}</ref> |title="Peaches En Regalia" (1969)|pos=right|}}

Zappa and the Mothers of Invention returned to Los Angeles in mid-1968; the Zappas moved into a house on Laurel Canyon Boulevard, only to move again to Woodrow Wilson Drive.<ref name="miles"/>{{rp|178}} This was Zappa's home for the rest of his life. Despite being successful in Europe, the Mothers of Invention were not doing well financially.<ref name="walley80">{{cite book |first=David |last=Walley |year= 1980 |publisher=[[E. P. Dutton]] |title=No Commercial Potential: The Saga of Frank Zappa Then and Now |isbn=978-0525931539}}</ref>{{rp|116}} Their first records were vocally oriented, but as Zappa wrote more instrumental jazz and classical style music for the band's concerts, audiences were confused. Zappa felt that audiences failed to appreciate his "electrical chamber music".<ref name="miles"/>{{rp|185–187}}<ref name="slaven03"/>{{rp|119–120}}

In 1969, there were nine band members and Zappa was supporting the group from his publishing [[royalties]] whether they played or not.<ref name="walley80"/>{{rp|116}} In late 1969, Zappa broke up the band. He often cited the financial strain as the main reason,<ref name="Occhiogrosso"/>{{rp|107}} but also commented on the band members' lack of diligence.<ref name="slaven03"/>{{rp|120}} Many band members were bitter about Zappa's decision, and some took it as a sign of Zappa's perfectionism at the expense of human feeling.<ref name="miles"/>{{rp|185–187}} Others were irritated by 'his [[Autocracy|autocratic]] ways',<ref name="miles"/>{{rp|123}} exemplified by Zappa's never staying at the same hotel as the band members.<ref name="miles"/>{{rp|116}} Several members would play with Zappa again in subsequent years, while Lowell George and Roy Estrada went on to form the band [[Little Feat]]. Zappa assembled remaining unreleased recordings of the band on the albums ''[[Burnt Weeny Sandwich]]'' and ''[[Weasels Ripped My Flesh]]'', both released in 1970.

After he disbanded the Mothers of Invention, Zappa released the acclaimed solo album ''[[Hot Rats]]'' (1969).<ref name="miles"/>{{rp|194}}<ref>{{cite web|url={{AllMusic|class=album|id=r22632|pure_url=yes}}|last=Huey|first=Steve|title=Hot Rats. Review|work=AllMusic|access-date=January 2, 2008}}</ref> It features, for the first time on record, Zappa playing extended guitar solos and contains one of his most enduring compositions, "[[Peaches en Regalia]]", which reappeared several times on future recordings.<ref name="lowe"/>{{rp|74}} He was backed by jazz, blues and R&B session players including violinist [[Don "Sugarcane" Harris]], drummers [[John Guerin]] and [[Paul Humphrey (American musician)|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,<ref name="Occhiogrosso"/>{{rp|109}} and had a major influence on the development of [[jazz-rock fusion]].<ref name="miles"/>{{rp|194}}<ref name="lowe"/>{{rp|74}}

==1970–1980: Highs and lows==
===Rebirth of the Mothers and filmmaking===
{{see also|Chunga's Revenge|Fillmore East – June 1971|200 Motels (soundtrack)|Just Another Band from L.A.|Playground Psychotics}}
[[File:Frank Zappa, 1970 - 19.jpg|thumb|Frank Zappa, 1970]]
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In 1970, Zappa met conductor [[Zubin Mehta]]. They arranged a May 1970 concert where Mehta conducted the [[Los Angeles Philharmonic]] augmented by a rock band. According to Zappa, 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]]''.<ref name="Occhiogrosso"/>{{rp|109}} Although the concert was a success, Zappa's experience working with a symphony orchestra was not a happy one.<ref name="Occhiogrosso"/>{{rp|88}} 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.<ref name="Occhiogrosso"/>{{rp|142–156}}

Later in 1970, Zappa formed a new version of the Mothers (from then on, he mostly dropped the "of Invention"). Along with Ian Underwood, the new band also included British drummer [[Aynsley Dunbar]], jazz keyboardist [[George Duke]], bassist [[Jeff Simmons (musician)|Jeff Simmons]], and the two lead singers of [[the Turtles]], [[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]]" for short.<ref name="miles"/>{{rp|201}} Another member of the Turtles, [[Jim Pons]], would join on bass in February 1971, following Simmons' departure the previous month and his brief replacement by Martin Lickert.

This version of the Mothers debuted on Zappa's next solo album ''[[Chunga's Revenge]]'' (1970),<ref name="miles"/>{{rp|205}} which was followed by [[200 Motels (album)|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 Zappa and [[Tony Palmer (director)|Tony Palmer]], it was filmed in a week at [[Pinewood Studios]] outside London.<ref name="watson96"/>{{rp|183}} Tensions between Zappa and several cast and crew members arose before and during shooting.<ref name="watson96"/>{{rp|183}} The film deals loosely with life on the road as a rock musician.<ref name="miles"/>{{rp|207}} It was the first feature film photographed on [[videotape]] and transferred to [[35 mm movie film|35&nbsp;mm film]], a process that allowed for novel visual effects.<ref>Michael Starks, 1982, ''Cocaine Fiends and Reefer Madness: An Illustrated History of Drugs in the Movies 1894-1978'', {{ISBN|1579511899}}, p. 153.</ref> It was released to mixed reviews.<ref name="lowe"/>{{rp|94}} The score relied extensively on orchestral music, and Zappa'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.<ref name="Occhiogrosso"/>{{rp|119–137}}

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]]", Zappa'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.<ref name="miles"/>{{rp|203–204}}{{refn|group="nb"|During the June 1971 Fillmore concerts Zappa was joined on stage by [[John Lennon]] and [[Yoko Ono]]. This performance was recorded, and Lennon released excerpts on his album ''[[Some Time in New York City]]'' in 1972. Zappa later released his version of excerpts from the concert on ''[[Playground Psychotics]]'' in 1992, including the jam track "Scumbag" and an extended avant-garde vocal piece by Ono (originally called "Au"), which Zappa renamed "A Small Eternity with Yoko Ono".}}

===Accident, attack, and aftermath===
[[File:Frank Zappa Mothers of Invention 1971.JPG|right|thumb|Zappa with the Mothers, 1971]]

On December 4, 1971, Zappa suffered his first of two serious setbacks. While performing at [[Montreux Casino|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.<ref name="Occhiogrosso"/>{{rp|112–115}} [[Deep Purple]] were booked to record in the casino after Zappa's performance, and wrote about the incident in their 1972 song "[[Smoke on the Water]]". A recording of the incident and immediate aftermath can be heard on the bootleg album ''Swiss Cheese/Fire'', released legally as part of Zappa's ''[[Beat the Boots II]]'' box set. After losing $50,000 ({{Inflation|US|50000|1971|r=-3|fmt=eq}}) 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 Zappa, pushed him off the stage and into the concrete-floored orchestra pit.<ref name="Reed">{{cite web |last1=Reed |first1=Ryan |title=When Frank Zappa Was Pushed Offstage in London |url=http://ultimateclassicrock.com/41-years-ago-frank-zappa-pushed-off-stage-in-london/ |website=Ultimate Classic Rock |access-date=January 29, 2019 |date=December 10, 2015}}</ref> The band thought Zappa 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 [[Major third|third]] after healing.<ref name="Occhiogrosso"/>{{rp|112–115}} A recording of the whole concert, including the attack, was released on the posthumous album ''[[The Mothers 1971]]'' in 2022.

[[File:Frank-Zappa in glory.jpg|right|thumb|Zappa on Stage in Hamburg, December 1971]]

After the attack, Zappa needed to use a wheelchair for an extended period; this made touring impossible for over half a year. Upon return to the stage in September 1972, Zappa was still wearing a leg brace, had a noticeable limp and could not stand for very long while on stage. Zappa 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.<ref name="Occhiogrosso"/>{{rp|112–115}} 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.

=== Solo albums: ''Waka/Jawaka'' and ''The Grand Wazoo'' ===
{{See also|Waka/Jawaka|The Grand Wazoo}}
{{Listen|type=music|filename=Zappa_WakaJawaka.ogg|description=The closing track on ''[[Waka/Jawaka]]'', one of Zappa's jazz-oriented albums.|title="Waka/Jawaka" (1972)|pos=right}}
In 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.<ref name="lowe"/>{{rp|101}} Musically, the albums were akin to ''Hot Rats,'' in that they featured extended instrumental tracks with extended soloing.<ref name="miles"/>{{rp|225–226}} Zappa began touring again in late 1972.<ref name="miles"/>{{rp|225–226}} 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.<ref>Official recordings of these bands did not emerge until more than 30&nbsp;years later on ''[[Wazoo (album)|Wazoo]]'' (2007) and ''[[Imaginary Diseases]]'' (2006), respectively.</ref>

In December 1972,<ref name="walley72">{{cite web |year=1972 |url=https://www.afka.net/Books/No_Commercial_Potential.htm |title=No Commercial Potential: The Saga of Frank Zappa & The Mothers of Invention |first=David |last=Walley |work=afka.net |access-date=December 8, 2022}}</ref> David Walley published the first biography of Zappa, titled ''No Commercial Potential''. Zappa was severely critical, calling it "a quickie, paperback, sensational book". He said that it contained "gross inaccuracies", described the writing as "not quality workmanship" and claimed that Walley had "just slung together a bunch of quotes".<ref name=lafp74>{{cite web |url=https://www.afka.net/Articles/1974-11_LAFP.htm |title=Frank Zappa |first=Elliot |last=Cahn |work= Los Angeles Free Press, November 29, 1974 |access-date=December 2, 2022}}</ref> Despite Zappa's complaints, the book was later published in an updated edition in 1980<ref name="walley80"/> and again in 1996 after Zappa's death.

===Top 10 album: ''Apostrophe ({{'}})''===
{{See also|Over-Nite Sensation|Apostrophe (')|Roxy & Elsewhere|One Size Fits All (Frank Zappa album)|Bongo Fury}}
[[File:Frank Zappa giving the finger.jpg|thumb|left|Zappa giving the finger during a show in Hamburg, September 1974]]
Zappa 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 (musician)|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. Zappa and Cohen then created [[DiscReet Records|DiscReet]], also distributed by Warner.<ref name="miles"/>{{rp|231}} Zappa continued a high rate of production through the first half of the 1970s, including the album ''[[Apostrophe (')]]'' (1974), which reached a career-high No.&nbsp;10 on the ''[[Billboard charts|Billboard]]'' pop album charts<ref>{{cite web | url = {{AllMusic|class=artist|id=p74796|pure_url=yes}} | title= Frank Zappa | work=AllMusic |access-date=January 3, 2008}}</ref> helped by the No.&nbsp;86 chart hit "[[Don't Eat the Yellow Snow Suite|Don't Eat The Yellow Snow]]".<ref>{{cite web | url = {{AllMusic|class=album|id=r53148|pure_url=yes}} | title= Apostrophe ('). Review | last= Huey| first = Steve | work=AllMusic |access-date=January 3, 2008}}</ref> Other albums from the period are ''[[Over-Nite Sensation]]'' (1973), which contained several future concert favourites such as "Dinah-Moe Humm" and "[[Montana (Frank Zappa song)|Montana]]", as well as ''[[Roxy & Elsewhere]]'' (1974) and ''[[One Size Fits All (Frank Zappa album)|One Size Fits All]]'' (1975), which 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)".<ref name="lowe"/>{{rp|114–122}} 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".<ref name="lowe"/>{{rp|114–122}}
[[File:Frank Zappa - Capt. Beefheart - crop.jpg|thumb|upright|Zappa with [[Captain Beefheart]], seated left, during a 1975 concert]]
In April 1975 Zappa complained about ongoing contractual problems between DiscReet and Warner.<ref name=fudger>{{cite web |url=http://www.afka.net/Articles/1975-04_Disc.htm |title=One Size Fits All - Frank Zappa, A Sofa And References To The Universe In General |first=David |last=Fudger |work=Disc, April 26, 1975 |access-date=2024-03-27}}</ref> He 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.<ref name="miles"/>{{rp|248}} They later became estranged for a period of years, but were in contact at the end of Zappa's life.<ref name="miles"/>{{rp|372}}

===Business breakups and touring===
{{see also|Zoot Allures|Zappa in New York|Studio Tan|Sleep Dirt|Orchestral Favorites}}
In 1976, Zappa produced the album ''[[Good Singin', Good Playin']]'' for [[Grand Funk Railroad]]. His relationship with long-time manager Herb Cohen ended in May 1976.<ref name=chron76>{{cite web |url=http://www.donlope.net/fz/chronology/1976-1980.html |title=Zappa chronology 1976-1980 |work=donlope.net |access-date=December 17, 2021}}</ref> After Cohen cashed one of Zappa's royalty checks from Warner and kept the money for himself, Zappa sued Cohen.<ref name=lafp77>{{cite web |url=https://www.afka.net/Articles/1977-12_LAFP.htm |title=Zappa takes aim for the New Year |first=M. B. |last=Kleber |work=Los Angeles Free Press, December 30, 1977 |access-date=December 1, 2022}}</ref> Zappa was also upset with Cohen for signing acts he did not approve.<ref name="miles"/>{{rp|250}}<ref name=valleynews>{{cite web |url=https://www.afka.net/Articles/1977-12_The_Valley_News.htm |title=Frank Zappa – A Would-be Chemist Who Turned to Music |first=Rip |last=Rense |work=The Valley News, December 30, 1977 |access-date=December 17, 2021}}</ref> Cohen filed a lawsuit against Zappa in return, which froze the money the pair were expecting to receive from an out-of-court settlement with [[MGM Records|MGM]]/[[Verve Records|Verve]] over the rights to Zappa's early [[Mothers of Invention]] recordings. The MGM settlement was finalized in mid-1977 after two years of negotiations.<ref name=dmreg77>{{cite web |url=https://www.afka.net/Articles/1977-09_The_Des_Moines_Register.htm |title=Zappa presents 'zircon-incrusted' concert season |first=Jim |last=Healey |work=Des Moines Register, September 24, 1977 |access-date=January 31, 2022}}</ref> Litigation with Cohen also prevented Zappa having access to any of his previously recorded material during the trials. Zappa therefore took his personal master copies of the album ''[[Zoot Allures]]'' (1976) directly to Warner, while bypassing DiscReet.<ref name="miles"/>{{rp|253, 258–259}} Following the split with Cohen, Zappa hired Bennett Glotzer as new manager.<ref name=melmak77>{{cite web |url=https://www.afka.net/Articles/1977-01_Melody_Maker.htm |title=I'll give the Queen a backstage pass |first=Chris |last=Charlesworth |work=Melody Maker – January 1, 1977 |access-date=July 4, 2022}}</ref>

By late 1976, Zappa was upset with Warner over inadequate promotion of his recordings and he was eager to move on as soon as possible.<ref name=mumedia>{{cite web |url=https://www.afka.net/Articles/1976-12_Music_Media.htm |title=The Frankness of Zappa |first=Scott |last=Hopkins |work=Music Media, December, 1976 |access-date=January 20, 2022}}</ref> In March 1977, Zappa delivered four albums (five full-length LPs) to Warner to complete his contract: ''[[Zappa in New York]]'' (a 2-LP set), ''[[Studio Tan]]'', ''[[Sleep Dirt]]'' and ''[[Orchestral Favorites]]''.<ref name=valleynews/> These albums contained recordings mostly made between 1972 and 1976. Warner failed to meet contractual obligations to Zappa, and in response he filed a multi-million dollar breach of contract lawsuit.<ref name="Collage77">{{cite web |url=https://www.afka.net/Articles/1977-12_Collage.htm |title=Frank Zappa Interview |first=Michael |last=Branton |work=Collage, December 1977 |access-date=April 9, 2022}}</ref> During a lengthy legal debate, Warner eventually released the four disputed albums during 1978 and 1979, ''Zappa in New York'' having been censored to remove references to guitarist [[Punky Meadows]]. Following the split with Warner, Zappa reconfigured the four disputed albums, along with some other material, into a quadruple album called ''[[Läther]]'' (pronounced "leather") and negotiated distribution with [[Phonogram Inc.]] for release on the new [[Zappa Records]] label. ''Läther'' was scheduled for release on [[Halloween]] 1977, but legal action from Warner forced Zappa to shelve this project.<ref name="miles"/>{{rp|261}}

In December 1977, Zappa 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.<ref name="slaven03"/>{{rp|248}} The album integrates many aspects of Zappa's 1970s work: heavy rock, orchestral works, and complex jazz instrumentals, along with Zappa's distinctive guitar solos. ''Läther'' was officially released posthumously in 1996. It has been debated as to whether Zappa had conceived the material as a four-LP set from the beginning, or only later when working with Phonogram.<ref name="miles"/>{{rp|267}}{{refn|group="nb"|When the music was first released on CD in 1991, Zappa chose to re-release the four individual albums.<ref name="watson05"/>{{rp|49}} In the liner notes to the 1996 release, Gail Zappa states that "As originally conceived by Frank, ''Läther'' was always a 4-record box set."}} Gail Zappa claimed in 1996 that ''Läther'' was Zappa's original intention.<ref>{{Cite AV media notes| title=Läther | year=1996| last=Zappa | first=Frank | page=5-6 | publisher=Rykodisc | id=RCD 10574/76}}</ref><ref>Interview with Gail Zappa in the 2020 film "Zappa" produced by Alex Winter</ref> However, Zappa himself stated in an October 1978 radio interview that "''Läther'' was made out of four albums. Warners has released two of them already and they have two more that they're probably gonna release."<ref name=CFNY>{{cite web |url=http://www.donlope.net/fz/radio/1978-10-02_CFNY_Toronto.html|title=CFNY Interview |work=donlope.net |year=1978 |access-date=December 17, 2021}}</ref>

Although Zappa eventually gained the rights to all his material created under the MGM and Warner contracts,<ref name="watson05"/>{{rp|49}} the various lawsuits meant that for a period Zappa's only income came from touring, which he therefore did extensively in 1975–1977 with relatively small, mainly rock-oriented, bands.<ref name="miles"/>{{rp|261}} 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 former [[Roxy Music]] keyboardist/violinist [[Eddie Jobson]]. In December 1976, Zappa appeared as a featured musical guest on the [[NBC]] television show ''[[Saturday Night Live]]''.<ref name="miles"/>{{rp|262}} Zappa'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, Zappa 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 [[Saturday Night Live Samurai|Samurai Futaba]] character playing the tenor sax with Zappa conducting.<ref>Zappa, Frank, 1978, ''Zappa in New York'', Liner Notes.</ref> However, he earned a ban from the show after the latter episode because he had done what producers called "a disastrous job of hosting" (Zappa reportedly did not get along with cast and crew in the lead-up to recording, then told the audience he was simply reading from cue cards).<ref name="banned">{{cite news|last=Robinson|first=Anna|title=Why Frank Zappa was Banned from SNL|date=April 14, 2022|work=Grunge |url=https://www.grunge.com/832481/why-frank-zappa-was-banned-from-snl/}}</ref>
[[File:Frank Zappa in Toronto, Sept. 24 1977.jpg|thumb|left|Zappa in Toronto, 1977]]

Zappa's band had a series of Christmas shows in New York City in 1976, recordings of which appear on ''[[Zappa in New York]]'' and ''Läther''. The band included Ruth Underwood and a horn section (featuring [[Michael Brecker|Michael]] and [[Randy Brecker]]). It mixes complex instrumentals such as "[[The Black Page]]" and humorous songs like "Titties and Beer".<ref name="lowe"/>{{rp|132}} 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.<ref>{{cite thesis |url=http://etd.lib.fsu.edu/theses/available/etd-04122004-114345/unrestricted/zappathesis3.pdf |first=Brett |last=Clement |title=Little dots: A study of the melodies of the guitarist/composer Frank Zappa |type=Master's thesis |publisher=The Florida State University, School of Music |pages=25–48 |date=2004 |access-date=December 29, 2007 |url-status=dead |archive-url=https://web.archive.org/web/20080216111952/http://etd.lib.fsu.edu/theses/available/etd-04122004-114345/unrestricted/zappathesis3.pdf |archive-date=February 16, 2008}}</ref><ref>{{cite web|url=http://www.richardhemmings.co.uk/001/research/zappology/saddaughter.html|first=Richard|last=Hemmings|title=Ever wonder why your daughter looked so sad? Non-danceable beats: getting to grips with rhythmical unpredictability in Project/Object|publisher=richardhemmings.co.uk|date=2006|access-date=October 3, 2016|url-status=dead|archive-url=https://web.archive.org/web/20081012123657/http://www.richardhemmings.co.uk/001/research/zappology/saddaughter.html|archive-date=October 12, 2008}}</ref>
{{Listen|type=music|filename=Zappa_BlackPage1.ogg|description=One of Zappa's complex, percussion-based compositions featured on ''[[Zappa in New York]]''.|title="The Black Page Drum Solo/Black Page #1" (recorded 1976, released 1978)|pos=right}}

''Zappa 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,<ref name="lowe"/>{{rp|132}} leading to many critics objecting and being offended by the content.<ref name="lowe"/>{{rp|134}}<ref name="lowe"/>{{rp|261–262}} Zappa dismissed the criticism by noting that he was acting as a "journalist" reporting on life as he saw it.<ref name="miles"/>{{rp|234}} 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?"<ref name="HighTimes1980">{{cite news|last=Swenson|first=John|title=Frank Zappa: America's Weirdest Rock Star Comes Clean|date=March 1980|work=[[High Times]] |url=https://afka.net/Articles/1980-03_High_Times.htm |via=afka.net}}</ref> The remaining albums released by Warner without Zappa's approval were ''[[Studio Tan]]'' in 1978 and ''[[Sleep Dirt]]'' and ''[[Orchestral Favorites]]'' in 1979. These releases were not promoted and were largely overlooked in the midst of the press about Zappa's legal problems.<ref name="lowe"/>{{rp|138}} The 1991 CD releases of these albums marked the first time they were issued with Zappa's full approval.<ref>{{Cite web|url=https://fzpomd.net/biffyshrew/lather.html|title=Father, I have a confession to make...|website=fzpomd.net}}</ref>

===Zappa Records label===
{{see also|Sheik Yerbouti|Joe's Garage|Baby Snakes (soundtrack)}}
{{Listen|type=music|filename=Zappa_BobbyBrown.ogg|description=The single became a hit in non-English speaking countries and helped ''[[Sheik Yerbouti]]'' become a best-seller.<ref name="watson96"/>{{rp|351}}|title="Bobby Brown" (1979)|pos=right}}
Zappa released two of his most important projects in 1979. The double LP ''[[Sheik Yerbouti]]'' appeared in March and was the first release on Zappa Records. It became the best-selling album of his career.<ref>
{{cite book |first1=Matt|last1=Groening|author-link=Matt Groening|first2=Don|last2=Menn|editor-last=Menn|editor-first=Don|contribution=The Mother of All Interviews. Act II: Matt Groening joins in on the scrutiny of the central decentralizer|title=Zappa! Guitar Player Presents|date=1992|page=61|place=San Francisco, CA|publisher=Miller Freeman|issn=1063-4533}}</ref> The album contained the [[Grammy Award|Grammy]]-nominated single "Dancin' Fool", which reached No.&nbsp;45 on the ''Billboard'' charts.<ref name="BBsingles">{{cite web |url={{AllMusic|class=artist|id=p74796|pure_url=yes}}|title=Frank Zappa|work=AllMusic |access-date=January 6, 2008}}</ref> It also contained "[[Jewish Princess (song)|Jewish Princess]]", which received attention when the [[Anti-Defamation League]] (ADL) attempted to prevent the song from receiving radio airplay due to its alleged [[antisemitic]] lyrics.<ref name="miles"/>{{rp|234}} Zappa vehemently denied any antisemitic 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."<ref>{{cite journal|title=He's Only 38 and He Knows How to Nasty|last=Peterson|first=Chris|journal=Relix Magazine|date=November 1979 |url=https://www.afka.net/Articles/1979-11_Relix.htm |via=afka.net}}</ref> The album's commercial success was attributable in part to "[[Bobby Brown (song)|Bobby Brown]]". Due to its explicit lyrics, 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.<ref name="watson96"/>{{rp|351}}

''[[Joe's Garage]]'' has been described as a "bona fide masterpiece".<ref name="lowe"/>{{rp|140}} The project initially had to be released in two parts due to economic conditions.<ref name=islandear>{{cite web |url=https://www.afka.net/Articles/1979-09_Island_Ear.htm |title=The Island-Ear Interview: Frank Zappa |work=Island Ear – September 24, 1979 |access-date=June 30, 2022}}</ref> 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 story features singer [[Ike Willis]] as the lead character in a [[rock opera]] about the danger of [[political system]]s,<ref name="lowe"/>{{rp|140}} the suppression of [[freedom of speech]] and music—inspired in part by the 1979 [[Islam]]ic [[Iranian revolution]] that had made music illegal<ref name="miles"/>{{rp|277}}—and about the "strange relationship Americans have with sex and sexual frankness".<ref name="lowe"/>{{rp|140}} The ''Act I'' album reached number 27 on the [[Billboard 200]] chart. It contains the song "Catholic Girls" (a [[riposte]] to the controversies of "Jewish Princess")<ref name="watson05"/>{{rp|59}} 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. Zappa described this process as [[xenochrony]]. The band included drummer Vinnie Colaiuta (with whom Zappa had a particularly strong musical rapport)<ref name="Occhiogrosso"/>{{rp|180}} Included is one of Zappa's guitar "signature pieces", "[[Watermelon in Easter Hay]]".<ref name="watson05"/>{{rp|61}}<ref name="DZlinernotes">The other signature pieces are "Zoot Allures" and "Black Napkins" from ''Zoot Allures''. See {{cite book |last=Zappa |first=Dweezil |title= Greetings music lovers, Dweezil here |publisher=Liner Notes, [[Frank Zappa Plays the Music of Frank Zappa: A Memorial Tribute]] |date=1996}}</ref> In 1987, all three acts were reissued together as a 3-LP and 2-CD set.

Zappa had been known for his long hair since the mid-1960s, but he had Gail cut it short around August 1979.<ref name=islandear/> That autumn he cancelled tour plans to stay home with newborn daughter Diva, and celebrate the birthdays of children Moon and Dweezil in September.<ref name=gcfreep>{{cite web |url=https://www.afka.net/Articles/1979-09_Gold_Coast_Free_Press.htm |title=Warning! The Real Zappa |work=Gold Coast Free Press |date=September 29, 1979 |access-date=June 30, 2022 |via=afka.net}}</ref> At this time Zappa also completed the [[Utility Muffin Research Kitchen]] (UMRK) studios, which were located at his house,<ref name="Mix2003"/> thereby giving him complete freedom in his work.<ref name="miles"/>{{rp|269}}

On December 21, 1979, Zappa's movie ''[[Baby Snakes]]'' premiered in New York City. He described it as "A movie about people who do stuff that is not normal".<ref>Baby Snakes, 2003, ''DVD cover'', Eagle Vision.</ref> The 2&nbsp;hour and 40&nbsp;minute movie has 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 (animator)|Bruce Bickford]] who had earlier provided animation sequences to Zappa for a 1974 TV special (which became available on the 1982 video ''[[The Dub Room Special]]'').<ref name="miles"/>{{rp|282}} The movie did not do well in theatrical distribution,<ref>{{cite web |url=http://www.bigpicturebigsound.com/article_501.shtml |title=Baby Snakes|format= DVD|last=Sohmer|first=Adam|date=June 8, 2005|publisher=Big Picture Big Sound |access-date=January 7, 2008}}</ref> but won the Premier Grand Prix at the First International Music Festival in Paris in 1981.<ref name="miles"/>{{rp|282}}

==1980–1993: Later years==
===Beginning of Barking Pumpkin Records label===
{{see also|Tinsel Town Rebellion|Shut Up 'n Play Yer Guitar|You Are What You Is}}
[[File:Zappa-buffalo-ny.jpg|thumb|Zappa performing at the [[Buffalo Memorial Auditorium|Memorial Auditorium]], [[Buffalo, New York]], 1980. The concert was released in 2007 as ''[[Buffalo (Frank Zappa album)|Buffalo]]''.]]
Zappa cut ties with Phonogram after the distributor refused to release his song "[[I Don't Wanna Get Drafted]]", which was recorded in February 1980.<ref>{{cite book|url=https://books.google.com/books?id=1_i5f3jhD9UC&pg=PA3054|title=The New York Times Guide to the Arts of the 20th Century|access-date=April 30, 2012|editor=Bruckner, D. J. R.|date=2002|page=3054|publisher=Taylor & Francis |isbn=978-1-57958-290-6}}</ref> The single was released independently by Zappa in the United States and was picked up by CBS Records internationally.<ref>{{cite web|url=http://www.discogs.com/Frank-Zappa-I-Dont-Wanna-Get-Drafted/release/807608|title=Frank Zappa – I Don't Wanna Get Drafted! (Vinyl) at|year=1980 |publisher=discogs|access-date=April 30, 2012}}</ref>

After spending much of 1980 on the road, Zappa released ''[[Tinsel Town Rebellion]]'' in 1981. It was the first release on his own [[Barking Pumpkin Records]],<ref name="lowe"/>{{rp|161}} and featured live recordings from 1979 and 1980, as well as a new studio track, "Fine Girl". The album is a mixture of complicated instrumentals and Zappa'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 Zappa ever had (mostly featuring drummer Vinnie Colaiuta).<ref name="lowe"/>{{rp|161}} While some lyrics still raised controversy among critics, some of whom found them sexist,<ref name="miles"/>{{rp|284}} 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".<ref name="lowe"/>{{rp|165}} The album is also notable for the presence of guitarist [[Steve Vai]], who joined Zappa's touring band in late 1980.<ref name="miles"/>{{rp|283}}

In 1981, Zappa 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 as one 3-LP set through CBS Records (now [[Sony Music Entertainment]]) due to popular demand.<ref>{{cite journal|last=Zappa|first=Frank|title=Absolutely Frank. First Steps in Odd Meters|journal=Guitar Player Magazine|page=116|date=November 1982}}</ref>

The albums consist entirely of tracks in which Zappa is featured as a guitar soloist, and they are predominantly live recordings from 1979 to 1980; they highlight Zappa's improvisational skills with "beautiful performances from the backing group as well".<ref>{{cite magazine |last=Swenson|first=John|magazine=[[Guitar World]] |date=November 1981|title=Frank Zappa: Shut Up 'N Play Yer Guitar, Shut Up 'N Play Yer Guitar Some More, The Return of the Son of Shut Up 'N Play Yer Guitar}}</ref> Another guitar-only album, ''[[Guitar (Frank Zappa album)|Guitar]]'', was released in 1988, and a third, ''[[Trance-Fusion]]'', which Zappa completed shortly before his death, was released in 2006.<ref>{{cite book |title=Guitar Gods: The 25 Players who Made Rock History |edition=illustrated |first1=Bob |last1=Gulla |publisher=ABC-CLIO |date=2009 |isbn=978-0-313-35806-7 |page=[https://books.google.com/books?id=DL3I9qQWdeAC&pg=PA251 251] |url=https://books.google.com/books?id=DL3I9qQWdeAC}}</ref>
{{clear}}
{{Listen|type=music|filename=Zappa_SYNPYG.ogg|description=The title track on ''[[Shut Up 'N Play Yer Guitar]]'' features Zappa's guitar improvisations.|title="Shut Up 'N Play Yer Guitar Some More" (recorded 1979, released 1981)|pos=left}}

The same year, the double album ''[[You Are What You Is]]'' was released. The album mainly consisted of rock songs with Zappa's sardonic social commentary—satirical lyrics directed at teenagers, the media, and religious and political hypocrisy.<ref>{{cite web|url= {{AllMusic|class=album|id=r53163|pure_url=yes}}|title=You Are What You Is. Review|last=Huey|first=Steve|work=AllMusic|access-date=January 7, 2008}}</ref> "Dumb All Over" is a tirade against religion, as is "Heavenly Bank Account", wherein Zappa rails against [[Televangelism|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.<ref name="lowe"/>{{rp|169–175}} Songs like "Society Pages" and "I'm a Beautiful Guy" show Zappa's dismay with the [[Ronald Reagan|Reagan]] era and its "obscene pursuit of wealth and happiness".<ref name="lowe"/>{{rp|169–175}} Zappa made his only music video for a song from this album – "You Are What You Is" – directed by Jerry Watson, produced by Paul Flattery. The video was banned from [[MTV]], though was later featured by [[Mike Judge]] in the ''[[Beavis & Butthead]]'' episode "Canoe".<ref>{{cite web |title="Beavis and Butt-Head" Canoe - Soundtracks |url=https://www.imdb.com/title/tt0857490/soundtrack/ |website=IMDB |access-date=August 11, 2022}}</ref> Also included is the guitar instrumental, "Theme from the 3rd Movement of Sinister Footwear" which he adapted from a ballet performed with the Berkeley Symphony Orchestra in 1984. 

Zappa later expanded on his television appearances in a non-musical role. He was an actor or voice artist in episodes of ''[[Faerie Tale Theatre|Shelley Duvall's Faerie Tale Theatre]]'',<ref name="ZappaIMDB">{{IMDb name|id=0953261|name=Frank Zappa profile}}. Retrieved July 30, 2008.</ref> ''[[Miami Vice]]''<ref name="miles"/>{{rp|343}} and ''[[The Ren & Stimpy Show]]''.<ref name="ZappaIMDB"/><ref>{{cite book |last1=Komorowski |first1=Thad |title=Sick Little Monkeys: The Unauthorized Ren & Stimpy Story |date=2017 |publisher=BearManor Media |isbn=978-1629331836 |location=Albany, Georgia}}</ref> A voice part in ''[[The Simpsons]]'' never materialized, to creator [[Matt Groening]]'s disappointment (Groening was a neighbor of Zappa and a lifelong fan).<ref>{{cite magazine|title=Homer and Me|last=Eliscu|first=Jenny |magazine=Rolling Stone|date=November 8, 2002}}</ref>

==="Valley Girl" and classical performances===
{{see also|Ship Arriving Too Late to Save a Drowning Witch|The Man from Utopia|London Symphony Orchestra (Zappa albums)}}
In May 1982, Zappa released ''[[Ship Arriving Too Late to Save a Drowning Witch]]'', which featured his biggest selling single ever, the [[Grammy Award]]-nominated song "[[Valley Girl (song)|Valley Girl]]" (topping out at No.&nbsp;32 on the ''Billboard'' charts).<ref name="BBsingles"/> In her improvised lyrics to the song, Zappa's daughter [[Moon Zappa|Moon]] satirized the [[patois]] of teenage girls from the [[San Fernando Valley]], which popularized many "[[Valleyspeak]]" expressions such as "gag me with a spoon", "fer sure, fer sure", "grody to the max", and "barf out".<ref>{{cite web|url={{AllMusic|class=song|id=t2677879|pure_url=yes}}|title="Valley Girl" --song review|last=Huey|first=Steve|work=AllMusic|access-date=January 7, 2008}}</ref>

A 1983 album ''[[The Man from Utopia]],'' featured an anti-drug single "[[Cocaine Decisions]]". "The Dangerous Kitchen" and "The Jazz Discharge Party Hats" are continuations of the sprechstimme vocal excursions on ''Tinseltown Rebellion'', and the album also has jazzy rock instrumentals "Mōggio" and "We Are Not Alone". A second 1983 album, ''[[London Symphony Orchestra, Vol. I]]'', includes 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 Zappa providing all funding, helped by the commercial success of "Valley Girl".<ref name="Occhiogrosso"/>{{rp|146–156}} Zappa was not satisfied with the LSO recordings. He drew particular attention to the performance of "Strictly Genteel", which was recorded after the trumpet section had been out for drinks on a break: the track needed 40 edits to hide out-of-tune notes.<ref name="Occhiogrosso"/>{{rp|146–156}}

Conductor Nagano, who was pleased with the experience, noted that "in fairness to the orchestra, the music is humanly very, very difficult".<ref name="miles"/>{{rp|315}} Some reviews noted that the recordings were the best representation of Zappa's orchestral work so far.<ref>{{cite web|url={{AllMusic|class=album|id=r53172|pure_url=yes}}|title=London Symphony Orchestra, Vol. 1. Review|first=William|last=Ruhlmann|work=AllMusic|access-date=January 7, 2008}}</ref> In 1984 Zappa teamed again with Nagano and the Berkeley Symphony Orchestra<ref>{{cite web|url=http://globalia.net/donlope/fz/docs/A_Zappa_Affair.html |title=A Zappa Affair |website=Globalia.net |access-date=December 10, 2016}}</ref> 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. Zappa was invited by conference organizer [[Thomas Wells (composer)|Thomas Wells]] to be the keynote speaker at the American Society of University Composers at the [[Ohio State University]]. It was there Zappa delivered an address entitled "Bingo! There Goes Your Tenure",<ref>{{cite web |first=Frank |last=Zappa |url=https://otg.brainiac.com/fzfull.htm |title=Bingo! There Goes Your Tenure |year=1984 |archive-url=https://archive.today/20180328152956/https://otg.brainiac.com/fzfull.htm |archive-date=March 28, 2018 |url-status=live }}</ref> and had two of his orchestra pieces, "Dupree's Paradise" and "Naval Aviation in Art?" performed by the [[Columbus Symphony Orchestra]] and ProMusica Chamber Orchestra of Columbus.<ref name="miles"/>{{rp|323}}<ref>{{cite news |last=Kelp |first=Larry |title=Zappa Pokes into The Fine Arts |newspaper=The Oakland Tribune |date=June 18, 1984 |url=https://www.afka.net/Articles/1984-06_Oakland_Tribune.htm |access-date=July 5, 2009 |archive-date=October 4, 2009 |archive-url=https://web.archive.org/web/20091004014926/http://www.afka.net/Articles/1984-06_Tribune.htm |url-status=live }}</ref> Zappa's management relationship with Bennett Glotzer ended in 1984.<ref>Don Menn, "How It All Works. Gail Zappa", Zappa!, 1992, p. 76</ref> Starting in 1985 Gail began managing much of the Zappa business empire, which included a record label, a mail-order company, a video company and a music publishing firm.<ref name="capitalistrocker">{{cite news |date=December 19, 1989 |url=https://www.latimes.com/archives/la-xpm-1989-12-19-fi-721-story.html |title=Frank Zappa, Capitalist Rocker : Entrepreneurship: Zappa got title to his master recordings... |first=Patrice |last=Apodaca |work=[[Los Angeles Times]] |access-date=July 29, 2023}}</ref>

===Beginning of Synclavier works===
{{see also|The Perfect Stranger (Frank Zappa album)|Them or Us|Thing-Fish|Francesco Zappa (album)|Does Humor Belong in Music? (album)}}
{{Listen|type=music|filename=Zappa_NavalAviation.ogg|description=A Zappa composition for classical ensemble from ''[[The Perfect Stranger (Frank Zappa album)|The Perfect Stranger]]'' (1984)|title="Naval Aviation in Art?" (1984)|pos=right}}
In 1983, Zappa began using the [[Synclavier]], an early digital synthesizer which over time became his primary compositional and performance tool.<ref name="Occhiogrosso"/>{{rp|172–173}} According to Zappa, "With the Synclavier, any group of imaginary instruments can be invited to play the most difficult passages&nbsp;... with ''one-millisecond'' accuracy—every time".<ref name="Occhiogrosso"/>{{rp|172–173}} Even though it essentially did away with the need for musicians,<ref name="miles"/>{{rp|319}} Zappa viewed the Synclavier and real-life musicians as separate.<ref name="Occhiogrosso"/>{{rp|172–173}}

In late 1984, he released four albums. ''[[The Perfect Stranger (Frank Zappa album)|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, Zappa 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.<ref name="watson05"/>{{rp|73}} The Synclavier pieces stood in contrast to the orchestral works, as the sounds were electronically generated and not, as became possible shortly thereafter, [[Sampling (music)|sampled]].

''[[Them or Us]]'' is a two LP set of studio and live rock recordings. It includes a version of the [[Allman Brothers Band]] song "[[Whipping Post (song)|Whipping Post]]", and "Be in My Video", Zappa's satirical take on perceived visual clichés of the [[MTV]] channel. ''[[Francesco Zappa (album)|Francesco Zappa]]'', a Synclavier rendition of works by 18th-century composer [[Francesco Zappa]], was also released in 1984.<ref>{{cite book |title=The Rough Guide to Rock |edition=illustrated |publisher=Rough Guides |date=2003 |isbn=978-1-85828-457-6 |page=[https://archive.org/details/roughguidetorock00roug/page/2244 2244] |url=https://archive.org/details/roughguidetorock00roug/page/2244 |url-access=registration}} [https://books.google.com/books?id=Fie47qSuTsoC&pg=PA2244 Extract of page 2244]</ref>

The album ''[[Thing-Fish]]'' was an ambitious three-record set in the style of a Broadway play dealing with a [[dystopia]]n "what-if" scenario involving feminism, homosexuality, manufacturing and distribution of the AIDS virus, and a [[eugenics]] program conducted by the United States government.<ref>The musical was eventually produced for the stage in 2003. See {{cite web|url=http://www.britishtheatreguide.info/otherresources/interviews/Thing-Fish.htm|title=Thing-Fish&nbsp;– The Return of Frank Zappa|publisher=The British Theatre Guide|access-date=December 11, 2007|archive-url=https://web.archive.org/web/20080115113542/http://www.britishtheatreguide.info/otherresources/interviews/Thing-Fish.htm|archive-date=January 15, 2008|url-status=dead}}</ref> New vocals were combined with previously released tracks and new Synclavier music; "the work is an extraordinary example of ''[[bricolage]]''".<ref>{{Cite journal|last1=Carr|first1=Paul|last2=Hand|first2=Richard J.|title=Frank Zappa and musical theatre: ugly ugly o'phan Annie and really deep, intense, thought-provoking Broadway symbolism|journal=Studies in Musical Theatre|volume=1|issue=1|pages=44–51|date=2007|url=http://www.intellectbooks.co.uk/journals/view-Article,id=4872|doi=10.1386/smt.1.1.41/1|access-date=July 28, 2008|archive-url=https://web.archive.org/web/20140308110412/http://www.intellectbooks.co.uk/journals/view-Article,id=4872/|archive-date=March 8, 2014|url-status=dead| issn = 1750-3159|url-access=subscription}} Full article available by free login only.</ref>

=== Merchandising ===
Zappa's mail-order merchandise business, Barfko-Swill, established during the 1980s by Zappa's wife Gail, offers t-shirts, videos, posters, sheet music, and collector's recordings, most of them unavailable through other media.<ref>{{Cite web |date=August 4, 2021 |title=Barfko-Swill |url=https://wiki.killuglyradio.com/wiki/Barfko-Swill |access-date=May 2, 2023 |website=Zappa wiki jawaka}}</ref> Gail has explained why Barfko-Swill was founded: "Just piles and piles of fan mail sitting around unanswered or with no response. The first thing that we did was put a list together from the fan mail and made a Barking Pumpkin t-shirt available which we still have – same old shirt, same old logo, same old price – just to see what would happen. Everybody would write to us and ask us if there was something they could get besides records. ... That was really the primary reason for getting into the business – for setting up Barfko-Swill – in those days was to be independent. To not have to rely on a major record company's interest and ability to promote your product. And that was what the challenge was for me. I prefer the autonomy."<ref>{{Cite magazine |last=Wheeler |first=Drew |date=May 1990 |title=Just Plain Folks |url=https://www.afka.net/Articles/1990-05_Billboard_2.htm |magazine=Billboard}}</ref>

From 1983 to 1993, Barfko-Swill was run by [[Gerry Fialka]];<ref>{{Cite book|last=de Kloet|first=Co|title=Frank & Co|publisher=Haver Producties|year=2020|isbn=978-90-821095-3-5|location=Doetinchem, Netherlands|pages=297}}</ref> Fialka also worked for Zappa as archivist, production assistant, tour assistant, and [[Handyman|factotum]],<ref>{{Cite book|last=Wills|first=Geoff|title=Zappa and Jazz: Did it Really Smell Funny, Frank?|publisher=Matador|year=2015|isbn=978-1784623913|location=Leicester, UK}}</ref><ref>{{Cite news|last=Rosenfeld|first=Hank|date=February 18, 2001|title=McLuhan's Minion|work=Los Angeles Times|url=https://www.latimes.com/archives/la-xpm-2001-feb-18-tm-26777-story.html |archive-url=https://web.archive.org/web/20211209120119/https://www.latimes.com/archives/la-xpm-2001-feb-18-tm-26777-story.html |archive-date=December 9, 2021 |url-status=live}}</ref><ref name=":12">{{Cite journal|last=editorial staff|date=September 13, 2007|title=Gerry Fialka: Questioning the Questions|url=https://argonautnews.com/gerry-fialka-questioning-the-questions/|journal=The Argonaut|access-date=December 9, 2021 |archive-date=December 9, 2021 |archive-url=https://web.archive.org/web/20211209120120/https://argonautnews.com/gerry-fialka-questioning-the-questions/|url-status=dead}}</ref><ref name=":10">{{Cite web |last=Silverman |first=Ted |date=July 27, 2022 |title=Interview: Zappa Band Alum Ike Willis & Stinkfoot Orchestra's Nick Chargin |url=https://www.jambase.com/article/ike-willis-nick-chargin-interview-zappa-tribute-band-stinkfoot-orchestra |website=JamBase}}</ref> and answered the phone for Zappa's [[Barking Pumpkin Records]] hotline.<ref>{{Cite book|last=Watson|first=Ben|title=Academy Zappa: Proceedings of the First International Conference of Esemplastic Zappology|publisher=SAF Publishing|year=2005|isbn=978-0946719792|editor-last=Watson|editor-first=Ben|location=Dundrennan, UK|pages=72|chapter=Houston... Fort... Marcuse: Sin versus Archetype in Zappa's Oeuvre|editor-last2=Leslie|editor-first2=Esther}}</ref><ref>{{Cite book|last=Gamma|title=Academy Zappa: Proceedings of the First International Conference of Esemplastic Zappology|publisher=SAF Publishing|year=2005|isbn=978-0946719792|editor-last=Watson|editor-first=Ben|location=Dundrennan, UK|pages=208|chapter=Poodles: a Zappological reading of Ulysses|editor-last2=Leslie|editor-first2=Esther}}</ref> The 1987 [[VHS]] release of Zappa's film ''[[Baby Snakes]]'' includes, as an extra feature, Fialka giving a tour of Barfko-Swill. He is credited on-screen as "Gerald Fialka Cool Guy Who Wraps Stuff So It Doesn't Break".<ref>{{Cite web|title=gerry fialka|url=https://www.united-mutations.com/f/gerry_fialka.htm|url-status=live|access-date=July 8, 2021|website=United Mutations|archive-url=https://web.archive.org/web/20040105025331/https://www.united-mutations.com/f/gerry_fialka.htm |archive-date=January 5, 2004 }}</ref> A short clip of this tour is also included in the 2020 documentary film ''Zappa''.

=== Digital medium and last tour ===
{{see also|Frank Zappa Meets the Mothers of Prevention|Jazz from Hell|
Guitar (Frank Zappa album)|Broadway the Hard Way|The Best Band You Never Heard in Your Life|Make a Jazz Noise Here|You Can't Do That on Stage Anymore (disambiguation){{!}}You Can't Do That on Stage Anymore}}
Starting in the mid-1980s, Zappa undertook a comprehensive re-release program of his earlier vinyl recordings.<ref name="miles" />{{rp|340}} He personally oversaw the remastering of all his 1960s, 1970s, and early 1980s albums for the new digital compact disc (CD) medium.{{refn|group="nb"|For a comprehensive comparison of vinyl and CD releases, see {{cite web|url=http://lukpac.org/~handmade/patio/vinylvscds/|title=The Frank Zappa Album Versions Guide&nbsp;– Index|series=The Zappa Patio|publisher=lukpac.org/~handmade/patio|access-date=January 7, 2008}}}} Certain aspects of these re-issues have been criticized by some fans as being unfaithful to the original recordings, with changes made to ''We're Only in It for the Money'', ''Cruising with Ruben & the Jets'', ''Uncle Meat'', and ''Sleep Dirt'' being the most strongly criticized.<ref>Miles, 2004, ''Frank Zappa'', p.&nbsp;327.</ref> Nearly twenty years before the advent of online music stores, Zappa 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).<ref name="Occhiogrosso" />{{rp|337–339}} In 1989, Zappa considered his idea a "miserable flop".<ref name="Occhiogrosso" />{{rp|337–339}}

The album ''[[Jazz from Hell]],'' released in 1986, earned Zappa his first [[Grammy Award]] in 1988 for [[Grammy Award for Best Rock Instrumental Performance|Best Rock Instrumental Performance]]. Except for one live guitar solo ("St. Etienne"), the album exclusively featured compositions brought to life by the Synclavier.

Zappa'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 Zappa) compositions, but which split under acrimonious circumstances before the tour was completed.<ref name="miles"/>{{rp|346–350}} 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]]'' (Zappa "standards" and an eclectic collection of cover tunes, ranging from [[Maurice Ravel]]'s ''[[Boléro]]'' to [[Led Zeppelin]]'s "[[Stairway to Heaven]]"); and ''[[Make a Jazz Noise Here]]'' (a selection of Zappa's more instrumentally complex and jazz orientated material). An album of guitar solos from this tour also appeared as the posthumous 2006 album ''[[Trance-Fusion]]'', a follow-up to the ''Shut Up 'n Play Yer Guitar'' and ''Guitar'' albums.

More recordings from the 1988 tour would appear as part of ''[[You Can't Do That on Stage Anymore (disambiguation)|You Can't Do That on Stage Anymore]]'', a series of six double CDs compiled by Zappa from unreleased live recordings, dating back to the earliest Mothers recordings from 1965. The six volumes were released between 1988 and 1992.

''[[The Real Frank Zappa Book]]'', co-written with Peter Occhiogrosso, was published by [[Poseidon Press]] in 1989. Zappa appeared on the TV interview show ''[[Larry King Live]]'' to promote it. He explained the title by saying he wrote it in response to previous unauthorized books, which he considered to be stupid and exploitative.<ref>{{cite web | url=https://www.youtube.com/watch?v=aIO57D3ruQU | title=Frank Zappa plugs his autobiography on Larry King Live | website=[[YouTube]] | date=May 22, 2012 }}</ref>

===Health deterioration===
{{see also|The Yellow Shark}}
{{Listen|type=music|filename=Zappa_Nlite.ogg|description=One of Zappa's works for Synclavier on ''[[Civilization Phaze III]]'', cited as his "last great work".<ref name="watson05"/>{{rp|100}}|title="N-Lite" (recorded circa 1991-1992, released 1994)|pos=right}}
In 1990, Zappa was diagnosed with terminal [[prostate cancer]]. The disease had been developing unnoticed for years and was considered inoperable.<ref name="A.C. Grimes">{{cite web |url=https://www.grunge.com/132678/frank-zappas-tragic-real-life-story/ |title=Frank Zappa's Tragic Real-Life Story |website=[[Grunge.com]] |access-date=May 1, 2022 |date=September 5, 2018 |author=A.C. Grimes}}</ref><ref name="Pulse1993"/> After the diagnosis, Zappa 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 that he had begun in the 1980s.<ref name="miles"/>{{rp|374–375}}{{refn|group="nb"|It brought him a posthumous [[Grammy Award]] (with Gail Zappa) for [[Grammy Award for Best Boxed or Special Limited Edition Package|Best Recording Package&nbsp;– Boxed]] in 1994. {{cite web |url=http://www.grammy.com/nominees/search|title=Grammy Winners|publisher=National Academy of Recording Arts and Sciences |access-date=August 18, 2008}}}}

In 1991, Zappa 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]]).<ref>{{cite book |editor-last=Menn| editor-first=Don|contribution=Andreas Mölich-Zebhauser – Preparing the Ensemble Modern for the Frankfurt Festival|title=Zappa! Guitar Player Presents|date=1992|pages=12–13|place=San Francisco, CA|publisher=Miller Freeman|issn=1063-4533}}</ref> Zappa 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.<ref name="miles"/>{{rp|369}} Zappa also got along with the musicians, and the concerts in Germany and Austria were set up for later in the year.<ref name="miles"/>{{rp|369}} Zappa 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".<ref>{{cite web|url=http://globalia.net/donlope/fz/related/Adieu_CA.html |title=Pražský Výběr – Adieu CA |website=Globalia.net |access-date=December 10, 2016}}</ref><ref>{{YouTube|UFtHqDrJ-fA|Frank Zappa Last Performance (Prague 1991)}} at 3:50</ref>

[[John Kricfalusi]], creator of [[Nickelodeon]]'s ''[[The Ren & Stimpy Show]]'', idolized Zappa and got him to voice the [[Pope]] in the episode "[[Powdered Toast Man (episode)|Powdered Toast Man]]"; as Zappa was too ill to head to [[Spümcø]] at [[Los Angeles]], he recorded his lines at his residence. The episode aired in August 1992 to significant controversy without relation to Zappa's appearance.{{sfn|Komorowski|2017|p=145}}

In September 1992, the concerts went ahead as scheduled but Zappa 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]]). Zappa received a 20-minute ovation.<ref name="miles"/>{{rp|371}} "G-Spot Tornado" was performed with Canadian dancer [[Louise Lecavalier]]. It was Zappa'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".<ref name="miles"/>{{rp|371}} Recordings from the concerts appeared on ''[[The Yellow Shark]]'' (1993), Zappa's last release during his lifetime, and some material from studio rehearsals appeared on the posthumous ''[[Everything Is Healing Nicely]]'' (1999).

==Death==
On December 4, 1993, Zappa died from [[prostate cancer]] at his home with his wife and children by his side. On December 6, his family publicly announced that "Composer Frank Zappa left for his final tour just before 6:00 P.M. on Saturday".<ref name="slaven03" />{{rp|320}} He was buried at a private ceremony in a grave at the [[Westwood Village Memorial Park Cemetery]], in Los Angeles. The grave remains unmarked and located just to the right of actor [[Lew Ayres]]' grave. Zappa was 52 years old.<ref name="miles"/>{{rp|379–380}}<ref name="watson05"/>{{rp|552}}

==Artistry==
===Musical style and classification===
[[File:Frank Zappa 1973.JPG|thumb|Zappa performing in 1973]]
The general phases of Zappa's music have been variously categorized under [[blues rock]],<ref>{{cite magazine |url=https://newrepublic.com/article/160383/weird-frank-zappa-documentary-review |title=How Weird Was Frank Zappa? |last=Semley |first=John |date=November 26, 2020 |magazine=The New Republic |access-date=June 26, 2023|quote=It was also the year Zappa and his band, a blues-rock outfit called the Mothers of Invention}}</ref> [[experimental rock]],<ref name="Rosenberg">{{cite book|last=Rosenberg|first=Stuart|title=Rock and Roll and the American Landscape: The Birth of an Industry and the Expansion of the Popular Culture, 1955–1969|url=https://books.google.com/books?id=736Mu91q_fcC&pg=PA179|date=2009|publisher=iUniverse|isbn=978-1-4401-6458-3|page=179}}</ref> [[jazz]],<ref name="Rosenberg"/> [[classical music|classical]],<ref name="Rosenberg"/> [[avant-pop]],<ref name="avanttribeca">{{cite news|last1=Kozinn|first1=Alann|title='Emerging Avant-Pop': From Charles Ives to Frank Zappa|url=https://www.nytimes.com/2006/05/11/arts/music/11mons.html|work= New York Times|date=May 11, 2006}}</ref> [[experimental pop]],<ref>{{cite book|last=Landy|first=Leigh|author-link=Leigh Landy|title=Experimental Music Notebooks|url=https://books.google.com/books?id=E7zpgjW3-WQC&pg=PA100|date=1994|publisher=Taylor & Francis|isbn=978-3-7186-5554-0}}</ref> [[comedy rock]],<ref name="Comedy rock"/> [[doo-wop]],<ref name="museobit"/><ref>{{cite web|last1=Couture|first1=François|title=Cruising with Ruben & the Jets|url=https://www.allmusic.com/album/cruising-with-ruben-the-jets-mw0000196894 |website=[[AllMusic]]}}</ref> [[jazz fusion]],<ref name="semley2012"/> [[progressive rock]],<ref name="semley2012"/> [[proto-prog]],<ref>{{cite book|last=Greene|first=Doyle|title=Rock, Counterculture and the Avant-Garde, 1966–1970: How the Beatles, Frank Zappa and the Velvet Underground Defined an Era|url=https://books.google.com/books?id=ELeaCwAAQBAJ|date=2016|publisher=McFarland|isbn=978-1-4766-2403-7|page=182}} [https://books.google.com/books?id=ELeaCwAAQBAJ&pg=PA182 Extract of page 182]</ref> [[avant-jazz]],<ref name="semley2012"/> and [[psychedelic rock]].<ref name="semley2012">{{cite web |last1=Semley |first1=John |title=Where to dive into Frank Zappa's weird, unwieldy discography |url=https://www.avclub.com/where-to-dive-into-frank-zappa-s-weird-unwieldy-discog-1798232804 |website=[[The A.V. Club]] |date=August 9, 2012 |access-date=March 14, 2019 |archive-date=2017-12-22  |archive-url=https://web.archive.org/web/20171222052233/https://music.avclub.com/where-to-dive-into-frank-zappa-s-weird-unwieldy-discog-1798232804 |url-status=live }}</ref>

===Influences===
Zappa 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]];<ref>{{cite web|url=http://www.afka.net/Articles/1987-01_Guitar_Player.htm|title=Frank Zappa On&nbsp;... The '80s Guitar Clone|last=Dan|first=Forte|date=January 1987|access-date=March 30, 2016}}</ref> Egyptian composer [[Halim El-Dabh]];<ref name="Holmes"/> 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 Zappa 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]].<ref name="watson96"/>{{rp|13}}{{refn|group="nb"|Among his many musical satires are the 1967 songs "Flower Punk" (which parodies the song "[[Hey Joe]]") and "[[Who Needs the Peace Corps?]]", which are critiques of the late-Sixties commercialization of the [[hippie]] phenomenon.<ref>{{cite book|title=The Producer as Composer: Shaping the Sounds of Popular Music|edition=illustrated|first1=Virgil|last1=Moorefield |publisher=MIT Press|date=2010|isbn=978-0-262-51405-7|page=38|url=https://books.google.com/books?id=PZ0R4_Oxr-4C}}</ref>}} Television also exerted a strong influence, as demonstrated by quotations from show themes and advertising jingles found in his later works.<ref name="quotes"/>

In his book ''The Real Frank Zappa Book'', Zappa credited composer [[Spike Jones]] for his 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."<ref>{{Cite book |last1=Zappa |first1=Frank |last2=Occhiogrosso |first2=Peter |year=1988 |title=The Real Frank Zappa Book |url=http://pierroule.com/ZappaRealBook/TheRFZBook.htm#8 |archive-url=https://web.archive.org/web/20220408185245/http://pierroule.com/ZappaRealBook/TheRFZBook.htm#8 |archive-date=April 8, 2022 |url-status=usurped |access-date=December 4, 2021 |via=pierroule.com |publisher=[[Simon & Schuster]]|isbn=0-671-63870-X}}</ref>

===Project/Object===
Zappa's albums make extensive use of [[segue]]d tracks, breaklessly joining the elements of his albums.<ref name="segue">{{cite book |title=Frank Zappa FAQ: All That's Left to Know About the Father of Invention |first1=John |last1=Corcelli |publisher=Hal Leonard Corporation |date=2016 |isbn=978-1-61713-673-3 |page=290 |url=https://books.google.com/books?id=8e7aDgAAQBAJ}} [https://books.google.com/books?id=8e7aDgAAQBAJ&pg=PT209 Extract of page 290]</ref> His total output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas, and characters reappearing across his albums.<ref name="semley2012"/> 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 Zappa's entire œuvre.<ref name="miles"/>{{rp|160}}<ref name="quotes">For a comprehensive list of the appearance of parts of "old" compositions or quotes from others' music in Zappa's catalogue, see {{cite web|url=http://globalia.net/donlope/fz/quotes.html|title= FZ Musical Quotes|last=Albertos|first=Román García|series=Information is Not Knowledge|publisher=globia.net/donlope|access-date=January 21, 2008}}</ref>

===Techniques===
====Guitar playing====
Zappa 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 [Zappa] is one of the greatest guitarists we have and is sorely unappreciated as such."<ref>{{cite magazine |url=https://www.guitarworld.com/gw-archive/frank-zappa-talks-gear-praises-steve-vai-his-first-guitar-world-interview-1982 |title=Frank Zappa Talks Gear, Praises Steve Vai in His First Guitar World Interview from 1982 |magazine=Guitar World |date=April 22, 2011 |access-date=December 10, 2016 |archive-url=https://web.archive.org/web/20151115230030/http://www.guitarworld.com/frank-zappa-talks-gear-praises-steve-vai-his-first-guitar-world-interview-1982 |archive-date=November 15, 2015 |url-status=dead}}</ref> 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, Zappa'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 Zappa's right was "one of the fastest pick hands in the business."<ref>{{cite web|url=http://www.guitarplayer.com/artist-lessons/1026/frank-zappa-shut-up-n-learn-his-guitar-techniques--tab--audio/56754 |title=Frank Zappa: Shut Up 'N Learn His Guitar Techniques &#124; TAB + AUDIO |publisher=GuitarPlayer |date=November 23, 2016 |access-date=December 10, 2016}}</ref> In 2016, [[Dweezil Zappa]] 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.<ref name="dweezilimprov" />

His song "Outside Now" from ''[[Joe's Garage]]'' poked fun at the negative reception of Zappa'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 Zappa's characteristically quirky solos in 11/8 time.<ref>{{cite web|author=François Couture |url=https://www.allmusic.com/song/outside-now-mt0006332790 |title="Outside Now" – Frank Zappa &#124; Song Info |website=[[AllMusic]] |access-date=December 10, 2016}}</ref> Zappa transcriptionist Kasper Sloots wrote, "Zappa's guitar solos aren't meant to show off technically (Zappa 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."<ref>{{cite web|url=http://www.zappa-analysis.com/shuttxt.htm |title=Shut up 'n play yer guitar |website=Zappa-analysis.com |access-date=December 10, 2016}}</ref>

Zappa's guitar style was not without its critics. English guitarist and bandleader [[John McLaughlin (musician)|John McLaughlin]], whose band [[Mahavishnu Orchestra]] toured with the Mothers of Invention in 1973, opined that Zappa was "very 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."<ref>{{cite web | url=https://www.hit-channel.com/interview-john-mclaughlin-solo-mahavishnu-orchestra-miles-davis/151278 | title=Interview: John McLaughlin (solo, Mahavishnu Orchestra, Miles Davis) • Hit Channel| date=September 22, 2018}}</ref>

In 2000, he was ranked number 36 on [[VH1]]'s ''100 Greatest Artists of Hard Rock''.<ref name="youtube.com">{{Cite web|url=https://www.youtube.com/playlist?list=PLxm64mApR05CJVCePlmcUFluSZyiAvKZ8|title=VH1 100 Greatest Artists of Hard Rock – YouTube|website=YouTube |date=November 6, 2018 |access-date=November 14, 2020}}</ref> In 2004, ''[[Rolling Stone]]'' magazine ranked him at number 71 on its [[Rolling Stone's 100 Greatest Artists of All Time|list of the "100 Greatest Artists of All Time"]],<ref>{{cite magazine|title=100 Greatest Artists|url=https://www.rollingstone.com/music/music-lists/100-greatest-artists-147446/frank-zappa-3-86388/ |magazine=Rolling Stone|date=December 3, 2010 |access-date=March 14, 2019}}</ref> and in 2011 at number 22 on its list of the "100 Greatest Guitarists of All Time".<ref>{{cite magazine|title=100 Greatest Guitarists|url=https://www.rollingstone.com/music/music-lists/100-greatest-guitarists-153675/frank-zappa-7-155589/ |magazine=[[Rolling Stone]] |date=December 18, 2015 |access-date=March 14, 2019}}</ref>

====Tape manipulation====
During recording sessions in New York in 1967, Zappa increasingly used [[audio engineer|tape editing]] as a compositional tool.<ref name="miles"/>{{rp|160}} A prime example is found on the double album ''[[Uncle Meat]]'' (1969),<ref name="james"/>{{rp|104}} where the track "King Kong" is edited from various studio and live performances. Zappa had begun regularly recording concerts,{{refn|group="nb"|In the process, he built up a vast archive of live recordings. In the late 1980s some of these recordings were collected for the 12-CD set ''You Can't Do That on Stage Anymore''.}} and because of his insistence on precise [[Out of tune|tuning]] and timing, he was able to augment his studio productions with excerpts from live shows, and vice versa.<ref name="Mix2003">{{cite web|title=We are The Mothers&nbsp;... and This Is What We Sound Like!|last=Michie|first=Chris|publisher=MixOnline.com|date=January 2003|url=http://mixonline.com/recording/business/audio_mothers_sound|access-date=January 4, 2008|url-status=dead|archive-url=https://web.archive.org/web/20080308055438/http://mixonline.com/recording/business/audio_mothers_sound/|archive-date=March 8, 2008}}</ref> Later, he combined recordings of different compositions into new pieces, irrespective of the [[tempo]] or [[Meter (music)|meter]] of the sources. He dubbed this process "[[xenochrony]]" (strange synchronizations<ref>{{cite web |first=Bob |last=Marshall |title=Interview with Frank Zappa |date=October 22, 1988 |url=https://www.afka.net/Articles/1988-10_Bob_Marshall_Interview.htm |website=afka.net |access-date=October 18, 2023 }}</ref>)—ref
from the Greek "xeno" (alien or strange) and "chronos" (time).<ref name="Mix2003"/>

==Personal life==
===Family===
{{main|Gail Zappa|Moon Zappa|Dweezil Zappa|Ahmet Zappa|Diva Zappa}}
[[File:Simon Prentis & Frank Zappa & Gerry Fialka & Gail Zappa.webp|thumb|Left to right: Simon Prentis (Zappa's "Semantic Scrutinizer"), Zappa, Zappa's production assistant [[Gerry Fialka]], and Zappa's second wife Gail outside Zappa's home recording studio [[Utility Muffin Research Kitchen]] in 1986. Prentis holds a preview cassette of the album ''[[Jazz from Hell|Jazz From Hell]]'' that Fialka had just delivered for Zappa's approval.<ref>{{Cite web |last=Prentis |first=Simon |title=Simon Prentis – interpreter, translator & author |archive-url=https://web.archive.org/web/20160824090119/https://www.simonprentis.net/ |archive-date=August 24, 2016 |url=https://www.simonprentis.net/|url-status=live|access-date=July 24, 2021|website=Simon Prentis}}</ref>]]

Zappa's parents were Francis Vincent Zappa and Rose Marie Zappa (née Colimore). Frank was the second of five children, preceded by his half-sister Ann and followed by his brothers Bobby and Carl and sister Patrice (also known as Candy).

Zappa was married to Kathryn J. "Kay" Sherman from 1960 to 1963. In 1967, he married [[Gail Zappa|Adelaide Gail Sloatman]].<ref>{{cite web|url=http://www.autopsyfiles.org/reports/deathcert/zappa,%20frank_dc.pdf |title=Frank Zappa death certificate |website=Autopsyfiles.org |access-date=December 10, 2016}}</ref><ref>{{cite book|title=Rock Stars Do The Dumbest Things|first1=Margaret|last1=Moser|first2=Bill|last2=Crawford|publisher=Macmillan|date=2007|isbn=978-1-4299-7838-5|page=260|url=https://books.google.com/books?id=exdHqRsPWAUC}} [https://books.google.com/books?id=exdHqRsPWAUC&pg=PT260 Extract of page 260]</ref> He and his second wife had four children: [[Moon Zappa|Moon]] (born 1967), [[Dweezil Zappa|Dweezil]] (born 1969), [[Ahmet Zappa|Ahmet]] (born 1974), and [[Diva Zappa|Diva]] (born 1979).<ref>{{cite book|title=Electric Don Quixote: The Definitive Story Of Frank Zappa|first1=Neil|last1=Slaven|publisher=Omnibus Press|date=2009|isbn=978-0-85712-043-4|page=529|url=https://books.google.com/books?id=4lNRIZm_baQC}} [https://books.google.com/books?id=4lNRIZm_baQC&pg=PT529 Extract of page 529]</ref> Moon and Ahmet sang on Frank's 1981 album ''[[You Are What You Is]]'', while Moon also provided the "[[Valley girl]]" voice on [[Valley Girl (song)|the song of the same name]] on 1982's ''[[Ship Arriving Too Late to Save a Drowning Witch]]''. The song became Frank's only US Top 40 hit single and is credited with popularizing [[valspeak]] and valley girl culture, despite being intended by Frank and Moon as a parody and criticism of it.<ref>{{cite journal|title=Living: How Toe-dully Max Is Their Valley|first1=Michael |last1=Demarest|first2=Alessandra |last2=Stanley|date=September 27, 1982 |journal=[[Time Magazine]] |url=http://www.time.com/time/printout/0,8816,925750,00.html|archive-url=https://archive.today/20120912163312/http://www.time.com/time/printout/0,8816,925750,00.html|url-status=dead|archive-date=September 12, 2012}}</ref><ref>{{cite book|title=The Pacific Region (Series: The Greenwood Encyclopedia of American Regional Cultures) |editor1=Goggans, DiFranco |last1=Donald |last2=Kikisawa |last3=Gaul |last4=Holton |chapter=Language |year= 2004 |publisher=[[Greenwood Publishing Group]] |page=281 |isbn=978-0-313-33043-8 |access-date=2011-11-14 |chapter-url=https://books.google.com/books?id=8-6c1tgoSZkC&pg=PA281}}</ref><ref>{{cite journal|title=Update |journal=Newsweek |volume=106 |issue=1–9 |page=8 |last1=Moley |last2=Muir |last3=Phillips |last4=Smith |last5=Williamson |year= 1985 |url=https://books.google.com/books?id=qtLjAAAAMAAJ&q=zappa+galleria}}{{subscription required}}</ref> An accomplished guitarist in his own right, Dweezil made several guest appearances on stage with Frank during the 1982, 1984, and 1988 tours, and Frank produced Dweezil's first album ''[[Havin' a Bad Day]]'' in 1986.

Following Zappa's death, his widow Gail created the Zappa Family Trust, which owns the rights to Zappa's music and some other creative output: 62 albums released during Zappa's lifetime and 70 posthumously as of October 2025. Upon Gail's death in October 2015, the Zappa children received shares of the trust; Ahmet and Diva received 30% each, Moon and Dweezil received 20% each.<ref name=":1">{{Cite news |title=Inside the Zappa Family Feud |magazine=Rolling Stone |url=https://www.rollingstone.com/music/features/inside-the-zappa-family-feud-w431684 |access-date=August 26, 2022 |archive-url=https://web.archive.org/web/20171208003605/https://www.rollingstone.com/music/features/inside-the-zappa-family-feud-w431684 |archive-date=December 8, 2017 |url-status=dead}}</ref> The original trust, signed by Frank and Gail in 1990, assured the four children would receive equal shares, but this was altered by Gail sometime after Frank's death.<ref>{{cite news|url=https://www.washingtonpost.com/entertainment/music/interactive/2024/frank-zappa-family-feud-moon-unit-dweezil/?pwapi_token=eyJ0eXAiOiJKV1QiLCJhbGciOiJIUzI1NiJ9.eyJyZWFzb24iOiJnaWZ0IiwibmJmIjoxNzIzMzQ4ODAwLCJpc3MiOiJzdWJzY3JpcHRpb25zIiwiZXhwIjoxNzI0NzMxMTk5LCJpYXQiOjE3MjMzNDg4MDAsImp0aSI6IjVkYzYyNzRiLTk1MTktNGE1NS04Y2FlLTBlMWRmNmJjZTMwMiIsInVybCI6Imh0dHBzOi8vd3d3Lndhc2hpbmd0b25wb3N0LmNvbS9lbnRlcnRhaW5tZW50L211c2ljL2ludGVyYWN0aXZlLzIwMjQvZnJhbmstemFwcGEtZmFtaWx5LWZldWQtbW9vbi11bml0LWR3ZWV6aWwvIn0.6E0LOKlbg-2zcEMHZmDR6jirekKrIAiB211xH0D0fHE&itid=gfta|title=Frank Zappa's kids are still grappling with his legacy — and each other|newspaper=[[The Washington Post]] }}</ref>

In the mid-1980s, Zappa learned of an obscure 18th century Italian composer and cellist named [[Francesco Zappa]]. Initially assuming him to be an ancestor, Frank recorded and released an album of Francesco's music, ''[[Francesco Zappa (album)|Francesco Zappa]]'', in 1984. It was subsequently found that Frank and Francesco were not actually related, which Frank confirmed in ''[[The Real Frank Zappa Book]]'' in 1989.

===Captain Beefheart===
{{main|Captain Beefheart}}
Zappa and [[Captain Beefheart|Don Van Vliet]] met when they were both teenagers and shared an interest in [[rhythm and blues]] and [[Chicago blues]].<ref name=Taylor>Steve Taylor{{cite book |url=https://books.google.com/books?id=KPOsu8JOHO8C&q=Captain+Beefheart&pg=PA53 |title=A to X of Alternative Music|page=53 |publisher=Continuum International Publishing Group |year=2006 |isbn=0826482171|access-date=January 26, 2010 }}</ref> They collaborated from this early stage with Zappa's scripts for "teenage operettas", such as "Captain Beefheart & the Grunt People", with Vliet eventually adopting the Captain Beefheart name. The earliest known recording of either Zappa or Beefheart is a collaboration between them, "Lost in a Whirlpool", recorded around 1958/1959 and included on the posthumous Zappa album ''[[The Lost Episodes]]'' in 1996. In 1963, the pair recorded a demo at the [[Pal Recording Studio]] in Cucamonga as the Soots, seeking support from a major label. Their efforts were unsuccessful, as Vliet's [[Howlin' Wolf]]-influenced vocal style and Zappa's distorted guitar were "not on the agenda" at the time.<ref name="Taylor"/> In 1965, while Zappa formed the Mothers of Invention, Beefheart assembled Captain Beefheart and His Magic Band. Their third album, 1969's critically acclaimed ''[[Trout Mask Replica]]'', was produced by Zappa. That same year, Beefheart provided the vocal on "Willie the Pimp" on the ''[[Hot Rats]]'' album. Beefheart also played the harmonica on "San Ber'dino" (credited as "Bloodshot Rollin' Red") on ''[[One Size Fits All (Frank Zappa album)|One Size Fits All]]'' (1975) and "[[Find Her Finer]]" on ''[[Zoot Allures]]'' (1976).<ref>[http://www.beefheart.com/shop/zapbeef.htm "Frank Zappa featuring Captain Beefheart"] {{webarchive|url=https://web.archive.org/web/20100918125350/http://beefheart.com/shop/zapbeef.htm |date=September 18, 2010 }} The Captain Beefheart Radar Station. Retrieved July 1, 2010.</ref>

Over the years, Zappa and Beefheart's friendship was sometimes complicated by rivalry, as musicians drifted back and forth between their groups. Beefheart joined Zappa's band on the early 1975 tour, documented on the ''[[Bongo Fury]]'' album,<ref>{{cite web|url=http://www.discogs.com/Zappa-Beefheart-Mothers-Bongo-Fury/master/35842 |title=''Bongo Fury'' for Mothers link |work=Discogs.com |year=1975 |access-date=July 18, 2011}}</ref> mainly because conflicting contractual obligations made Beefheart unable to tour or record independently at the time. Their relationship grew acrimonious on the tour to the point that they refused to talk to one another. Zappa became irritated by Beefheart, who drew constantly, including while on stage, filling one of his large sketch books with rapidly executed portraits and warped caricatures of Zappa. Musically, Beefheart's primitive style contrasted sharply with Zappa's compositional discipline and abundant technique. Mothers of Invention drummer [[Jimmy Carl Black]] described the situation as "two geniuses" on "ego trips".<ref>{{cite web|url=https://www.youtube.com/watch?v=O3zxyUy0VOY|title=The Artist Formally Known as Captain Beefheart|website=[[YouTube]] |date=June 5, 2021 }}</ref> Estranged for years afterwards, they reconciled by the end of Zappa's life.

==Beliefs and politics==
===Drugs===
Zappa 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."<ref>{{cite web|url=http://home.online.no/~corneliu/Part03.html |title=Interview by Bob Marshall, October 22, 1988 – Part 03 |url-status=dead |archive-url=https://archive.today/20130223085837/http://home.online.no/~corneliu/Part03.html |archive-date=February 23, 2013 |access-date=October 3, 2016}}</ref> Zappa was a heavy [[Tobacco smoking|tobacco smoker]] for most of his life, and critical of anti-tobacco campaigns.{{refn|group="nb"|He considered such campaigns as [[yuppie]] inventions and noted that "Some people like garlic.&nbsp;... I like pepper, tobacco and coffee. That's my metabolism."<ref name="Occhiogrosso"/>{{rp|234–235}} and once described tobacco as his "favorite vegetable."<ref>{{cite AV media |url=https://www.youtube.com/watch?v=UDYzuwG-gOE&t=481 | archive-url=https://ghostarchive.org/varchive/youtube/20211027/UDYzuwG-gOE| archive-date=October 27, 2021|work=[[Today (U.S. TV program)|The Today Show]] |time=8:01 |publisher=NBC |title=Jamie Gangel interviews Frank Zappa |date=1993}}{{cbignore}}</ref>}}

While he disapproved of drug use, he criticized the [[war on drugs]], comparing it to [[alcohol prohibition]]; he stated that the [[United States Treasury]] would benefit from the decriminalization and regulation of drugs.<ref name="Occhiogrosso"/>{{rp|329}} Describing his philosophical views, Zappa 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."<ref name="Occhiogrosso"/>{{rp|315–316, 323–324, 329–330}}

===Government and religion===
[[File:Praga 7 zappa havel.jpg|left|thumb|Zappa with [[Václav Havel]], 1990]]
In a 1991 interview, Zappa reported that he was a registered [[Democratic Party (United States)|Democrat]] but added "that might not last long—I'm going to shred that."<ref>{{YouTube|id=XgJvMwAscO0|''web Interview with Mienfoking Films''}} (4:50)</ref> Describing his political views, Zappa categorized himself as a "[[Conservatism in the United States|practical conservative]]."{{Refn|group="nb"|"Politically, I consider myself to be a (don't laugh) 'Practical Conservative'. I want a smaller, less intrusive government, and lower taxes. What? You too?"<ref name="Occhiogrosso"/>{{rp|315}}}} He favored [[limited government]] and low [[Taxation|taxes]]; he also stated that he approved of national defense, [[Social Security (United States)|social security]], and other federal programs, but only if citizens are willing and able to pay for them.<ref name="Occhiogrosso"/>{{rp|315–316, 323–324, 329–330}} He opposed military drafts, saying that military service should be voluntary.<ref>{{cite web |url=https://www.udiscovermusic.com/stories/frank-zappa-you-are-what-you-is-feature/ |title='You Are What You Is': Frank Zappa's Savagely Satirical Pop Masterclass |last=Atkins |first=Jamie |date=September 23, 2022 |publisher=uDiscoverMusic |access-date=September 27, 2022}}</ref> He favored capitalism, [[entrepreneurship]], and independent business, stating that musicians could make more from owning their own businesses than from collecting royalties.<ref name=":0">{{Cite news|url=https://www.latimes.com/archives/la-xpm-1989-12-19-fi-721-story.html|date=December 19, 1989|title=Frank Zappa, Capitalist Rocker|author1=Apodaca, Patrice|access-date=October 3, 2016|newspaper=[[Los Angeles Times]]}}</ref> He [[Anti-communism|opposed]] communism, stating, "A system that doesn't allow ownership... has—to put it mildly—a fatal design flaw."<ref name="Occhiogrosso"/>{{rp|315–316, 323–324, 329–330}} He had placed messages on his album covers to encourage his fans to [[Voter registration|register to vote]]; further, throughout 1988, Zappa had registration booths at his concerts.<ref name="miles"/>{{rp|348}} He even considered running for president of the United States as an independent.<ref name="miles"/>{{rp|365}}<ref>{{cite book |title=The Routledge History of Social Protest in Popular Music |edition=illustrated |first1=Jonathan C. |last1=Friedman |publisher=Routledge |date=2013 |isbn=978-1-136-44729-7 |page=151 |url=https://books.google.com/books?id=BC16oLUzlSIC}} [https://books.google.com/books?id=BC16oLUzlSIC&pg=PA151 Extract of page 151]</ref>

Zappa was an [[Atheism|atheist]].<ref>{{cite book|last1=Kaylan|first1=Howard|last2=Tamarkin|first2=Jeff|title=Shell Shocked: My Life with the Turtles, Flo and Eddie, and Frank Zappa, etc.|date=2013|publisher=Hal Leonard Corporation|isbn=978-1-4803-4293-4|url=https://books.google.com/books?id=SQ5OjILuPywC|access-date=October 21, 2014|quote=I was an atheist. Zappa was atheist.}}</ref><ref>{{cite book|title=The Oxford Handbook of Atheism|date=2013|publisher=Oxford University Press|isbn=978-0-19-964465-0|page=722|editor1=Stephen Bullivant|editor2=Michael Ruse |quote=Of numerous atheist rock musicians, Frank Zappa ranks among the most outspoken.}}</ref> 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.<ref>{{cite interview |first=Frank |last=Zappa |interviewer=[[David Sheff]] |title=Frank Zappa's 1993 Playboy Interview |url=https://www.playboy.com/read/frank-zappa-s-1993-playboy-interview |work=[[Playboy]] |date=May 2, 1993 |access-date=March 14, 2019}}</ref> 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|Strategic Defense Initiative (SDI)]], [[televangelism]], and the [[Christian Right]]—and warned that the United States government was in danger of becoming a "fascist theocracy."<ref>{{cite AV media |first=Frank |last=Zappa |date=2003 |title=[[Does Humor Belong in Music? (video)|Does Humor Belong in Music?]] |medium=Motion picture (DVD) |publisher=EMI |orig-date=Recorded 1984}}</ref><ref name="CNN TV Debate">{{cite web|date=March 1986|title=Crossfire with Frank Zappa and John Lofton|publisher=CNN [TV Debate]|url=https://archive.org/details/FrankZappaOnCrossfire|access-date=October 3, 2016}}</ref>

In early 1990, Zappa visited [[Czechoslovakia]] at the request of [[President of the Czech Republic|President]] [[Václav Havel]]. The meeting had been arranged by keyboardist [[Michael Kocáb]]. A longtime admirer of Zappa's commitment to individualism, Havel designated him as Czechoslovakia's "Special Ambassador to the West on Trade, Culture and Tourism."<ref name="Pompilio">{{cite web|last=Pompilio|first=Natalie|title=Frank Zappa: Revolutionary|publisher=Legacy.com|date=December 4, 2013|url=http://www.legacy.com/news/legends-and-legacies/frank-zappa-revolutionary/1726|access-date=November 9, 2014}}</ref> Havel was a lifelong fan of Zappa, who had great influence in the avant-garde and underground scene in Central Europe in the 1970s and 1980s. [[The Plastic People of the Universe]], a [[Czechoslovakia]]n jazz rock group associated with [[Prague underground (culture)|Prague underground culture]], took its name from Zappa's 1967 song "[[Plastic People]]".<ref>{{Cite journal|last=Mitchell|first=Tony|title=Mixing Pop and Politics: Rock Music in Czechoslovakia before and after the Velvet Revolution|journal=Popular Music. A Changing Europe|volume=11|issue=2|date=May 1992|pages=187–203|doi=10.1017/s0261143000004992|s2cid=154964927 }}</ref> Under pressure from Secretary of State, [[James Baker]], Zappa's posting (as Czech 'Special Ambassador') was withdrawn.<ref>{{cite book|title=Negotiated Revolutions: The Czech Republic, South Africa and Chile|first1=George|last1=Lawson|publisher=Ashgate|date=2005|isbn=978-0-7546-4327-2|page=103|url=https://books.google.com/books?id=YrRdTA-B6PcC}}</ref> Havel made Zappa an unofficial [[cultural attaché]] instead.<ref name="miles"/>{{rp|357–361}} Zappa planned to develop an international consulting enterprise to facilitate trade between the former Eastern Bloc and Western businesses.<ref name="Pulse1993">{{cite news|url=https://www.afka.net/Articles/1993-08_Pulse.htm|last=Ouellette|first=Dan|title=Frank Zappa|newspaper=[[Pulse! magazine|Pulse!]]|pages=48–56|date=August 1993}}</ref>

===Anti-censorship activism===
Zappa expressed opinions on [[censorship]] when he appeared on [[CNN]]'s ''[[Crossfire (U.S. TV program)|Crossfire]]'' TV series and debated issues with ''Washington Times'' commentator [[John Lofton]] in 1986.<ref name="CNN TV Debate"/> On September 19, 1985, Zappa 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]].<ref>{{cite journal |doi=10.1007/s12103-019-09495-3 |last=Deflem |first=Mathieu |date=2020 |url=https://deflem.blogspot.com/2020/03/music-censorship-labeling.html |title=Popular Culture and Social Control: The Moral Panic on Music Labeling |journal=American Journal of Criminal Justice |volume=45 |number=1 |pages=2–24 |s2cid=198196942 |orig-date=July 24, 2019|url-access=subscription }}</ref> 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.<ref>{{cite book |last=Day |first=Nancy |date=2001 |title=Censorship: or Freedom of Expression? |page=[https://archive.org/details/censorshiporfree00nanc/page/53 53] |publisher=Twenty-First Century Books |isbn=978-0822526285 |url=https://archive.org/details/censorshiporfree00nanc/page/53}}</ref> During Zappa'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. Zappa 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. Zappa further said 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 music industry.<ref name="pmrc-statement">{{cite web |url=https://urbigenous.net/library/zappa.html |title=Frank Zappa: Statement To Congress, September 19, 1985 |date=1985-09-19 |via=urbigenous.net |access-date=2019-03-14}}</ref><ref name="cspan">{{cite AV media |url=https://www.c-span.org/video/?69484-1/rock-lyrics-record-labeling |title=Rock Lyrics Record Labeling |date=1985-09-19 |access-date=2019-03-14 |work=[[C-SPAN]] |time=1:23:00}}</ref>

Zappa saw their activities as on a path towards censorship<ref name="Occhiogrosso"/>{{rp|267}} and called their proposal for voluntary [[Parental Advisory|labelling of records]] with explicit content "extortion" of the music industry.<ref name="Occhiogrosso"/>{{rp|262}}

In his prepared statement, he said:
<blockquote>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]].&nbsp;... 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 [[Yellow badge|large yellow "J"]] on all material written or performed by Jews, in order to save helpless children from exposure to concealed Zionist doctrine?<ref name="pmrc-statement"/><ref name="cspan"/><ref>{{cite web |url=http://www.joesapt.net/superlink/shrg99-529/p51.html|title=Record Labeling. Hearing before the committee on commerce, science and transportation|publisher=U.S. Government printing office|date=September 19, 1985|access-date=December 31, 2007}}</ref></blockquote>

Zappa set excerpts from the PMRC hearings to Synclavier music in his composition "Porn Wars" on the 1985 album ''[[Frank Zappa Meets the Mothers of Prevention]]'', and the full recording was released in 2010 as ''[[Congress Shall Make No Law...]]'' Zappa is heard interacting with Senators [[Fritz Hollings]], [[Slade Gorton]] and [[Al Gore]].<ref name="lowe194">{{cite book |title=The Words and Music of Frank Zappa |first1=Kelly | last1=Fisher Lowe |publisher=U of Nebraska Press |date=2007 |isbn=978-0-8032-6005-4 |page=194 |url=https://books.google.com/books?id=uAYfqgGf4yYC}} [https://books.google.com/books?id=uAYfqgGf4yYC&pg=PA194 Extract of page 194]</ref>

==Legacy==
{{main|Frank Zappa in popular culture}}
Zappa was a controversial figure. As [[Geoffrey Himes]] noted in 1993 after the artist's death, Zappa was hailed as a genius by conductor [[Kent Nagano]] and nominated by Czechoslovakian President [[Václav Havel]] to the country's cultural ambassadorship; however, in his lifetime, Zappa was rejected twice for admission into the [[Rock and Roll Hall of Fame]]. In ''[[Christgau's Record Guide: Rock Albums of the Seventies]]'' (1981), [[Robert Christgau]] dismissed Zappa'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."<ref name="wp"/> According to Himes:

{{blockquote|Admirers and detractors agree that Zappa's music—with its odd time signatures, unorthodox harmonies and fiendishly difficult lines—boasts a rare cerebral complexity. But that's where the agreement ends. Some fans find his sophomoric jokes ("Don't Eat the Yellow Snow") and pop music parodies ("Sheik Yerbouti") a crucial counterbalance to the rarefied density of the music; other devotees find the jokes an irrelevant sideshow to music best appreciated in a chamber or orchestral setting. The critics find the humor's smug iconoclasm a symptom of the essential emptiness of Zappa's intellectual exercises.<ref name="wp"/>}}

===Acclaim and honors===
{{Quote box|quote=Frank Zappa was one of the first to try tearing down the barriers between rock, jazz, and classical music. In the late Sixties his Mothers of Invention would slip from [[Stravinsky]]'s "[[Petrushka (ballet)|Petroushka]]" into [[The Dovells]]' "[[Bristol Stomp]]" before breaking down into saxophone squeals inspired by [[Albert Ayler]]|source= — ''The Rolling Stone Illustrated History of Rock & Roll'', p. 497|width=365px}}

''[[The Rolling Stone Album Guide]]'' (2004) writes: "Frank Zappa 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."<ref>{{cite book|editor-last=Brackett|editor-first=Nathan|editor2-last=Hoard|editor2-first=Christian|title=The New Rolling Stone Album Guide: Completely Revised and Updated 4th Edition|date=2004|place=New York|publisher=Fireside|page=[https://archive.org/details/newrollingstonea00brac/page/903 903]|isbn=978-0-7432-0169-8|url=https://archive.org/details/newrollingstonea00brac/page/903}}</ref> Even though his work drew inspiration from many different genres, Zappa was seen as establishing a coherent and personal expression. In 1980, 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".<ref name="walley80"/>{{rp|3}} On commenting on Zappa'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'."<ref name="miles"/>{{rp|383}}
[[File:Zappa.jpg|thumb|left|upright|Zappa in 1977]]
''[[Guitar Player]]'' devoted a special issue to Zappa 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".<ref>{{cite book |first=Don|last=Menn|editor-last=Menn|editor-first=Don|contribution=From the Editor|title=Zappa! Guitar Player Presents|date=1992|page=3|place=San Francisco, CA|publisher=Miller Freeman|issn=1063-4533}}</ref> Among those contributing to the issue was composer and [[musicologist]] [[Nicolas Slonimsky]], who conducted premiere performances of works of [[Charles Ives|Ives]] and Varèse in the 1930s.<ref>{{Cite news |last=Kozinn|first=Allan|url=https://www.nytimes.com/1995/12/27/books/nicolas-slonimsky-author-of-widely-used-reference-works-on-musicdies-at-101.html |title=Nicolas Slonimsky, Author of Widely Used Reference Works on Music, Dies at 101|date=December 27, 1996|newspaper=The New York Times |access-date=August 17, 2008}}</ref> He became friends with Zappa in the 1980s,<ref>In December 1981, the then 87-year-old Slonimsky made a guest appearance on piano at a Zappa concert. Miles, 2004, ''Frank Zappa'', pp.&nbsp;295–296.</ref> and said, "I admire everything Frank does, because he practically created the new musical millennium. He does beautiful, beautiful work&nbsp;... It has been my luck to have lived to see the emergence of this totally new type of music."<ref>{{cite book|editor-last=Menn|editor-first=Don|contribution=Nicolas Slonimsky – The Century's Preeminent Lexicographer Nails Zappa Down|title=Zappa! Guitar Player Presents|date=1992|pages=6–7|place=San Francisco, CA|publisher=Miller Freeman|issn=1063-4533}}</ref> Conductor [[Kent Nagano]] remarked in the same issue that "Frank is a genius. That's a word I don't use often&nbsp;... In Frank's case it is not too strong&nbsp;... He is extremely literate musically. I'm not sure if the general public knows that."<ref>{{cite book |editor-last=Menn|editor-first=Don|contribution=Kent Nagano – Premiering Zappa with the London Symphony Orchestra|title=Zappa! Guitar Player Presents|date=1992|pages=8–11|place=San Francisco, CA|publisher=Miller Freeman|issn=1063-4533}}</ref> [[Pierre Boulez]] told ''[[Musician (magazine)|Musician]]'' magazine's posthumous Zappa tribute article that Zappa "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."<ref>{{cite magazine |title=Frank Zappa |last=Isler |first=Scott |date=February 1994 |magazine=[[Musician (magazine)|Musician]] |via=afka.net |url=https://www.afka.net/Mags/Musician.htm#1994Feb}}</ref> In 1994, jazz magazine ''[[DownBeat]]''{{'}}s critics poll placed Zappa in its Hall of Fame.<ref>{{cite web|url=http://www.downbeat.com/default.asp?sect=stories&subsect=story_detail&sid=720 |title=1994 Down Beat Critics Poll |publisher=Down Beat Magazine |access-date=August 12, 2008 |url-status=dead |archive-url=https://web.archive.org/web/20090216121831/http://www.downbeat.com/default.asp?sect=stories&subsect=story_detail&sid=720 |archive-date=February 16, 2009}}</ref> Zappa was posthumously inducted into the [[Rock and Roll Hall of Fame]] in 1995. There, it was written that "Frank Zappa 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".<ref>{{cite web|url=http://rockhall.com/inductees/frank-zappa|title=Frank Zappa|publisher=The Rock and Roll Hall of Fame and Museum, Inc.|access-date=August 14, 2008}}</ref> He was ranked number 36 on [[VH1]]'s ''100 Greatest Artists of Hard Rock''<ref name="youtube.com"/> 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 "Frank Zappa'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".<ref>{{cite web|url=https://www.loc.gov/rr/record/nrpb/registry/nrpb-2005reg.html|title=The National Recording Registry 2005|date=May 24, 2005|series=National Recording Preservation Board|publisher=The Library of Congress|access-date=August 18, 2008}}</ref> The same year, ''[[Rolling Stone]]'' magazine ranked him at No.&nbsp;71 on its list of the 100 Greatest Artists of All Time.<ref name="RSImmortals">{{cite web|url=https://www.rollingstone.com/music/lists/100-greatest-artists-of-all-time-19691231/frank-zappa-20110420|title=100 Greatest Artists|publisher=Rolling Stone Music|access-date=May 1, 2013|date=December 3, 2010|archive-date=November 23, 2017 |archive-url=https://web.archive.org/web/20171123114608/http://www.rollingstone.com/music/lists/100-greatest-artists-of-all-time-19691231/frank-zappa-20110420|url-status=dead}}</ref> In 2011, he was ranked at No.&nbsp;22 on the list of the 100 Greatest Guitarists of All Time by the same magazine.<ref>{{cite magazine|url=https://www.rollingstone.com/music/lists/100-greatest-guitarists-20111123/frank-zappa-20111122|title=45 Frank Zappa|magazine=Rolling Stone|access-date=June 4, 2011|archive-date=December 2, 2017 |archive-url=https://web.archive.org/web/20171202023857/http://www.rollingstone.com/music/lists/100-greatest-guitarists-20111123/frank-zappa-20111122|url-status=dead}}</ref> In 2016, ''[[Guitar World]]'' magazine placed Zappa atop its list of "15 of the best progressive rock guitarists through the years."<ref>{{cite web|access-date=December 12, 2020|url=http://www.guitarworld.com/artist-news-artist-lists/15-prog-rocks-best-guitarists-through-years/29666|date= September 1, 2016 |title=15 of Prog-Rock's Best Guitarists Through the Years |website=[[Guitar World]]|url-status=live|archive-url=https://web.archive.org/web/20160902131114/http://www.guitarworld.com/artist-news-artist-lists/15-prog-rocks-best-guitarists-through-years/29666|archive-date=September 2, 2016}}</ref> The street of [[Partinico]] where his father lived at number 13, Via Zammatà, has been renamed to Via Frank Zappa.<ref>{{cite news |last=Zoppi |first=Maurizio |date=November 29, 2012 |title=La famiglia di Frank Zappa a Partinico alla riscoperta delle origini del chitarrista |url=https://corrieredelmezzogiorno.corriere.it/palermo/notizie/spettacoli/2012/29-novembre-2012/famiglia-frank-zappa-partinicoalla-riscoperta-origini-chitarrista-2112935208190.shtml |work=[[Corriere della Sera]] |location=[[Palermo]], Italy |trans-title=Frank Zappa's family in Partinico rediscovering the guitarist's origins |access-date=December 30, 2017 |language=it}}</ref> Since his death, several musicians have been considered by critics as filling the artistic niche left behind by Zappa, in view of their prolific output, eclecticism and other qualities, including [[Devin Townsend]],<ref>{{cite web|access-date=December 12, 2020|url=https://metalinjection.net/reviews/album-review-devin-townsend-empath|date=March 29, 2019 |title=Album Review: DEVIN TOWNSEND Empath|website=[[Metal Injection]]|first=Jordan |last=Blum|url-status=live|archive-url=https://web.archive.org/web/20190331202634/https://metalinjection.net/reviews/album-review-devin-townsend-empath|archive-date=March 31, 2019}}</ref><ref>{{cite web|access-date=December 12, 2020|url=https://www.ultimate-guitar.com/news/general_music_news/devin_townsend_the_issue_i_have_with_frank_zappa.html|date=March 10, 2017 |title=Devin Townsend: The Issue I Have With Frank Zappa|website=[[Ultimate Guitar]]|url-status=live|archive-url=https://web.archive.org/web/20170311042952/https://www.ultimate-guitar.com/news/general_music_news/devin_townsend_the_issue_i_have_with_frank_zappa.html|archive-date=March 11, 2017}}</ref><ref>{{cite web|access-date=December 12, 2020|url=https://louderthanwar.com/devin-townsend-order-of-magnitude-empath-live-volume-1-album-review/|date=October 19, 2020|title=Devin Townsend: Order Of Magnitude – Empath Live Volume 1 – album review|first= Gareth |last=Allen |website=[[Louder Than War (website)|Louder Than War]]}}</ref><ref>{{cite web|access-date=December 12, 2020|url=https://www.orlandoweekly.com/Blogs/archives/2016/09/06/devin-townsend-project-expect-the-unexpected|date=September 6, 2016|title=Devin Townsend Project: Expect the unexpected|first=Jason|last=Ferguson|website=[[Orlando Weekly]]|archive-date=January 16, 2021 |archive-url=https://web.archive.org/web/20210116093625/https://www.orlandoweekly.com/Blogs/archives/2016/09/06/devin-townsend-project-expect-the-unexpected|url-status=dead}}</ref> [[Mike Patton]]<ref name="wire">{{cite magazine|title=Mike Patton {{!}} Fantômas hysteria|magazine=[[The Wire (magazine)|The Wire]]|date=April 2005 |first=Phil |last=Freeman|number=254}}</ref><ref name="questionnaire">{{cite web|access-date=December 12, 2020|url=http://exclaim.ca/music/article/mike_patton-fantomas|date=April 1, 2005|title=Mike Patton {{!}} The Exclaim! Questionnaire|website=[[Exclaim!]]|url-status=live|archive-url=https://web.archive.org/web/20170907115121/http://exclaim.ca/music/article/mike_patton-fantomas|archive-date=September 7, 2017}}</ref><ref name="prog">{{cite web|access-date=December 12, 2020|url= https://classicrock.net/mike-patton-prog/|date=March 7, 2014|title=Mike Patton – Prog?|first=Raziq |last=Rauf |website=[[Classic Rock (magazine)|Classic Rock]] |location=Germany|language=de|url-status=live|archive-url=https://web.archive.org/web/20200812003551/https://classicrock.net/mike-patton-prog/|archive-date=August 12, 2020}}</ref> and [[Omar Rodríguez-López]].<ref>{{cite web|access-date=December 12, 2020|url=https://thequietus.com/articles/21595-omar-rodrguez-lpez-albums-ipecac-review-7-12-mars-volta-at-the-drive-in|date=January 19, 2017 |title=Omar Rodríguez-López |first=Timothy |last=Archer|website=[[The Quietus]]}}</ref><ref>{{cite web|access-date=December 12, 2020|url=https://imposemagazine.com/music/omar-rodriguez-lopez-and-i-was-totally-destroying-it |date=2011|title=Reviews: Omar Rodriguez Lopez + I Was Totally Destroying It|website=[[Impose (magazine)|Impose]]|first=Anthony Mark |last=Happel}}</ref>

====Grammy Awards====
In the course of his career, Zappa was nominated for nine competitive [[Grammy Award]]s, which resulted in two wins (one posthumous). In 1998, he received the [[Grammy Lifetime Achievement Award]].<ref>{{cite web|url=https://www.grammy.com/grammys/artists/frank-zappa|title=Frank Zappa &#124; Artist|website=grammy.com|date=May 19, 2020 |publisher=[[The Recording Academy]]|access-date=June 11, 2020}}</ref>
{{awards table}}
|-
|rowspan="2"| [[22nd Annual Grammy Awards|1980]] || "[[Rat Tomago]]" || [[Grammy Award for Best Rock Instrumental Performance|Best Rock Instrumental Performance]] || {{nom}}
|-
| "[[Dancin' Fool]]" || [[Grammy Award for Best Male Rock Vocal Performance|Best Male Rock Vocal Performance]] || {{nom}}
|-
| [[25th Annual Grammy Awards|1983]] || "[[Valley Girl (song)|Valley Girl]]" || [[Grammy Award for Best Rock Performance by a Duo or Group with Vocal|Best Rock Performance by a Duo or Group with Vocal]] || {{nom}}
|-
| [[27th Annual Grammy Awards|1985]] || ''[[Boulez Conducts Zappa: The Perfect Stranger|The Perfect Stranger]]'' || [[Grammy Award for Best Contemporary Classical Composition|Best New Classical Composition]] || {{nom}}
|-
|rowspan="2"| [[30th Annual Grammy Awards|1988]] || "Jazz from Hell" || [[Grammy Award for Best Instrumental Composition|Best Instrumental Composition]] || {{nom}}
|-
| ''[[Jazz from Hell]]'' ||rowspan="2"| [[Grammy Award for Best Rock Instrumental Performance|Best Rock Instrumental Performance (Orchestra, Group or Soloist)]] || {{won}}
|-
| [[31st Annual Grammy Awards|1989]] || ''[[Guitar (Frank Zappa album)|Guitar]]'' || {{nom}}
|-
| [[32nd Annual Grammy Awards|1990]] || ''[[Broadway the Hard Way]]'' || [[Grammy Award for Best Musical Theater Album|Best Musical Cast Show Album]] || {{nom}}
|-
| [[38th Annual Grammy Awards|1996]] || ''[[Civilization Phaze III]]'' || [[Grammy Award for Best Boxed or Special Limited Edition Package|Best Recording Package – Boxed]] || {{won}}
|-
| [[39th Annual Grammy Awards|1997]] || Frank Zappa || [[Grammy Lifetime Achievement Award|Lifetime Achievement Award]] || {{won|Honored}}
{{end}}

===Artists influenced by Zappa===
Many musicians, bands and orchestras from diverse genres have been influenced by Zappa's music. Rock artists such as [[The Plastic People of the Universe]],<ref>{{cite web |url=https://www.theguardian.com/music/2009/sep/06/plastic-people-velvet-revolution-1989 |title=1989 and all that: Plastic People of the Universe and the Velvet Revolution |first=Ed |last=Vulliamy |date=September 6, 2009 |work=The Guardian |access-date=June 8, 2020}}</ref> [[Alice Cooper]],<ref>{{cite news |title=Interview with Alice Cooper |last=Quigley |first=Mike |date=September 1969 |publisher=Poppin, Issue #5}}</ref> [[Larry LaLonde]] of [[Primus (band)|Primus]],<ref>{{cite web|first=Doug|last=Elfman|title=Primus plays Hard Rock|url=http://www.reviewjournal.com/lvrj_home/2003/Oct-15-Wed-2003/news/22374264.html|work=[[Las Vegas Review-Journal]]|date=October 15, 2003|access-date=March 14, 2009|archive-date=April 6, 2004 |archive-url=https://web.archive.org/web/20040406235351/http://www.reviewjournal.com/lvrj_home/2003/Oct-15-Wed-2003/news/22374264.html|url-status=dead}}</ref> [[Fee Waybill]] of [[the Tubes]]<ref>{{cite web|last=Randall|first=David|title=Get Ready to ROCK! Interview with singer and frontman of American rock band The Tubes, Fee Waybill|url=http://www.getreadytorock.com/10questions/fee_waybill.htm|date=2004|publisher=getreadytorock.com|access-date=August 13, 2008}}</ref> all cite Zappa's influence, as do [[progressive rock|progressive]], [[alternative rock|alternative]], [[electronic music|electronic]] and [[avant-garde]]/[[experimental rock]] artists like [[Can (band)|Can]],{{refn|group="nb"|"CAN was formed by ex-student of Stockhausen Irmin Schmidt, who, fired by the sounds of Jimi Hendrix and Frank Zappa abandoned his career in classic music to form a group which could utilise and transcend all boundaries of ethnic, electronic experimental and modern classical music." {{cite web|title=CAN – The Lost Tapes|url=http://www.spoonrecords.com/news/losttapes.php|website=Spoon Records}}.}} [[Pere Ubu]],{{refn|group="nb"|"The group is very influenced by Capt. Beefheart and Frank Zappa. The roots of Pere Ubu lie in a comedy cover band called Rocket from the Tombs&nbsp;..."{{cite book|title=Punk Diary: 1970–1979|date=1994|publisher=Vintage|isbn=978-0-09-952211-9|page=22|author=George Gimarc}}.}} [[Yes (band)|Yes]],<ref>{{cite web |author1=Obi-Dan |title=Interview: Original 'Yes' Lead Singer Jon Anderson |url=https://geeksofdoom.com/2011/06/29/interview-original-yes-lead-singer-jon-anderson |website=Geeks of Doom |access-date=November 14, 2020 |date=June 29, 2011}}</ref><ref>{{cite web |author1=Nick Deriso |title=Something Else! Interview: Yes' Steve Howe on Jon Davison, performing classic LPs, a renewed solo focus |url=http://yesworld.com/2013/05/keys-to-shredding-yes-great-new-interview-with-steve-howe/ |website=Yesworld.com |access-date=November 14, 2020 |archive-date=November 16, 2020  |archive-url=https://web.archive.org/web/20201116225057/http://yesworld.com/2013/05/keys-to-shredding-yes-great-new-interview-with-steve-howe/ |url-status=dead }}</ref> [[Soft Machine]],<ref>{{cite news|author1=Pierre Perrone|title=Hugh Hopper: Innovative bassist with Soft Machine and stalwart of the Canterbury scene|url=https://www.independent.co.uk/news/obituaries/hugh-hopper-innovative-bassist-with-soft-machine-and-stalwart-of-the-canterbury-scene-1703161.html|work=The Independent|date=June 11, 2009}}</ref><ref>{{cite book|author1=Graham Bennett|title=Soft Machine: Out-bloody-rageous|date=2005|publisher=SAF|isbn=978-0946719846}}</ref> [[Henry Cow]],<ref>{{cite web|url={{AllMusic|class=artist|id=p4475|pure_url=yes}}|title=Biography: Henry Cow|last=Boisen|first=Myles|work=[[AllMusic]]|access-date=August 13, 2008}}</ref> [[Faust (band)|Faust]],<ref>{{cite book|author1=Andy Wilson|title=Faust – Stretch Out Time 1970–1975|date=2006|isbn=978-0955066450|page=171|publisher=Andy Wilson |quote=Along with The Velvet Underground, Frank Zappa is the most obvious influence at work on Faust. Members of the group studied and admired his music. If Faust had any kind of leader or centre in the early days, other than Uwe, it was Rudolf Sosna, and Sosna was seriously interested in Zappa, forever trying to finally work out and unpick his musical 'system' so as to put it to work himself.}}</ref> [[Devo]],<ref>{{cite web|author1=Pete Feenstra|title=Interview: Gerald Casale (Devo)|url=http://www.getreadytorock.com/rock_stars/devo.htm|website=Get Ready to Rock|publisher=hotdigitsnewmedia|date=June 2007|quote=GC: We didn't know the Tubes at the time, probably not until we were on song number twenty or so, but we got to realise they were deep into what we were doing, while both Zappa and Captain Beefheart were an inspiration to us.}}</ref> [[Kraftwerk]],<ref>{{Cite news|author1=Joe Queenan|title=Vorsprung durch Techno|url=https://www.theguardian.com/music/2008/feb/22/vinylword.joequeenan|newspaper=The Guardian |date=February 22, 2008}}</ref> [[Trey Anastasio]] and [[Jon Fishman]] of [[Phish]],<ref name="RSImmortals"/> [[Jeff Buckley]],<ref>{{cite book|title=Dream Brother: The Lives and Music of Jeff and Tim Buckley|date=2011|publisher=HarperCollins|isbn=978-0-06-211195-1|page=96|author=David Browne}}</ref> [[John Frusciante]],<ref>{{cite magazine|last=Cleveland|first=Barry|url=http://www.emusician.com/eqredirects//article/exclusive-outtakes-from/sep-06/23282|date=September 2006|title=Exclusive Outtakes from GP's Interview with John Frusciante!|magazine=Guitar Player|access-date=August 12, 2008|url-status=dead|archive-url=https://web.archive.org/web/20120825231941/http://www.emusician.com/eqredirects//article/exclusive-outtakes-from/sep-06/23282|archive-date=August 25, 2012}}</ref> [[Steven Wilson]],<ref>{{cite web|last=Prasad|first=Anil|url=http://www.innerviews.org/inner/wilson2.html|title=Steven Wilson: Past Presence|author-link=Anil Prasad|date=2013|access-date=February 4, 2015}}</ref> and [[The Aristocrats (band)|The Aristocrats]].<ref>{{cite web | access-date = February 6, 2017 | url = http://www.phoenixnewtimes.com/music/the-aristocrats-bryan-beller-we-are-a-rowdy-musical-democracy-6597037 | date = January 15, 2014 | title = The Aristocrats' Bryan Beller: "We Are a Rowdy Musical Democracy" | first = Lauren | last = Wise | website = [[Phoenix New Times]]}}</ref>

[[Paul McCartney]] regarded ''[[Sgt. Pepper's Lonely Hearts Club Band]]'' as [[the Beatles]]' ''Freak Out!.''<ref>MacDonald, 1994, ''Revolution in the Head'', p. 171.</ref> [[Jimi Hendrix]]<ref>{{cite book|title=Jimi Hendrix: Musician|edition=illustrated|first1=Keith|last1=Shadwick|publisher=Backbeat Books|date=2003|isbn=978-0-87930-764-6|page=117|url=https://books.google.com/books?id=sbiSD1jXeaMC}}</ref> and heavy rock and metal acts like [[Black Sabbath]],<ref>{{cite web|url=http://www.black-sabbath.com/interviews/tonygeez_0594.html|publisher=black-sabbath.com|date=May 1994|title=Black Sabbath Online: Tony Iommi & Geezer Butler Interview|url-status=dead|archive-url=https://web.archive.org/web/20120113135050/http://www.black-sabbath.com/interviews/tonygeez_0594.html|archive-date=January 13, 2012|access-date=August 12, 2008}}</ref> [[Living Colour]],<ref>{{Cite web|last=Berndtson|first=Chad|date=October 5, 2017|title=Interview: Living Colour Guitar Wizard Vernon Reid Talks 'Shade' & Worldwide Touring|url=https://www.jambase.com/article/interview-living-colour-guitar-wizard-vernon-reid-talks-shade-worldwide-touring|access-date=December 4, 2020|website=Jambase}}</ref> [[Simon Phillips (drummer)|Simon Phillips]],<ref>{{cite news|url=http://www.hit-channel.com/interviewsimon-phillips-solototojeff-beckthe/68192|title=Interview:Simon Phillips (solo, Toto, Jeff Beck, The Who)|newspaper=Hit Channel – Ειδήσεις Ελληνική & Ξένη Μουσική Νέα Τραγούδια |publisher=Hit-channel.com|date=June 20, 2014|access-date=May 16, 2015}}</ref> [[Mike Portnoy]],<ref>{{cite web|url=http://www.mikeportnoy.com/aboutmike/bio.aspx|title=about mike|publisher=mikeportnoy.com|access-date=April 22, 2009|archive-date=February 25, 2009 |archive-url=https://web.archive.org/web/20090225201450/http://www.mikeportnoy.com/aboutmike/bio.aspx|url-status=dead}}</ref> [[Warren DeMartini]],<ref>{{cite book|editor-last=Menn|editor-first=Don|contribution=Warren De Martini – Ratt Guitarist Turns Zappa Stylist|title=Zappa! Guitar Player Presents|date=1992|page=14|place=San Francisco, CA|publisher=Miller Freeman|issn=1063-4533}}</ref> [[Alex Skolnick]],<ref>{{cite web |url=https://www.blabbermouth.net/news/testaments-alex-skolnick-launches-rap-alter-ego-skoly-d-takes-down-right-wing-echo-chambers-in-b-i-g-l-i-e-video/ |title=TESTAMENT's ALEX SKOLNICK Launches Rap Alter Ego SKOLY-D, Takes Down Right-Wing Echo Chambers In 'B.I.G. L.I.E.' Video |date=January 6, 2022 |publisher=Blabbermouth |access-date=January 11, 2022}}</ref> [[Steve Vai]],<ref>{{cite web|url=http://www.vai.com/vaiography|title=All About Steve Vai|publisher=Vai.com|access-date=August 12, 2008}}</ref> [[Strapping Young Lad]],<ref name="In Music We Trust interview">{{cite web|last=Sos|first=Mike|date=August 2005|title=Interview: Strapping Young Lad: An extreme metal all-star squad|work=In Music We Trust|url=http://www.inmusicwetrust.com/articles/71h16.html|access-date=January 31, 2008}}</ref> [[System of a Down]],<ref>{{cite magazine|first=Tom|last=Sinclair|title=Mezmerize (2005): System of a Down|url=https://ew.com/article/2005/05/16/mezmerize/|magazine=Entertainment Weekly|date=May 16, 2005|access-date=June 28, 2010|archive-date=August 14, 2009 |archive-url=https://web.archive.org/web/20090814194322/http://www.ew.com/ew/article/0,,1060789,00.html|url-status=live}}</ref> and [[Clawfinger]]<ref>{{cite web|url=http://www.clawfinger.net/main.php?band|title=The official Pages|publisher=clawfinger.net|access-date=August 12, 2008|archive-date=December 30, 2008 |archive-url=https://web.archive.org/web/20081230094826/http://www.clawfinger.net/main.php?band|url-status=dead}}</ref> have acknowledged Zappa as inspiration. On the classical music scene, Tomas Ulrich,<ref>{{cite web|url=http://musicians.allaboutjazz.com/musician.php?id=15347|title=Tomas Ulrich at All about Jazz|work=All About Jazz|access-date=November 13, 2008}}</ref> [[Meridian Arts Ensemble]],<ref>{{cite web|url=http://www.meridianartsensemble.com/about.htm|title=Meridian Arts Ensemble&nbsp;– About Us|publisher=meridianartsensemble.com|access-date=August 12, 2008|archive-url=https://web.archive.org/web/20080705132800/http://www.meridianartsensemble.com/about.htm|archive-date=July 5, 2008|url-status=dead}}</ref> [[Ensemble Ambrosius]]<ref>{{cite web|url=http://www.ensembleambrosius.com/node/2 |title=Academic Zappa: Seriously Taken Musical Study of Frank Zappa's Music – At Last |publisher=ensembleambrosius.com |access-date=December 17, 2010 |url-status=dead |archive-url=https://web.archive.org/web/20120112011024/http://www.ensembleambrosius.com/node/2 |archive-date=January 12, 2012}}</ref> and the Fireworks Ensemble<ref>{{cite web|url=http://fireworksensemble.org/about|title=About fireworks|publisher=fireworksensemble.org|access-date=August 25, 2008}}</ref> regularly perform Zappa's compositions and quote his influence. Contemporary jazz musicians and composers [[Bobby Sanabria]], [[Bill Frisell]]<ref>{{cite web|url=http://www.songtone.com/artists/Frisell/default.html|title=Bill Frisell biography|publisher=Songline/Tonefield Productions|access-date=August 12, 2008|archive-url=https://web.archive.org/web/20101127021659/http://www.songtone.com/artists/Frisell/default.html|archive-date=November 27, 2010|url-status=dead}}</ref> and [[John Zorn]]<ref>{{cite book|title=The Penguin Guide To Jazz on CD, Seventh Edition|last1=Cook|first1=Richard|last2=Morton|first2=Brian|date=2004|place=London|publisher=Penguin Books|page=1721|isbn=978-0-14-101416-6}}</ref> are inspired by Zappa, as is funk legend [[George Clinton (funk musician)|George Clinton]].<ref>{{cite web|url={{AllMusic|class=artist|id=p65136|pure_url=yes}}|title=Biography: George Clinton|last=Bush|first=John|work=[[AllMusic]]|access-date=August 13, 2008}}</ref>

Other artists affected by Zappa include ambient composer [[Brian Eno]],<ref>{{cite web |author1=Edward Helmore |title=Interview – 'The business is an exciting mess' – Edward Helmore talks to Brian Eno and David Byrne |url=https://www.theguardian.com/music/2009/mar/27/brian-eno-david-byrne |work=The Guardian |access-date=January 13, 2020 |date=March 27, 2009}}</ref><ref>{{Cite news|title=On gospel, Abba and the death of the record: an audience with Brian Eno|url=https://www.theguardian.com/music/2010/jan/17/brian-eno-interview-paul-morley|newspaper=The Guardian|access-date=August 9, 2013|author=Paul Morley|date=January 17, 2010}}</ref> new age pianist [[George Winston]],<ref>{{cite web|url=http://www.georgewinston.com/us/biography |title=George Winston biography |publisher=georgewinston.com |access-date=June 27, 2010 |url-status=dead |archive-url=https://web.archive.org/web/20100331000214/http://www.georgewinston.com/us/biography |archive-date=March 31, 2010}}</ref> electronic composer [[Robert Gluck|Bob Gluck]],<ref>{{cite web|url=http://www.electricsongs.com/gluckbio.html|title=gluckbio.html|publisher=electricsongs.com|access-date=September 1, 2008}}</ref> parodist artist and disk jockey [[Dr. Demento]],<ref>{{cite web|author1=Charlie Jane Anders|title=Doctor Demento pays tribute to Frank Zappa, his musical inspiration|url=https://io9.gizmodo.com/5833271/doctor-demento-pays-tribute-to-frank-zappa|website=Gizmodo|publisher=Gizmodo Media Group|date=August 22, 2011|quote=Demento called Zappa "the most major musical inspiration for me when I began the Dr. Demento Show, and he remains one of our half dozen most requested artists to this day."}}</ref> parodist and novelty composer [["Weird Al" Yankovic]],<ref>{{cite web|url=http://weirdal.com/archives/faq/ |title='Weird Al' Yankovic: Frequently Asked Questions |publisher=weirdal.com |access-date=February 26, 2019 |url-status=live |archive-url=https://web.archive.org/web/20190220231245/http://weirdal.com/archives/faq/ |archive-date=February 20, 2019}}</ref> [[industrial music]] pioneer [[Genesis P-Orridge]],<ref>[[Simon Reynolds|Reynolds, Simon]] (2005). ''Rip It Up and Start Again: Postpunk 1978–1984'', p. 255.</ref> singer [[Cree Summer]],<ref>{{cite web | url=http://www.mtv.com/news/515722/cree-summer/ | archive-url=https://web.archive.org/web/20180413043520/http://www.mtv.com/news/515722/cree-summer/ | url-status=dead | archive-date=April 13, 2018 | title=Cree Summer| website=[[MTV]]}}</ref><ref>{{cite web | url=https://www.chicagotribune.com/1991/03/03/cree-summer/ | title=Cree Summer| website=[[Chicago Tribune]]| date=March 3, 1991}}</ref> [[noise music]] artist Masami Akita of [[Merzbow]],<ref>Martin, 2002, ''Avant Rock'', p. 160.</ref> the Italian pianist [[Stefano Bollani]],<ref>{{cite web | url = https://www.standaard.be/cnt/fk37t3b6 | title = 'Wij schudden Zappa's muziek' | last = Van Keymeulen | first = Karel | work = De Standaard | date = 23 March 2011 | access-date = 9 April 2024}}</ref><ref>{{cite web | url = https://www.volkskrant.nl/cultuur-media/briljante-mix-van-stemmingen-en-sferen~b928164c/ | title = Briljante mix van stemmingen en sferen | last = Kamer | first = Gijsbert | date = 19 August 2016 | publisher = De Volkskrant | access-date = 9 April 2024}}</ref> the Italian band [[Elio e le Storie Tese]]<ref name="ondarock">{{cite web|last1=Lo Giudice|first1=Antonio|title=Elio e le Storie Tese. Tecniche di resistenza al nulla|url=http://www.ondarock.it/italia/elioelestorietese.htm|website=Ondarock.it|access-date=August 24, 2015|language=it}}</ref><ref name="repubblica">{{cite web|last1=Tricomi|first1=Antonio|title=La musica senza etichette dei militanti irriverenti|url=http://ricerca.repubblica.it/repubblica/archivio/repubblica/2008/05/04/la-musica-senza-etichette-dei-militanti-irriverenti.html|website=[[la Repubblica]]|access-date=August 24, 2015|language=it|date=May 4, 2008}}</ref><ref name="bravo">{{cite web|last1=Giudici|first1=Luca|title=La vita tesa di Elio|url=http://www.bravonline.it/la-vita-tesa-di-elio-un-concerto-di-elio-e-le-storie-tese/|website=Bravo! Online|access-date=August 24, 2015|language=it|date=May 4, 2008|archive-url=https://web.archive.org/web/20140811214453/http://www.bravonline.it/la-vita-tesa-di-elio-un-concerto-di-elio-e-le-storie-tese/|archive-date=August 11, 2014|url-status=dead}}</ref> and Chilean composer Cristián Crisosto from [[Fulano (band)|Fulano]] and [[Mediabanda]].<ref>{{Cite web|url=https://chileanskies.com/2015/03/los-10-discos-fundamentales-de-cristian-crisosto-clsk-entrevista/|title=Los 10 discos fundamentales de Cristián Crisosto [CLSK Entrevista]|date=March 2, 2015|website=CLSK|language=es-CL|access-date=March 5, 2020}}</ref><ref>{{Cite web|url=https://cientounorevista.com/media-banda-santiago-chile-rock-jazz-eclecticismo/|title=Media Banda de Santiago de Chile es rock jazz, eclecticismo -|date=August 4, 2017|language=es|access-date=March 5, 2020}}</ref><ref>{{Cite web|url=https://www.irock.cl/la-chilena-regina-crisosto-deslumbra-con-su-voz-en-berklee-tributando-a-frank-zappa/|title=La chilena Regina Crisosto deslumbra con su voz en Berklee, tributando a Frank Zappa|author=<!--Staff writer(s); no by-line.-->|date=January 23, 2019 |language=es-CL|access-date=March 5, 2020}}</ref>

===References in arts and sciences===
[[File:Doberan Zappa-Denkmal3.jpg|thumb|right|upright|Frank Zappa bust by Vaclav Cesak in [[Bad Doberan]], Germany]]
Scientists from various fields have honored Zappa 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 that, "The specific name, ''zappa'', honors Frank Zappa".<ref>{{cite journal|last=Plas|first=Leo P. Jr.|title=Upper Wolfcampian (?) Mollusca from the Arrow Canyon Range, Clark County, Nevada|date=March 1972|journal=[[Journal of Paleontology]]|volume=46 |number=2 |pages=249–260 |url=https://pubs.geoscienceworld.org/jpaleontol/article/46/2/249/107650/Upper-Wolfcampian-Mollusca-from-the-Arrow-Canyon}}</ref>

In the 1980s, biologist Ed Murdy named a [[genus]] of [[gobiidae|gobiid]] fishes of New Guinea ''Zappa'', with a [[species]] named ''Zappa confluentus''.<ref>{{cite book |last=Murdy|first=E.O.|title=A Taxonomic Revision and Cladistic Analysis of the Oxudercine Gobies (Gobiidae: Oxudercinae)|publisher=Records of the Australian Museum|date=1989|isbn=978-0-7305-6374-7}}</ref> Biologist Ferdinando Boero named a Californian [[jellyfish]] ''Phialella zappai'' (1987), noting that he had "pleasure in naming this species after the modern music composer".<ref>{{cite journal|last=Boero|first=Ferdinando|title=Life cycles of Phialella zappai n. sp., Phialella fragilis and Phialella sp. (Cnidaria, Leptomedusae, Phialellidae) from central California|date=April 1987|journal=Journal of Natural History|volume=21|pages=465–480|doi=10.1080/00222938700771131|issue=2|bibcode=1987JNatH..21..465B }}</ref>

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".<ref>{{Cite journal|last1=Bosmans|first1=Robert|last2=Bosselaers|first2=Jan|title=Spiders of the genera ''Pachygnatha'', ''Dyschiriognatha'' and ''Glenognatha'' (Araneae, Tetragnathidae), with a revision of the Afrotropical species|date=October 1995|journal=Zoologica Scripta|volume=23|pages=325–352|doi=10.1111/j.1463-6409.1994.tb00392.x|issue=4|s2cid=83546554}}</ref>

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 Frank Zappa for inspiration and assistance with genetic nomenclature".<ref>{{cite journal |last1=Wassif|first1=Christopher|last2=Cheek|first2=Diana|last3=Belas|first3=Robert|title=Molecular Analysis of a Metalloprotease from ''Proteus mirabilis''|date=October 1995|journal=Journal of Bacteriology|volume=177|pages=5790–5798|pmid=7592325|issue=20|pmc=177400|doi=10.1128/jb.177.20.5790-5798.1995}}</ref> Repeating regions of the genome of the human tumor virus [[Kaposi's sarcoma-associated herpesvirus|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''.<ref>{{cite journal|title=Nucleotide sequence of the Kaposi sarcoma- associated herpesvirus (HHV8)|last1=Russo|first1=James J.|last2=Bohenzky|first2=Roy A.|last3=Chien|first3=Ming-Cheng|last4=Chen|first4=Jing|last5=Yan|first5=Ming|last6=Maddalena|first6=Dawn|last7=Preston Parry|first7=J.|last8=Peruzzi|first8=Daniela|last9=Edelman|first9=Isidore S.|last10=Chang|first10=Yuan|last11=Moore|first11=Patrick S.|journal=[[Proceedings of the National Academy of Sciences of the United States of America]]|volume=93|date=December 1996|pages=14862–14867|doi=10.1073/pnas.93.25.14862|pmid=8962146|issue=25|pmc=26227|bibcode=1996PNAS...9314862R|doi-access=free}}</ref>
In the late 1990s, American paleontologists Marc Salak and Halard L. Lescinsky discovered a [[animal|metazoan]] fossil, and named it ''Spygori zappania'' to honor "the late Frank Zappa&nbsp;... whose mission paralleled that of the earliest paleontologists: to challenge conventional and traditional beliefs when such beliefs lacked roots in logic and reason".<ref>{{cite journal|title=Spygoria zappania New Genus and Species, a Cloudina-like Biohermal Metazoan from the Lower Cambrian of Central Nevada|last1=Salak|first1=Marc|last2=Lescinsky|first2=Halard L.|journal=[[Journal of Paleontology]]|volume=73|issue=4|date=July 1999|pages=571–576|doi=10.1017/s002233600003239x|bibcode=1999JPal...73..571S |s2cid=132540126 }}</ref>

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]].<ref>{{cite journal|last=Seachrist|first=Lisa|title=Space Rock Gets Zappa'd|journal=Science|volume=265|issue=5174|date=August 12, 1994|page=871|doi=10.1126/science.265.5174.871-c |pmid=17782133|bibcode=1994Sci...265..871.}}</ref> The asteroid was discovered in 1980 by Czechoslovakian astronomer [[Ladislav Brožek]], and the citation for its naming says that "Zappa was an eclectic, self-trained artist and composer&nbsp;... Before 1989 he was regarded as a symbol of democracy and freedom by many people in Czechoslovakia".<ref>{{cite web|url=http://www.minorplanetcenter.net/iau/special/rocknroll/0003834.html|title=(3834) Zappafrank|publisher=IAU: Minor Planet Center ([[Smithsonian Astrophysical Observatory]])|access-date=August 15, 2008}}</ref>
In 1995, a bust of Zappa by sculptor Konstantinas Bogdanas was installed in [[Vilnius]], [[Lithuania]]. 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."<ref name="Pompilio"/> 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.<ref>{{cite web|url=https://www.baltimoresun.com/2010/09/16/zappa-comes-home/|title=Zappa comes home|last=The Baltimore Sun|date=September 16, 2010|work=The Baltimore Sun|access-date=September 19, 2010|archive-date=March 6, 2011 |archive-url=https://web.archive.org/web/20110306091117/http://articles.baltimoresun.com/2010-09-16/entertainment/bs-ae-zappa-cover-0917-20100916_1_gail-zappa-southeast-anchor-library-lithuania|url-status=live}}</ref><ref>{{cite web|url=https://www.baltimoresun.com/2010/09/16/zappa-looza-a-full-guide-to-the-weekends-events/|title=Zappa-looza: A full guide to the weekend's events|last=The Baltimore Sun|date=September 16, 2010|work=The Baltimore Sun|access-date=September 19, 2010|archive-date=January 2, 2011 |archive-url=https://web.archive.org/web/20110102145706/http://articles.baltimoresun.com/2010-09-16/news/bs-ae-zappa-rail-0917-2-20100916_1_southeast-anchor-library-zappa-plays-zappa-zappa-related|url-status=live}}</ref>

[[File:Frank-Zappa-Straße in Berlin.jpg|thumb|right|Frank-Zappa-Straße in Berlin]]
In 2002, a bronze bust was installed in German city [[Bad Doberan]], location of the ''[[Zappanale]]'' since 1990, an annual music festival celebrating Zappa.<ref>{{cite web|url=http://zappanale.de|title=Zappanale&nbsp;– Startseite|publisher=zappanale.de|access-date=August 14, 2008}}</ref> At the initiative of musicians community [[ORWOhaus]], the city of Berlin named a street in the [[Marzahn]] district "Frank-Zappa-Straße" in 2007.<ref>{{Cite news|url=https://www.washingtonpost.com/wp-dyn/content/article/2007/07/30/AR2007073000690.html|title=Berlin Names Street After Frank Zappa|agency=The Associated Press|date=July 30, 2007|newspaper=The Washington Post|access-date=August 15, 2008}}</ref> The same year, Baltimore mayor [[Sheila Dixon]] proclaimed August 9 as the city's official "Frank Zappa Day" citing Zappa's musical accomplishments as well as his defense of the [[First Amendment to the United States Constitution]].<ref>{{cite web|url=http://www.zappa.com/whatsnew/news/baltimore.html |title=What's New in Baltimore? |publisher=Zappa.com |access-date=August 15, 2008 |url-status=dead |archive-url=https://web.archive.org/web/20080808113218/http://www.zappa.com/whatsnew/news/baltimore.html |archive-date=August 8, 2008}}</ref>

=== ''Zappa'' documentary ===
The biographical documentary ''[[Zappa (2020 film)|Zappa]]'', directed by [[Alex Winter]] and released on November 27, 2020, includes previously unreleased footage from Zappa's personal vault, to which he was granted access by the Zappa Family Trust.<ref>{{Cite magazine|last=Grow|first=Kory|date=July 24, 2015|title=Frank Zappa Documentary by Alex Winter Starts Production|url=https://www.rollingstone.com/movies/movie-news/frank-zappa-documentary-by-alex-winter-starts-production-59287/|access-date=December 30, 2020|magazine=Rolling Stone|language=en-US}}</ref><ref>{{Cite web|last=Tangcay|first=Jazz|date=November 29, 2020|title=Alex Winter on Telling the Story of 'Paradoxical' Frank Zappa in New Doc: 'It Took Us Years to Get it Right'|url=https://variety.com/2020/film/news/alex-winter-frank-zappa-documentary-1234840123/|access-date=December 30, 2020|website=Variety|language=en-US}}</ref>

==Discography==
{{main|Frank Zappa discography}}
During his lifetime, Zappa released 62 albums. Since 1994, the Zappa Family Trust has released 70 posthumous albums, making a total of 132 albums.<ref>{{cite web |url=http://www.zappa.com/music/official |title=Frank Zappa Official Discography |publisher=Zappa.com |access-date=July 29, 2021  |archive-date=December 22, 2017  |archive-url=https://web.archive.org/web/20171222011034/http://www.zappa.com/music/official |url-status=dead }}</ref> The distributor of Zappa's recorded output is [[Universal Music Enterprises]].<ref>{{cite news|url=https://variety.com/2012/music/news/umg-sets-frank-zappa-re-releases-1118055340/|title=UMG sets Frank Zappa re-releases|work=[[Variety (Magazine)|Variety]]|date=June 11, 2012|access-date=March 14, 2019|first=Chris|last=Morris}}</ref> In June 2022, the Zappa Trust announced that it had sold Zappa's entire catalog to Universal Music, including master tapes, song copyrights and trademarks.<ref>{{cite magazine|last1=Kreps |first1=Daniel |title=Frank Zappa's Estate Acquired by Universal Music Group |url=https://www.rollingstone.com/music/music-news/frank-zappa-estate-universal-music-group-1376473/|magazine=[[Rolling Stone]]|date=June 30, 2022}}</ref>

=== Albums ===
{{div col}}
* ''[[Freak Out!]]'' (1966)
* ''[[Absolutely Free]]'' (1967)
* ''[[We're Only in It for the Money]]'' (1968)
* ''[[Lumpy Gravy]]'' (1968)
* ''[[Cruising with Ruben & the Jets]]'' (1968)
* ''[[Mothermania]]'' (1969)
* ''[[Uncle Meat]]'' (1969)
* ''[[Hot Rats]]'' (1969)
* ''[[Burnt Weeny Sandwich]]'' (1970)
* ''[[Weasels Ripped My Flesh]]'' (1970)
* ''[[Chunga's Revenge]]'' (1970)
* ''[[Fillmore East – June 1971]]'' (1971)
* ''[[200 Motels (soundtrack)|200 Motels]]'' (1971)
* ''[[Just Another Band from L.A.]]'' (1972)
* ''[[Waka/Jawaka]]'' (1972)
* ''[[The Grand Wazoo]]'' (1972)
* ''[[Over-Nite Sensation]]'' (1973)
* ''[[Apostrophe (')]]'' (1974)
* ''[[Roxy & Elsewhere]]'' (1974)
* ''[[One Size Fits All (Frank Zappa album)|One Size Fits All]]'' (1975)
* ''[[Bongo Fury]]'' (1975)
* ''[[Zoot Allures]]'' (1976)
* ''[[Zappa in New York]]'' (1978)
* ''[[Studio Tan]]'' (1978)
* ''[[Sleep Dirt]]'' (1979)
* ''[[Sheik Yerbouti]]'' (1979)
* ''[[Orchestral Favorites]]'' (1979)
* ''[[Joe's Garage|Joe's Garage, Act I]]'' (1979)
* ''[[Joe's Garage|Joe's Garage, Acts II & III]]'' (1979)
* ''[[Tinsel Town Rebellion]]'' (1981)
* ''[[Shut Up 'n Play Yer Guitar]]'' (1981)
* ''[[Shut Up 'n Play Yer Guitar|Shut Up 'n Play Yer Guitar Some More]]'' (1981)
* ''[[Shut Up 'n Play Yer Guitar|Return of the Son of Shut Up 'n Play Yer Guitar]]'' (1981)
* ''[[You Are What You Is]]'' (1981)
* ''[[Ship Arriving Too Late to Save a Drowning Witch]]'' (1982)
* ''[[The Man from Utopia]]'' (1983)
* ''[[Baby Snakes (soundtrack)|Baby Snakes]]'' (1983)
* ''[[London Symphony Orchestra (Zappa albums)|London Symphony Orchestra, Vol. I]]'' (1983)
* ''[[Boulez Conducts Zappa: The Perfect Stranger]]'' (1984)
* ''[[Them or Us]]'' (1984)
* ''[[Thing-Fish]]'' (1984)
* ''[[Francesco Zappa (album)|Francesco Zappa]]'' (1984)
* ''[[Old Masters (box set)|Old Masters, Box I]]'' (1985)
* ''[[Frank Zappa Meets the Mothers of Prevention]]'' (1985)
* ''[[Does Humor Belong in Music? (album)|Does Humor Belong in Music?]]'' (1986)
* ''[[Old Masters (box set)|Old Masters, Box II]]'' (1986)
* ''[[Jazz from Hell]]'' (1986)
* ''[[London Symphony Orchestra (Zappa albums)|London Symphony Orchestra, Vol. II]]'' (1987)
* ''[[Old Masters (box set)|Old Masters, Box III]]'' (1987)
* ''[[Guitar (Frank Zappa album)|Guitar]]'' (1988)
* ''[[You Can't Do That on Stage Anymore, Vol. 1]]'' (1988)
* ''[[You Can't Do That on Stage Anymore, Vol. 2]]'' (1988)
* ''[[Broadway the Hard Way]]'' (1988)
* ''[[You Can't Do That on Stage Anymore, Vol. 3]]'' (1989)
* ''[[The Best Band You Never Heard in Your Life]]'' (1991)
* ''[[Make a Jazz Noise Here]]'' (1991)
* ''[[You Can't Do That on Stage Anymore, Vol. 4]]'' (1991)
* ''[[You Can't Do That on Stage Anymore, Vol. 5]]'' (1992)
* ''[[You Can't Do That on Stage Anymore, Vol. 6]]'' (1992)
* ''[[Playground Psychotics]]'' (1992)
* ''[[Ahead of Their Time]]'' (1993)
* ''[[The Yellow Shark]]'' (1993)
{{div col end}}

=== Posthumous albums ===
{{div col}}
* ''[[Civilization Phaze III]]'' (1994)
* ''[[The Lost Episodes]]'' (1996)
* ''[[Läther]]'' (1996)
* ''[[Frank Zappa Plays the Music of Frank Zappa: A Memorial Tribute]]'' (1996)
* ''[[Have I Offended Someone?]]'' (1997)
* ''[[Mystery Disc]]'' (1998)
* ''[[Everything Is Healing Nicely]]'' (1999)
* ''[[FZ:OZ]]'' (2002)
* ''[[Halloween (Frank Zappa album)|Halloween]]'' (2003)
* ''[[Joe's Corsage]]'' (2004)
* ''[[Joe's Domage]]'' (2004)
* ''[[Quaudiophiliac]]'' (2004)
* ''[[Joe's Xmasage]]'' (2005)
* ''[[Imaginary Diseases]]'' (2006)
* ''[[The MOFO Project/Object]]'' (2006)
* ''[[The MOFO Project/Object|The MOFO Project/Object (fazedooh)]]'' (2006)
* ''[[Trance-Fusion]]'' (2006)
* ''[[Buffalo (Frank Zappa album)|Buffalo]]'' (2007)
* ''[[The Dub Room Special (soundtrack)|The Dub Room Special!]]'' (2007)
* ''[[Wazoo (album)|Wazoo]]'' (2007)
* ''[[One Shot Deal]]'' (2008)
* ''[[Joe's Menage]]'' (2008)
* ''[[The Lumpy Money Project/Object]]'' (2009)
* ''[[Philly '76]]'' (2009)
* ''[[Greasy Love Songs]]'' (2010)
* ''[[Congress Shall Make No Law...]]'' (2010)
* ''[[Hammersmith Odeon (album)|Hammersmith Odeon]]'' (2010)
* ''[[Feeding the Monkies at Ma Maison]]'' (2011)
* ''[[Carnegie Hall (Frank Zappa album)|Carnegie Hall]]'' (2011)
* ''[[Road Tapes, Venue 1]]'' (2012)
* ''[[Understanding America]]'' (2012)
* ''[[Finer Moments]]'' (2012)
* ''[[Baby Snakes (soundtrack)#AAAFNRAA: Baby Snakes – The Compleat Soundtrack|AAAFNRAA: Baby Snakes: The Compleat Soundtrack]]'' (2012)
* ''[[Road Tapes, Venue 2]]'' (2013)
* ''[[A Token of His Extreme]]'' (2013)
* ''[[Joe's Camouflage]]'' (2014)
* ''[[Roxy by Proxy]]'' (2014)
* ''[[Dance Me This]]'' (2015)
* ''200 Motels: The Suites'' (2015)
* ''[[Roxy The Soundtrack]]'' (2015)
* ''[[Road Tapes, Venue 3]]'' (2016)
* ''[[The Crux of the Biscuit]]'' (2016)
* ''[[Frank Zappa for President]]'' (2016)
* ''ZAPPAtite: Frank Zappa's Tastiest Tracks'' (2016)
* ''[[Meat Light]]'' (2016)
* ''[[Chicago '78]]'' (2016)
* ''[[Little Dots]]'' (2016)
* ''[[Halloween 77]]'' (2017)
* ''[[The Roxy Performances]]'' (2018)
* ''[[Zappa in New York#40th Anniversary releases 2019|Zappa in New York 40th Anniversary Edition]]'' (2019)
* ''[[Orchestral Favorites#40th Anniversary Track Listing|Orchestral Favorites 40th Anniversary Edition]]'' (2019)
* ''[[Halloween 73]]'' (2019)
* ''[[The Hot Rats Sessions]]'' (2019)
* ''[[The Mothers 1970]]'' (2020)
* ''[[Halloween 81]]'' (2020)
* ''Zappa – Original Motion Picture Soundtrack'' (2020)
* ''[[Zappa '88: The Last U.S. Show]]'' (2021)
* ''[[200 Motels (soundtrack)#50th Anniversary 6CD|200 Motels 50th Anniversary Edition]]'' (2021)
* ''[[The Mothers 1971]]'' (2022)
* ''[[Zappa/Erie]]'' (2022)
* ''[[Zappa '75: Zagreb/Ljubljana]]'' (2022)
* ''[[Waka/Wazoo]]'' (2022)
* ''[[Zappa '80 Mudd Club/Munich|Zappa '80: Mudd Club/Munich]]'' (2023)
* ''[[Funky Nothingness]]'' (2023)
* ''[[Over-Nite Sensation#2023 50th Anniversary Super Deluxe Edition|Over-Nite Sensation 50th Anniversary Edition]]'' (2023)
* ''[[Whisky a Go Go 1968]]'' (2024)
* ''[[Apostrophe (')#Track listing|Apostrophe (') 50th Anniversary Edition]]'' (2024)
* ''[[Cheaper Than Cheep]]'' (2025)
* ''[[One Size Fits All (Frank Zappa album)#Track listing|One Size Fits All 50th Anniversary Edition]]'' (2025)
* ''[[Halloween 78]]'' (2025)
{{div col end}}

==Videography==
{{div col}}
*1971 – ''[[200 Motels]]''
*1976 – ''A Token of His Extreme''
*1979 – ''[[Baby Snakes]]''
*1981 – ''The Torture Never Stops''
*1982 – ''[[The Dub Room Special]]''
*1985 – ''[[Does Humor Belong in Music? (video)|Does Humor Belong in Music?]]''
*1987 – ''[[Video from Hell]]''
*1987 – ''[[Uncle Meat (film)|Uncle Meat]]''
*1987 – ''[[The True Story of Frank Zappa's 200 Motels]]''
*1987 – ''[[The Amazing Mr. Bickford]]''
*2015 – ''Roxy The Movie''
*2020 – ''[[Zappa (2020 film)|Zappa]]''
*2025 – ''[[Cheaper Than Cheep]]''
{{div col end}}

==Tours==
{{div col}}
* July – December 1966: The Mothers of Invention US Tour
* January – December 1967: The Mothers of Invention World Tour (including residency at [[Garrick Cinema|the Garrick Theatre]] in New York City during April – September)
* January – December 1968: The Mothers of Invention World Tour
* January – August 1969: The Mothers of Invention World Tour
* June – December 1970: The Mothers of Invention World Tour
* May – August 1971: The Mothers of Invention North American Tour
* October – December 1971: The Mothers of Invention World Tour 
* September – December 1972: The Grand Wazoo (big band, September) / The Petit Wazoo (small band, October – December) World Tour
* February – December 1973: Frank Zappa and The Mothers of Invention World Tour
* January – December 1974: Frank Zappa and The Mothers of Invention World Tour 
* April – May 1975: Frank Zappa, [[Captain Beefheart]], and The Mothers of Invention US Tour
* September – December 1975: Frank Zappa and The Mothers of Invention World Tour
* January – March 1976: Frank Zappa and The Mothers of Invention World Tour
* September – December 1976: Frank Zappa North American Tour
* January – February 1977: Frank Zappa European Tour 
* September – December 1977: Frank Zappa North American Tour
* January – March 1978: Frank Zappa European Tour
* August – October 1978: Frank Zappa World Tour
* February – March 1979: Frank Zappa European Tour
* March – July 1980: Frank Zappa World Tour
* October – December 1980: Frank Zappa North American Tour
* September – December 1981: Frank Zappa North American Tour
* May – July 1982: Frank Zappa European Tour
* July – December 1984: Frank Zappa World Tour 
* February – June 1988: Frank Zappa World Tour
{{div col end}}'''Source'''<ref>{{cite web|url=http://fzpomd.net/giglist/index.html|title=Frank Zappa Gig List}}</ref>

=== Touring bands timeline ===
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 bar:EdMann from:09/01/1977 till:04/30/1979 color:percussion 
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 bar:IanUnderwood from:06/01/1970 till:12/08/1971 color:keyboards
 bar:IanUnderwood from:06/01/1970 till:12/08/1971 color:woodwinds width:3
 bar:GeorgeDuke from:06/01/1970 till:04/30/1971 color:keyboards
 bar:GeorgeDuke from:06/01/1970 till:04/30/1971 color:vocals width:3
 bar:BobHarris1 from:05/01/1971 till:07/10/1971 color:keyboards
 bar:DonPreston from:08/07/1971 till:12/08/1971 color:keyboards
 bar:IanUnderwood from:09/01/1972 till:09/30/1972 color:keyboards
 bar:IanUnderwood from:09/01/1972 till:09/30/1972 color:woodwinds width:3
 bar:IanUnderwood from:12/16/1972 till:09/30/1973 color:keyboards
 bar:IanUnderwood from:12/16/1972 till:09/30/1973 color:woodwinds width:3
 bar:GeorgeDuke from:12/16/1972 till:05/31/1975 color:keyboards
 bar:GeorgeDuke from:12/16/1972 till:05/31/1975 color:vocals width:3
 bar:DonPreston from:04/01/1974 till:05/31/1974 color:keyboards
 bar:AndréLewis from:06/01/1975 till:04/30/1976 color:keyboards
 bar:DarrylDybka from:12/04/1975 till:12/05/1975 color:keyboards
 bar:EddieJobson from:04/01/1976 till:08/31/1977 color:keyboards
 bar:EddieJobson from:04/01/1976 till:08/31/1977 color:strings width:3
 bar:LadyBianca from:04/01/1976 till:11/15/1976 color:keyboards
 bar:LadyBianca from:04/01/1976 till:11/15/1976 color:vocals width:3
 bar:TommyMars from:09/01/1977 till:07/14/1982 color:keyboards
 bar:PeterWolf from:09/01/1977 till:04/30/1979 color:keyboards
 bar:BobHarris2 from:10/01/1980 till:08/31/1981 color:keyboards
 bar:BobbyMartin from:09/01/1981 till:07/14/1982 color:keyboards
 bar:BobbyMartin from:09/01/1981 till:07/14/1982 color:vocals width:3
 bar:BobbyMartin from:09/01/1981 till:07/14/1982 color:woodwinds width:7
 bar:BobbyMartin from:07/17/1984 till:12/23/1984 color:keyboards
 bar:BobbyMartin from:07/17/1984 till:12/23/1984 color:vocals width:3
 bar:BobbyMartin from:07/17/1984 till:12/23/1984 color:woodwinds width:7
 bar:AllanZavod from:07/17/1984 till:12/23/1984 color:keyboards
 bar:BobbyMartin from:02/01/1988 till:06/09/1988 color:keyboards
 bar:BobbyMartin from:02/01/1988 till:06/09/1988 color:vocals width:3
 bar:BobbyMartin from:02/01/1988 till:06/09/1988 color:woodwinds width:7

 bar:BunkGardner from:09/01/1966 till:08/31/1969 color:woodwinds
 bar:MotorheadSherwood from:09/23/1967 till:08/31/1969 color:woodwinds
 bar:MikeAltschul from:09/01/1972 till:09/30/1972 color:woodwinds
 bar:EarleDumler from:09/01/1972 till:12/15/1972 color:woodwinds
 bar:JoanneMcNab from:09/01/1972 till:09/30/1972 color:woodwinds
 bar:JayMigliori from:09/01/1972 till:09/30/1972 color:woodwinds
 bar:CharlesOwens from:09/01/1972 till:09/30/1972 color:woodwinds
 bar:NormaJeanBell from:11/01/1975 till:12/09/1975 color:woodwinds
 bar:NormaJeanBell from:11/01/1975 till:12/09/1975 color:vocals width:3
 bar:RayReed from:09/01/1972 till:09/30/1972 color:woodwinds
 bar:MikeBrecker from:12/26/1976 till:12/29/1976 color:woodwinds
 bar:RonnieCuber from:12/26/1976 till:12/29/1976 color:woodwinds
 bar:LouMarini from:12/26/1976 till:12/29/1976 color:woodwinds
 bar:PaulCarman from:02/01/1988 till:06/09/1988 color:woodwinds
 bar:KurtMcGettrick from:02/01/1988 till:06/09/1988 color:woodwinds
 bar:AlbertWing from:02/01/1988 till:06/09/1988 color:woodwinds

 bar:BuzzGardner from:11/08/1968 till:08/31/1969 color:brass
 bar:GlennFerris from:09/01/1972 till:12/15/1972 color:brass
 bar:BruceFowler from:09/01/1972 till:05/31/1974 color:brass
 bar:TomMalone from:09/01/1972 till:12/15/1972 color:brass
 bar:MalcolmMcNab from:09/01/1972 till:12/15/1972 color:brass
 bar:SalMarquez from:09/01/1972 till:09/30/1972 color:brass
 bar:KenShroyer from:09/01/1972 till:09/30/1972 color:brass
 bar:GaryBarone from:10/01/1972 till:12/15/1972 color:brass
 bar:SalMarquez from:03/24/1973 till:07/08/1973 color:brass
 bar:WaltFowler from:04/01/1974 till:05/31/1974 color:brass
 bar:BruceFowler from:04/01/1975 till:05/31/1975 color:brass
 bar:RandyBrecker from:12/26/1976 till:12/29/1976 color:brass
 bar:TomMalone from:12/26/1976 till:12/29/1976 color:brass
 bar:BruceFowler from:02/01/1988 till:06/09/1988 color:brass
 bar:WaltFowler from:02/01/1988 till:06/09/1988 color:brass

 bar:JerryKessler from:09/01/1972 till:09/20/1972 color:strings
 bar:JeanLucPonty from:12/16/1972 till:09/30/1973 color:strings
 bar:LShankar from:10/27/1978 till:10/31/1978 color:strings
}}

==Books==
* ''Them or Us'', self-published, 1984, re-published Pinter & Martin Ltd, 2010
* ''[[The Real Frank Zappa Book]]'', New York, Poseidon Press, 1989 with [[Peter Occhiogrosso]]
* ''Frank Zappa in His Own Words'', Omnibus Press, 1993
* ''The Real Porn Wars'', Gonzo Multimedia, 2014
* ''The Frank Zappa Guitar Book'', Hal Leonard Publishing, 2017 compiled and transcribed by [[Steve Vai]]

==See also==
* [[List of performers on Frank Zappa records]]
* [[Frank Zappa in popular culture]]

==Notes==
{{Reflist|group="nb"|30em}}

==References==
{{Reflist}}

==Bibliography==
{{Refbegin|40em}}
* {{cite book |title=Censorship: Or Freedom of Expression? |first=Nancy |last=Day |location=Minneapolis |publisher=Twenty-First Century Books, Lerner Publications |date=2001 |isbn=978-0-8225-2628-5 |url=https://archive.org/details/censorshiporfree00nanc}}
* {{cite book |title=Frank Zappa, Captain Beefheart and the Secret History of Maximalism |first1=Michel |first2=Andrew |last2=Norris |last1= Delville |location=Oxford |publisher=Salt Publishing |date=2005 |isbn=978-1-84471-059-1}}
* {{cite book |editor1=DeCurtis, Anthony |editor2=Henke, James with Holly George-Warren |others=Jim Miller (Original Editor) |title=The Rolling Stone Illustrated History of Rock & Roll |edition=3rd |publisher=Random House |location=New York |date= 1992 |isbn=978-0-679-73728-5}}
* {{cite book |title=Mother! Is the Story of Frank Zappa |first=Michael |last=Gray |publisher=Proteus Books |location=London |date=1984 |isbn=978-0-86276-146-2}}
* {{cite book |title=Necessity Is&nbsp;...: The Early Years of Frank Zappa & The Mothers of Invention |first=Billy |last=James |publisher=SAF Publishing Ltd. |location=London |date=2000 |isbn=978-0-946719-51-8}}
* {{cite book |title=The Words and Music of Frank Zappa |first=Kelly Fisher |last=Lowe |publisher=Praeger Publishers |location=Westport |date=2006 |isbn=978-0-275-98779-4}}
* {{cite book |title=Avant Rock: Experimental Music from the Beatles to Björk |first=Bill |last=Martin |publisher=Open Court Publishing Company |location=Peru, Illinois |date=2002 |isbn=978-0-8126-9500-7 |url=https://archive.org/details/avantrockexperim00mart}}
* {{cite book |title=Revolution in the head: The Beatles' Records and the Sixties |first=Ian |last=MacDonald |publisher=Fourth Estate Ltd. |date=1994 |isbn=978-1-85702-099-1}}
* {{cite book |title=Frank Zappa |first=Barry |last=Miles |publisher=Atlantic Books |location=London |date=2004 |isbn=978-1-84354-092-2}}
* {{cite book |title=Frank Zappa: The Composer |first=Daniel |last=Schröder |publisher=Büchner-Verlag |location=Darmstadt |date=2017 |isbn=978-3-941310-85-8}}
* {{cite book |title=Electric Don Quixote: The Definitive Story of Frank Zappa |first=Neil |last=Slaven |publisher=Omnibus Press |location=London |date=2003 |isbn=978-0-7119-9436-2}}
* {{cite book |title=Cocaine Fiends and Reefer Madness: An Illustrated History of Drugs in the Movies |last=Sparks |first=Michael |date=1982 |location=New York |publisher=Cornwall Books |isbn=978-0-8453-4504-7}}
* {{cite book |title=No Commercial Potential. The Saga of Frank Zappa. Then and Now |first=David |last=Walley |publisher=E. P. Dutton |location=New York |date=1980 |isbn=978-0-525-93153-9}}
* {{cite book |title=Frank Zappa: The Negative Dialectics of Poodle Play |first=Ben |last=Watson |date=1996 |publisher=St. Martin's Griffin |location=New York |isbn=978-0-312-14124-0}}
* {{cite book |title=Frank Zappa. The Complete Guide to His Music |first=Ben |last=Watson |date=2005 |publisher=Omnibus Press |location=London |isbn=978-1-84449-865-9}}
* {{cite book |title=The Real Frank Zappa Book |first1=Frank |last2=Occhiogrosso |first2=Peter |last1=Zappa |date=1989 |publisher=Poseidon Press |location=New York |isbn=978-0-671-63870-2}}
* {{cite book |date=1993 |contribution=Frank Zappa |title=The New Rolling Stone Encyclopedia of Rock & Roll |publisher=Simon & Schuster Inc |place=New York |isbn=978-0-684-81044-7 |url=https://archive.org/details/newrollingstonee00patr}}
{{Refend}}

==External links==
{{Commons category|Frank Zappa}}
{{Wikiquote|Frank Zappa}}
{{Library resources box|by=no|onlinebooks=no|about=yes|wikititle=Frank Zappa}}
* {{Official website}}
* {{C-SPAN|42212}}
* {{AllMusic|class=artist|id=mn0000138699}}
* {{IMDb name}}
* {{Guardian topic}}
* {{New York Times topic|new_id=person/frank-zappa}}
* {{Rockhall}}

{{Frank Zappa|state=expanded}}
{{Frank Zappa albums}}
{{Ruben and the Jets}}
{{1995 Rock and Roll Hall of Fame}}
{{Portal bar|Freedom of speech|Rock music|Jazz|Biography}}
{{Authority control}}

{{DEFAULTSORT:Zappa, Frank}}
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