This collection of essays, documented by an international and interdisciplinary array of scholars, represents the first academically focused volume exploring the creative idiolect of Frank Zappa. Several of the authors are known for contributing significantly to areas such as popular music, cultural, and translation studies, with expertise and interests ranging from musicology to poetics. The publication presents the reader with an understanding of the ontological depth of Zappa's legacy by relating the artist and his texts to a range of cultural, social, technological and musicological factors, as encapsulated in the book's title - Frank Zappa and the And. Zappa's interface with religion, horror, death, movies, modernism, satire, freaks, technology, resistance, censorship and the avant-garde are brought together analytically for the first time, and approached non chronologically, something that strongly complies with the non linear perspective of time Zappa highlights in both his autobiography and recordings. The book employs a variety of analytical approaches, ranging from literary and performance theory, 'horrality' and musicology, to post modern and textually determined readings, and serves as a unique and invaluable guide to Zappa's legacy and creative force.
’Editor Paul Carr has assembled an impressive collection of writers for this anthology, and each contributes a fascinating essay on an artist whose vision had seemingly no boundaries… a volume in which it’s hard to find a weak spot, each essay offering a unique perspective on a man who apparently eschewed academic discussion of his works and the academy itself… He [Zappa] might have appreciated this work, which doesn’t attempt the usual tricks of trying to create or dispel a myth but instead focuses on the character of its subject, the richness of his work, and the beauty of his mind.’ PopMatters ’… a rigorously academic dissection - with copious footnotes, scrupulous cross-referencing, etc - of Zappa’s creative idiolect�… a book that punches its intellectual weight with assiduous thoroughness… Frank Zappa And The And provides the most vital and thought-provoking interpretation of the man’s output we’ve yet come across. Illuminating touchstones invoked along the way include Invasion Of The Body Snatchers, Dead Of Night, Salvador DalÃ, Aldous Huxley and MR James.’ Record Collector Magazine '… the writing is focused, rewarding and […] entertaining.' The beat ’ … an enjoyable and erudite collection … an appropriately politically and philosophically layered, integrated but eclectic mosaic on Zappa which should prove a further boon … to the already thriving subdiscipline of Zappology’. Popular Music
Contents: Introduction, Paul Carr; Zappa and horror: screamin’ at the monster, Richard J. Hand; Zappa and his cultural legacy: authorship, influences and expressive features in Frank Zappa’s movies, Manuel de la Fuente; Zappa and religion: music is the best, Kevin Seal; Zappa and the razor: editing, sampling and musique concrète, James Gardner; Zappa and satire: from conceptual absurdism to the perversity of politics, Nick Awde; Zappa and resistance: the pleasure principle, Claude Chastagner; Zappa and the story-song: a rage of cultural influences, Geoffrey I. Wills; Zappa and technology: his incorporation of time, space and place in performing, composing and arranging music, Paul Carr; Zappa and the freaks: recording Wild Man Fischer, David Sanjek; Zappa and modernism: an extended study of 'Brown Shoes Don’t Make It', Martin Knakkergaard; Zappa and the avant-garde: artifice/absorption/expression, Michel Delville; Zappa and mortality: the mediation of Zappa’s death, Paula Hearsum; Bibliography; Index.
Popular musicology embraces the field of musicological study that engages with popular forms of music, especially music associated with commerce, entertainment and leisure activities. The Ashgate Popular and Folk Music Series aims to present the best research in this field. Authors are concerned with criticism and analysis of the music itself, as well as locating musical practices, values and meanings in cultural context. The focus of the series is on popular music of the twentieth and twenty-first centuries, with a remit to encompass the entirety of the world’s popular music.
Critical and analytical tools employed in the study of popular music are being continually developed and refined in the twenty-first century. Perspectives on the transcultural and intercultural uses of popular music have enriched understanding of social context, reception and subject position. Popular genres as distinct as reggae, township, bhangra, and flamenco are features of a shrinking, transnational world. The series recognizes and addresses the emergence of mixed genres and new global fusions, and utilizes a wide range of theoretical models drawn from anthropology, sociology, psychoanalysis, media studies, semiotics, postcolonial studies, feminism, gender studies and queer studies.