Over-Nite Sensation
Sunday, September 21st, 2008
Fifteen years after his death, Frank Zappa is undergoing a renaissance. Son Dweezil and band are touring the nation as Zappa Plays Zappa, and Zappa’s rock opera “Joe’s Garage” is receiving its stage premiere, a mere 29 years after the albums’ release. Yes, albums. Act 1 was released as a single LP, shortly followed by Acts 2 and 3 in a two-record set. I bought both (or all) of them when they came out in 1979, for what felt at the time like a healthy chunk of change for a guy still in high school. I haven’t listened to them in years; I remember thinking then that “Joe’s Garage” didn’t have any single song as good as anything on the previous album, “Sheik Yerbouti” (which I still listen to). That said, I have no intention of missing its stage debut, especially because it’s being done at Open Fist, one of my favorite theatres.
While we’re on the subject of Frank Zappa, here’s a piece from today’s LA Times about Zappa’s widow Gail and her efforts to safeguard his legacy. Something I once read that Zappa said about his marriage to her directly led to a play of mine, “Remember Frank Zappa”: Zappa said the secret to their successful marriage was that they never talked. Hey, whatever works.
Forty-three years ago this month, a friend of mine got his first writing credit. It was in a comic-book, and it was the weirdest (and possibly best) comic book ever: a sophisticated absurdist comic called “Herbie.” Herbie was a fat little boy who was viewed as worthless by his father, but who was capable of seemingly anything, including flight, magic, communicating with animals, traveling in time, serving as lady’s man to Cleopatra, and dryly solving the world’s problems while slowly sucking a lollipop. Given the theme and the audience it spoke to, I’m surprised this comic was ever canceled.