Here’s one for KUR’s resident Eels Freak Extraordinaire, Sharleena:
Enjoy all 43 minutes!
Oh, and be sure to check out Eels’ latest album, Hombre Lobo.
Here’s one for KUR’s resident Eels Freak Extraordinaire, Sharleena:
Enjoy all 43 minutes!
Oh, and be sure to check out Eels’ latest album, Hombre Lobo.
Cruising With Ruben & The Jets is a Mothers of Invention album released in 1968, and controversially reissued in an alternate mix with newly recorded bass and percussion in 1984 by Frank Zappa (all post-1984 reissues of the album have featured this remix).
The following three clips from the 1968 vinyl version of the album (“Anything“, “Love of My Life“, and “I’m Not Satisfied“), with original bass and drum parts, which has not been officially rereleased on CD, is a real treat for those who have only known the 1984 remix, and never heard the original release:
Frank Zappa, the enigmatic icon of avant-garde music, was no stranger to pushing boundaries. His music, much like his life, was a whirlwind of unconventional choices and daring experiments. But what if I told you that Zappa’s unpredictable genius had a fascinating parallel in another high-stakes world – the casino industry? While Zappa himself might not have been a notorious gambler, the connection between the daring spirit of musicians like him and the electrifying allure of casinos is undeniable. So, let’s delve into the thrilling crossover between the two realms, exploring how the risks and rewards in Zappa’s world mirror the unpredictability of casino life.
Zappa’s career was a masterclass in defying norms. From his early days with The Mothers of Invention to his later solo work, Zappa consistently challenged the conventions of the music industry. His compositions were a blend of rock, jazz, classical, and satirical elements, often laced with a sharp wit and a rebellious spirit. He was a musical maverick, unafraid to experiment and break the rules.
One could argue that this rebellious streak is akin to the thrill-seeking nature of gamblers. Just as a high-stakes player pushes their luck at the poker table, Zappa pushed the boundaries of music, constantly exploring new sounds and styles. Both endeavors require a certain level of fearlessness and a willingness to embrace the unknown.
Casinos are a microcosm of risk and reward, where every spin of the wheel or flip of the card holds the promise of fortune or failure. This environment is not unlike the music industry, where artists gamble with their creativity and careers on a regular basis. For musicians like Zappa, each album release and live performance was a roll of the dice, a chance to win over new fans or alienate old ones.
The connection between Zappa’s innovative spirit and the gambling world becomes even clearer when we consider the concept of improvisation. In jazz, a genre Zappa deeply respected and incorporated into his work, improvisation is a form of musical gambling. Musicians must rely on their instincts and experience to create something extraordinary on the spot, much like a gambler relies on their intuition and knowledge to make split-second decisions.
It’s intriguing to consider how the atmosphere of a casino – with its flashing lights, buzzing energy, and constant sense of anticipation – could have influenced a creative mind like Zappa’s. The sensory overload of a casino floor is not unlike the eclectic and often chaotic nature of Zappa’s music. Tracks like “Peaches en Regalia” or “Don’t Eat the Yellow Snow” bombard the listener with a variety of sounds and styles, much like a walk through a bustling casino exposes one to a myriad of sights and sounds.
Moreover, casinos and the music industry share a love for spectacle. Zappa’s live performances were legendary, known for their theatricality and unpredictability. Similarly, casinos thrive on creating an immersive experience, drawing in patrons with the promise of excitement and entertainment. The parallels are striking, and it’s easy to imagine Zappa feeling at home amidst the controlled chaos of a casino.
As we explore the intersection of these two worlds, it’s worth mentioning the concept of Casino Legali Non ADM – legally operating casinos that are not under the Italian ADM regulation. These casinos often offer a unique blend of games and experiences, appealing to those who seek something beyond the mainstream. Much like Zappa’s music, which often existed on the fringes of popular culture, these casinos cater to those looking for a different kind of thrill.
Today, the spirit of Zappa lives on not just through his music, but also through the innovative ways that modern casinos are evolving. Online casinos, in particular, are pushing the boundaries of traditional gambling, much like Zappa pushed the boundaries of music. With the advent of virtual reality and live dealer games, the online casino experience is becoming more immersive and dynamic, mirroring the experimental nature of Zappa’s work.
Additionally, just as Zappa’s music continues to influence new generations of artists, the gambling industry is constantly evolving, influenced by technology and changing player preferences. The same spirit of innovation and risk-taking that defined Zappa’s career is evident in the way casinos adapt and grow, offering new and exciting experiences to their patrons.
In the end, the worlds of Frank Zappa and the casino industry share more than just a surface-level connection. Both are realms where risk and reward go hand in hand, where innovation is key, and where the thrill of the unknown drives people forward. Whether it’s a musician crafting a groundbreaking album or a gambler taking a chance on a big win, the spirit of adventure and defiance of norms remains at the heart of both pursuits.
So, next time you find yourself in a casino, with the lights flashing and the energy buzzing, take a moment to appreciate the parallels to the world of Frank Zappa. And perhaps, as you take a chance on your favorite game, you’ll feel a bit of the same daring spirit that made Zappa a legend in the world of music.
In the clip above, Crystal Zevon discusses the off beat life of her late husband, Warren Zevon, his inspirations for songs like “Mohammed’s Radio” (below), as chronicled in her book about him “I’ll Sleep When I’m Dead: The Dirty Life and Times of Warren Zevon“.
On March 9th, 2009, the Chicago Ate (or) The Utility Muffin Research Kitchen Employees’ Union Memorial Band (Chicago Chapter) presented “Joe’s Garage” at the ‘Martyr’s’ club in Chicago.
A tiny bit of studio-presence, that supposed to be a “talk show” – if they were normal people. I love John Cassavetes, by the way, my favorite director – check out his film “Husbands”, if you can. Or any of the others.
See the other parts: part 2 | 3 | 4
My favorite moment is at 7:48 in part 2.
As you may have noticed from visiting previous entries, I’ve implemented a plugin which allows easy “sharing” of any given post to Delicious, Digg, Facebook, Stumble Upon and Twitter. You should see something like this underneath each single entry:
If, by contrast, you’re seeing huge pixelated images, I suggest you refresh your browser window — that’ll do the trick.
Go ye and spread the word! 🙂
Rare footage of Jean-Luc Ponty from 1972. Performing his only original composition from his album King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa. While the album version goes 7:12 in length, this version (it is surmised that this recording is from a German TV Archive – can anyone confirm this?) goes 10:13. Though recorded under the Ponty name, King Kong is largely considered a Zappa record by fans.
George Carlin talks about the famous “7 Dirty Words” Supreme Court case in this December 17th, 2007, 5th part of 7 interview by Jenni Matz and Henry Colman for the Archive of American Television. He talks about his HBO specials, the meaning of “success”, his feelings about the American political system, and his piece “The planet is fine, the people are fucked“.
Ab Fab: