Surrealism

I have had a life long fascination and deep like of surrealism in art, poetry and in Frank Zappa’s surreal music.

WHAT IS SURREALISM?

Surrealism is a cultural movement that began in the 1920s, primarily in Paris, and is characterized by its exploration of the unconscious mind and its expression through dreamlike, illogical, and fantastical imagery. It aims to subvert reality by tapping into hidden desires and challenging conventional ways of thinking. Here’s a more detailed look at Surrealism: Key Characteristics:

  • Emphasis on the Unconscious: Surrealists believed that the unconscious mind held a wealth of creative potential and sought to tap into it through techniques like automatic writing and dream analysis. 
  • Dreamlike Imagery:Surrealist art often features illogical juxtapositions, strange and unexpected combinations of objects, and fantastical scenes that evoke the atmosphere of dreams. 
  • Rejection of Rationality:Surrealists challenged the dominance of reason and logic, seeking to liberate human experience from the constraints of conventional thought. 
  • Subversion of Reality:The movement aimed to challenge and transform perceptions of reality, encouraging viewers to question what they consider to be real. 
  • Influence of Psychoanalysis:Surrealism was heavily influenced by the psychoanalytic theories of Sigmund Freud, which explored the workings of the unconscious mind. 

for more about Surrealism please go to – https://en.wikipedia.org/wiki/Surrealism

FRANK ZAPPA’S SURREAL MUSIC

Frank Zappa’s work is often described as surreal, characterized by its unconventional structures, satirical lyrics, and incorporation of diverse musical styles. His films, like “200 Motels” and “Baby Snakes,” are particularly known for their surreal and experimental nature. 

Here’s a more detailed look:

  • Musical Style: Zappa blended elements of rock, jazz, classical, and avant-garde music, often with a satirical and humorous edge. 
  • Satirical Lyrics:His lyrics frequently tackled social and political issues with biting wit and irony. 
  • Unconventional Structures: Zappa’s compositions often defied traditional song structures, incorporating complex arrangements and unexpected shifts in tempo and meter. 
  • “200 Motels”:This surreal musical film, co-directed by Zappa and Tony Palmer, features a mix of live-action, animation, and abstract imagery, showcasing the band’s tour experiences in a highly stylized and unconventional way. 
  • “Baby Snakes”:Zappa’s second film, “Baby Snakes,” is another surreal concert film that blends live performances with backstage antics and claymation by Bruce Bickford. 
  • “The Bizarre World of Frank Zappa”:This hologram tour, based on footage from the early seventies, aims to recreate the surreal atmosphere of Zappa’s performances using a blend of live footage and outrageous visuals. 
  • Zappa’s own description:Zappa famously referred to Steely Dan as “downer surrealism”, a label that he felt didn’t quite fit his own work, highlighting his unique approach to surrealism in music. 

Zappa’s Love of Edgard Varese

Frank based a lot of his music on the classical composer Edgard Varese (whose music was often referred to as surreal. Here’s is a brief detail of Zappa incorporating Varese style into his off-beat rock music.

“But for many people the first knowledge of Varèse’s name came from a 1966 LP entitled “Freak Out!” by the Mothers Of Invention, in the form of a quote attributed to Varèse: “The present day composer refuses to die” (He actually said “The present day composer in America …”). Though he has been one of Varèse’s most ardent public supporters, the Varèse influence is not always evident in Frank Zappa’s rock songs. It turns up in his more serious music, tape constructions, and arrangements, especially on “Lumpy Gravy” and the “200 Motels” soundtrack. It is more Varèse’s spirit of breaking from conventions and finding your own voice that one finds in Zappa’s work.

This past spring, Zappa served as master-of-ceremonies at a Varèse retrospective conducted by Joel Thome with the Orchestra Of Our Time, playing to an audience for whom Zappa was the principle draw at New York City’s Palladium Theatre. Zappa’s obvious regard for Varèse’s music served him well in a role reduced to keeping the audience quiet during the performances. The day before the concert, Kimberly Haas and John Diliberto interviewed Zappa, during which he elucidated a contemporary perspective on Varèse and his music.

https://wiki.killuglyradio.com/wiki/Frank_Zappa_on_Edgar_Var%C3%A8se