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Extra info for Friendly Remainders: Essays in Music Criticism after Adorno
Zappa’s texts evoke the particular lyrics of adlescent pop songs, cliché words reminiscent of “so fine,” “be mine,” “love me do,” and “be precise. ” Sewn into those, even though, are references to teenager agonies reminiscent of physically hygiene, references which are beside the point to the fashion – in “Wowie Zowie” to shaving legs and combing enamel (depilatory brokers and dental paste being really well-liked ads in those nice Society years). the result's a masterful schizoid caliber to the textual content, the place the naive is eviscerated after which wolfed by critique. whereas lyrics and album designs (particularly We’re purely in It for the cash) play primary roles, it's the type of Zappa’s sound and the standard of its execution that exhibit the severe essence. The easily obvious technical skill of his musicians lends an uncanny feel of immediacy and strength. In “Wowie Zowie,” the band is tight and professional, the timbres particularly invaluable of be aware for his or her crispness and sharply recorded presence. The musicians take a now not solely benign curiosity in what's obviously a musical fabric some distance underneath the boundaries in their talents. The technical boundaries of sweet sixteen track – the steely guitar a little bit out of music, the snappy drum equipment – are made palpable by means of overkill. The abiding influence lies within the feel of anything virtually yet no longer really correct – like Snow White approximately to simply accept the apple with the curious sheen from the aged girl. A finger-snapping passage is a bit too vehement; the voices, even the falsettos, emanate from males with beards, now not from juvenile cherubs reminiscent of Herman and the Hermits. In overall, there's something brilliantly improper right here, albeit subtly so. A discrepancy among the way in which issues ‘sposed to be and the particular scenario is intended to seep into the already hormone-stupefied youngster mind like a bootleg intoxicant. The discrepancy is instantly obvious whilst one compares the teeny bop originals to Zappa’s parodies. Recalcitrant and fractious like its composer, his paintings won't circulation with the tide of sweet sixteen track. Zappa and his youngster parodies turn into artifacts of a dialectic that opposes the fleeting to the everlasting. youngster tune and musicians will come and pass (nothing being as ephemeral as good fortune during this genre); Spätstil Zappas 127 Zappa endures. From Freak Out onward his song amassed at a price of approximately albums a yr. through the attraction of its critique, it is still the perennial residue of a song it negates. genuine teenager track is washed away via average tides, yet in Zappa’s parodies it endures, if merely as a the rest arrived at via negation. Adorno’s Minima Moralia are tiny constellations within which numerous sharply concentrated pictures are prepared as ordered stars – no longer a distinct and everlasting order yet really a type of advert hoc association that issues past itself to a far off, slightly discernible fact. Take as instance an excerpt from one of many Minima Moralia pertaining on first blush to matrimonial family. Like many of the Moralia, it ends with a bit “kicker”; the cluster or constellation of rules that point out an idea are prepared in a sort that takes the reader way past the predicted: Philemon and Baucis.