Zappa news

Clickity Click….. Frank Zappa - Inca Roads (Visualizer)

Quote: Originally posted by jimmied

https://www.youtube.com/watch?v=i7kwAGNFKvc Zappa Warehouse: Chapter One posted 19 hours ago :bald:

Well, that's a nice blast from the past, cheers Jimmie…..I'm lovin' chapter two

ursinator2.0 that was mind blowing and I kept getting trailer clips feed to me I saw at least 5 or more, I can't believe it but I want to see this...lol...

Quote: Originally posted by polydigm

What the fuck was that?

lol :biggrin:

Quote: Originally posted by BBP

OMG that's terrifying. No wonder there's an actor's strike.

lol some more :biggrin:

Quote: Originally posted by Plook

ursinator2.0 that was mind blowing and I kept getting trailer clips feed to me I saw at least 5 or more, I can't believe it but I want to see this...lol...

I'm not sure what to think about this but i like the idea of FZs first demand after waking up in some kind of afterlife: get me some cigarettes!
BTW: belated congrats for your marriage and best wishes to you both!

Thank you, even better he ask for cigarettes and the Obi-Wan Kenobi guy
says " I have cigarettes but no lighter we will have to wait until we get to the checkpoint"...OMG I almost peed my pants laughing...

Frank Zappa’s ‘Over-Nite Sensation’ Turns 50 With New Super Deluxe Edition

Frank Zappa’s ‘Over-Nite Sensation’ Turns 50 With New Super Deluxe Edition

In celebration of 50 years of Frank Zappa’s widely-acclaimed Over-Nite Sensation, a newly expanded 50th anniversary edition will be released on November 3 via Zappa Records/UMe in a variety of formats, including a five-disc (4CD/1Blu-ray Audio) Super Deluxe Edition that showcases 88 tracks in total, featuring 57 previously unreleased tracks and mixes.

Shop the best of Frank Zappa’s discography on vinyl and more.

Produced and compiled by Ahmet Zappa and Zappa Vaultmeister Joe Travers, this new, expanded collection titled Over-Nite Sensation: 50th Anniversary Edition, boasts the 2012 remaster of the original album by Bob Ludwig, along with additional unreleased masters, highlights, and mix outtakes from the original 1973 sessions mastered by John Polito. Also included are two completely unreleased live concert recordings from 1973 showcasing the same band that recorded the classic album — one show captured at the Hollywood Palladium in Los Angeles, and the other recorded at Cobo Hall in Detroit.

The Blu-ray contains the core album newly remixed in Dolby Atmos and 5.1 surround sound by Karma Auger and Erich Gobel at Studio1LA, the same team behind the acclaimed Dolby Atmos and surround mixes of 2022’s Waka/Wazoo release, plus it offers Zappa’s original 4-channel Quadraphonic mix (available again for the first time since 1973) as well as the hi-res stereo 2012 remaster at both 24-bit/192kHz and 24-bit/96kHz. The lavish, Super Deluxe Edition box is rounding out with a 48-page booklet and unseen photos from the album cover shoot by Sam Emerson, along with liner notes and new essays by noted audiophile journalist Mark Smotroff and Travers.

Fifty-Fifty (Basic Tracks, Take 7)


In 1973, Frank Zappa and The Mothers were once again on the move. Coming off a year laden with a pair of well-lauded high watermarks — July 1972’s jazz-fusion solo masterstroke Waka/Jawaka and November 1972’s big-band Mothers progression The Grand Wazoo — Zappa wanted to next convene another revised Mothers collective, rethink some long-throw compositional tracts, and begin exploring the differences inherent in the form and function of his songwriting. In turn, Zappa also decided to bring his own singing voice more to the lead vocal fore than ever before, as well as refine the scope of his guitar playing.

And thus, September 1973’s Over-Nite Sensation was born. A stone cold classic, Over-Nite Sensation has long been viewed by both the cognoscenti and layman as being a gateway album entry into the Zappaverse at large, serving as a mighty grand place to enter into the breach along with his follow-up March 1974 solo release, Apostrophe(‘). It was also the first album by Zappa to be released in Quadraphonic surround sound, an ever-evolving sonic medium Zappa would continue to explore throughout his career on the cutting edge.

Not only did Over-Nite Sensation signal a change in musical direction for The Mothers at large, but Zappa handled the bulk of the lead vocal duties and staked his claim as the album’s only guitarist. It was a new band with a new sound that resonated widely, eventually going gold in 1976. Over the ensuing years, almost every song on Over-Nite Sensation became indelible live staples and longstanding fan favorites, with “I’m The Slime,” “Fifty-Fifty,” “Zomby Woof,” and “Camarillo Brillo” immediately making their respective presences known in the setlist. In the here and now, 50 years on, Over-Nite Sensation remains both one of the top-tier highlights of the vast Zappa catalog as well as one of his most consistent bestsellers.

In addition to the Super Deluxe Edition box set, there will be two separate vinyl releases: a 2LP 180-gram black audiophile vinyl reissue with the album cut at 45 rpm for the first time ever from the original analog tape by Chris Bellman at Bernie Grundman Mastering in 2023 and a bonus 24” x 12” poster of the complete cover art and a limited edition 3LP deluxe color vinyl version pressed on clear vinyl with 4-color splatter with the album cut at 45 rpm on LPs 1 & 2 and a third LP with 35 minutes of bonus tracks culled from the box set, cut at 33 1/3 rpm by Bellman. The limited edition color pressing, which will also include the bonus 24” x 12” poster of the cover art, is available to pre-order now exclusively at Zappa.com, uDiscover Music and Sound of Vinyl.

Additionally, the Super Deluxe Edition will be available digitally, with all 88 tracks available in both hi-res 24-bit/96kHz and standard-res 16-bit/44.1kHz options. A standalone Dolby Atmos mix of the core album’s seven tracks will also be available on all major hi-res streaming services.

The new group of Mothers heard on Over-Nite Sensation was comprised of virtuoso musicians rooted in jazz (keyboardist George Duke, violinist Jean-Luc Ponty, drummer Ralph Humphrey, and trumpeter Sal Marquez) and serious music (wind instrumentalist Ian Underwood and percussionist Ruth Underwood) alike, all polished off with the Fowler brothers duly in tow (with Bruce Fowler on trombone, and Tom Fowler on bass). As a result, the instrumentation of this aurally palpable Mothers lineup was akin to having a mini orchestra in a rock format — and Zappa utilized them brilliantly, crafting arrangements for existing material like “Cosmik Debris” and “Montana” in addition to writing a large number of new compositions to maximize their strengths.

The recording sessions at Bolic Sound and Whitney Studios were sweetened by the addition of some now-iconic guest vocalists. The truly crazy, over-the-top vocal stylings of Ricky Lancelotti catapulted songs like “Fifty-Fifty” and “Zomby Woof” into the stratosphere. For his part, Kin Vassy (of Kenny Rogers and The First Edition) added numerous, tasty tidbits all throughout. But perhaps the most legendary guest turns of them all would be those by Tina Turner and The Ikettes. With Zappa tracking at Ike Turner’s Bolic Sound studio in Inglewood, Calif., it only seemed logical that Tina and Frank’s paths would eventually cross. Although famously uncredited, Tina and The Ikettes’ background vocals were draped all throughout the record and are undeniably unique —and spot-on perfect. If you dropped the needle on Over-Nite Sensation for the first time in 1973, it was immediately apparent something new, different, and exciting was happening in Zappa’s ever-expanding musical universe. The material was funky, funny, challenging, and mighty — and, yes, even more accessible than his output of the prior few years.

Zappa and The Mothers hit the road in full force in 1973 by touring auditoriums, theaters, and college venues, looking to tap into a new audience as well as cater to the hardcores. These concerts would primarily consist of new compositions blended with some rearranged older tunes — an approach that was very typical for Zappa, who always prioritized the new. You can hear some of those immediate results via the 27 previously unreleased live tracks included from the above-noted Hollywood and Detroit shows. On March 23 at the Hollywood Palladium, fans got early tastes of the “sort-of” guru blues of “Cosmik Debris” and the sleazy, slow-rolling funky grease of “Curse Of The Zomboids (I’m The Slime).” Nary a few months later on May 12 at Cobo Hall in Detroit, the odds-busting, horn-driven instrumental sneer of “Fifty-Fifty” and the “Don’t Eat The Yellow Snow,” “Nanook Rubs It,” and “St. Alphonzo’s Pancake Breakfast” troika medley were all served up with patented Zappa narrative aplomb.

Over-Nite Sensation indeed opened new commercial doors for Frank Zappa, but the maestro himself would not be sucked down into the corporate conformity ooze as he continued following his own muse all throughout the 1970s, and beyond. This 50th anniversary Super Deluxe Edition of Over-Nite Sensation puts an expanded stamp on all the visceral, tall-in-the-saddle tales recounting the finer points of dental floss farming, mindless video drones, and poncho-wearing lotharios — all of it acting as a pretext for what was to come, not to mention cementing the odds that Zappa still had lots more to say.

Quote: Originally posted by polydigm

I've given in on this one and preordered it direct from the Zappa Shop. The prices I'm seeing elsewhere are just ridiculous.

Good luck! I ordered Waka/Wazoo from them and I eventually had to cancel my order because they kept delaying and delaying, while the people who ordered elsewhere got theirs pretty close to the release date.

Well that is great news I remember reading about the down under struggles with receiving releases...

Quote: Originally posted by Eddie RUKidding

Bummer, in the summer (downunder)

Be a loyal plastic robot ...

My local supplier hasn't announced a delay yet. They are however sold out, so I'm really glad I pulled the pin when I did.

Available August 22, 2024 (new cover)

The saying goes that "God only gives you what you can handle." Well God didn't grow up in my atheist, Wiccan, fame-laden, oversexed, teetotalling, drug-free, cloistered, chaotic, non-communicative, workaholic, feral-feeling house.

For Moon Unit, daughter of musician Frank Zappa and his 'manager', Gail, processing a life so unique, so punctuated by the whims of creative urges, the tastes of popular culture and the calculus of celebrity, has at times been eviscerating. But it is her deep sense of humour and unshakeable humility that keeps her - and this memoir - pinned to the ground.

A child-star at age 14 after her accidental international hit single (recorded with her father), 'Valley Girl', turned her into a reluctant celebrity, Moon Unit Zappa's life has been utterly extraordinary from her birth in 1967 into a family that was already blessed/cursed as music royalty thanks to the acknowledged genius of Frank. But what are the consequences of growing up in a family who spend most of their time naked arguing about sexual/extra-marital liaisons and practising white magic in a free-for-all state of nonconformist, virtuoso abandon?

Earth to Moon is a reckoning with self-esteem, the ghosts of the past and a mother and a father who, in the process of leaving their mark upon on the world, scarred their first daughter on home soil. Brutally self-deprecating and funny as hell, it belies a rose-tinted perspective on the 70s and 80s west coast American scene, from within the belly of the beast of the rock and roll world.

Quote: Originally posted by BBP

... - as I couldn't get through America The Beautiful ...

What is the problem with that one? Doesn't she get you hooked by her writing style or don't you simply like the overall concept of transforming FZ into a semi-fictional character?
Regarding the upcoming book: I don't expect too much for the simple reason that FZ used to be quite invisible to his family - either he was touring or he barricaded himself in his basement laboratory. On the other hand it could be interesting to learn what exactly that did to his family.

West Hollywood to Declare June 10 as Frank Zappa Day



The City of West Hollywood has declared June 10, 2024, as “Frank Zappa Day” to honor the legendary musician, activist, and counterculture icon’s invaluable contributions to music and culture in West Hollywood and beyond.

West Hollywood Mayor John M. Erickson will present the proclamation to Ahmet and Diva Zappa, the children of Frank and Gail Zappa, during a ceremony at the iconic Whisky a Go Go on the Sunset Strip. The event is scheduled for Monday, June 10, at 4 p.m. PDT.

Frank Zappa, renowned for his pioneering work in music and his outspoken views on social and political issues, left an indelible mark on the cultural landscape. His band, The Mothers of Invention, played a memorable three-hour concert at Whisky a Go Go on July 23, 1968. Although plans for an album release from that night were never fully realized, the performance will finally see the light of day with the upcoming release of “Whisky a Go Go, 1968” on June 21. The collection, produced by Ahmet Zappa and Zappa Vaultmeister Joe Travers, includes every note from Zappa’s three distinct sets that evening.

The proclamation ceremony at Whisky a Go Go not only commemorates Frank Zappa’s contributions but also celebrates the release of this historic recording, bringing full circle a moment in music history that has remained unreleased for over five decades.

“Frank Zappa Day” is a tribute to a man whose innovative spirit and relentless creativity continue to inspire generations of musicians and fans worldwide.

The Whisky has been called the first real American discothèque and it’s one of the most famous rock ‘n’ roll landmarks in the United States. It first opened January 11, 1964, in an old bank building that had been remodeled into a short-lived club called the Party by a former Chicago policeman, Elmer Valentine. The Whisky a Go Go opened with a live band led by Johnny Rivers and a short-skirted female DJ spinning records between sets from a suspended cage at the right of the stage. When the girl DJ danced during Rivers’ set, the audience thought it was part of the act and the concept of go-go dancers in cages was born. Rivers rode the Whisky-born “go-go” craze to national fame with records recorded partly “live at the Whisky.” The Miracles recorded the song “Going to a Go-Go” in 1966 (which was covered in 1982 by The Rolling Stones), and Whisky a Go Go franchises sprang up all over the country.

Quote: Originally posted by Eddie RUKidding

Wish you well Poly

I'm fine. I was making a joke.

Some more stuff to get Poly bored - hope it helps

I Was The Daughter of a Rock Icon—Not all Cults are Bad (Newsweek article by Moon Unit Zappa)

Recently, while strolling in the depths of the San Fernando Valley, I saw a sidewalk stencil that said, "Not all cults are bad." I had to laugh. In my memoir, I revisited the old territory of growing up the daughter of a rock icon who I always saw as one part Spock and one part Jesus. I didn't just compete for his affection in my childhood home, I battled the fervent flock he ministered to, his fans, proselytizing to the feverish believers with his acerbic, satiric siren songs.

My family dynamic was not dissimilar to a cult. I willingly ate, slept, drank, and lived for our larger-than-life leader. Only ours was the good kind because I couldn't get enough of my father's gallows humor and unending output of creativity. Sign me up for that kind of isolation.

Each album in my father's vast catalog is a time capsule, each tune a memory generator transporting me to a fixed location in space and time. Sometimes I'm as tall as his tibia listening to playback in his makeshift studio in our basement in what would become our Laurel Canyon compound. Or I'm tucked in tight in my top bunk in the bedroom I shared with Dweezil, hugging my raggedy Ann and hearing his latest composition warbling through our intercom system. Or I'm suddenly nine and sitting atop a big metal case on casters on the side of the stage at one of Frank's shows watching my God-like father I idolized smoke and sermonize on his guitar, in a halo of magenta and chartreuse light.

I received my first journal when I was 5, with an inscription from my blood hero in Frank's beautiful block script in black ink. When I wasn't writing short stories about my imaginary camels T'Mershi Duween and Sinini, or drawing myself dressed as a nun, I was crudely sketching Gail and Frank sideways and naked, stacked on a mattress like pancakes from DuPar's. I reported what I saw or hoped to see instead. Or what I feared about UFOs and aliens since Gail told me her Naval officer father was murdered for what he knew about Area 51.

Later, in my teens, my journals became a record of my father's whereabouts and my subsequent complaints about his absence. Frank traveled all the time. In a touring cycle, he might stay gone for the better part of a year, with only the briefest returns, a bird alighting on a branch. Gail often took her loneliness out on me. This only doubled my deep longing for his time, attention, and affection. More accurately, I ached.

Who wouldn't? Frank was tall, charismatic, smart, funny, and wild-looking. Skinny as an eel and effeminate with long black hair, a beak of a nose, and platform shoes, but also masculine with his signature mustache, chest hair, smoking, cursing, and wearing ball-crushing sailor's pants. His presence, prolificity, and perfectionism demanded your full attention.

So yeah, early on I knew my family was different. Not just because our house was festooned with overflowing ashtrays, empty coffee cups, an Ouija board, raunchy comics and magazines covering everything from scientific discoveries to smut. No. other kids I knew could drop f-bombs, stay up late, watch as much TV as they wanted, and help themselves to a drawer full of Mint Milanos and Nutter Butters.

No one else I knew had a purple living room or a blow-up sex doll in their father's workspace. No one else had an adopted echidna that lived at the zoo. No one else's father brought a pancake home in his jacket pocket all the way from Europe for Gail to taste, reverse engineer, and recreate. And not a single adult I knew had a birthday party with their ice-cold pool decorated with more bobbing watermelons than I could count. We didn't celebrate Gail on Mother's Day, we celebrated the Mother of Invention. And not just one day a year, all of them.

My fatherly worship was baked into bones thanks to my namesake. Plain old Frank and Gail decided on Moon Unit for their firstborn, a daring act of nonconformity in a 1967 sea of sameness. "Unit" because my birth solidified us as a family unit, and "Moon" because Gail didn't like Frank's other suggestion—Motorhead.

It made international news. Just like that, family became the most important thing to me, and my father became the fiery star I'd revolve around, always reflecting his light, never seeing shadow—his or my own. Undoing that conditioning and placing myself at the center of my life would take some time—about five decades.

As a kid, I was mesmerized. I loved how he could seemingly play any instrument or know how to compose for them. I loved how every sound was a color in my father's palette, a tool for his experimentations and "air sculpting." I loved Frank's inside jokes and his made-up words like "Gream", the day between Thursday and Friday. I loved hearing about how far he had come from his catholic upbringing, eating "boiled hot dog water," playing with the mercury from a broken thermometer, getting in trouble for blowing up his high school's science lab with a homemade concoction, or how he once had a job drawing rude greeting cards.

Sometimes I would get lucky and I'd get to help Gail choose clothes for Frank in the women's section at IMagnin's at the open-air mall in the tree-lined flats. My father was like a tall, weird doll to me then. Gail said he preferred women's clothing, especially for stage wear, with its softer, drapey fabrics in better colors. I loved learning about a-lines and V-necks and how to tell the difference between polyester and cotton, wool and silk, expensive and cheap.

Frank and Gail liked expensive things. A nubby lavender-colored jacket with pockets got my vote, as did a long camel coat for his upcoming SNL appearance that I particularly coveted. After Frank had worn these items for a while, I loved breathing in his comforting smells of tobacco, sweat, and dandruff shampoo. I was proud I looked like him, inherited his long torso, and his passion for stripes.

Then he'd be gone again, just when I was getting used to having him around, and my heart would close up, and all the color left the world.

A technicolor remembrance is a time Frank took Gail and me to attend a live performance of Lily Tomlin. Well, Gail took us because she's the only one who drove. My father notoriously refused to renew his license as a protest against his requirement to stand in line at the DMV, so Gail was the only affordable and obliging solution.

On stage all by herself, Lily seemed like a giant—as big as the Statue of Liberty. To me, she looked a little like my dad, tall and skinny with a long face and wavy black hair. I was therefore doubly captivated. I liked how she moved her body and voice changed each time she became a new character. I especially loved it when she was a baby in a giant highchair and a snorting telephone lady from the 1940s.

Like Frank, she made fun of common things in an uncommon way. Unlike Frank, Lily had no need for an instrument or a backing band. The whole show was just her just talking! When I heard Frank laugh, really laugh, a rarity, a seed was planted. I wished I could make him laugh like that, too.

Eventually, I did. Entering middle school, I noticed and mimicked the voices of the popular girls I heard at my school or at a mall where we all socialized in the heart of the San Fernando Valley called The Galleria. I got some genuine and hearty laughs out of the man I worshipped. Between missing my father so terribly and this small encouragement, at 13, though shy and covered in acne, I felt brave enough to write a note and slip it under his studio door insisting we work together since I rightly deduced that is what he clearly liked doing most.

It worked.

Then fate intervened. A private father-daughter moment became a hit song with worldwide recognition and a press avalanche I neither sought nor wanted. I was suddenly eternally publicly linked with my father a second time and held on a fame and admiration pedestal alongside him. I got fan mail from girls as far away as Russia and Australia, Tokyo, and Nova Scotia. I was suddenly so known, I was paired with Frank in Sun Signs, Linda Goodman's book of astrology as a perfect example of compatibility between a Sagittarius and a Libra.

Though Frank and I were relentlessly heard on the radio and seen in magazines and on TV together for a solid stretch of time, a time when I had a lot of geometry homework I wasn't good at, my father and I got only a little bit closer.

In 1989 my father was diagnosed with prostate cancer and given a year to live he was 48 and I was 22. If I am honest, I found my reaction to his diagnosis confusing. Of course, I didn't want my father to suffer or leave this world with unfinished work or dashed political dreams when he had so much more to say. But, oddly, secretly, I also felt gratitude. I still lived for the possibility of uninterrupted proximity to my father and a chance to finally have my turn at an extended time with him. But to my extreme disappointment, he only became more obsessed with his work given how little remaining time he had.

As far as his prognosis went, Gail was the mouthpiece, often sharing information with me that she didn't share with him. Gail's reasoning was Frank was incapable of dealing with disappointment. Dutiful to a fault, I did not discuss my father's health or his feelings with him. Not my siblings, not Gail's, not my own. Besides, Frank had raised me to believe "Feelings are irrelevant," and "Happiness is not a goal." But also, "Anger is fuel."

Instead, we spent a lot of energy as a family trying to take his mind off of his situation through various attempts at amusing distractions, or by giving what comfort we could.

On one occasion, we somehow managed to convince him to see a movie in a movie theatre. But I was extra careful not to waste any of the time he could have spent in his studio so, to stave off any potential disappointment, I pre-emptively prescreened the film it to make sure it was suitable. Sure it meant I'd have to watch a sci-fi movie twice that I didn't even want to see once, but it was simply too risky to blow the outing on something sub-par. The film my family took him to was Total Recall starring Arnold Schwarzenegger. He loved it. Especially Kuato. Especially when the mutant baby bursts from the actor Marshall Bell's stomach. I was so relieved. And happy. Ish.

To alleviate the pain I was in, I had turned to spirituality as my best defense against the anguish and preemptive grief about losing my favorite person. When my self-identified atheist father found out he said, "If you're going to be a cabinet, be the best cabinet you can be."

I was awash with shame, but it sparked a conversation about beliefs—he had none—about any fear about dying—none, he just didn't think about it—and about what happens after. He said, "Nothing happens. It probably all goes off. Like a light switch."

A totally Spock response. I was shaken. Maybe he saw that. Maybe he was, too, because the next time I saw him, he surprised me with a picture he had drawn for me on the back of a large sheet of his butter-colored music paper.

It was a cross with two lines emphasizing energy emanating from the shining top and an arrow coming out of the center of the cross to the left. At the top of the page, in his beautiful block print, it said: "A picture of God for Moon." My eyes flooded with tears. This was such a loving gesture, but kind of a weird drawing. I asked him what it all meant. He pointed to the arrow and said, "That's the Kuato extension." Oh. It was visual satire and a loving gesture. That unstoppable humor and intelligence again. I laughed. He looked so pleased.

I left with that drawing and immediately had it framed like gilded religious art with royal blue velvet and an over-the-top gold frame. I brought it back to give it to him. When I showed it to him, it was his turn to laugh and my turn to be pleased. That art piece now hangs on my wall and remains one of my most prized possessions. Seeing his handwriting makes Frank materialize and strangely brings automatic comfort.

Recently I shared this story with my sister-in-law and texted her a photo of the art piece. She had never seen Total Recall, so the Kuato reference was lost on her. I looked the film up on the internet to and texted her the description I found: "Kuato is a minor character from the 1990's sci-fi movie, who resembles a deformed infant, fused to the stomach of his conjoined twin."

I read further. Dialog I had forgotten: "You are what you do. A man is defined by his actions, not his memory."

Mic drop. Another time capsule from Frank. This time a hidden message in a drawing he made, not a song, but the ink from the maestro's pen. A holy magic trick. No need to look back, it says, I live inside you, like a mutant conjoined twin. Now let's go make some art.

The very thing I needed to hear.

Moon Unit Zappa is an actress, singer and author. She is the daughter of Frank Zappa. Her book EARTH TO MOON: A Memoir, is on sale August 20, 2024.

All views expressed are the author's own.

And but also:
Frank Zappa - Apostrophe 50th Anniversary Series (Episode 1: Inside the Vault)

Judging by what I've read so far, the book is worth reading. I think she can deal with words and guide the reader in an interesting way through what she has to say - just my 0.50$

Interviewing Moon Unit Zappa: in-depth and emotional about her memoir “Earth To Moon” 1 hour webcam interview

Another episode of Ahmets call in show rocktail where he speaks some clear words about the uneven heritage and the tensions with Dweezil (browse to 25.47). Since this once used to be a controversial discussed topic in the now dead forum this might qualify as Zappa news too: Ahmet Answers Hard-Hitting Questions ROCKTAILS with Ahmet Zappa
There is also another episode out there featuring Diva, but it was so boring that i didn't attend it very long - probably the really cool stuff came after i shut off. You'll find it by yourself.