Zappa's earliest influences were 1950s pop and rock (such as doo-wop and rhythm and blues), and 20th-century classical composers including Igor Stravinsky and Edgard Varèse. His output was divided between adventurous instrumental compositions and succinct, catchy rock songs with ribald, satirical, or comically absurd lyrics. On stage he demanded virtuosity and spontaneity from his musicians, and employed many performers who would later go on to achieve fame in their own rights. He directed and released a number of films featuring himself, his musicians and entourage, including 200 Motels and Baby Snakes.
His career started in 1955. His earliest recordings date from the mid-1960s, and include collaborations with his school friend Captain Beefheart. In 1965 he joined a bar-band called The Soul Giants, quickly dominating its musical direction and rechristening it The Mothers. Their first release (as The Mothers of Invention; the name alteration requested by their record company) was the 1966 double album Freak Out!. The line-up of the Mothers gradually expanded to accommodate Zappa's increasingly ambitious and avant-garde music, but by 1969 he decided to work outside the band structure, focusing on his solo career, and effectively disbanding the Mothers in 1971.
The beginnings of his solo career in the late sixties and early seventies was characterised by a strong free jazz influence, with albums containing little, if any, lyrical content, such as Hot Rats, Waka/Jawaka and The Grand Wazoo. Towards the mid-seventies his albums became more rock-orientated, with a combination of Jazz Fusion instrumentation and Rock song structures. This more accessible sound bore reasonable mainstream appeal, especially with the release of the well-advertised albums Over-Nite Sensation and Apostrophe (') (which both went Gold), but Zappa's unpredictably eclectic output never led to solid mainstream recognition. He received uniformly lukewarm reviews from popular music publications such as Rolling Stone throughout his career. In his late seventies' output, the gulf between his humorous songs and more lengthy, complex instrumental music widened, and albums, such as Zappa in New York, Joe's Garage: Acts I, II & III, and Sleep Dirt displayed, by track, both sides firmly segregated.
Zappa saw a second run of success in the early eighties with the release of many albums with predominantly comedic rock songs, but later continued to experiment with virtually every style of music through the eighties, and was productive as ever until his death. His output in this later-career period included two albums of strikingly original classical music with the London Symphony Orchestra, an electronic take on 18th-century chamber music (written by the obscure Italian composer 'Francesco Zappa', no relation), an album of Synclavier compositions (misleadingly titled Jazz From Hell which garnered a Grammy award), a double-CD release of electric guitar instrumental music (the laconically titled Guitar) and a plenitude of official live releases, revisiting fan-favourites as well as showcasing Zappa's talent for reinventing the music of others; his version of Stairway to Heaven becoming a word-of-mouth favourite.
Zappa produced almost all of his own albums, spending many hours in the studio recording and manipulating tracks, and was always at the forefront of emerging technologies; from tape editing, collage, multitrack and overdubbing in the sixties to digital recording, electronic instruments and sampling in the eighties. Conversely, Zappa was also a obsessive self-archivist, recording virtually every one of his live performances, and often using live recordings of new material without needing to enter the studio. The archive of tapes at his family home in Los Angeles continues to be a source of posthumous releases for the Zappa Family Trust. He was also noted as a spotter of talent and his shifting line-up of musicians included Lowell George, Jean-Luc Ponty, Terry Bozzio, Chad Wackerman, George Duke, Mike Keneally, Adrian Belew and Steve Vai, as well as giving Alice Cooper his first break in music and working again with his old collaborator Captain Beefheart when his career was in decline.
In the late 1980s he became active in politics, campaigning against the PMRC's music censorship scheme and acting as culture and trade representative for Czechoslovakia in 1989; and considered running as an independent candidate for president of the US.
His death in Los Angeles, California, on 4th December 1993 came three years after he was diagnosed with prostate cancer.
Harry-As-A-Boy
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Steve Vai (guitar)
Ray White (guitar, vocals)
Tommy Mars (keyboards)
Chuck Wild (piano)
Arthur Barrow (bass)
Scott Thunes (bass)
Jay Anderson (string bass)
Chad Wackerman (drums)
Ike Willis (vocals)
Terry Bozzio (vocals)
Dale Bozzio (vocals)
Napoleon Murphy Brock (vocals)
Bob Harris (vocals)
Johnny "Guitar" Watson (vocals)
RHONDA:
HARRY! HARRY, is that YOU as a BOY?
HARRY:
Why, it MUST be! He's so charming and sweet and likeable!
THING-FISH:
HARRY-AS-A-BOY, c'mon over 'n say a few words to de nice peoples!
HARRY-AS-A-BOY:
Hi, folks! Nice to be here!
THING-FISH:
I's sure dere be lotsa folks like to know what yo' plans are...how y'intend t'be gwine about dis uncredibly serious bidniss o' GROWIN' UP IN ERMERICA!
HARRY-AS-A-BOY:
Well, I plan on making a few mistakes, having my heart broken and so forth, using all kinds of drugs, and turning gay as soon as possible in order to accelerate my rise to the 'top of the heap'.
THING-FISH:
Ahh! Tremenjous, HARRY-AS-A-BOY, simply tre- MENJOUS! You practicin' up fo it wit anybody in po-ticlar now?
HARRY-AS-A-BOY:
I can't afford to study with anyone yet, since the bulk of my allowance goes for glue and Grateful Dead tickets, but soon I hope to be on my knees in a REAL HOMO BATH HOUSE...maybe when my folks go on vacation.
THING-FISH:
Ain't you de clever one! Tell us, HARRY-AS-A-BOY, howdja recide upon dis heah life-style bein' DE ONE FO YOU?
HARRY-AS-A-BOY:
It was pretty simple, really. I lost all desire for intercourse with females when they started carrying those briefcases and wearing suits 'n ties.
RHONDA:
WHAT?
HARRY-AS-A-BOY:
Let's face it: that would be like fucking a slightly more voluptuous version of somebody's father! I'm far too sensitive for such a traumatic experience!
THING-FISH:
You means DE WOMENS' LIBROMATION MOVENINT done created de uncontrollable urgement to play dingle-dangle-dingle wit de personal requipment of yo own gender?
HARRY-AS-A-BOY:
To a degree...I mean...look, I'm not stupid! I know it's all a thoroughly workable government- sponsored program to control the Population Explosion, and, just like every other AMERICAN, I'm too concerned with MY OWN personal health and well being to think of devoting any of MY precious time to something as boring as 'REPRODUCTION'!
RHONDA:
HARRY, I used to think you were merely an OVER- EDUCATED SHIT-HEAD, but now that I finally have proof, it's going to give me GREAT PLEASURE to refer to you as an OVER-EDUCATED COCKSUCKER!
HARRY:
Well, to be honest with you, dearest, I sort of ...gulp, gulp...
RHONDA:
Where's the fairies on a string, HARRY? Huh? Riddle me this!
THING-FISH:
Easy there, white folks! I told y'all'd be get- tin' yo' fairies after while, 'n y'know dat sort o' thing take a little time to woik up to in yo' BROADWAY SITCHYATIUM! MAMMYS step faw'd 'n hep de lil' cocksucker out!
The lyrics to Frank Zappa's song Harry-As-A-Boy are a satirical commentary on the societal norms and expectations of growing up in America. The character of Harry, portrayed as a charming and likeable boy, speaks of his plans to make mistakes, have his heart broken, and turn to drugs in order to accelerate his rise to the top of the social ladder. However, the most shocking aspect of his plans is his desire to turn gay as soon as possible, citing that he has lost all desire for intercourse with females. He sees it as a thoroughly workable government-sponsored program to control the Population Explosion and is more concerned with his own personal health and well-being than the idea of reproduction.
The lyrics are a critique of the societal pressure to conform to traditional gender and sexuality roles, as Harry rejects the expectation of heterosexual intercourse and instead embraces homosexuality. Zappa uses satire to highlight the absurdity of these societal expectations and their impact on personal choice and freedom.
Line by Line Meaning
RHONDA: HARRY! HARRY, is that YOU as a BOY?
Rhonda greets Harry, asking if he is really his younger self.
HARRY: Why, it MUST be! He's so charming and sweet and likeable!
Harry affirms that he is, indeed, his younger self and compliments his boyish persona.
THING-FISH: HARRY-AS-A-BOY, c'mon over 'n say a few words to de nice peoples!
Thing-Fish invites Harry, referred to as Harry-as-a-Boy, to address the audience.
HARRY-AS-A-BOY: Hi, folks! Nice to be here!
Harry-as-a-Boy greets the audience cordially.
THING-FISH: I's sure dere be lotsa folks like to know what yo' plans are...how y'intend t'be gwine about dis uncredibly serious bidniss o' GROWIN' UP IN ERMERICA!
Thing-Fish asks Harry-as-a-Boy about his plans for growing up in America.
HARRY-AS-A-BOY: Well, I plan on making a few mistakes, having my heart broken and so forth, using all kinds of drugs, and turning gay as soon as possible in order to accelerate my rise to the 'top of the heap'.
Harry-as-a-Boy shares his ambitious plans for growing up, which involve making mistakes, drug use, and becoming gay as a means of achieving success.
THING-FISH: Ahh! Tremenjous, HARRY-AS-A-BOY, simply tre- MENJOUS! You practicin' up fo it wit anybody in po-ticlar now?
Thing-Fish praises Harry-as-a-Boy for his plan and asks if he's practicing being gay with anyone specific.
HARRY-AS-A-BOY: I can't afford to study with anyone yet, since the bulk of my allowance goes for glue and Grateful Dead tickets, but soon I hope to be on my knees in a REAL HOMO BATH HOUSE...maybe when my folks go on vacation.
Harry-as-a-Boy admits he can't afford to pay for gay sex lessons yet, but hopes to practice in a real homosexual bath house when his parents are away.
THING-FISH: Ain't you de clever one! Tell us, HARRY-AS-A-BOY, howdja recide upon dis heah life-style bein' DE ONE FO YOU?
Thing-Fish compliments Harry-as-a-Boy's cunningness and asks how he chose the gay lifestyle.
HARRY-AS-A-BOY: It was pretty simple, really. I lost all desire for intercourse with females when they started carrying those briefcases and wearing suits 'n ties.
Harry-as-a-Boy explains that he lost interest in girls when they started dressing like businessmen with briefcases.
RHONDA: WHAT?
Rhonda is shocked at Harry-as-a-Boy's answer.
HARRY-AS-A-BOY: Let's face it: that would be like fucking a slightly more voluptuous version of somebody's father! I'm far too sensitive for such a traumatic experience!
Harry-as-a-Boy elaborates on his lack of interest in girls and why he considers sex with them to be a traumatic experience.
THING-FISH: You means DE WOMENS' LIBROMATION MOVENINT done created de uncontrollable urgement to play dingle-dangle-dingle wit de personal requipment of yo own gender?
Thing-Fish asks if Harry-as-a-Boy's gay inclination is due to the women's liberation movement.
HARRY-AS-A-BOY: To a degree...I mean...look, I'm not stupid! I know it's all a thoroughly workable government- sponsored program to control the Population Explosion, and, just like every other AMERICAN, I'm too concerned with MY OWN personal health and well being to think of devoting any of MY precious time to something as boring as 'REPRODUCTION'!
Harry-as-a-Boy suggests that his gay inclination is somewhat the result of the women's liberation movement and that he's not interested in reproduction, as he's more concerned with his own personal wellbeing.
RHONDA: HARRY, I used to think you were merely an OVER- EDUCATED SHIT-HEAD, but now that I finally have proof, it's going to give me GREAT PLEASURE to refer to you as an OVER-EDUCATED COCKSUCKER!
Rhonda insults Harry and labels him as an over-educated cocksucker.
HARRY: Well, to be honest with you, dearest, I sort of ...gulp, gulp...
Harry is nervous about Rhonda's insult.
RHONDA: Where's the fairies on a string, HARRY? Huh? Riddle me this!
Rhonda demands an explanation from Harry.
THING-FISH: Easy there, white folks! I told y'all'd be get- tin' yo' fairies after while, 'n y'know dat sort o' thing take a little time to woik up to in yo' BROADWAY SITCHYATIUM! MAMMYS step faw'd 'n hep de lil' cocksucker out!
Thing-Fish reminds the audience that Harry is just a boy and assures them that he'll get his fairies eventually.
Contributed by Natalie G. Suggest a correction in the comments below.