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.
Winos Do Not March
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Sunrise Musical Theatre, Sunrise, Florida
November 30, 1984
FZ CUSTOM STRAT
Ike Willis rhythm guitar
Ray White rhythm guitar
Bobby Martin keyboards
Scott Thunes bass
Chad Wackerman drums]
Frank Zappa's song "Winos Do Not March" is a satirical jab at the way society and the media often demonize and stigmatize the homeless, particularly those struggling with addiction. The title alone is ironic, as it implies a call to action or protest, but the lyrics indicate that winos (a derogatory term for alcoholics) are not organized or motivated enough to do so. The opening verse sets the tone: "Winos do not march/ They stagger and they stumble/ But they do not march/ They can't even stand."
Throughout the song, Zappa skewers the societal attitudes that contribute to homelessness and addiction, suggesting that it's not just a lack of willpower or moral failing on the part of individuals. In one verse, he sings, "Some of them were soldiers, some were engineers/ Some were carpenters, electricians, my dears/ Some of them were students, some were musicians too/ But they just couldn't weather this existence zoo." Here, Zappa emphasizes that the homeless are not a monolithic group, but rather individuals with unique stories and struggles.
In typical Zappa fashion, the song is musically complex and virtuosic, with a standout guitar solo that showcases the talents of Ike Willis, Ray White, and Zappa himself. The use of multiple keyboards, bass, and drums make for a full and dynamic sound, even as the lyrics remain pointed and sardonic. Overall, "Winos Do Not March" is a biting critique of the way society scapegoats and marginalizes those who are struggling to get by.
Line by Line Meaning
Winos do not march
Homeless alcoholics do not participate in parades or processions.
They stagger randomly in place
Instead, they move clumsily and unsteadily without any particular direction.
Winos do not march
Again, homeless alcoholics do not walk in lockstep with any formal organization or political cause.
They stumble randomly in space
Instead, these individuals have no planned route and often lose their balance while moving through physical, three-dimensional space.
Winos do not have homes
Such individuals often lack permanent residences or any place to live or sleep indoors for extended periods.
You can't take away what they don't own
In other words, you cannot confiscate or remove something from a person if they do not possess it in the first place.
Winos do not have plans
Homeless alcoholics generally lack long-term goals or a sense of direction for their lives.
They merely have distractions like the bottles in their hands
Instead, they often prioritize immediate concerns like obtaining and consuming alcohol at the moment.
Winos do not have friends
These individuals often lack meaningful connections or relationships with others.
Only other winos as miserable as themselves
Instead, they may only interact with other homeless alcoholics who share similar struggles.
Winos do not like to hear
Homeless alcoholics often resist hearing advice or constructive criticism about their decisions or way of life.
Anything about the road that lies ahead
Specifically, they may not want to discuss their own long-term future or make plans for their lives.
Winos do not appreciate
These individuals may not feel grateful or show appreciation for the help, support, or resources given to them.
The efforts people make to keep them alive
This refers to those who may try to support or assist homeless alcoholics in any way, such as through providing food, shelter, or other resources.
Winos do not subscribe
Homeless alcoholics do not adhere to social norms, values, or beliefs.
To the sense of decency in the human race
This refers to the concept of morality, compassion, or humanity, which these individuals may not prioritize or uphold in their own lives.
Winos...
Finally, the repetition of the term 'winos' throughout the song serves as a reminder of the dehumanization and stigma often associated with homelessness and addiction.
Contributed by Connor N. Suggest a correction in the comments below.