[p. 37] Don [Van Vliet] was also an R&B fiend, so I'd bring my 45s over and we'd listen for hours on end to obscure hits by the Howlin' Wolf, Muddy Waters, Sonny Boy Williamson, Guitar Slim, Johnny "Guitar" Watson, Clarence "Gatemouth" Brown, Don and Dewey, the Spaniels, the Nutmegs, the Paragons, the Orchids, the etc., etc., etc.
[p. 57] Once I got out, I went to see Art Laboe. He had released some of my material on his Original Sound label ("Memories of El Monte" and "Grunion Run") and got an advance on a royalty payment, which I used to bail out the girl.
[p. 90] In 1966 and '67, the L.A.P.D. and the Sheriffs Department went to war with the freaks in Hollywood. Every weekend people were rounded up (with no warrants presented or charges stated) as they walked on Sunset Boulevard, forced into Sheriff's buses, driven downtown, held hostage for the evening, then let go—all because they had LONG HAIR.
The places where they used to eat (Ben Frank's on Sunset and Canter's Deli on Fairfax) were under constant surveillance. The city government threatened to take away Elmer (Whisky-a-Go-Go) Valentine's liquor license if he didn't stop booking long-haired acts into his club. There was no place left to work in Hollywood.
[p. 94-95] On another occasion, Jimi Hendrix sat in with us. I didn't know him before then, and I can't remember how I was introduced to him—probably met him at the Tin Angel. A few days later he came to visit our cubicle on Charles Street with his friend, drummer Buddy Miles. Jimi was wearing green velvet pants—all decked out—on his way to a party with Buddy. (The only thing that Buddy said was "Hi, Frank," after which he sat on the couch, leaned back and passed out, snoring.) They were there for about an hour and a half. Buddy had a nice nap, and Hendrix ripped his pants at the crotch while demonstrating a dance step. Gail sewed them up for him. When it was time to leave he said, "Come on, Buddy." The snoring stopped, and they left.
[p. 104] Included in it is a tape of Cynthia Plaster-Caster talking on the phone to Miss Pamela (now known as Pamela 'I'm With the Band' Des Barres), comparing notes. They both kept diaries, so they had cross-references to the same guys. Noel Redding, bassist from the Jimi Hendrix group, also kept diaries, intertwined with the other two. It would have been great to see them all in one book.
[p. 106] When Hendrix was cast, Cynthia told me, he liked the glop so well, he fucked the mold.
I have photographs of him, I was out there for a week. He was in the wheelchair. He was rehearsing, I did a large number of black and white photographs, some of which—without credit, which is fine—made it into his book, you know, The Real Frank Zappa Book. [...] The black and white shot of him in the wheelchair in the rehearsal room is mine.
[p. 179] Although I wouldn't say I could play a Guitar Slim lick sitting here today, his mangle-it strangle-it attitude provided an important aesthetic guidepost for the style I eventually developed. My two other influences were Johnny "Guitar" Watson and Clarence "Gatemouth" Brown.
[p. 194-195] Pierre Boulez
[p. 196-197] The Perfect Stranger
[p. 346] Other characters include: Galileo, Tesla, Newton, da Vinci, Mussolini, Hitler, Stalin, and Elvis Presley as THE DEVIL.
Research, compilation and maintenance by Román García Albertos