ABSTRACT
This chapter aims to probe the nature of Frank Zappa's resistance and its potential effectiveness. It focuses on what may seem at first like one of Zappa's less 'resisting' pieces, a gross, sexually incorrect sketch, Do You Like My New Car/Happy Together, sometimes called 'the groupie routine', that Zappa performed on stage from the early 1970s to December 1977. In choosing these songs, people entertain the hope that such apparently vulgar pieces of entertainment may, better than more obviously committed tracks, contain and reveal the essence of Zappa's resistance. Zappa does seem to adhere to the pleasure principle he displays, he does seem to enjoy his misogynistic, sexual, demeaning jokes, he does seem to relish titillating his masculine public. In a 1990 documentary, Zappa declared what can be considered as the clearest manifesto of his aesthetic resistance: Gilles Deleuze, as Nathalie Gatti underscores, provides an apt model to appraise Zappa's form of resistance.
