m.j.prince wrote:
...while trans-species sex occurs in the adult harry's intercourse with a diminutive mammy nun, it is sex on the trans-materia level that results in issue: the tele-evangelist's tryst with the plastic doll, artificial rhonda, that is to become harry-as-a-boy's concubine results in the crab-grass baby
this child is revealed as part of a lawn nativity scene with harry-as-a-boy as joseph, the inflatable artificial rhonda as mary, and the digital-voiced infant crab-grass baby as jesus; the dialogue is at times difficult to discern, but the synthesized voice of this new savior of the western world is heavily laden with satire
as son to father, the baby complains of problems with girls, his car (and asks for a volvo), and bemoans the white man's burden, again, a tonal expression is manifest in the plot: zappa has metamorphosed the soul-less pseudo-musical expression of mechanized the white zone riff from joe's garage to the soulless pseudo-biological expression of the crab-grass baby ... the computer generated white-bread blandness exhibited in this nativity does more than poke fun at yuppie sensibilities; it suggests their corrupt origins—the baby is the son of a tele-evangelist—and ultimate demise
if western society once worshipped the child, the manifestation of the crab-grass baby insures it will do so no more; with this avenue for the continuance of the species and society closed off, the adult harry's attraction for the mutants and the genuine rhonda's attraction to her briefcase and pen are but pathetic displays of misplaced procreative energy, though she claims that women can reproduce that way...
btw, if your mom hasn't heard thing-fish, you might want to screen it first
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