Question:
Hedren was born on January 19, 1930, in New Ulm, Minnesota, to Bernard Carl and Dorothea Henrietta (nee Eckhardt) Hedren. For much of her career, Hedren's year of birth was reported as 1935. In 2004, however, she acknowledged that she was actually born in 1930 (which is consistent with the birth registration index at the Minnesota Historical Society). Her paternal grandparents were Swedish immigrants, while her maternal ancestry is German and Norwegian.
The Birds (1963) was Hedren's screen debut. Hitchcock became her drama coach, and gave her an education in film-making as she attended many of the production meetings such as script, music or photography conferences. Hedren said, "I probably learned in three years what it would have taken me 15 years to learn otherwise." She learned how to break down a script, to become another character, and to study the relationship of different characters. Hedren portrayed her role of Melanie Daniels as Hitchcock requested. She said, "He gives his actors very little leeway. He'll listen, but he has a very definite plan in mind as to how he wants his characters to act. With me, it was understandable, because I was not an actress of stature. I welcomed his guidance."  During the six months of principal photography, Hedren's schedule was tight, as she was only given one afternoon off a week. At first, she found the shooting "wonderful". Hitchcock told a reporter, after a few weeks of filming, that she was remarkable, and said, "She's already reaching the lows and highs of terror." Nonetheless, Hedren recalled the week she did the final bird attack scene in a second-floor bedroom as the worst of her life. Before filming it, she asked Hitchcock about her character's motivations to go upstairs, and his response was, "Because I tell you to." She was then assured that the crew would use mechanical birds. Instead, Hedren endured five solid days of prop men, protected by thick leather gloves, flinging dozens of live gulls, ravens and crows at her (their beaks clamped shut with elastic bands). In a state of exhaustion, when one of the birds gouged her cheek and narrowly missed her eye, Hedren sat down on the set and began crying. A physician ordered a week's rest. Hitchcock protested, according to Hedren, saying there was nobody but her to film. The doctor's reply was, "Are you trying to kill her?" She said the week also appeared to be an ordeal for the director.  Universal's executives, who did not back Hitchcock's decision to hire Hedren in the first place, were impressed with her performance and Wasserman described it as "remarkable". While promoting The Birds, Hitchcock was full of praise for his new protegee, and compared her to Grace Kelly. "Tippi has a faster tempo, city glibness, more humor [than Grace Kelly]. She displayed jaunty assuredness, pertness, an attractive throw of the head. And she memorized and read lines extraordinarily well and is sharper in expression." The film was screened out of competition in May at a prestigious invitational showing at the 1963 Cannes Film Festival. Hedren's performance was praised in Variety's review: "Aside from the birds, the film belongs to Hedren, who makes an auspicious screen bow. She virtually has to carry the picture alone for the first forty-five minute stretch, prior to the advent of the first wave of organized attackers from the sky. Miss Hedren has a star quality and Hitchcock has provided her with a potent vehicle to launch her career". Hedren received the Golden Globe Award for New Star of the Year, tied with Elke Sommer and Ursula Andress. Her role as Melanie Daniels was named by Premiere magazine as one of the greatest movie characters of all time.
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Hedren received the Golden Globe Award for New Star of the Year, tied with Elke Sommer and Ursula Andress.

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Frank Vincent Zappa (December 21, 1940 - December 4, 1993) was an American musician, composer, activist and filmmaker. His work is characterized by nonconformity, free-form improvisation, sound experiments, musical virtuosity, and satire of American culture. In a career spanning more than 30 years, Zappa composed rock, pop, jazz, jazz fusion, orchestral and musique concrete works, and produced almost all of the 60-plus albums that he released with his band the Mothers of Invention and as a solo artist. Zappa also directed feature-length films and music videos, and designed album covers.
Zappa and the Mothers of Invention returned to Los Angeles in mid-1968, and the Zappas moved into a house on Laurel Canyon Boulevard, only to move again to one on Woodrow Wilson Drive. This was Zappa's home for the rest of his life. Despite being a success with fans in Europe, the Mothers of Invention were not faring well financially. Their first records were vocally oriented, but Zappa wrote more instrumental jazz and classical oriented music for the band's concerts, which confused audiences. Zappa felt that audiences failed to appreciate his "electrical chamber music".  In 1969 there were nine band members and Zappa was supporting the group himself from his publishing royalties whether they played or not. 1969 was also the year Zappa, fed up with MGM Records' interference, left them for Warner Bros. Records' Reprise subsidiary where Zappa/Mothers recordings would bear the Bizarre Records imprint.  In late 1969, Zappa broke up the band. He often cited the financial strain as the main reason, but also commented on the band members' lack of sufficient effort. Many band members were bitter about Zappa's decision, and some took it as a sign of Zappa's concern for perfection at the expense of human feeling. Others were irritated by 'his autocratic ways', exemplified by Zappa's never staying at the same hotel as the band members. Several members played for Zappa in years to come. Remaining recordings with the band from this period were collected on Weasels Ripped My Flesh and Burnt Weeny Sandwich (both released in 1970).  After he disbanded the Mothers of Invention, Zappa released the acclaimed solo album Hot Rats (1969). It features, for the first time on record, Zappa playing extended guitar solos and contains one of his most enduring compositions, "Peaches en Regalia", which reappeared several times on future recordings. He was backed by jazz, blues and R&B session players including violinist Don "Sugarcane" Harris, drummers John Guerin and Paul Humphrey, multi-instrumentalist and previous member of the Mothers of Invention Ian Underwood, and multi-instrumentalist Shuggie Otis on bass, along with a guest appearance by Captain Beefheart (providing vocals to the only non-instrumental track, "Willie the Pimp"). It became a popular album in England, and had a major influence on the development of the jazz-rock fusion genre.

what happened then?
fed up with MGM Records' interference, left them for Warner Bros.