Luyện nghe bài hát Uncle Meat Film Excerpt Part 1

FZ: We're shooting the uh, title sequence for Uncle Meat right now, which is the name of the Mothers of Invention movie that we've working on for about three years . . . without too much success.
Don: Boy, we really need a hit single . . . Just think, I mean, the way the world's going today . . . with all the problems in it . . . I think I can actually the world, because it's the young people that really need to be changed, and, and you can really do that through music and everything . . . This was our last hit single . . . it was really a bummer, they wouldn't even play it on the radio . . . Oh, well, gotta come up with something better than that . . .

Don: evening, this is Biff Debris.
Phyllis: You know . . . too much, I know.
Don: to you from the motel.
Phyllis: Look at monster.
Where . . .
FZ: Ha ha ha ha!
Phyllis: What are they laughing about? He looks so beautiful when they . . .
Don: what my psychiatrist used to say . . .
Phyllis: years. It's the same story there with that song, I don't know what I'm doing, but look, look at the way he's changing . . . Oh, I remember that in the shower, the first time with the hamburger. Oh, that was good . . . But, I don't know, twelve years marriage, you get tired of the same thing. But I don't know, I can try it again sometime. Oh, look there's Minnesota! He was a great guy, Minnesota Tishman . . .
We're coming to the beginning of a new era
Phyllis: He was a guy . . .
Don: Don't you feel it
Phyllis: He was, he was okay in time. He's washed up now, I heard about it though.

Ray: What is it you're doing, Mr.
I'm using the chicken to measure it
Aynsley: . . .
Phyllis: You know what I used to do? I to watch him eat, and while he was eating I would ask him what he's doing.
Haskell Wexler: What the hell are we doing in bathroom?
FZ: I'm going to . . . While you stand there and take pictures of that, I'm gonna tell you the, the plot of the movie. Alright. Basically what we're going to do, today, is spend some time around the house while you meet the people that you're going to be photographing for the of the week . . . and we discuss some of the absurdities . . .
Haskell Wexler:
FZ: Yes, we're just dealing with the . . . the of making the movie in the first place and especially about the Mothers of Invention . . .

Guy From Alabama: You have a circle-jerk?
The who?
Guy Alabama: Circle-jerk.
Aynsley: A circle What's that?
Guy From Alabama: That's where you get everybody and bet yer meat and see who can get it the fastest.
Yeah?
Guy From Alabama: Yeah, and whoever wins gets kegs
Aynsley: who?
Guy From Alabama: Kegs, you . . .
Cakes of what?
Meredith: Gee Jimmy, cool!
Cakes. Cheers. Yeah, anyway.
FZ: What could that possibly mean . . . hmmm, I wonder what if you go like this . . .

Ray: What is it that you're doing with
I'm using the . . .
FZ: You know what I used to do? I used to watch him eat. And while he was eating, I would talk to him while he was eating, and I would ask him he's doing. And he would say, "I'm using the chicken to measure it."
Ok . . .
Don: Can I your comb?
Phyllis: You what I used to do?
Ray: What are you doing with
Phyllis: I to watch him eat.
I'm using the chicken to measure it.
Phyllis: You know, you know what I to do? I used to watch him eat. And while he was eating, I would ask him, "What are you doing?"
FZ: Do it again.
Ray: Why is he using a chicken to it?
Phyllis: And he would say, "I'm using the chicken to measure it." What did he mean by
Ray: . . . he's using the chicken to it
Phyllis: Till this day I don't know what he's about . . .
FZ: Do it again.
Phyllis: That Tishman. That Minnesota Tishman . . . a guy . . .

Guy From Alabama: Eight or less?
Uh . . . eight inches.
Guy From Eight inches? Well, I'll get your kind of women, there, man.
You can? Yes, it's cool . . .
Guy From Alabama: Oh, they got some there you wouldn't believe!
Gee Jimmy, that's cool!
Guy From Alabama: You can just . . . right in.
But do they play pool?

Phyllis: a guy, what a sense of humour . . . The way he used to . . . let me get back to that.
FZ: Look at the way he hands that . . .
Aynsley: Do you want ball?
FZ: He had a way with chicken . . .
Phyllis: He . . . look at the way he handles that chicken, he had a way . . . look at the way he holds it, and fondles it, and he put it near his privates . . .
Aynsley: But cool, still
Guy Alabama: That's cool, yeah.
That's cool, yeah, I sort of followed the . . .
Guy Alabama: I'm using the chicken to measure it, though
You were?
Guy Alabama: Yeah.
Aynsley: Yeah, where's the shit . . . or the dove?
Guy From Alabama: I'm up to my in shit, man.
Really.
Guy From There's all kind of shit, now about . . . all smokin' shit . . .

Massimo: And now, we are going to translate: "This is my hand." Repeat after me: "Questa e' la mia mano sinistra." And now: "This is my right hand." Repeat after me: "Questa e' la mia mano destra."
Ray: What is it you're
Carl: I'm using the chicken to measure it. Have you ever used a chicken to it?
Meredith: Gee Jimmy, cool!
Guy From Alabama: I fucked a . . .

Don: We're coming to the beginning of a new era wherein the development of the inner self is the most important thing. We have to train ourselves. So that we can improvise on anything: a bird, a sock, a fuming beaker. This is, too can be music. Anything can be music.

FZ: Hello? Yeah, are you busy? Well I was wondering --this is Frank-- can you come, yeah, can you come over here and be in our uh, teen-age movie? Okay, well, I'll tell you what the is . . .
Phyllis: eating.
FZ: Ok, he's eating, you see . . . Don . . . Well, it depends, mostly it's a hamburger, sometimes, well he doesn't wanna eat the hamburger, 'cause he's a vegetarian . . . Okay now, Phyllis is here . . . Phyllis . . .
Phyllis: Who's
FZ: No, no, no, is the girl that's the, my assistant editor on the, on the film . . . Yeah, she used to be Tom Wilson's secretary . . . Ok . . . You remember Tom Wilson were gonna run for President?

Aynsley: Tom Wilson?
Yeah.
Aynsley:
Carl: she came out here work on the Woodstock festival.
What are you doing with that chicken?
Carl: And uh, then . . .
I was measuring the ball.
Carl: Then Frank her to work on the Mothers movie.

Phyllis: Hi, I'm Phyllis Altenhaus, and I'm working with Frank Zappa on his film Uncle Meat, in Hollywood. I'm a little nervous doing this 'cause it's the first time I'd even been a star in a film. I originally started working for Frank as his assistant editor on the film Uncle Meat, and one day we were sitting watching the Festival Hall shots, the rushes, and I saw Don come on the screen --Don Preston plays the monster-- and I said, "Frank, look at Don! He's turning into a monster! I'm gonna vomit!"
FZ: When she him turning into a monster she has to vomit.
Phyllis: Frank said, "That's it, that's the of the line, that, that, I mean, that's the opening of the picture." I said, "Frank, I can't be in your picture, first of all, I have such a bad Brooklyn accent, I'm embarrased by the whole thing!" And he said, "Don't worry, you'll do it." So, you know, with Frank, he has a certain way about him, I mean he just gets people to do these things.
Don: He just me sick when he changes into a monster.
Phyllis: Why? Why does he you sick?
Don: Oh, can't you see it how, how . . . ugly it is that, being monster? Oh, just, I can't stand it, I, I think I'm gonna be sick, I have to vomit.

FZ: She just, she tells me she has to vomit, see. She's trying to make me that it makes her sick when he turns into a monster.
Phyllis: There's something about that gets me so nauseous, I don't know what it is. Look at that, look at that.
FZ: Yeah, but it's not true. Well, you see, it her hot.
Phyllis: There's something so sexy about him. When he on that stage, I get so hot just looking at him drinking that, that smoke stuff, I don't know what it is. I don't even care if he turns into a monster, I love it . . .
Oh dear!
Phyllis: Look at that, oh him with the cape, but he doesn't, he walks away. It's such a hot move and he, he's so when he goes back to that gong, oh, that's so nice . . . Boy, I hope no one ever finds out I love it so much, that hot monster . . . oh, ooh . . .
You're really good at those dials, baby. You're the most manipulating person I've ever seen.
Phyllis: I don't like to be called manipulating, that's for sure, but I to think of myself as being hot.
FZ: She gets hot. And then she runs into the toilet, and she stands in front of the mirror and she makes faces to herself so she can turn into a monster. Isn't it cute? That's right, then, when she does that, and she's having a fantasy that she's into a monster, the monster comes out of the toilet from behind her.

Phyllis: Oh . . . a lower, please.
How do you work all those controls in there? That's really fantastic . . .
Phyllis: Oh, nothing.
Don: All of those and switches . . .
Phyllis: It's nothing. Look, look going on there! Oh . . . oh, wow, this . . .
I just can't see how a girl could do all that.
Phyllis: Oh, now with the, the Liberation Front we can do anything, you're kidding? Oh . . . oh! It's so good!
Don: This girl obviously has some sort of demented problem in where she, she likes uh, monsters that drink foamy vile liquid and uh transform. It must be some uh, connection in her past, in her childhood of something. Maybe her father didn't demonstrate enough uh, for her. It's a . . .
Phyllis: Oh . . . it's been so . . .
Don: me, did your father demonstrate any affection for you?
Phyllis: been watching you on the screen for four weeks . . . Finally, my monster . . . Is it real? Is it really you? Oh that feels, oh, monster, can I have a bite off of your apple?
Don: Mm . . . I that uh . . .
Phyllis: It's so nice to be here with a monster . . .
Don: It must be uh, her mother and father probably told her that she's ugly and awkward and dumb and everything . . .
Phyllis: a good apple, monster.
Don: And so she to people that are ugly, dumb and awkward.
Phyllis: Let me take off your hat so I can really see happening underneath there. Just what I thought, a monster head.
Don: You'll this is quite common in uh, today's society
Phyllis: It's like and Eve and the apple . . . Finally, here's my monster . . . after all this time . . .
Don: That's why movies are so popular, you know?
Phyllis: I'd waited and . . .
Don: know how many a monster movie costs to make?
Phyllis: And there he is, he's here.
Don: Monster movies cost a lot of money.
Phyllis: Sitting with me, I believe it! Is it really you, monster?
Don: And our young society today goes to all these monster movies and they see them on television after night.
Phyllis: It's so to be with the monster.
Don: We're raising a new generation of lovers.
Phyllis: I've been so long for the monster . . . Maybe this'll be the real thing.

Don: He's into a monster! You should see this! God, I get so hot!
Aynsley: Would you like a vibrator? Now you've ruined the whole thing
Carl: Have I? I'll one down!
Aynsley: Oh, . . .
Carl: I you get the walking four balls.
No no . . .
Carl: difficult to walk on three.
Don: I'm using the to measure it.
Carl:
Don: I'm using the chicken to it.
Charles.
Phyllis: Aynsley Dunbar, who's playing with Frank now, this real English popstar, very attractive guy, and he's like into a whole groupie thing with and things, don't ask me, and Frank got this great idea, actually he gets this great idea for me, to have Aynsley in the Hollywood Ranch Market, which we just did last night, hit him with toilet brushes. It's, it's a little dumb but I went along with it, you know, what else are you gonna do? You're getting paid and uh, you do these things.

Phyllis: . . . cleanser . . . cleanser . . . cleanser . . . cleanser . . .
Hello, there!
Phyllis: . . . cleanser . . .
Aynsley: Say, could you do me a favour? Could you me with a toilet brush?
Phyllis: Beat you with a brush?
Aynsley: . . . someone might hear . . . yes, beat me with a toilet brush.
Phyllis: What's your
Aynsley: Ah, hello, my name is Aynsley Dunbar and I, I'm interested in whips and canes, etc. I'm gonna fill, fill you in about uh, my background.
FZ: Are you absolutely serious this? You really like whips and canes?
Oh yeah, yeah.
FZ: And you
Aynsley: I didn't have too much chance to use 'em here, as yet, because it's, you know the screams and that, would most wake the kids up! No, actually I'm moving on though to toilet brushes and things, 'cause I think they'll be coming in this year . . . definitely.
Phyllis: You want me to beat you the toilet brush?
Yes.
Phyllis: I mean uh, I'm ready!

Phyllis: You know, I'll tell you something, I find myself saying, "I'm ready," you know, and like, I slap my face when I'm saying, "I'm ready," because it's like uh, in the house I'm saying, "I'm ready," you And . . . there has to be a limit.

That's a whip, I guessed right, you know I saw this handle sticking up here and I like, I, I guessed it right on first, you know? Like I know . . .
FZ: Beat him while talking.
Phyllis: You know like . . . I tell you something. I hope not getting your kidney or anything like that.
Aynsley: Oh look, keep, keep, just it high, just keep it high.
Phyllis: You know what I I got worried about those things, I got . . . you know I'm humane, Aquarius and all this . . .
Aynsley: That's . . . that's. . .
Venus is arising, you know, I'm humane.
Aynsley: keep it high. Oh, love it, yeah, right.
Uhm . . . well, let's see . . .
FZ: Ask him, "Does it get you hot?"
Phyllis: Is it you hot?
Aynsley: Oh, maybe it do if I had another 'bout fifteen people.

Don: I know what gets you hot. Hamburgers get you hot, 'cause I picked you up in the hall!
Phyllis: You don't know what gets me hot, you don't have the idea what gets me hot!
Don: Sure! Hamburgers! Look at . . .
I can't take it . . .
Don: See
I can't take it . . . oh, God, that hamburger!
Don: But you don't know gets me hot.
Phyllis: I'd bet I what gets you hot. Sticks, sticks on your body on a table get you hot.
Don: I'm getting hot! . . . When I was drinking the potion . . . and that hat and that cape and everything . . . just incredible . . . I'd . . . wonder what it's to, to change into a monster . . . it must be really great.
Phyllis: It's just so wonderful. Give me a bite of the apple there . . . Mmm, oh, my monster! Oh, that's so terr-- Oh! I that, when a monster does that, mm . . . Well, I've just been thinking, monster, we can take rides in the country in the Volkswagen . . . and, my monster, you're feeling me up, my monster.
FZ: It get you hot.
Well . . . it doesn't get me hot.
FZ: I saw you laying on the floor in the corner him!
Phyllis: I, it me laying in the corner! That was, that wasn't me!
FZ: Ha ha . . . Who was it?
Phyllis: That was Sheba! It me!
FZ: Who is Ha ha!
Phyllis: Sheba is the one that's in love Don.

Don: And why, why do you monsters?
Phyllis: It's, it's not their looks, it's the intellectual thing that comes across, you know, you could tell that, I, looks important to me, it's something about the intelligence. When you mix that potion, you know when I've seen you mix that potion, I don't know, it's the intellectual way I get hot.
Don: Yeah, but what causes
Phyllis: You know what I
I mean, well . . .
Phyllis: It's, hotness.

Phyllis: It used to be very, it was really nice and quiet in this place, that's why I here, because of the feeling like, like a place to get away from things, and now what's going on, it's like all noise and . . . I don't know, it doesn't . . . wherever you go nowadays it's the same thing, all these guys they're so disgusting, I can't stand it . . .
Don: Look, anybody . . . anybody sitting
Phyllis: No! Go ahead, sit down!
Don: Thanks. Anybody drinking beer in here?
Phyllis: No, I don't what the bartender . . . he just left it there, I don't know what's going on . . .
My name is Biff Debris.
Phyllis: Oh, hi! Flieschman.
How d'you do?
Phyllis: So and uh, name is Biff Debris.
Yeah.
Phyllis: You know, funny thing, if we got married my name would be DeBiff.
Don: My is Biff Debris, not Debris DeBiff.
Debris?
Yeah.
Phyllis: Biff Debris . . . well, I'll tell you something, I once knew someone whose name was Dubois. It, it sort of sounds like Debris, you know what I mean? Like, is that French, or
Don: Well, actually I'm part Mohawk and Norwegian.
Phyllis: Excuse me. Is the hamburger yet?
Don: sign are you?
Phyllis: Uh, I'm Aquarius with Venus on my past.
Really?
Phyllis: Yeah. It's really good sign because it's the Aquarian age now, you And like, it's all coming together. You know what I mean by coming together?
Yeah.
Phyllis: I since I came from New York, you know, I'm really . . .
Don: Are you from New
Phyllis: Yeah, you tell! Huh?
No . . .
Phyllis: I tell you something, so it really means that I'm losing my accent, you know, because the other day I was talking to someone and they couldn't guess either, well, I asked them, I said to them, "Where do you think I'm from?" And you know they said, they said, "New Jersey," you know, so, and New Jersey accent is really completely different, you know? Like, it depends so, if you come from Patterson, it's different from Trenton and Orange County, but you know, I say "Orange" like this, "Orange," 'cause in California they say, "Orange," you know?
Don: the, what's the matter with uh, Debris?
Phyllis: That's one thing I stayed from.
Alright, you're free . . .
Phyllis: I think that you can really be high on your own stratification.
Hamburgers.
Phyllis: say hamburgers, it gets me so hot . . .
Don: But you don't what gets me hot, you see . . .
Phyllis: I know gets you hot!
No, no . . .
Phyllis: I saw it in the hall
You saw that?
Yeah!
Don: That what does it, you see. It really isn't.
Phyllis: Well, well, what is it? You know, like if it's not that, what is it?
Well . . .
Phyllis: Well, don't be embarrassed! You can me, you know? Like I'm . . .
Showers.
Phyllis:
Showers.
Phyllis: Well, okay, you know, I can go see that, I can see, I can showers.
Not, not nude showers.
Phyllis: What you mean not nude
Don: gotta be a special shower, you know.
Phyllis: What kind of
Don: these special clothes on it.
You mean, you wear clothes when you . . . ?
Don: clothes! These are the clothes . . .
Phyllis: These are the clothes you . . . ?
Don: Right . . .
Phyllis: are clothes in there for me for the shower?

Phyllis: Say he devised this plan, this is how this clothes and the shower thing all came by, because I was too embarrassed to stand in the shower. First roll, you know, I'm not gonna be standing naked but, the whole thing's taking out, so I figured, "Okay, I'll wear dungarees and a shirt." And, and anyway to tell you the I think it's sexier because, you see like just a little outline . . . tiny little bit, you know, like, poinnnng!

Phyllis: I don't understand it, but it's . . .
Don: I . . .
Phyllis: It's your trip, man! You Like, it's alright with me, you know? I don't care.
Don: And this children's belt with the holes in it. Look at those pants!
Phyllis: Ooh, but what has this . . . do with the holes! I mean, you know, I hope they fit up.
It'll be good . . .
Phyllis: You know, like, okay, try, I don't care, I'll try anything!

FZ: Hi, Phyllis, why don't you want to take your clothes off with the
Phyllis: Because I'm to.
FZ: there to be embarrassed about?
Phyllis: Well, never done that before, and I don't wanna do it now!
FZ: But why you wanna do it?
Phyllis: I'd rather not. There's no reason, I'd just not.
FZ: But what's the You got an ugly body?
Phyllis: No, I a great body. I just don't wanna do it.
FZ: But why don't you wanna do it if you've got a great body? you wanna share it with the world?
Phyllis: No, I wanna share it with the world.

Phyllis: So I did it, and it was, I tell you, I was hot, see my shirt?

Phyllis: I'm ready! I got the shirt, I got the pants, and I got the belt with that yellow holes, you know? And I'm hot!
Don: And I got the bun and the hamburger and the relish and the orange and I've got my off and I'm hot!
Oh, come on!
Don: You know how many times we . . . ? I go down to Mr. Pocket three times a week, trying to find somebody that'll wear these in the shower.
Phyllis: How do look on me?
Oh . . .
Phyllis: You it?
They're great, you know. I had those clothes in the refrigerator for about two months now.
Phyllis: Where is the hamburger? Just me a bite, mmh . . . it's so great, you don't meet guys . . .
Don: Oh, it's . . .
Phyllis: You don't meet guys who get you off with hamburgers, I'm saying I'm really that mmmm . . .
Oh, the two of us really make a great couple!
Phyllis: I know, me with my clean and the hamburger and everything like that, well, you know, we can go places.
Yeah.
Phyllis: You want me to wash your hair? While you, just hold the hamburger first, you know, while I your hair . . .
Don: Do you want me to it to you?
Phyllis: Well, I don't know, I wasn't planning on it, it's alright, you can wash my back . . . mm, so the shower . . .
Don: I bear it.
Phyllis: Especially, especially, if you . . .
Don: Some people are weird.
Phyllis: Pull it on my back, just a little bit, it won't, it won't hurt, just a bit over there, this side, it's terrific, with the hamburger.

Phyllis: Hamburger meat . . . . . . Oh . . .
FZ: Wouldn't that be if you had your clothes off then you can uh, enforce him on your arms?
Phyllis: No, I . . . don't my clothes off, I can get the gratification that I want just like this.

Phyllis: Oh, doesn't that good, oh, it's so great. I'm so glad that I met you today . . .
Mmmm . . .
Phyllis: And hamburger . . .
Don: Do you if I rub some of this in your hair?
Phyllis: Oh I don't mind, let me just take out that thing here, mmm . . .
Oh, boy . . .
Phyllis: A little bit, wait, it's, but I don't know, do you have cream rinse here? . . . this strip I won't be to . . .
Don: rinse?
Yeah . . . 'cause I . . .
Eugh!
Phyllis: I be, let me see how it feels with the soap.
FZ: Whi-whi-which parts get you the hottest that can be rushed with the
Phyllis: I think uh . . . what part!
Don: Oh, I love this with hamburgers the clothes.

Don: You're getting hot, on.
Phyllis: Oh, am I hot, over hamburger! Oh, I think of my uh . . .
Don: For a hundred dollars you're hot.
Phyllis: Oh, am I hot! I'm so hot! Hhh . . . I'm so hot from hamburger, oh . . .
FZ: Get hot!
I'm so hot!
FZ: Under, . . . Ha ha ha ha!
Undulate.
FZ: Look!
Don: You . . . it's better.
Phyllis: Where's the hamburger? Just . . . . . .
FZ: with soap are good.
Ha-a . . . let me take a little bite, mmm . . . delicious! Let me put it in here so I don't loose it. I don't wanna in case I wanna little piece after, could you do my back?
Don: Oh . . .
Phyllis: Underneath the shirt, be bashful, I, oh, I know it makes you hot, like if you keep . . .
Yeah, I like the shirt better. I'll wash the shirt.
Phyllis: Oh, let me take a little bit of the
FZ: Ha ha!
Phyllis: You know, the last guy that I was with he just had Ground Choc, you know what Ground tastes like in the shower, man . . .
FZ: Ha ha ha ha!
Oh . . .
Phyllis: This is odd meat, where did you get
FZ: Ha ha ha!
Phyllis: Just like the health food stuff, are you a food person? You know, like . . .
Don: No, I am Meat!
Phyllis: You are Uncle

Phyllis: And because you're the main man the burgers . . .
FZ: "And the my trip."
Phyllis: And the burger's my trip and is such a groove, I wanna my appreciation and I wanna clean your bathroom . . . the cleanser . . .
FZ: "I am going to the Ranch . . . "
Phyllis: I'm going to the Ranch Market and I'm gonna buy the cleanser.
Don: And because you have worn the . . .
Phyllis: . . .
Don: got me hot, the shirt . . .
Phyllis: . . .
The pants and the little brown belt, children's belt with the holes in it . . .
Phyllis: . . .
I will . . .
Phyllis: . . .
Don: Accept your offer to go to the Hollywood Market . . .
Phyllis: . . .
Don: And get the and clean my bathroom.

Janet: He's from that group Cleanser. He looks kinky. Too bad we didn't have our garters on.
& Lucy: EEEEEEEUH!
Janet: Oh, what do you expect from in this joint.
Lucy: Ooh Janet, he has a vibrator! Now, ooh . . . Eeeuhh! Ha ha ha! Ah . . . ah . . . aaaaaaAAAAH! Ooh wha . . . ooh! Hhh . . . . . .

Don: We're to the beginning of a new era at the motel, where we have been working secretly on a new composition in the back room, in our secret chambers. 'Cause everything is secret. We're trying to get the secret karma change for the whole world, you see, like this whole karma thing, it's really what's causing all the problems, so we have to get a composition and, I'm sure that it's going to be a hit single, because everyone is going out and buying our new hit single, for this group that uh . . .
FZ: "You remember our other single Bun'?"
Don: Yeah, you remember our other single, "The Bun"? See, this, was our last composition . . .
Plugging it in . . .
Don: And uh, it was pretty hard to because uh, some of the members of the group couldn't read music, you see? But we got it all straightened out and, some of them quit and everything but . . .
Aynsley?: A few holes in the . . .
Don: Uh, with our new arrangement we really hope to do big things, you know? Like we hope to change every single person's karma and that in turn will change and upgrade all the ecology problems, all the polution and all the air and everything, you know? And right here is the composition I was speaking of and uh, this is the guitar part, this is the vocal, this is the bass part, and this little section over here could be for the dancer, but she keeps quitting all the time so we don't really know uh, if she's gonna be in it which she is now or just take it out like that. Now, it's very difficult to compose this type of thing, because like, the slightest movement that you can make of one single article could define whether it's underground or real commercial, see? If we put the sock over here it's more commercial than if it were over here, then it's real underground, you understand? So we take you now to the motel, where the group is deep in . . . just deep.

Motorhead: . . . member is the writer, you know what I . . .
Don: Hey, listen you guys, I would just . . .
Meredith: These can work together.
Don: Talk about the here
Aynsley: How about new drum solo you just worked out?
Don: got a new composition.
Meredith: rhythmic, huh?
Motorhead: Now beautiful.
Don: . . . Silence, fools! . . . SILENCE, FOOLS! Don't you believe in progress?
Carl: I'm using the chicken to it.
FZ?: Take progress and stick it under a rock!
Carl: I'm using the chicken to it . . . I'm using the chicken to measure it . . . I'm using the chicken to measure it . . . I'm using the chicken to measure it . . . I'm using the chicken to measure it . . . I'm using the chicken to measure it . . . I'm using the chicken to measure it.
FZ: are you doing with the chicken?
Carl: I'm the chicken to measure it.
FZ: are you doing with the chicken?
I'm using the chicken to measure it.
Motorhead: Outta site! outta site!
That's beautiful!
FZ: What are you doing with the
I'm using . . .
Don: what we need for our new song.
That was a good composition!
We got it!
Aynsley: Can you one like that then?
I did! Well . . .
Ray?: You would? I . . .
Don: At night, that's . . .
Ray: when he starts in with the guitar . . . ?
Don: Now . . .
Ray: Then he in with his guitar solo?
Don: You guys, do you see this over
Ray: Why he have this?
Don: Can you see this over here? This is the new composition that we're going to a hit single with.
Aynsley: it called, "Junk Shuffle"?
No . . .
"Junkyard."
Aynsley: it called?
Carl: I'm the chicken to measure it.
FZ: It's "We're using the chicken to measure it."
Carl: I'm using the to measure it.
Don: Right, "We're the chicken to measure it." Well, I couldn't get a chicken, I, all I got was . . .
Motorhead: That be the title. Ray's got a chicken.
Yeah!
Motorhead: You can use chicken to measure it.
But uh . . .
FZ: No, no, that's of the concept, you're using the chicken to measure the pitch in?
Aynsley: what I choose.
Don: Oh, I see, yeah, are we using the to measure it?
Motorhead: Or
Don: I'll show you, is . . .
Ray: How a sock?
Motorhead: I it was cooler.
Don: This is the guitar part, here.
Motorhead: let me see . . .
Pull her.
Motorhead: It's what I play? That's my part.
Don: your part.
Motorhead: Oh, A . . .
Don: And is a new concept.
Motorhead: I can't learn that by tomorrow, man, no way.
Tonight.
Motorhead: I can't it tonight!
Don: Listen, I got the booked.
I can't even . . .
Aynsley: OW!
Don: At the Ranch Market tonight, man!
That's pretty heavy, man.
But tonight?!
Meredith: pretty heavy . . .
Motorhead: My strings are flat, my pickups are shot, do Herbie wouldn't give us an so I can buy some new strings and an amp?
Don: Listen, I'll care of everything.

Don: You see, Countess, the problem is uh, it's very hard to talk about but, the guys need equipment, you know like he needs batteries and uh, and, and uh, needs strings for his guitar, you know? And, and of the electronic equipment needs boosting and uh, we have a good prog and everything, you know? I just wanted to find out if we could get any awr . . . nng . . . gnn . . . Do you have a pencil and a paper? Uh huh . . . thanks . . .
Royalties?
Don: GNG! MMnnnngrgGGL! Sorry, would you mind not using that It's a . . .
Who cares about royalties?
Grrah!
Francesca: Look, I've seen everybody around, The Beatles, The Rolling Stones, Arthur Brown, and his fire and his head . . . Oh, man, I've never got so hot as long, ever got so hot until I started to, to use the chicken head to measure it with it.

Guy From We must say it in Alabama language, man, I can't understand.
Another "Guy From Alabama": Playing that kind of music and eating meat, never . . .
I say . . . I say . . .
Guy From (unintelligible shouting)
Aynsley: I say, old boy, you english?
Guy From Alabama: Hey man, you got any peas or beans or anything like

Don: You have to admit is different.
Motorhead: Oh I hate . . . that's a drum, gotta be a drum.
Don: I mean . . . I know what like, to me the idea of being commercial is doing something different.
Meredith: Bet one's a heavy one . . .
Carl: The way they . . .
Don: You know? people can . . . can . . .
WAH!
Don: It's not the old thing.
Aynsley: Hey, but that, isn't a . . .
Meredith: to practise . . .
No!
WAH!
NO!
Motorhead: out!
Oh . . .
Don: it, Ray . . .
Chicken's in the . . .
Don: Now, use the chicken to it.
Motorhead: in the . . .
Aynsley: Biff, man, how does that fit into the part, though . . . like that . . .
Meredith: And is after into that my part there?
This is the music.
Meredith: where?
Don: This, the whole is the music.
Meredith: Ah, but how does one fit into all . . .
Aynsley: But no head, man.
Meredith: But how does fit into all that?
Oh yeah, there's . . .
Ray: Are you using a chicken to it?
Meredith: What's the concept of
There's no way we can play it.
Meredith: What's the concept of this
Look, look . . .
Motorhead: Not by tonight, man! It be done.
Aynsley: Let me . . . anyway, man, I'm going out tonight, you know, got a few chicks to meet.
I'm going to hear the Fudge.
Don: You guys, if you make a hit single and I mean, a hit single.
Aynsley: Yeah, but all I'm is as long as you pay us well, I just don't wanna know.
Don: Well, get royalties.
Motorhead: You get some royalties, man!
Aynsley:
Don: Listen, you . . .
A monster!
Phyllis: I'm wet . . . . . .
This is turning too confusing, I just can't understand what all this is about, it's so confusing!
My monster!
WARrrGH!
Phyllis: My monster! I'm ready! I got the pants, I got the shirt, I got the belt the little yellow holes!

Phyllis: I can't get of that stuff, mmm!
FZ: "We're coming to the of a new era, at the motel."
Phyllis: Look at this there, look . . . mmm mm . . .
Don: We're coming to the beginning of a new era at the motel, we have working secretly . . .
Obviusly still, still the best.
Don: . . .on a new in the back room . . .
Phyllis: I love when he did that . . .
Don: . . . in our chambers.
Phyllis: Then changed into . . . I remember . . .
Don: everything is secret.
Phyllis: For years he's still working on the same song, I don't know what I'm gonna do.
Don: We're to get the secret karma change for the whole world.
Phyllis: Still kinda get that "The Bun" thing. I gotta stop this, it's not anymore.
Don: You see, like this whole karma thing, it's really causing all the problems.
Phyllis: Because after all we've got now.
So we have to get a composition.
Phyllis: And we can't, he do this anymore, it's another whole life.
Don: And, I'm sure that it's to be a hit single.
Phyllis: But, I can't it, I mean he's irresistible. The guy is irresistible.
Don: Because everyone is going out and buying our new hit single, for this that uh . . .
Phyllis: Look at that face, over . . .
FZ: "You remember our other 'The Bun'?"
Yeah, you rem--
Phyllis: Look at that, right that, right . . . mmm . . .
Don: Our other single, "The Bun"? See, this, was our last composition . . .
Phyllis: Oh, God! Oh, I that too . . . yeah . . .
And uh, it was pretty hard to play because uh . . .
Phyllis: Look at this, when he did that at the . . .
Don: Some of the members of the group couldn't music, you see?
Phyllis: No . . . it's better, I'll you something . . .
Don: But we got it all out.
Phyllis: I don't know, I have to think about this, I gotta tell him. Ah! I'll go back! I can't be bother 'cause my mind it's too, it's too crazy, it's going, it's driving me nuts already, I have to think about work, I have to think about him, I have to think about . . .
Stumuk: Maybe I oughta face it, after twelve years "The Bun" just isn't a hit. Maybe I'm approaching it wrong. Look at him, a musician, a natural musician. This Motorcity was a little boy. Liked to pull down the shades before helping her with the dishes.
Massimo: And that's why it didn't sell. at this . . .
Phyllis: Oh, look at that! I remember --let me that and see how the fume was coming out of his mouth, and the way the lips, the lips, so beautiful and the hamburger . . .
Try to do something like that.
Stumuk: that?
Massimo: Maledetto di puttana.
FZ: He's on set.
E non cagarmi il cazzo.
Stumuk: A non catzo.
Massimo: 'Cause I have a big of minchia!
A big bunch of minchia!
Phyllis: It's great you're learning Italian, I love . . . That's I want! More, a little culture, it's enough already with "The Bun"!
Stumuk: I had, I had to change it. It right.
Massimo: These fucking things didn't work, I don't know why. Maybe, can you see all these little points, white points, on these fucking things? You to know that . . .
Can you see?
Massimo: . . . all stuff . . .
Stumuk: using the chicken to measure it with nowadays, even my kids!
Massimo: . . . come my nose, and maybe people didn't like it.
Stumuk: No the sock . . .
Massimo: And I don't know why . . .
But "The Bun," the placement of "The Bun." It has seeds. It's different.
Massimo: I can't imagine why they didn't like these balls that come from my nose, you know? This way, tshh! And I spent a lot of years of my life to do something like that, these fucking things, and it didn't work. What can I say?

Guy From Far fucking out! Far fucking out!

Hee hee hee hee!
Ah! I can dig it!

Guy From Alabama: DONG! DONG! I mean dong, that's your minchia is!
Your which?
Guy From A minchia!
Aynsley: You your dick?
Guy From Alabama: You put minchia in the stinky-a.

Massimo: And you know why? 'Cause I a big bunch of dick! Tengo una minchia tanta! And this part of the lesson, I'm sorry, but you can't learn, 'cause Mother Nature didn't make you Italian.