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 been working on for 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 change 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 . . .

Don: Good evening, is Biff Debris.
Phyllis: You know . . . too much, I know.
Don: Coming to you the motel.
Phyllis: Look at monster.
Don: . . .
FZ: Ha ha ha ha!
Phyllis: What are they laughing about? He looks so beautiful they laugh . . .
Don: That's what my psychiatrist to say . . .
Phyllis: Twelve 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 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 . . .
Don: coming to the beginning of a new era
He was a nice guy . . .
Don: you feel it coming?
Phyllis: He was, he was okay in this time. He's washed up now, I 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 used to him eat, and while he was eating I would ask him what he's doing.
Haskell Wexler: the hell are we doing in this bathroom?
FZ: I'm going to . . . 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 rest of the week . . . and we discuss some of the absurdities . . .
Haskell Absurdities?
FZ: Yes, we're just dealing with the . . . the absurdities of making the movie in the first place and especially the Mothers of Invention . . .

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

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

Guy From Alabama: inches or less?
Aynsley: Uh . . . inches.
Guy From Alabama: inches? Well, I'll get your kind of women, there, man.
You can? Yes, it's cool . . .
Guy From Alabama: Oh, got some whores there you wouldn't believe!
Meredith: Gee Jimmy, cool!
Guy From Alabama: You can just . . . right in.
Aynsley: But do they 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 chicken . . .
Do you want another ball?
FZ: He had a way with that . . .
Phyllis: He . . . look at the way he handles that chicken, he had a way . . . at the way he holds it, and fondles it, and he put it right near his privates . . .
Aynsley: But cool, still
Guy From Alabama: cool, yeah.
Aynsley: cool, yeah, I sort of followed the . . .
Guy From I'm using the chicken to measure it, though
Aynsley: You
Guy Alabama: Yeah.
Aynsley: Yeah, where's the shit . . . or the white
Guy Alabama: I'm up to my knees in shit, man.
Really.
Guy Alabama: There's all kind of shit, now about . . . all smokin' shit . . .

Massimo: And now, we are going to translate: "This is my left hand." Repeat after me: "Questa e' la mia mano sinistra." And now: "This is my right hand." 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 a chicken to measure it?
Meredith: Gee Jimmy, cool!
Guy From I fucked a chicken . . .

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, this too can be music. 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 the action is . . .
Phyllis: eating.
FZ: Ok, he's eating, you see . . . Don Preston . . . Well, it depends, mostly it's a hamburger, sometimes, well he doesn't wanna eat the hamburger, 'cause he's a vegetarian . . . now, Phyllis is here . . . Phyllis . . .
Phyllis: Phyllis?
FZ: No, no, no, Phyllis is the girl that's the, my assistant editor on the, on the film . . . Yeah, she used to be Tom Wilson's . . . Ok . . . You remember Tom Wilson were gonna run for President?

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

Phyllis: Hi, I'm Phyllis Altenhaus, and I'm 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 around 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: she sees him turning into a monster she has to vomit.
Frank said, "That's it, that's the opening 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 makes me sick when he changes a monster.
Why? Why does he make you sick?
Don: Oh, can't you see it how, how . . . ugly it is that, being that Oh, just, I can't stand it, I, I think I'm gonna be sick, I have to vomit.

FZ: She just, she me she has to vomit, see. She's trying to make me believe that it makes her sick when he turns into a monster.
Phyllis: There's something about that that me so nauseous, I don't know what it is. Look at that, look at that.
FZ: Yeah, but not true. Well, you see, it gets her hot.
Phyllis: something so sexy about him. When he comes 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 terrific when he goes back to that gong, oh, that's so . . . Boy, I hope no one ever finds out I love it so much, that hot monster . . . oh, ooh . . .
Don: You're really good at those dials, baby. You're the most manipulating person I've seen.
Phyllis: I don't like to be called manipulating, for sure, but I like 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 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 turning into a monster, the monster comes out of the toilet from behind her.

Phyllis: Oh . . . a lower, please.
Don: How do you work all controls in there? That's really fantastic . . .
Oh, it's nothing.
Don: All of those and switches . . .
Phyllis: It's nothing. Look, what's going on there! Oh . . . oh, wow, this . . .
Don: I just see how a girl could do all that.
Oh, now with the, the Women's 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. her father didn't demonstrate enough uh, affection for her. It's a . . .
Phyllis: Oh . . . been so long . . .
Don: Tell me, did your father any affection for you?
Phyllis: I've been watching you on the screen for 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?
Mm . . . I think that uh . . .
Phyllis: It's so nice to be here a monster finally . . .
Don: It be uh, her mother and father probably told her that she's real ugly and awkward and dumb and everything . . .
It's a good apple, monster.
Don: And so she relates to people that are ugly, and awkward.
Phyllis: Let me take off your hat so I can really see what's happening underneath there. Just what I thought, a head.
Don: You'll find this is quite common in uh, today's
Phyllis: It's like Adam and Eve and the apple . . . Finally, here's my monster . . . after all this . . .
Don: why monster movies are so popular, you know?
Phyllis: I'd waited and . . .
Don: D'you know how many a monster movie to make?
And there he is, he's right here.
Don: Monster really cost a lot of money.
Phyllis: with me, I can't believe it! Is it really you, monster?
Don: And our young society today goes to all these monster and they see them on television night after night.
Phyllis: so terrific to be with the monster.
We're raising a new generation of monster lovers.
Phyllis: I've been so long for the monster . . . Maybe this'll be the real thing.

Don: changing into a monster! You should see this! God, I get so hot!
Aynsley: you like a quick vibrator? Now you've ruined the whole thing
Carl: Have I? I'll one down!
Oh, cheers . . .
Carl: I thought you get the walking balls.
No no . . .
Carl: It's to walk on three.
Don: I'm using the chicken to it.
Carl:
Don: I'm using the to measure 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 whips and things, 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? you beat me with a toilet brush?
Phyllis: Beat you with a brush?
Aynsley: Shhh . . . 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 very in whips and canes, etc. I'm gonna fill, fill you in about uh, my background.
FZ: Are you absolutely serious about this? You really like 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 likely wake the kids up! No, actually I'm moving on to toilet brushes and things, 'cause I think they'll be coming in this year . . . definitely.
Phyllis: You want me to beat you with the brush?
Yes.
Phyllis: I like 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 like uh, in the house I'm saying, "I'm ready," you know? And . . . there has to be a limit.

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

Don: I know what gets you hot. Hamburgers get you hot, 'cause I picked you up in the hall!
Phyllis: You know what gets me hot, you don't have the faintest idea what gets me hot!
Sure! Hamburgers! Look at this . . .
Phyllis: I take it . . .
Don: See
Phyllis: I can't it . . . oh, God, that hamburger!
Don: But you don't know what me hot.
Phyllis: I'd bet I know what gets you hot. Sticks, sticks on your 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 like to, to 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 love that, when a monster does that, mm . . . Well, I've just been thinking, monster, we can take in the country in the Volkswagen . . . and, my monster, you're feeling me up, my monster.
FZ: It get you hot.
Phyllis: Well . . . it get me hot.
FZ: I saw you laying on the floor in the corner him!
Phyllis: I, it wasn't me laying in the corner! was, that wasn't me!
FZ: Ha ha . . . Who was it?
Phyllis: was Sheba! It wasn't me!
FZ: Who is Ha ha!
Phyllis: Sheba is the one in love with 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.
Yeah, but what causes this?
Phyllis: You what I mean?
Don: I mean, . . .
It's, it's hotness.

Phyllis: It used to be very, it was really nice and quiet in this place, that's why I came here, because of the feeling 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 . . . sitting here?
Phyllis: No! Go ahead, sit down!
Thanks. Anybody drinking this beer in here?
Phyllis: No, I don't know what the bartender . . . he just it there, I don't know what's going on . . .
Don: My name is 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 would be Sheba DeBiff.
Don: My name is Debris, not Debris DeBiff.
Phyllis:
Yeah.
Phyllis: Biff Debris . . . well, I'll tell you something, I once knew someone whose name was Dubois. It, it of sounds like Debris, you know what I mean? Like, is that French, or what?
Well, actually I'm part Mohawk and part Norwegian.
Phyllis: Excuse me. Is the ready yet?
What sign are you?
Phyllis: Uh, I'm Aquarius with Venus on my past.
Don:
Phyllis: Yeah. It's good sign because it's the Aquarian age now, you know? And like, it's all coming together. You know what I mean by coming together?
Yeah.
Phyllis: I think since I came from New York, you know, I'm . . .
Don: Are you New York?
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 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 that's in California they say, "Orange," you know?
What's the, what's the matter with uh, Debris?
Phyllis: That's one thing I away from.
Alright, you're free . . .
Phyllis: I think that you can really be high on own intellectual stratification.
Hamburgers.
Phyllis: say hamburgers, it gets me so hot . . .
Don: But you don't know gets me hot, you see . . .
I know what gets you hot!
No, no . . .
Phyllis: I saw it in the hall
You saw that?
Yeah!
Don: isn't what does it, you see. It really isn't.
Well, well, what is it? You know, like if it's not that, then what is it?
Don: . . .
Phyllis: Well, don't be embarrassed! You can tell me, you know? I'm . . .
Showers.
Phyllis:
Showers.
Phyllis: Well, okay, you know, I can go see that, I can see, I can showers.
Don: Not, not showers.
Phyllis: you mean not nude showers?
Don: It's gotta be a shower, you know.
What kind of shower?
Don: With these special on it.
You mean, you wear clothes when you . . . ?
Don: These clothes! are the clothes . . .
Phyllis: are the clothes that 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 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 truth I think it's sexier because, you see like just a little outline . . . tiny little bit, you know, like, poinnnng!

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

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

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

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

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

Phyllis: Oh, that feel good, oh, it's so great. I'm so glad that I met you today . . .
Don: . . .
Phyllis: And this . . .
Don: Do you mind if I rub some of this in your
Phyllis: Oh I mind, let me just take out that little thing here, mmm . . .
Oh, boy . . .
Phyllis: A little bit, wait, it's, but I know, do you have cream rinse here? . . . this strip I won't be able to . . .
Don: Cream
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!
Oh, I love this with hamburgers under the clothes.

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

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

Janet: He's from that group Cleanser. He looks pretty kinky. Too bad we have our garters on.
Janet & EEEEEEEUH!
Oh, what do you expect from work in this joint.
Lucy: Ooh Janet, he has a vibrator! Now, ooh . . . Eeeuhh! Ha ha ha! Ah . . . ah . . . aaaaaaAAAAH! Ooh wha . . . ooh! Hhh . . . . . .

Don: coming 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 'The Bun'?"
Yeah, you remember our other single, "The Bun"? See, this, this was our last composition . . .
Aynsley: it in . . .
Don: And uh, it was pretty hard to play because uh, some of the members of the group couldn't read music, you 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 this right here is the composition I was speaking of and uh, this is the guitar part, 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: . . . straightest is the writer, you know what I . . .
Don: Hey, listen you guys, I like just . . .
These guys can work together.
Don: Talk about the arrangement
Aynsley: How about that new solo you just worked out?
Don: got a new composition.
It's rhythmic, huh?
Motorhead: Now beautiful.
Listen . . . Silence, fools! . . . SILENCE, FOOLS! Don't you believe in progress?
Carl: I'm the chicken to measure it.
FZ?: Take that progress and it under a rock!
Carl: I'm using the 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 . . . I'm using the chicken to measure it.
FZ: What are you doing with the
I'm using the chicken to measure it.
FZ: What are you doing with the
I'm using the chicken to measure it.
Motorhead: Outta site! That's site!
Meredith: beautiful!
FZ: What are you doing with the
I'm using . . .
Don: That's we need for our new song.
That was a good composition!
We got it!
Aynsley: Can you write one that then?
I did! Well . . .
Ray?: You would? I . . .
Don: At night, that's . . .
Ray: That's when he in with the guitar . . . ?
Don: Now . . .
Ray: Then he comes in with his guitar
You guys, do you see this over here?
Ray: Why does he have
Don: Can you see over here? This is the new composition that we're going to make a hit single with.
Aynsley: it called, "Junk Shuffle"?
No . . .
"Junkyard."
Aynsley: What's it
Carl: I'm using the chicken to it.
FZ: It's called "We're using the to measure it."
Carl: I'm using the chicken to it.
Don: Right, "We're using the chicken to it." Well, I couldn't get a chicken, I, all I got was . . .
Motorhead: That would be the title. got a chicken.
Yeah!
Motorhead: You can use Ray's to measure it.
But uh . . .
FZ: No, no, that's part of the concept, you're using the chicken to the pitch in?
It's what I choose.
Don: Oh, I see, yeah, are we using the chicken to it?
Or drumming?
Don: I'll show you, is . . .
Ray: How about a
Motorhead: I it was cooler.
Don: This is the part, right here.
Motorhead: let me see . . .
Aynsley: her.
It's that what I play? That's my part.
Don: That's part.
Oh, that A . . .
Don: And is a new concept.
Motorhead: I can't learn by tomorrow, man, there's no way.
Tonight.
Motorhead: I learn it tonight!
Listen, I got the time booked.
Motorhead: I can't . . .
Aynsley: OW!
Don: At the Hollywodd Ranch 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 advance so I can buy some new and an amp?
Don: Listen, I'll take of everything.

Don: You see, Countess, the problem is uh, it's very hard to talk about but, the guys equipment, you know like he needs batteries and uh, and, and uh, needs strings for his guitar, you know? And, and some 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 . . .
Francesca:
GNG! MMnnnngrgGGL! Sorry, would you mind not using that word? It's a . . .
Francesca: Who cares 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, I've ever got so hot until I started to, to use the chicken head to measure it it.

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

Don: You have to this is different.
Motorhead: Oh I hate . . . a drum, that's gotta be a drum.
I mean . . . I know what it's like, to me the idea of being commercial is doing something different.
Meredith: Bet that a heavy one . . .
The way they feed . . .
Don: You know? people can . . . can . . .
WAH!
Don: It's not the old thing.
Hey, but that, 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.
Chicken's in the . . .
Aynsley: Biff, man, how does that fit into the part, though . . . like that . . .
Meredith: And is after into that my part there?
Don: is the music.
Where? where?
Don: This, the thing is the music.
Meredith: Ah, but how that one fit into all . . .
But there's no head, man.
Meredith: But how does that fit into all
Aynsley: Oh yeah, . . .
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.
Let me . . . anyway, man, I'm going out tonight, you know, I've got a few chicks to meet.
Motorhead: I'm 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 saying is as long as you pay us well, I don't wanna know.
Well, you'll get royalties.
Motorhead: You get some royalties, man!
Royalties?
Don: Listen, you . . .
A monster!
Phyllis: I'm wet . . . . . .
Meredith: This is 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 with 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 been secretly . . .
Phyllis: Obviusly still, the best.
Don: . . .on a new composition in the back . . .
Phyllis: I love he always did that . . .
Don: . . . in our chambers.
Phyllis: Then changed into . . . I that . . .
Don: everything is secret.
Phyllis: For twelve years he's still working on the same song, I know what I'm gonna do.
Don: We're trying to get the secret karma for the whole world.
Still kinda get that "The Bun" thing. I gotta stop this, it's not good anymore.
Don: You see, this whole karma thing, it's really what's 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 can't do this anymore, it's another life.
Don: And, I'm that it's going to be a hit single.
Phyllis: But, I help it, I mean he's irresistible. The guy is irresistible.
Because everyone is going out and buying our new hit single, for this group that uh . . .
Phyllis: Look at face, over there . . .
FZ: "You remember our other 'The Bun'?"
Yeah, you rem--
Phyllis: Look at that, right that, right . . . mmm . . .
Our other single, "The Bun"? See, this, this was our last composition . . .
Phyllis: Oh, God! Oh, I that too . . . yeah . . .
Don: And uh, it was hard to play because uh . . .
Phyllis: Look at this, when he did at the fare . . .
Some of the members of the group couldn't read music, you see?
Phyllis: No . . . better, I'll tell you something . . .
Don: But we got it all out.
Phyllis: I don't know, I have to think about this, 'cause 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 work, I have to think about him, I have to think about . . .
Stumuk: 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 serious 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 stop that and see how the fume was out of his mouth, and the way the lips, the lips, so beautiful and the hamburger . . .
Massimo: Try to do something that.
Like that?
Massimo: figlio di puttana.
FZ: He's on set.
E non cagarmi il cazzo.
Stumuk: A non catzo.
'Cause I have a big bunch of minchia!
Stumuk: A big of minchia!
Phyllis: It's great you're learning Italian, I love . . . That's what I want! More, a culture, it's enough already with "The Bun"!
Stumuk: I had, I had to it. It wasn't right.
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 have to know that . . .
Stumuk: Can you
. . . all this stuff . . .
Stumuk: Everybody's 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 just don't why . . .
But "The Bun," the placement of "The Bun." It has seeds. It's different.
Massimo: I just can't imagine why they didn't like these 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 Alabama: 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 what your is!
Aynsley: which?
Guy From A minchia!
Aynsley: You your dick?
Guy From Alabama: You put your in the stinky-a.

Massimo: And you know why? 'Cause I have 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 you Italian.