Luyện nghe bài hát Uncle Meat Film Excerpt Part 1

FZ: We're shooting the uh, title sequence for Uncle Meat now, which is the name of the Mothers of Invention movie that we've been 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 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 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: Good evening, this is Debris.
Phyllis: You . . . it's too much, I know.
Don: to you from the motel.
Phyllis: at that monster.
Don: . . .
FZ: Ha ha ha ha!
Phyllis: What are they laughing about? He looks so beautiful when they . . .
Don: That's my psychiatrist used to say . . .
Phyllis: Twelve years. It's the same story there with 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 . . .
Don: We're coming to the of a new era
He was a nice guy . . .
Don: you feel it coming?
He was, he was okay in this time. He's washed up now, I heard about it though.

Ray: is it you're doing, Mr. Tishman?
Carl: I'm using the 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 What 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 . . .
Wexler: Absurdities?
FZ: Yes, we're just dealing with the . . . the absurdities of making the movie in the first place and about the Mothers of Invention . . .

Guy From Alabama: You wanna a circle-jerk?
Aynsley: The
Guy From Circle-jerk.
A circle jerk? What's that?
Guy From Alabama: That's you get everybody around and bet yer meat and see who can get it the fastest.
Aynsley:
Guy From Yeah, and whoever wins gets nineteen kegs
Aynsley: who?
Guy From Alabama: Kegs, you . . .
Aynsley: Cakes of
Meredith: Gee Jimmy, cool!
Cakes. Cheers. Yeah, anyway.
FZ: could that possibly mean . . . hmmm, I wonder what happens 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 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 know I used to do?
What are you doing with that?
Phyllis: I used to him eat.
Carl: I'm using the chicken to it.
Phyllis: You know, you know what I used to do? I used to watch him eat. And while he was eating, I ask him, "What are you doing?"
FZ: Do it again.
Ray: Why is he a chicken to measure it?
Phyllis: And he would say, "I'm using the chicken to it." What did he mean by that?
Ray: . . . he's the chicken to measure it
Phyllis: Till this day I don't know he's talking about . . .
FZ: Do it again.
Phyllis: That Tishman. Minnesota Tishman . . . What a guy . . .

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

Phyllis: What a guy, what a sense of humour . . . The way he used to . . . let me get to that.
FZ: Look at the way he that chicken . . .
Aynsley: Do you want ball?
FZ: He had a way that chicken . . .
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 that's cool,
Guy Alabama: That's cool, yeah.
That's cool, yeah, I sort of followed the . . .
Guy From Alabama: I'm using the to measure it, though
You were?
Guy Alabama: Yeah.
Yeah, where's the shit . . . or the white dove?
Guy Alabama: I'm up to my knees in shit, man.
Really.
Guy From Alabama: There's all kind of shit, now about . . . all 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 hand." Repeat after me: "Questa e' la mia mano destra."
Ray: What is it doing?
Carl: I'm using the chicken to it. Have you ever used a chicken to measure it?
Gee Jimmy, that's cool!
Guy Alabama: I fucked a chicken . . .

Don: We're coming to the beginning of a new era 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. Anything can be music.

FZ: Hello? Yeah, are you busy? Well I was wondering --this is Frank-- can you come, yeah, can you come here and be in our uh, teen-age movie? Okay, well, I'll tell you what the action is . . .
Phyllis: eating.
FZ: Ok, he's eating, you see . . . Don Preston . . . Well, it depends, mostly a hamburger, sometimes, well he doesn't wanna eat the hamburger, 'cause he's a vegetarian . . . Okay now, Phyllis is here . . . Phyllis . . .
Who's Phyllis?
FZ: No, no, no, Phyllis is the girl 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.
Ray: are you doing with that chicken?
And then uh, then . . .
Ray: I was the ball.
Then Frank hired 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 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.
Phyllis: 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 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.
Phyllis: Why? Why he make you sick?
Don: Oh, can't you see it how, how . . . ugly it is that, being that monster? Oh, just, I 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. trying to make me believe 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 not true. Well, you see, it gets her hot.
Phyllis: There's something so sexy about him. When he comes on that stage, I get so hot just looking at him drinking 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 nice . . . Boy, I hope no one ever finds out I 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 like to think of 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 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 all those controls in there? That's really fantastic . . .
Oh, it's nothing.
Don: All of those buttons and . . .
Phyllis: nothing. Look, look what's going on there! Oh . . . oh, wow, this . . .
Don: I can't see how a girl could do all that.
Phyllis: Oh, now with the, the Women's Liberation 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 didn't demonstrate enough uh, affection for her. It's a . . .
Oh . . . it's been so long . . .
Don: me, did your father demonstrate any affection for you?
Phyllis: I've been watching you on the screen for four weeks . . . Finally, my monster . . . Is it Is it really you? Oh that feels, oh, monster, can I have a bite off of your apple?
Don: Mm . . . I think uh . . .
Phyllis: It's so to be here with a monster finally . . .
Don: It must be uh, her mother and father probably told her that real ugly and awkward and dumb and everything . . .
Phyllis: a good apple, monster.
Don: And so she relates to that are ugly, dumb and awkward.
Phyllis: Let me take off your hat so I can really see what's happening there. Just what I thought, a monster head.
Don: find this is quite common in uh, today's society
Phyllis: It's like Adam and Eve and the apple . . . Finally, here's my . . . after all this time . . .
Don: That's why monster are so popular, you know?
Phyllis: I'd and waited . . .
Don: D'you know how many a monster movie costs to
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?
And our young society today goes to all these monster movies and they see them on television night after night.
Phyllis: It's so terrific to be the monster.
Don: raising a new generation of monster lovers.
Phyllis: I've been waiting so long for the monster . . . 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
Have I? I'll take one down!
Aynsley: Oh, . . .
I thought you get the walking four balls.
No no . . .
Carl: It's difficult to on three.
Don: I'm the chicken to measure it.
Don?
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, 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 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: you with a toilet brush?
Aynsley: Shhh . . . someone hear . . . yes, beat me with a toilet brush.
What's your name?
Aynsley: Ah, hello, my name is Aynsley Dunbar and I, I'm very interested in whips and canes, etc. I'm gonna fill, you in about uh, my background.
FZ: Are you absolutely serious about 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 likely 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 me to beat you with 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 know? And . . . has to be a limit.

Phyllis: That's a whip, I 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 you're talking.
Phyllis: You know like . . . I tell you something. I it's not getting your kidney or anything like that.
Aynsley: Oh look, keep, keep, keep it high, just keep it high.
Phyllis: You what I mean? I got worried about those things, I got . . . you know I'm humane, Aquarius and all this . . .
Aynsley: great . . . that's. . .
Phyllis: 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 would do if I had 'bout fifteen people.

Don: I what gets you hot. Hamburgers get you hot, 'cause I picked you up in the pool 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 can't it . . .
Don: See
Phyllis: I can't take it . . . oh, God, hamburger!
Don: But you don't know what 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 cape and everything . . . just incredible . . . I'd . . . wonder what it's like to, to change into a monster . . . it must be really great.
Phyllis: It's just so wonderful. Give me a 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 rides in the country in the Volkswagen . . . and, my monster, you're feeling me up, my monster.
FZ: It get you hot.
Phyllis: . . . 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!
Sheba is the one that's in love with Don.

Don: And why, why do you like
Phyllis: It's, it's not their looks, the intellectual thing that comes across, you know, you could tell that, I, looks aren't 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 I mean?
Don: I mean, . . .
Phyllis: 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, like a place to get away from things, and now 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!
Don: Thanks. drinking this beer in here?
Phyllis: No, I don't know what the bartender . . . he left it there, I don't know what's going on . . .
Don: My name is Debris.
Oh, hi! Sheba Flieschman.
Don: How do?
Phyllis: So and uh, your name is Debris.
Yeah.
Phyllis: You know, funny thing, if we got married my name would be DeBiff.
Don: My name is Debris, not Debris DeBiff.
Debris?
Yeah.
Phyllis: Biff Debris . . . well, I'll tell you something, I once knew whose name was Dubois. It, it sort of sounds like Debris, you know what I mean? Like, is that French, or what?
Don: Well, actually I'm part and part Norwegian.
Phyllis: Excuse me. Is the hamburger yet?
What sign are you?
Phyllis: Uh, I'm Aquarius Venus rising on my past.
Don:
Phyllis: Yeah. It's really 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
Yeah.
Phyllis: I think since I came New York, you know, I'm really . . .
Don: Are you New York?
Phyllis: Yeah, you can't tell!
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 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?
Don: What's the, what's the with uh, Debris?
Phyllis: one thing I stayed away from.
Don: Alright, free . . .
Phyllis: I think that you can really be on your own intellectual stratification.
Hamburgers.
Phyllis: Don't say hamburgers, it me so hot . . .
Don: But you know what gets me hot, you see . . .
Phyllis: I what gets you hot!
No, no . . .
Phyllis: I saw it in the pool
Don: You saw
Yeah!
Don: isn't what does it, you see. It really isn't.
Phyllis: Well, well, what is it? You know, 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.
Not, not nude showers.
Phyllis: What you mean not nude
Don: gotta be a special shower, you know.
Phyllis: What kind of
Don: With these special on it.
Phyllis: You mean, you wear clothes you . . . ?
Don: These clothes! 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 truth I think it's sexier because, you see like just a outline . . . tiny little bit, you know, like, poinnnng!

Phyllis: I don't understand it, but like . . .
Don: I . . .
Phyllis: It's your trip, man! You know? Like, it's alright me, you know? I don't care.
Don: And this children's belt with the little in it. Look at those pants!
Phyllis: Ooh, but what has this . . . do the holes! I mean, you know, like 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 the monster?
Because I'm embarrassed to.
FZ: What's there to be about?
Phyllis: Well, I've never done that before, and I don't do it now!
FZ: But why you wanna do it?
Phyllis: I'd not. There's no reason, I'd just rather not.
FZ: But what's the matter? You got an ugly
Phyllis: No, I have a body. I just don't wanna do it.
FZ: But why you wanna do it if you've got a great body? Don't you wanna share it with the world?
Phyllis: No, I don't wanna share it 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 with that little yellow holes, you know? And I'm hot!
Don: And I got the bun and the hamburger and the 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 three times a week, trying to find somebody that'll these clothes 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, disgusting . . .
Phyllis: You don't meet guys who get you off with hamburgers, I'm I'm really happy that mmmm . . .
Don: Oh, the two of us really make a couple!
I know, me with my clean clothes 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 the hamburger first, you know, while I wash your hair . . .
Do you want me to wash 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 nice the . . .
I can't bear it.
Phyllis: Especially, especially, if you . . .
Don: people are really weird.
Phyllis: Pull it on my back, a little bit, it won't, it won't hurt, just a little bit over 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, enforce him on your
Phyllis: No, I . . . don't need my clothes off, I can get the gratification that I want just this.

Phyllis: Oh, doesn't that feel good, oh, it's so great. I'm so glad that I met you . . .
Mmmm . . .
Phyllis: And this . . .
Don: Do you mind if I rub some of in your hair?
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 don't know, do you have cream rinse here? . . . this strip I be able to . . .
Don: Cream
Phyllis: . . . 'cause I . . .
Eugh!
Phyllis: I won't be, let me see how it feels the soap.
FZ: Whi-whi-which parts get you the hottest can be rushed with the hamburger?
Phyllis: Well I think uh . . . part!
Don: Oh, I this with hamburgers under the clothes.

Don: You're getting hot, on.
Phyllis: Oh, am I hot, over hamburger! Oh, I think of my uh . . .
For a hundred dollars you're getting hot.
Phyllis: Oh, am I hot! I'm so hot! Hhh . . . I'm so hot this 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? . . . those . . .
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, don't be bashful, I, oh, I know it makes you hot, if you keep . . .
Don: Yeah, I like the shirt better. wash the shirt.
Oh, let me take a little bit of the hamburger
FZ: Ha ha!
Phyllis: You know, the last guy that I was with he just had Ground Choc, you 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 Uncle

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

Janet: He's that group Cleanser. He looks pretty kinky. Too bad we didn't have our garters on.
Janet & EEEEEEEUH!
Janet: Oh, what do you 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: We're 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 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, this was our last . . .
Plugging 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 in the Brothers . . .
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, 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 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 member is the writer, you know I . . .
Don: Hey, listen you guys, I would like . . .
Meredith: guys can work together.
Don: Talk about the here
How about that new drum 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 and stick it under a rock!
Carl: 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 to measure it . . . I'm using the chicken to measure it.
FZ: What are you doing the chicken?
Carl: I'm using the to measure it.
FZ: What are you doing the chicken?
Carl: I'm using the to measure it.
Motorhead: Outta site! outta site!
Meredith: beautiful!
FZ: What are you with the chicken?
Carl: I'm . . .
That's what we need for our new song.
Meredith: was a good composition!
We got it!
Aynsley: Can you one like that then?
Don: I did! . . .
Ray?: You I mean . . .
Don: At last night, . . .
Ray: That's when he starts in with the . . . ?
Don: Now . . .
Then he comes in with his guitar solo?
Don: You guys, do you see this over
Ray: Why does he this?
Don: Can you see this over here? This is the new composition that we're to make a hit single with.
Aynsley: it called, "Junk Shuffle"?
No . . .
"Junkyard."
Aynsley: it called?
Carl: I'm using the chicken to it.
FZ: called "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: would be the title. Ray's 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 to measure the pitch in?
Aynsley: It's I choose.
Don: Oh, I see, yeah, are we using the chicken to it?
Motorhead: Or
Don: show you, this is . . .
Ray: How a sock?
I thought it was cooler.
Don: is the guitar part, right here.
Then let me see . . .
Aynsley: her.
Motorhead: that what I play? That's my part.
Don: That's part.
Motorhead: Oh, A . . .
Don: And is a new concept.
Motorhead: I learn that by tomorrow, man, there's no way.
Tonight.
Motorhead: I can't it tonight!
Don: Listen, I got the booked.
Motorhead: I can't . . .
Tonight? OW!
Don: At the Ranch Market tonight, man!
Meredith: pretty heavy, man.
But tonight?!
Meredith: pretty heavy . . .
Motorhead: My strings are flat, my pickups are shot, do wouldn't give us an advance so I can buy some new strings 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 need 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 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 word? It's a . . .
Francesca: Who 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, I've ever got so hot until I started to, to use the chicken head to it with it.

Guy From Alabama: We must say it in Alabama language, man, I understand.
Another "Guy From Alabama": Playing that kind of music and eating meat, you'll . . .
I say . . . I say . . .
Guy Alabama: (unintelligible shouting)
I say, old boy, you speak 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.
Don: I mean . . . I know what it's like, to me the of being commercial is doing something different.
Meredith: Bet that one's a one . . .
Carl: The way 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 to measure it.
Chicken's in the . . .
Aynsley: Biff, man, how does that fit the part, though . . . heavy like that . . .
Meredith: And is after into that my part there?
Don: is the music.
Meredith: where?
Don: This, the thing is the music.
Meredith: Ah, but how does that one fit all . . .
Aynsley: But no head, man.
Meredith: But how that fit into all that?
Aynsley: Oh yeah, . . .
Are you using a chicken to measure it?
Meredith: the concept of this?
Motorhead: There's no way we can it.
Meredith: What's the concept of number?
Don: 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.
Motorhead: I'm going to the Fudge.
Don: You guys, if you wanna a hit single and I mean, a hit single.
Aynsley: Yeah, but all I'm saying is as as you pay us well, I just don't wanna know.
Well, you'll get royalties.
Motorhead: You gotta get royalties, man!
Royalties?
Don: Listen, you . . .
A monster!
Phyllis: I'm wet . . . . . .
Meredith: This is turning too confusing, I just can't understand 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 with the yellow holes!

Phyllis: I get enough of that stuff, mmm!
FZ: "We're to the beginning of a new era, at the motel."
Phyllis: at this over there, look . . . mmm mm . . .
Don: We're coming to the beginning of a new era at the motel, we have been working . . .
Obviusly still, still the best.
Don: . . .on a new composition in the back . . .
Phyllis: I love when he did that . . .
. . . in our secret chambers.
Phyllis: Then changed . . . I remember that . . .
Don: 'Cause is secret.
For twelve 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, not good anymore.
Don: You see, like this whole thing, it's really what's causing all the problems.
Phyllis: Because all we've got kids now.
So we have to get a composition.
Phyllis: And we can't, he can't do this anymore, another whole life.
Don: And, I'm sure that going to be a hit single.
Phyllis: But, I can't help it, I mean irresistible. The guy is irresistible.
Don: Because everyone is out and buying our new hit single, for this group that uh . . .
Look at that face, over there . . .
FZ: "You remember our single 'The Bun'?"
Don: Yeah, you
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 pretty hard to because uh . . .
Look at this, when he did that at the fare . . .
Don: Some of the members of the group couldn't music, you see?
No . . . it's 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 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 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 sell. Look 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 . . .
Massimo: Try to do something that.
Like that?
Massimo: figlio di puttana.
FZ: on television set.
Massimo: E non il cazzo.
A non cacarmil catzo.
Massimo: 'Cause I have a big of minchia!
Stumuk: A big of minchia!
Phyllis: It's great you're Italian, I love . . . That's what I want! More, a little culture, it's enough already with "The Bun"!
I had, I had to change it. It wasn't right.
Massimo: These fucking things didn't work, I don't know why. Maybe, can you see all these little points, points, on these fucking things? You have to know that . . .
Can you see?
Massimo: . . . all this . . .
Stumuk: Everybody's using the chicken to measure it nowadays, even my kids!
Massimo: . . . come from my nose, and maybe didn't like it.
No more the sock . . .
Massimo: And I don't know why . . .
Stumuk: But "The Bun," the placement of "The Bun." It has seeds. different.
Massimo: I just can't imagine why they didn't like these balls that 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 mean dick?
Guy From Alabama: You put minchia 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 Nature didn't make you Italian.