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 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 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: to you from the motel.
Phyllis: Look at monster.
Don: . . .
FZ: Ha ha ha ha!
Phyllis: What are they laughing about? He looks so when they laugh . . .
Don: That's what my used to say . . .
Phyllis: Twelve years. It's the same story there with that song, I don't 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: 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 this time. 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 used to watch him eat, and while he was I would ask him what he's doing.
Haskell What the hell are we doing in this bathroom?
FZ: I'm going to . . . While you stand there and take pictures of that, I'm 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 especially about the Mothers of . . .

Guy From Alabama: You wanna a circle-jerk?
Aynsley: The
Guy Alabama: Circle-jerk.
A circle jerk? What's that?
Guy From Alabama: That's where you get around and bet yer meat and see who can get it the fastest.
Aynsley:
Guy From Alabama: Yeah, and whoever gets nineteen kegs
Aynsley: who?
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 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 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 borrow comb?
Phyllis: You know what I to do?
Ray: What are you with that?
I used to watch 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 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 say, "I'm using the chicken to measure it." What did he mean by that?
Ray: . . . he's the chicken to measure it
Till this day I don't know what he's talking about . . .
FZ: Do it again.
Phyllis: Tishman. That Minnesota Tishman . . . What a guy . . .

Guy From Alabama: inches or less?
Aynsley: Uh . . . inches.
Guy From Eight inches? Well, I'll get your kind of women, there, man.
Aynsley: You Yes, it's cool . . .
Guy From Alabama: Oh, they got some whores there you believe!
Gee Jimmy, that's cool!
Guy From Alabama: You can just . . . right in.
Aynsley: But do they 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 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 Alabama: That's cool, yeah.
Aynsley: That's cool, yeah, I of followed the . . .
Guy From Alabama: I'm using the chicken to measure it,
Aynsley: You
Guy Alabama: Yeah.
Aynsley: Yeah, the shit . . . or the white dove?
Guy From Alabama: I'm up to my in shit, man.
Really.
Guy From Alabama: There's all kind of shit, now . . . 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 hand." Repeat after me: "Questa e' la mia mano destra."
Ray: What is it you're
Carl: I'm using the chicken to it. Have you ever used a chicken to measure it?
Meredith: Gee Jimmy, cool!
Guy From Alabama: I fucked a . . .

Don: We're coming to the 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. Anything can be music.

FZ: 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 action is . . .
Phyllis: eating.
FZ: Ok, he's eating, you see . . . Don Preston . . . Well, it depends, mostly it's a hamburger, sometimes, well he wanna eat the hamburger, 'cause he's a vegetarian . . . Okay 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 . . . Yeah, she used to be Tom Wilson's secretary . . . Ok . . . You remember Tom Wilson were gonna run for President?

Aynsley: You're Tom
Yeah.
Aynsley:
Carl: Then she came out here on the Woodstock festival.
Ray: are you doing with that chicken?
Carl: And then uh, . . .
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 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: When she sees him turning 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 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 he just gets people to do these things.
Don: He just makes me when he changes into 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 can't stand it, I, I think I'm be sick, I have to vomit.

FZ: She just, she tells me she has to vomit, see. She's trying to make me believe that it makes her when he turns into a monster.
Phyllis: There's something about that that gets me so nauseous, I don't know what it is. 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, that smoke stuff, I don't know what it is. I don't 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 out I love it so much, that hot monster . . . oh, ooh . . .
Don: You're really good at those dials, baby. You're the most person I've ever 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 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 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 those in there? That's really fantastic . . .
Phyllis: Oh, nothing.
All of those buttons and switches . . .
Phyllis: It's nothing. Look, look what's on there! Oh . . . oh, wow, this . . .
Don: I can't 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 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, affection for her. It's a . . .
Phyllis: Oh . . . been so long . . .
Don: Tell me, did your demonstrate any affection for you?
Phyllis: I've been 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 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 she's real ugly and awkward and and everything . . .
Phyllis: It's a apple, monster.
And so she relates to people that are ugly, dumb and awkward.
Phyllis: Let me take off your hat so I can see what's happening underneath there. Just what I thought, a monster head.
Don: You'll find this is quite in uh, today's society
Phyllis: It's Adam and Eve and the apple . . . Finally, here's my monster . . . after all this time . . .
Don: That's why monster are so popular, you know?
Phyllis: I'd waited and . . .
Don: know how many a monster movie costs to make?
Phyllis: And he is, he's right here.
Don: Monster really cost a lot of money.
Phyllis: Sitting with me, I can't believe it! Is it you, monster?
Don: And our young society today goes to all these monster movies and they see them on television after night.
It's so terrific to be with the monster.
Don: We're raising a new of monster 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 quick vibrator? Now ruined the whole thing
Have I? I'll take one down!
Aynsley: Oh, . . .
Carl: I thought you get the walking balls.
No no . . .
Carl: It's to walk on three.
Don: I'm using the to measure it.
Don?
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 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 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 beat me with a brush?
Phyllis: you with a toilet brush?
Aynsley: Shhh . . . someone might hear . . . yes, beat me with a brush.
Phyllis: What's your
Aynsley: Ah, hello, my name is Aynsley Dunbar and I, I'm very interested in whips and canes, etc. I'm gonna fill, fill you in uh, my background.
FZ: Are you absolutely about 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 me to beat you with the toilet brush?
Yes.
Phyllis: I mean uh, I'm ready!

Phyllis: You know, I'll 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 . . . there has to be a limit.

Phyllis: 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 you're talking.
Phyllis: You know like . . . I tell you something. I hope it's not getting your 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.
Just keep it high. Oh, love it, yeah, right.
Phyllis: Uhm . . . well, see . . .
FZ: Ask him, "Does it get you hot?"
Is it getting you hot?
Aynsley: Oh, maybe it do if I had another 'bout fifteen people.

Don: I what gets you hot. Hamburgers get you hot, 'cause I picked you up in the pool hall!
You don't know what gets me hot, you don't have the faintest idea what gets me hot!
Don: Sure! Hamburgers! at this . . .
Phyllis: I take it . . .
See that?
Phyllis: I take it . . . oh, God, that hamburger!
Don: But you know what gets me hot.
Phyllis: I'd bet I know what gets you hot. Sticks, sticks on body on a table get you hot.
Don: I'm getting hot! . . . When I was drinking the potion . . . and that hat and that 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 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 rides in the country in the Volkswagen . . . and, my monster, you're me up, my monster.
FZ: It get you hot.
Well . . . it doesn't get me hot.
FZ: I saw you laying on the in the corner with him!
Phyllis: I, it wasn't me laying in the corner! That was, wasn't me!
FZ: Ha ha . . . Who was it?
That was Sheba! It wasn't me!
FZ: Who is Ha ha!
Phyllis: is the one that's 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 aren't important to me, it's something about the intelligence. When you mix 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 causes this?
Phyllis: You know I mean?
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 came here, because of the feeling like, like a place to get away 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!
Don: Thanks. Anybody 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 is Biff Debris.
Phyllis: Oh, hi! Flieschman.
Don: How do?
Phyllis: So and uh, your is Biff Debris.
Yeah.
Phyllis: You know, funny thing, if we got my name would be Sheba DeBiff.
Don: My name is Biff Debris, not DeBiff.
Debris?
Yeah.
Phyllis: Biff Debris . . . well, I'll 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 what?
Don: Well, actually I'm Mohawk and part Norwegian.
Phyllis: Excuse me. Is the hamburger ready
Don: What are you?
Uh, I'm Aquarius with Venus rising on my past.
Don:
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 together?
Yeah.
Phyllis: I think I came from 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, 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 that's in California they say, "Orange," you know?
Don: What's the, what's the with uh, Debris?
That's one thing I stayed away from.
Don: Alright, you're . . .
Phyllis: I think that you can really be high on own intellectual stratification.
Hamburgers.
Phyllis: Don't say hamburgers, it me so hot . . .
Don: But you don't know gets me hot, you see . . .
Phyllis: I know what you hot!
No, no . . .
Phyllis: I saw it in the hall
Don: You saw
Yeah!
Don: That isn't what does it, you see. It isn't.
Phyllis: Well, well, what is it? You know, if it's not that, then what is it?
Don: . . .
Phyllis: Well, be embarrassed! You can tell 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.
Don: Not, not showers.
Phyllis: What you mean not nude
It's 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: These clothes! are the clothes . . .
These are the clothes that you . . . ?
Don: here . . .
Phyllis: There are in there for me for the shower?

Phyllis: Say he 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 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 with me, you know? I don't care.
And this children's belt 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.
Don: It'll be . . .
Phyllis: You know, like, okay, I'll try, I care, I'll try anything!

FZ: Hi, Phyllis, why you want to take your clothes off with the monster?
Because I'm embarrassed to.
FZ: What's there to be about?
Phyllis: Well, I've never done that before, and I wanna do it now!
FZ: But why don't you do it?
Phyllis: I'd rather not. There's no reason, I'd just not.
FZ: But what's the matter? You got an ugly
No, I have 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? Don't you wanna share it the world?
Phyllis: No, I wanna 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 yellow holes, you know? And I'm hot!
Don: And I got the bun and the hamburger and the relish and the and I've got my clothes off and I'm hot!
Phyllis: Oh, on!
Don: You how many times we . . . ? I go down to Mr. Pocket three 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 two months now.
Phyllis: Where is the hamburger? give me a bite, mmh . . . it's so great, you don't meet guys . . .
Don: Oh, it's . . .
Phyllis: You don't meet who get you off with hamburgers, I'm saying I'm really happy that mmmm . . .
Oh, the two of us really make a great 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 it to you?
Phyllis: Well, I know, I wasn't planning on it, it's alright, you can wash my back . . . mm, so nice the shower . . .
Don: I bear 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 hurt, just a little bit over there, this side, it's terrific, with the hamburger.

Phyllis: Hamburger . . . Hhhh . . . Oh . . .
FZ: Wouldn't be better 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 feel good, oh, so great. I'm so glad that I met you today . . .
Mmmm . . .
Phyllis: And hamburger . . .
Don: Do you mind if I rub some of this in hair?
Oh I don't 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? . . . strip I won't be able to . . .
Cream rinse?
Phyllis: Yeah . . . I . . .
Eugh!
Phyllis: I won't be, let me see how it with the soap.
FZ: Whi-whi-which parts get you the hottest that can be with the hamburger?
Phyllis: I think uh . . . what part!
Don: Oh, I love 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 dollars you're getting 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 . . . getting better.
Phyllis: Where's the Just . . . those . . .
FZ: Hamburgers with are good.
Phyllis: Ha-a . . . let me take a little bite, mmm . . . delicious! Let me put it in here so I 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 you hot, like if you keep . . .
Don: Yeah, I like the shirt better. I'll the shirt.
Oh, let me take a little bit of the hamburger
FZ: Ha ha!
Phyllis: You know, the guy that I was with he just had Ground Choc, you know what Ground Choc 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 health food You know, like . . .
No, I am Uncle Meat!
Phyllis: You are Meat?

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

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

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 secret chambers. 'Cause everything is secret. We're trying to get the secret karma change for the whole world, you see, 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 single 'The Bun'?"
Don: Yeah, you remember our other single, "The Bun"? See, this, this was our last . . .
Aynsley: it in . . .
Don: And uh, it was pretty to play 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 . . .
A few holes in the Brothers . . .
Don: Uh, with our new arrangement we really hope to do big things, you know? Like we hope to 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 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: about the arrangement here
Aynsley: How about new drum solo you just worked out?
Don: got a new composition.
Meredith: It's rhythmic,
Now that's beautiful.
Don: Listen . . . Silence, fools! . . . SILENCE, FOOLS! 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 to measure it . . . I'm using the chicken to measure it . . . I'm using the chicken to measure it.
FZ: What are you with the chicken?
I'm using the chicken to measure it.
FZ: What are you with the chicken?
Carl: I'm using the to measure it.
Motorhead: Outta site! That's site!
That's beautiful!
FZ: What are you with the chicken?
Carl: I'm . . .
That's what we need for our new song.
Meredith: That was a composition!
We got it!
Aynsley: Can you write one that then?
Don: I did! . . .
Ray?: You I mean . . .
Don: At last night, . . .
Ray: That's when he in with the guitar . . . ?
Now look . . .
Ray: Then he comes in with his solo?
Don: You guys, do you see over here?
Ray: Why he have this?
Don: Can you see this over This is the new composition that we're going to make a hit single with.
What's it called, "Junk Shuffle"?
No . . .
"Junkyard."
Aynsley: it called?
Carl: I'm the chicken to measure it.
FZ: It's called "We're using the to measure it."
Carl: I'm using the chicken to it.
Don: Right, "We're the chicken to measure 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 measure the in?
It's what I choose.
Don: Oh, I see, yeah, are we the chicken to measure it?
Or drumming?
Don: I'll show you, is . . .
Ray: How a sock?
Motorhead: I it was cooler.
This is the guitar part, right here.
Motorhead: let me see . . .
Pull her.
Motorhead: that what I play? That's my part.
Don: That's part.
Motorhead: Oh, A . . .
And this is a new concept.
Motorhead: I can't learn by tomorrow, man, there's no way.
Tonight.
Motorhead: I learn it tonight!
Don: Listen, I got the booked.
I can't even . . .
Aynsley: 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 Herbie wouldn't give us an advance so I can buy new strings and an amp?
Don: Listen, I'll take of everything.

Don: You see, Countess, the problem is uh, 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 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 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, never got so hot as long, I've ever got so hot until I started to, to use the chicken head to measure it with it.

Guy From Alabama: We must say it in Alabama language, man, I understand.
"Guy From Alabama": Playing that kind of music and eating meat, you'll never . . .
I say . . . I say . . .
Guy From (unintelligible shouting)
I say, old boy, you speak english?
Guy From Alabama: Hey man, you got any or beans or anything like that?

Don: You have to admit is different.
Motorhead: Oh I . . . that's a drum, that's gotta be a drum.
Don: I mean . . . I know what it's like, to me the idea of being commercial is something different.
Meredith: Bet that a heavy one . . .
Carl: The way they . . .
You know? Something people can . . . can . . .
WAH!
Don: It's not the old thing.
Aynsley: Hey, but that, isn't a . . .
Meredith: Have to . . .
No!
WAH!
NO!
Motorhead: out!
Oh . . .
Don: it, Ray . . .
Motorhead: in the . . .
Don: Now, use the to measure it.
Motorhead: in the . . .
Aynsley: Biff, man, how does fit into the part, though . . . heavy like that . . .
And what 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
Oh yeah, there's . . .
Ray: Are you a chicken to measure it?
What's the concept of this?
Motorhead: no way we can play it.
What's the concept of this number?
Don: Look, . . .
Motorhead: Not by tonight, man! It be done.
Aynsley: Let me . . . anyway, man, I'm going out tonight, you know, I've got a few 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 saying is as long as you pay us well, I just don't know.
Well, you'll get royalties.
Motorhead: You gotta get royalties, man!
Aynsley:
Don: Listen, you . . .
A monster!
Phyllis: I'm wet . . . . . .
Meredith: This is turning too confusing, I just can't 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 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: Look at this 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 in the back room . . .
I love when he always did that . . .
Don: . . . in our chambers.
Then changed into . . . I remember that . . .
Don: 'Cause is secret.
Phyllis: For twelve years he's still working on the song, I don't know what I'm gonna do.
Don: We're trying to get the secret karma change for the world.
Phyllis: Still kinda get that "The Bun" thing. I gotta this, it's not good anymore.
Don: You see, like this whole karma thing, really what's causing all the problems.
Because after all we've got kids now.
Don: So we to get a composition.
Phyllis: And we can't, he can't do anymore, it's another whole life.
Don: And, I'm sure that it's to be a hit single.
But, I can't help it, I mean he's irresistible. The guy is irresistible.
Don: Because everyone is out and buying our new hit single, for this group that uh . . .
Phyllis: Look at face, over there . . .
FZ: "You our other 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 remember too . . . yeah . . .
Don: And uh, it was pretty hard to play uh . . .
Phyllis: Look at this, he did that at the fare . . .
Don: Some of the of the group couldn't read music, you see?
Phyllis: No . . . better, I'll tell you something . . .
But we got it all straightened out.
Phyllis: I don't know, I have to 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 about work, I have to think about him, I have to think about . . .
Stumuk: Maybe I oughta face it, after 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. Look at . . .
Phyllis: Oh, look at that! I remember --let me stop that and see how the fume was coming out of his mouth, and the way the lips, the lips, so beautiful and the . . .
Massimo: Try to do something that.
Stumuk: that?
Maledetto figlio di puttana.
FZ: on television set.
E non cagarmi il cazzo.
Stumuk: A non catzo.
Massimo: 'Cause I a big bunch of minchia!
A big bunch of minchia!
Phyllis: It's great learning 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 points, white points, on these fucking things? You have to know that . . .
Can you see?
Massimo: . . . all stuff . . .
Stumuk: using the chicken to measure it with nowadays, even my kids!
Massimo: . . . come from my nose, and people didn't like it.
Stumuk: No more the . . .
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 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 Alabama: Far fucking out! Far out!

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

Guy From Alabama: DONG! DONG! I mean dong, that's what minchia is!
Aynsley: Your
Guy Alabama: 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 tanta! And this part of the lesson, I'm sorry, but you can't learn, 'cause Mother Nature didn't make you Italian.