Luyện nghe bài hát Uncle Meat Film Excerpt Part 1

FZ: We're shooting the uh, title sequence for Uncle Meat right now, 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 the world, because it's the young people that really need to be changed, and, and you can really do that through music and everything . . . This was our last hit single . . . it was really a bummer, they wouldn't even play it on the radio . . . Oh, well, gotta come up with something better than that . . .

Don: evening, this is Biff Debris.
Phyllis: You . . . it's too much, I know.
Coming to you from the motel.
Phyllis: at that monster.
Where . . .
FZ: Ha ha ha ha!
Phyllis: What are they laughing about? He looks so when they laugh . . .
That's what my psychiatrist used 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 tired of the same thing. But I 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: Don't you it coming?
Phyllis: He was, he was okay in this time. He's washed up now, I heard it though.

Ray: What is it doing, Mr. Tishman?
I'm using the chicken to measure it
Aynsley: . . .
Phyllis: You know what I used to do? I used to watch him eat, and he was eating I would ask him what he's doing.
Wexler: 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 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 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 about the Mothers of . . .

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

Ray: is it that you're doing with this?
I'm using the . . .
FZ: You know what I used to do? I used to watch him eat. And while he was eating, I would talk to him while he was eating, and I would ask him he's doing. And he would say, "I'm using the chicken to measure it."
Ok . . .
Don: Can I borrow your
You know what I used to do?
Ray: are you doing with that?
Phyllis: I to watch him eat.
I'm using the chicken to measure 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.
Why is he using 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 what he's talking . . .
FZ: Do it again.
That Tishman. That Minnesota Tishman . . . What a guy . . .

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

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 . . .
Aynsley: Do you want ball?
FZ: He had a way with that . . .
Phyllis: He . . . look at the way he handles chicken, he had a way . . . look at the way he holds it, and fondles it, and he put it right near his privates . . .
But that's cool, still
Guy From That's cool, yeah.
That's cool, yeah, I sort of followed the . . .
Guy Alabama: I'm using the chicken to measure it, though
You were?
Guy Alabama: Yeah.
Yeah, where's the shit . . . or the white dove?
Guy From I'm up to my knees in shit, man.
Really.
Guy From Alabama: There's all 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 "This is my right hand." Repeat after me: "Questa e' la mia mano destra."
Ray: is it you're doing?
Carl: I'm using the chicken to measure it. Have you ever used a to measure it?
Meredith: Gee Jimmy, cool!
Guy From Alabama: I 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 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 over here and be in our uh, teen-age movie? Okay, well, I'll tell you the action is . . .
He's 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 . . . Okay now, Phyllis is here . . . . . .
Who's 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 secretary . . . Ok . . . You remember Tom Wilson were run for President?

Aynsley: Tom Wilson?
Yeah.
Aynsley:
Carl: she came out here work on the Woodstock festival.
Ray: What are you doing with chicken?
Carl: And uh, then . . .
Ray: I was the ball.
Carl: Then Frank hired her to 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 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.
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 mean he just people to do these things.
Don: He just makes me when he changes into a monster.
Why? Why does he make you sick?
Don: Oh, can't you see it how, how . . . it is that, being that monster? Oh, just, I can't stand it, I, I think I'm gonna be sick, I have to vomit.

FZ: She just, she tells me she has to vomit, see. She's trying to make me 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. Look at that, at that.
FZ: Yeah, but it's not true. Well, you see, it her hot.
Phyllis: There's 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 ever seen.
Phyllis: I don't like to be manipulating, that's 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 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 comes out of the toilet from behind her.

Phyllis: Oh . . . a lower, please.
Don: How do you work all those controls in there? really fantastic . . .
Oh, it's nothing.
Don: All of buttons and switches . . .
It's 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 Front we can do anything, you're kidding? Oh . . . oh! It's so good!
Don: This obviously has some sort of demented problem in where she, she likes uh, monsters that drink foamy vile liquid and uh transform. It must be some uh, connection in her past, in her childhood of something. Maybe her father didn't demonstrate enough uh, affection for her. It's a . . .
Phyllis: Oh . . . it's been so . . .
Don: Tell me, did your father demonstrate any for you?
Phyllis: been watching you on the screen for four weeks . . . Finally, my monster . . . Is it real? Is it really you? Oh that feels, oh, monster, can I have a bite off of your apple?
Don: Mm . . . I think uh . . .
Phyllis: It's so nice to be here with a monster . . .
It must be uh, her mother and father probably told her that she's real ugly and awkward and dumb and everything . . .
Phyllis: a good apple, monster.
Don: And so she to people that are ugly, dumb and awkward.
Phyllis: Let me take off your hat so I can really see what's underneath there. Just what I thought, a monster head.
You'll find this is quite common in uh, today's society
Phyllis: It's like Adam and Eve and the . . . 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: D'you know how many a monster movie costs to
Phyllis: And there he is, he's 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 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 waiting so long for the monster . . . Maybe this'll be the thing.

Don: He's changing 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? take one down!
Oh, cheers . . .
Carl: I thought you get the four balls.
No no . . .
Carl: It's difficult to on three.
I'm using the chicken to measure it.
Carl:
Don: I'm the chicken 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 little dumb but I went along with it, you know, what else are you gonna do? You're paid and uh, you do these things.

Phyllis: Cleanser . . . cleanser . . . . . . cleanser . . . cleanser . . .
Hello, there!
Phyllis: Cleanser . . . . . .
Say, could you do me a favour? Could you beat me with a toilet brush?
Phyllis: Beat you with a brush?
Shhh . . . someone might hear . . . yes, beat me with a toilet brush.
Phyllis: your name?
Aynsley: Ah, hello, my name is Aynsley Dunbar and I, I'm very interested in 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.
You want me to beat you with the toilet 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 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: That's a whip, I guessed right, you know I saw this handle sticking up here and I like, I, I guessed it right on first, you Like I know . . .
FZ: Beat him while talking.
Phyllis: You know like . . . I you something. I hope it's not getting your kidney or anything like that.
Aynsley: Oh look, keep, keep, just keep it high, keep it high.
Phyllis: You know I mean? I got worried about those things, I got . . . you know I'm humane, Aquarius and all this . . .
Aynsley: great . . . that's. . .
Venus is arising, you know, I'm humane.
Aynsley: Just 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 know what gets you hot. Hamburgers get you hot, 'cause I you up in the pool hall!
Phyllis: You don't know what gets me hot, you have the faintest idea what gets me hot!
Don: Sure! Hamburgers! Look at . . .
Phyllis: I can't it . . .
See that?
Phyllis: I take it . . . oh, God, that hamburger!
Don: But you know what gets me hot.
Phyllis: I'd bet I what gets you hot. Sticks, sticks on your body on a table get you hot.
Don: I'm getting hot! . . . When I was drinking the potion . . . and that hat and 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 bite of the apple there . . . Mmm, oh, my monster! Oh, 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 with him!
Phyllis: I, it wasn't me laying in the corner! That was, that me!
FZ: Ha ha . . . Who was it?
Phyllis: That was Sheba! It me!
FZ: Who is Ha ha!
Phyllis: is the one that's in love with Don.

Don: And why, why do you like
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. 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 causes this?
You know 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 like, like a place to get away from things, and now what's going on, it's like all noise and . . . I don't know, it doesn't . . . wherever you go nowadays it's the same thing, all these guys they're so disgusting, I can't stand it . . .
Don: Look, anybody . . . sitting here?
No! Go right ahead, sit down!
Don: Thanks. Anybody drinking this beer in
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?
So and uh, your name is Biff Debris.
Yeah.
Phyllis: You know, funny thing, if we got married my name would be DeBiff.
Don: My name is Biff Debris, not DeBiff.
Phyllis:
Yeah.
Phyllis: Biff Debris . . . well, I'll tell you something, I once knew someone whose name was Dubois. It, it sort of sounds like Debris, you know what I Like, is that French, or what?
Don: Well, actually I'm Mohawk and part Norwegian.
Phyllis: Excuse me. Is the hamburger yet?
Don: What sign are
Phyllis: Uh, I'm Aquarius with rising on my past.
Don:
Phyllis: Yeah. It's really good 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 New York, you know, I'm really . . .
Are you from 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 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, 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 I stayed away from.
Alright, you're free . . .
Phyllis: I think that you can really be high on own intellectual stratification.
Hamburgers.
Phyllis: Don't say hamburgers, it me so hot . . .
But you don't know what gets me hot, you see . . .
Phyllis: I what gets you hot!
No, no . . .
Phyllis: I saw it in the pool
You saw that?
Yeah!
Don: That what does it, you see. It really isn't.
Phyllis: Well, well, what is it? You know, like if it's not that, then 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 showers?
Don: It's gotta be a shower, you know.
Phyllis: What of shower?
Don: With these clothes on it.
Phyllis: You mean, you wear when you . . . ?
Don: These clothes! are the clothes . . .
Phyllis: These are the that you . . . ?
Right here . . .
Phyllis: There are clothes in 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 little . . . tiny little bit, you know, like, poinnnng!

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

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

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

Phyllis: I'm ready! I got the shirt, I got the pants, and I got the belt with little yellow 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 three times a week, trying to find somebody that'll 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 for about two months now.
Where is the hamburger? Just give me a bite, mmh . . . it's so great, you don't meet guys . . .
Don: Oh, it's . . .
Phyllis: You meet 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 clean clothes and the 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, it's alright, you can wash my back . . . mm, so nice the . . .
Don: I bear it.
Especially, especially, especially if you . . .
Don: Some are really weird.
Phyllis: Pull it on my back, just a little bit, it won't, it won't hurt, a little bit over there, this side, it's terrific, with the hamburger.

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

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

Don: You're hot, come on.
Phyllis: Oh, am I hot, this hamburger! Oh, I think of my uh . . .
Don: For a hundred dollars you're hot.
Phyllis: Oh, am I hot! I'm so hot! Hhh . . . I'm so hot this 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 hamburger? Just . . . . . .
FZ: Hamburgers with 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 in case I wanna little piece after, could you do my back?
Oh yeah . . .
Phyllis: Underneath the shirt, don't be bashful, I, oh, I know it you hot, like if you keep . . .
Yeah, I like the shirt better. I'll wash the shirt.
Phyllis: Oh, let me take a little bit of the
FZ: Ha ha!
Phyllis: You know, the last guy that I was with he just had Ground Choc, you know what Ground Choc like in the shower, man . . .
FZ: Ha ha ha ha!
Oh . . .
Phyllis: This is odd meat, did you get this?
FZ: Ha ha ha!
Phyllis: like the health food stuff, are you a health food person? You know, like . . .
No, I am Uncle Meat!
Phyllis: You are Meat?

Phyllis: And you're 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 appreciation and I clean your bathroom . . . the cleanser . . .
FZ: "I am to the Hollywood Ranch . . . "
Phyllis: I'm to the Hollywood Ranch Market and I'm gonna 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 Ranch . . .
Phyllis: . . .
And get the cleanser and clean my bathroom.

Janet: from that group Cleanser. He looks pretty kinky. Too bad we didn't have our garters on.
Janet & EEEEEEEUH!
Janet: Oh, what do you expect from work in 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 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 group that uh . . .
FZ: "You remember our other single 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, of the members of the group couldn't read music, you see? But we got it all straightened out and, some of them quit and everything but . . .
Aynsley?: A few holes in the . . .
Don: Uh, with our new arrangement we really hope to do big things, you know? Like we hope to change every single person's karma and that in turn will change and upgrade all the ecology problems, all the polution and all the air and everything, you know? And 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 you now to the motel, where the group is deep in . . . just deep.

Motorhead: . . . straightest member is the writer, you know I . . .
Hey, listen you guys, I would like just . . .
Meredith: These can work together.
Don: Talk the arrangement here
Aynsley: How about new drum solo you just worked out?
I've got a new composition.
Meredith: rhythmic, huh?
Now that's beautiful.
Don: Listen . . . Silence, fools! . . . SILENCE, FOOLS! Don't you in progress?
Carl: I'm the chicken to measure it.
FZ?: Take that progress and stick it 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 with the
I'm using the chicken to measure it.
FZ: What are you doing the chicken?
Carl: I'm using the chicken to it.
Motorhead: Outta site! outta site!
Meredith: beautiful!
FZ: What are you with the chicken?
I'm using . . .
Don: what we need for our new song.
That was a good composition!
We got it!
Aynsley: Can you one like that then?
I did! Well . . .
Ray?: You would? I . . .
At last night, that's . . .
Ray: That's when he starts in the guitar . . . ?
Now look . . .
Ray: Then he comes in with his guitar
Don: You guys, do you see this over
Ray: Why he have this?
Can you see this 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: it called?
I'm using the chicken to measure it.
FZ: It's called "We're using the to measure it."
Carl: I'm the chicken to measure it.
Don: Right, "We're using the chicken to measure it." Well, I 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, using the chicken to measure the pitch in?
It's what I choose.
Don: Oh, I see, yeah, are we the chicken to measure it?
Motorhead: Or
Don: show you, this is . . .
Ray: How a sock?
Motorhead: I it was cooler.
Don: This is the guitar part, here.
Motorhead: let me see . . .
Aynsley: her.
Motorhead: It's that what I play? my part.
Don: your part.
Oh, that A . . .
Don: And is a new concept.
I can't learn that by tomorrow, man, there's no way.
Tonight.
Motorhead: I can't it tonight!
Don: Listen, I got the booked.
I can't even . . .
Aynsley: OW!
Don: At the Hollywodd Market tonight, man!
Meredith: That's heavy, man.
But tonight?!
Meredith: That's 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, take care of everything.

Don: You see, Countess, the problem is uh, it's very hard to talk 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 . . .
Francesca:
Don: GNG! MMnnnngrgGGL! Sorry, would you 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 head to measure it with it.

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

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

Phyllis: I can't get of that stuff, mmm!
FZ: "We're to the beginning of a new era, at the motel."
Phyllis: Look at this over there, . . . mmm mm . . .
Don: We're coming to the beginning of a new era at the motel, we have working secretly . . .
Obviusly still, still the best.
Don: . . .on a new composition in the back . . .
Phyllis: I love when he did that . . .
Don: . . . in our chambers.
Phyllis: Then into . . . I remember that . . .
Don: 'Cause is secret.
Phyllis: For twelve years he's still working on the same song, I don't what I'm gonna do.
We're trying 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 karma thing, it's really what's causing all the problems.
Phyllis: 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 that it's going to be a hit single.
Phyllis: But, I can't it, I mean he's irresistible. The guy is irresistible.
Don: Because is going out and buying our new hit single, for this group that uh . . .
Phyllis: Look at that face, over . . .
FZ: "You our other single 'The Bun'?"
Yeah, you rem--
Phyllis: at that, right that, right there . . . mmm . . .
Don: Our single, "The Bun"? See, this, this was our last composition . . .
Phyllis: Oh, God! Oh, I that too . . . yeah . . .
And uh, it was pretty hard to play because uh . . .
Phyllis: Look at this, when he did that at the . . .
Don: Some of the of the group couldn't read 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 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 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 why it didn't 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: He's on set.
Massimo: E non il cazzo.
Stumuk: A non catzo.
'Cause I have a big bunch of minchia!
Stumuk: A big of minchia!
Phyllis: great you're learning Italian, I love . . . That's what I want! More, a little culture, it's enough already with "The Bun"!
Stumuk: I had, I had to change it. It right.
Massimo: These fucking things didn't work, I don't why. Maybe, can you see all these little 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: . . . from my nose, and maybe people didn't like it.
Stumuk: No more the . . .
And I just don't know why . . .
Stumuk: But "The Bun," the placement of "The Bun." It has seeds. different.
Massimo: I just can't imagine why 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 Alabama: Far fucking out! Far fucking out!

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

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

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 make you Italian.