Luyện nghe bài hát Uncle Meat Film Excerpt Part 1

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

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

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

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

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

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

Massimo: And now, we are going to translate: "This is my left hand." Repeat after me: "Questa e' la mia mano sinistra." And now: "This is my hand." Repeat after me: "Questa e' la mia mano destra."
What is it you're doing?
Carl: I'm using the chicken to measure it. Have you 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 wherein the development of the inner self is the most important thing. We have to 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 over here and be in our uh, teen-age movie? Okay, well, I'll tell you the action is . . .
Phyllis: eating.
FZ: Ok, he's eating, you see . . . Don Preston . . . Well, it depends, mostly 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 that's the, my 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: What are you with that chicken?
And then 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 this 'cause it's the first time I'd even been a star in a film. I originally started working for Frank as his assistant editor on the film Uncle Meat, and one day we were sitting around watching the Festival Hall shots, the rushes, and I saw Don come on the screen --Don Preston plays the monster-- and I said, "Frank, look at Don! He's turning into a monster! I'm gonna vomit!"
FZ: When she sees him turning into a 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 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 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 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 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, that smoke stuff, I don't know what it is. I don't even 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.
I don't like to be called 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. 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.

Oh . . . a little lower, please.
Don: How do you all those controls in there? That's really fantastic . . .
Phyllis: Oh, nothing.
Don: All of buttons and switches . . .
It's nothing. Look, look what's going on there! Oh . . . oh, wow, this . . .
Don: I just can't see how a girl 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 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 . . . been so long . . .
Don: Tell me, did father demonstrate any affection for you?
Phyllis: I've been watching you on the screen for four weeks . . . Finally, my monster . . . Is it real? Is it really you? Oh feels, oh, monster, can I have a bite off of your apple?
Don: Mm . . . I that uh . . .
Phyllis: so nice to be here with a monster finally . . .
Don: It must be uh, her mother and father probably told her that she's real 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 see what's happening underneath there. Just what I thought, a monster head.
Don: You'll find this is common in uh, today's society
Phyllis: It's like Adam and Eve and the apple . . . Finally, my monster . . . after all this time . . .
Don: That's why movies are so popular, you know?
I'd waited and waited . . .
Don: D'you know how many a movie costs to make?
And there he is, he's right here.
Don: Monster movies cost a lot of money.
Sitting with me, I can't believe it! Is it really you, monster?
Don: And our young society today goes to all these monster movies and they see on television night after night.
Phyllis: It's so to be with the monster.
Don: 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 into a monster! You see this! God, I get so hot!
Aynsley: Would you like a quick Now you've ruined the whole thing
Carl: Have I? take one down!
Aynsley: Oh, . . .
I thought you get the walking four balls.
No no . . .
Carl: difficult to walk on three.
Don: I'm the chicken to measure it.
Carl:
I'm using 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 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 . . . . . .
Say, could you do me a favour? Could you beat me with a toilet brush?
Phyllis: Beat you with a brush?
Aynsley: Shhh . . . might hear . . . yes, beat me with a toilet brush.
Phyllis: your name?
Aynsley: Ah, hello, my is Aynsley Dunbar and I, I'm very interested in whips and canes, etc. I'm gonna fill, fill you in about uh, my background.
FZ: Are you absolutely serious about this? You really 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 likely wake the kids up! No, actually I'm moving on to toilet brushes and things, 'cause I think they'll be coming in this year . . . definitely.
Phyllis: You want me to 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 sticking up here and I like, I, I guessed it right on first, you know? Like I know . . .
FZ: him while you're 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 what I mean? I got worried 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 another fifteen people.

Don: I know what gets you hot. get you hot, 'cause I picked you up in the pool hall!
Phyllis: You don't know gets me hot, you don't have the faintest idea what gets me hot!
Don: Sure! Hamburgers! at this . . .
I can't take it . . .
Don: See
Phyllis: I can't take it . . . oh, God, hamburger!
Don: But you know what gets me hot.
I'd bet I know 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 . . . and that hat and that 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, that's so terr-- Oh! I love that, a monster does that, mm . . . Well, I've just been thinking, monster, we can take rides in the country in the Volkswagen . . . and, my monster, you're feeling me up, my monster.
FZ: It get you hot.
Well . . . it doesn't get me hot.
FZ: I saw you on the floor in the corner with him!
Phyllis: I, it wasn't me laying in the corner! was, that wasn't me!
FZ: Ha ha . . . Who was it?
Phyllis: That was Sheba! It me!
FZ: Who is Ha ha!
Phyllis: Sheba is the one 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 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 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 feeling like, like a place to get from things, and now what's going on, it's like all noise and . . . I don't know, it doesn't . . . wherever you go nowadays it's the same thing, all these guys they're so disgusting, I can't stand it . . .
Don: Look, anybody . . . anybody here?
Phyllis: No! Go ahead, sit down!
Don: Thanks. Anybody drinking beer in here?
Phyllis: No, I don't know what the bartender . . . he just left it there, I don't what's going on . . .
My name 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 married my name be Sheba DeBiff.
My name is Biff Debris, not Debris DeBiff.
Phyllis:
Yeah.
Phyllis: Biff Debris . . . well, I'll tell you something, I once knew someone whose name was Dubois. It, it sort of sounds like Debris, you know what I mean? Like, is French, or what?
Don: Well, actually I'm part and part Norwegian.
Phyllis: Excuse me. Is the hamburger ready
Don: What are you?
Phyllis: Uh, I'm 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 since I came from New York, you know, I'm . . .
Don: Are you from New
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 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 matter uh, Debris?
That's one thing I stayed away from.
Don: Alright, you're . . .
Phyllis: I think you can really be high on your 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 know what you hot!
No, no . . .
Phyllis: I saw it in the hall
Don: You saw
Yeah!
Don: That what does it, you see. It really isn't.
Phyllis: Well, well, what is it? You know, like if not that, then what is it?
Well . . .
Phyllis: Well, don't be embarrassed! You can tell me, you know? I'm . . .
Showers.
Phyllis:
Showers.
Phyllis: Well, okay, you know, I can go see that, I can see, I can showers.
Don: Not, not showers.
What you mean not nude showers?
Don: It's be a special shower, you know.
Phyllis: What kind of
Don: these special clothes on it.
You mean, you wear clothes when you . . . ?
Don: clothes! These are the clothes . . .
Phyllis: These are the that you . . . ?
Right here . . .
Phyllis: There are clothes in there for me for the

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. 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.
Don: And children's belt with the little holes in it. Look at those pants!
Ooh, but what has this . . . do with the holes! I mean, you know, like I hope they fit up.
Don: It'll be . . .
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 off with the monster?
Because I'm embarrassed to.
FZ: there to be embarrassed about?
Phyllis: Well, I've done that before, and I don't wanna do it now!
FZ: But why don't you do it?
Phyllis: I'd rather not. no reason, I'd just rather not.
FZ: But what's the matter? You got an body?
Phyllis: No, I have a 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 share it with 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 little holes, you know? And I'm hot!
Don: And I got the bun and the and the relish and the orange and I've got my clothes off and I'm hot!
Oh, come on!
Don: You know how many times we . . . ? I go down to Mr. Pocket three times a week, trying to find somebody that'll wear these in the shower.
Phyllis: How do look on me?
Oh . . .
Phyllis: You it?
Don: great, you know. I had those clothes in the refrigerator for about two months now.
Phyllis: Where is the Just give me a bite, mmh . . . it's so great, you don't meet guys . . .
Oh, it's disgusting . . .
Phyllis: You meet guys 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? While you, hold the hamburger first, you know, while I wash your hair . . .
Don: Do you me to wash it to you?
Phyllis: Well, I don't know, I planning on it, it's alright, you can wash my back . . . mm, so nice the shower . . .
I can't 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 won't hurt, just a bit over there, this side, it's terrific, with the hamburger.

Phyllis: meat . . . 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 need my clothes off, I can get the gratification that I just like this.

Phyllis: Oh, doesn't that feel good, oh, it's so great. I'm so that I met you today . . .
Mmmm . . .
Phyllis: And this . . .
Don: Do you mind if I rub some of this in your
Phyllis: Oh I don't mind, let me just take out little thing here, mmm . . .
Oh, boy . . .
Phyllis: A little bit, wait, it's, but I don't know, do you have cream here? . . . this strip I won't be able to . . .
Don: rinse?
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 uh . . . what part!
Oh, I love 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.
Where's the hamburger? Just . . . those . . .
FZ: with soap are good.
Phyllis: Ha-a . . . let me a little bite, mmm . . . delicious! Let me put it in here so I don't loose it. I don't wanna in case I wanna little piece after, could you do my back?
Don: Oh . . .
Phyllis: Underneath the shirt, be bashful, I, oh, I know it makes you hot, like if you keep . . .
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 last guy that I was with he just had Ground Choc, you know what Ground tastes like in the shower, man . . .
FZ: Ha ha ha ha!
Oh . . .
Phyllis: This is odd meat, where did you get
FZ: Ha ha ha!
Phyllis: Just the health food stuff, are you a health food person? You know, like . . .
No, I am Uncle Meat!
Phyllis: You are Uncle

Phyllis: And because you're the 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 wanna clean your bathroom . . . the . . .
FZ: "I am to the Hollywood Ranch . . . "
Phyllis: I'm going to the Hollywood Ranch and I'm gonna buy the cleanser.
Don: And you have worn the clothes . . .
Cleanser . . .
Don: got me hot, the shirt . . .
Cleanser . . .
Don: The and the little brown belt, children's belt with the holes in it . . .
Cleanser . . .
Don: I . . .
Phyllis: . . .
Don: Accept your offer to go to the Hollywood Ranch . . .
Phyllis: . . .
Don: And get the cleanser and 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 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 been working secretly on a new composition in the back room, in our secret chambers. 'Cause everything is secret. We're trying to get the secret karma change for the whole world, you see, like this whole karma thing, it's really what's causing all the problems, so we have to get a composition and, I'm sure that it's going to be a hit single, because everyone is going out and buying our new hit single, for this group that uh . . .
FZ: "You remember our other 'The Bun'?"
Don: Yeah, you remember our other single, "The Bun"? See, this, this was our composition . . .
Aynsley: it in . . .
Don: And uh, it was pretty hard to play because uh, some of the members of the group couldn't read music, you see? But we got it all straightened out and, 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 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 . . .
Hey, listen you guys, I would like just . . .
Meredith: These can work together.
Don: Talk about the arrangement
How about that new drum solo you just worked out?
Don: got a new composition.
It's rhythmic, huh?
Motorhead: Now beautiful.
Don: Listen . . . Silence, fools! . . . SILENCE, FOOLS! Don't you in progress?
I'm using the chicken to measure it.
FZ?: Take that progress and 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 chicken to measure it . . . I'm using the chicken to it.
FZ: What are you doing the chicken?
Carl: I'm using the chicken to it.
FZ: What are you with the chicken?
Carl: I'm using the chicken to it.
Motorhead: Outta site! outta site!
Meredith: beautiful!
FZ: What are you with the chicken?
Carl: I'm . . .
Don: That's we need for our new song.
Meredith: was a good composition!
We got it!
Aynsley: Can you write one like then?
I did! Well . . .
Ray?: You I mean . . .
Don: At last night, . . .
Ray: when he starts in with the guitar . . . ?
Now look . . .
Ray: Then he in with his guitar solo?
Don: You guys, do you see this here?
Ray: Why does he have
Don: Can you see this over here? 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 the chicken to measure it."
Carl: I'm using the chicken to it.
Right, "We're using 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 chicken to measure it.
But uh . . .
FZ: No, no, that's part of the concept, you're using the chicken to measure the in?
Aynsley: It's I choose.
Don: Oh, I see, yeah, are we using the chicken to it?
Or drumming?
Don: show you, this is . . .
Ray: How about a
Motorhead: I it was cooler.
This is the guitar part, right here.
Motorhead: let me see . . .
Pull her.
Motorhead: It's that I play? That's my part.
Don: That's part.
Motorhead: Oh, A . . .
And this 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.
I can't even . . .
Aynsley: OW!
At the Hollywodd Ranch 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 new strings and an amp?
Don: Listen, take care of everything.

Don: You see, Countess, the 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 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, you mind not using that word? It's a . . .
Francesca: Who cares about
Grrah!
Francesca: Look, I've everybody around, The Beatles, The Rolling Stones, Arthur Brown, and his fire and his head . . . Oh, man, I've never got so hot as long, I've ever got so hot until I started to, to use the chicken head to measure it with it.

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

Don: You to admit this is different.
Motorhead: Oh I . . . that's a drum, that's gotta be a drum.
I mean . . . I know what it's like, to me the idea of being commercial is doing something different.
Meredith: Bet that a heavy one . . .
The way they feed . . .
Don: You Something people can . . . can . . .
WAH!
Don: It's not the 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 chicken to it.
Chicken's in the . . .
Aynsley: Biff, man, how does that fit into the part, though . . . like that . . .
Meredith: And what is into that my part there?
Don: is the music.
Where? where?
Don: This, the whole is the music.
Meredith: Ah, but how does that one fit all . . .
Aynsley: But no head, man.
Meredith: But how does that fit all that?
Oh yeah, there's . . .
Ray: Are you a chicken to measure it?
Meredith: What's the of this?
Motorhead: There's no way we can it.
Meredith: What's the 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, I've got a few to meet.
Motorhead: I'm to hear the Fudge.
Don: You guys, if you make a hit single and I mean, a hit single.
Aynsley: Yeah, but all I'm saying is as long as you pay us well, I just wanna know.
Well, you'll get royalties.
Motorhead: You get some royalties, man!
Royalties?
Don: Listen, you . . .
A monster!
Phyllis: I'm wet . . . . . .
Meredith: This is 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: coming to the beginning of a new era at the motel, we have been working secretly . . .
Phyllis: 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 changed into . . . I that . . .
Don: 'Cause is secret.
Phyllis: For years he's still working on the same song, I don't know what I'm gonna do.
Don: We're to get the secret karma change for the whole world.
Phyllis: kinda get that "The Bun" thing. I gotta stop this, it's not good anymore.
Don: You see, like this whole karma thing, it's really what's all the problems.
Phyllis: Because after all got kids now.
So we have to get a composition.
Phyllis: And we can't, he can't do this anymore, it's another life.
Don: And, I'm that it's going to be a hit single.
Phyllis: But, I help it, I mean he's irresistible. The guy is irresistible.
Don: Because everyone is going out and buying our new hit single, for this that uh . . .
Phyllis: Look at that face, there . . .
FZ: "You remember our single 'The Bun'?"
Yeah, you rem--
Phyllis: at that, right that, right there . . . mmm . . .
Don: Our other single, "The Bun"? See, this, was our last composition . . .
Phyllis: Oh, God! Oh, I that too . . . yeah . . .
And uh, it was pretty hard to play because uh . . .
Phyllis: at this, when he did that at the fare . . .
Don: Some of the members of the group couldn't music, you see?
Phyllis: No . . . better, I'll tell you something . . .
Don: But we got it all out.
Phyllis: I don't know, I have to think about this, 'cause I gotta tell him. Ah! I'll go back! I can't be bother 'cause my mind it's too, it's too crazy, it's going, it's driving me nuts already, I have to think about work, I have to think about him, I have to think . . .
Stumuk: Maybe I oughta face it, twelve years "The Bun" just isn't a hit. Maybe I'm approaching it wrong. Look at him, a musician, a natural musician. This Motorcity was a serious little boy. Liked to pull down the shades before helping her with the dishes.
Massimo: And that's why it didn't sell. at this . . .
Phyllis: Oh, 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 hamburger . . .
Massimo: Try to do like that.
Stumuk: Like
Massimo: figlio di puttana.
FZ: on television set.
E non cagarmi il cazzo.
Stumuk: A non catzo.
Massimo: 'Cause I a big bunch of minchia!
Stumuk: A big 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 little points, white points, on these fucking things? You have to know that . . .
Can you see?
Massimo: . . . all stuff . . .
Everybody's using the chicken to measure it with nowadays, even my kids!
Massimo: . . . come from my nose, and people didn't like it.
Stumuk: No the sock . . .
And I just don't know why . . .
Stumuk: But "The Bun," the of "The Bun." It has seeds. It's different.
Massimo: I just imagine why they didn't like these balls that come from my nose, you know? This way, tshh! And I spent a lot of years of my life to do something like that, these fucking things, and it didn't work. What can I say?

Guy Alabama: Far fucking out! Far fucking out!

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

Guy From DONG! DONG! I mean dong, that's what your minchia is!
Your which?
Guy From A minchia!
You mean your dick?
Guy From You put your 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.