Suzy: The first thing that attracted me to Mothers music was the fact that they played for twenty minutes and everybody was hissing and booing and falling off the dance floor . . . And Elmer was yelling at them to get off stage and turn down their amplifiers
FZ: Ah! I know the perfect thing to accompany this man's trumpet. None other than . . . The Mighty & Majestic Albert Hall Pipe Organ!
Guy In The Audience: Right!
FZ: You understand that you won't be able to hear the organ once we turn the amplifiers up . . . Awright, Don? . . . Whip it on 'em! . . . "Louie Louie"! They like it loud too, you know?
FZ: Let's hear again for the London Philharmonic Orchestra!
No-one could ever understand our bizarre relationship because I was your intellectual frigid housekeeper.
Especially when you'd be going to bed with one chick at night and I wake up in the morning and find another one there, screaming at me . . . ha ha . . . Asked me what the fuck that chick was doing in your bed and I'd walk in and you weren't with the same one you were in the night before.
Oh, I'll never forget that, as long as I live.
That house, well it had your shit all over . . . and we had a cat and we had fleas and we had lots of crabs that we proceeded to give to everyone in Laurel Canyon except for Elmer and Phil, because they were too sick to ball . . . ha ha . . . Elmer has a mentality of approximately One Peanut. Possibly.
As a matter of fact, I can remember Elmer telling me that you really had a lot of talent, but he didn't see how anyone could ever make it that insisted on saying FUCK on stage.
And he used to drive by in his gold Cadillac and peer in the window . . . ha ha . . . 'Cause he never could get over the amount of groupie status that, that you had and he didn't. Possibly because he's 50 years old and wretched . . .
Here's one with your father's moustache, your old cookie jar, rubbers, sneakers, galoshes, belt buckles, and book covers with the name of your high school neatly imprinted in crimson and gold on the front with a picture of the goal post and last year's queen.
Ian: My name is Ian Underwood and I am the straight member of the group
(Ha ha ha!)
Suzy: Wowie Zowie!
Ian: One month ago I heard The Mothers of Invention at the theater. I heard them on two occasions, and on the second occasion I went up to Jim Black and I said, "I like your music, and I'd like to come down and play with you." Two days later I came up to the recording session, and Frank Zappa was sitting in the control room. I walked up and said, "How'd you do, my name is Ian Underwood and I like your music and I'd like to play with your group." Frank Zappa says, "What can you do that's fantastic?" I said, "I can play alto saxophone and piano." He said, "All right, whip it out."
Phyllis: I used to watch him eat, and while he was eating I would talk to him, and while he was eating I would ask him what he was doing, and all he would say was, "I'm using the chicken to measure it." Till this day I still don't know what he was talking about! That Minnesota Tishman, he was some guy, but I still never understood what he meant. The chicken to measure it, I don't know, probably some secret thing.
Phyllis: "I'm getting hot. You're really good at those dials, baby. You're the most manipulating person I've ever seen. What's he eating? Is he turning into a monster? Frank: But you're just making things out of it. Don: Put it in your mouth then your eyes. Frank: You're getting hot, come on! The last that . . . " I don't like this page, it's not so funny . . .
FZ: What's the difference?
Phyllis: I don't like this page, it's not so funny. "Oh, this gets me hot! Oh, this gets me hot! Will get hot, I can get hot over it. Get hot over the hamburger, I can get it, you're getting hot, oh, am I hot over this hamburger! Think am I hot, for a hundred dollars you're getting hot, oh, am I hot, I'm so hot, I'm so hot from this hamburger, I'm hot."
[1:08]
Phyllis: Well, I'll just continue on with my work, I can't be thinking about such things, gets me too confused. I think I need a shower, I'm tired, I'm hot, the room air-conditioning is not working. If you don't pay the bills, how does the air-conditioning gonna work? I'm going.
Massimo: And now, dear friends, we are going to translate. This is my left hand.
Phyllis: This is . . .
Meredith: Violence!
Stumuk: This is my left hand, non?
Meredith: Violence! Ooh, I just, ooh!
Guy From Alabama: You have an orgasm?
Aynsley: No, but it just feels good!
Guy From Alabama: Can I watch?
Don: That's what we need, progress!
Aynsley: Actually I think that's uh, that's cool.
Guy From Alabama: Get the girl here in the red.
Aynsley: Yeah.
Massimo: Repeat after me: Questa e la mia mano destra
Stumuk: Questa e mia mano destra
Don: Progress!
Phyllis: Where's the prostate gland?
Massimo: Look out!
Don: Progress is our most important product.
Massimo: Guardalo che mangia! E mentre sta mangiando parlami mentre mangi. E chiedimi cosa sta facendo.
Stumuk: Parle mi.
Massimo: Che cosa sta facendo? Sta mangiando. Adesso chiedimi cosa sta facendo. Sta mangiando
Stumuk: Guarda sta fachendo!
Massimo: Ma non lo posso fare.
Stumuk: Sta mangiando!
Massimo: Me ne devo andare.
Stumuk: Mene debo ndare!
Massimo: Devo tornare.
Stumuk: Dere tocnare!
Massimo: Era un senatore a trentasette anni.
Stumuk: Era un senatore de setreste ano.
[2:26]
Guy From Alabama: What band being you playing in?
Aynsley: I played in a blues band.
Guy From Alabama: Blues band, so do I!
Aynsley: Blues.
Guy From Alabama: Blues!
Aynsley: Blues avant-garde, you know?
Guy From Alabama: Yeah, I know what you mean.
Massimo: And this is my last single.
Phyllis: Oh, what is he doing? You still carrying on with that song? It's the same thing? I can't, I can't do it anymore. I'm going to make these louder so I don't have to hear about him. Forget the past!
Don: I'm sure that it's going to be a hit single.
Phyllis: We're coming to the beginning of a new era, wherein the development of the inner self. But you, what do you do? You watch television and you play with "The Bun," driving me crazy. Leave me alone.
Stumuk: But this is twelve years later.
Phyllis: I know.
Stumuk: Have a new "Bun."
Phyllis: I know.
Stumuk: A better "Bun."
Phyllis: What kind of new "Bun"? You . . .
Stumuk: A brown "Bun."
Phyllis: Every year you tell me is a new "Bun," I'm tired of this. I'm gonna, I'm gonna give it all up, I'm gonna go back to New York, I'm tired of you already. Finish! I can't. No, no, no, no. Go! Can you stop me?
FZ: I wanna do another take of the same situation from the other side.
Carl: Let me go on the other side.
FZ: And Mr. Tishman, it's, you've gotta find . . .
Phyllis: When I remember this . . .
FZ: Yeah
Carl: Let me just see uh, "Bun."
FZ: Minnesota Tishman.
Phyllis: Right here.
Carl: Uh, give me the, give me . . . first . . .
Phyllis: I remember that guy . . .
FZ: Isn't he handsome?
Phyllis: Yeah.
FZ: He was using the chicken to measure it.
Haskell Wexler: Can I stop now, Frank?
FZ: Sure.
Haskell Wexler: Okay, cut the cam.
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