Playground Psychotics

Aynsley: Here comes the gear, lads!
Howard: Dunbar . . .
Jeff: "Here comes the gear, lads"
Howard: I'm telling you man . . .
Jeff: Sounds like a the Beatles cartoon cartoons.
Howard: Key down.
Aynsley: Just keep your mouth shut, you . . . Curly!
?: Look at those little cars! The race cars.
Mark: Sure sounds It does sound like the Beatles cartoon, Beatle cartoons. ?: Does it?
Mark: "Hey, John Lennon here . . . "
Jeff: "Hey, Wankers, there goes the gear."
PilotPassenger agent: Good evening, ladies and gentlemen, this is your passenger agent. I'd Like to welcome you to aboard United's flight 664 to Spokane. We're departing in just a few more minutes. And we'll just be a . . . couple minutes delayed due to loading some extra baggage.
Mark: Could that be ours?
PilotPassenger agent: I'd like to remind you that the, the bags you've carried on, today that they on today should be stored underneath the seat in front of you . . .
Mark: Howard?
Pilot: During the flight . . .
Howard: Uh, yes, Mark . . .
Mark: Would you like some film?
Howard: I would.
?: Hey, they're gonna take the first class mail on.
Pilot: Hope you have a pleasant trip, and . . . thank you for flying United.

Stewardess: Good night, all.

Ha ha!
Now, the trip . . .
This is great!

Bruce: Bruce [...] Bissell [?] . . .
FZ: What?
Bruce: From Reprise Records.
FZ: Hi, there, how you doing?
Bruce: How you doing? Nice to see you again.
FZ: AlrightYeah.
Bruce: How's it going?
FZ: Well, it's alrightall right.
Bruce: Good. Hey, we got a neat publicity stunt we'd like to try.
FZ: What's the stunt?
Bruce: We got a garbage truck. We'd like to get some pictures of you and the Mothers on it.
FZ: That's probably one of the most terrible ideas I've I ever heard in my life! We're Are we going down there?
Bruce: Yeah!
Mark: You'd love it, you know that?
Bruce: And, uh, we got that news paper newspaper here to cover it and, uh, pose it in plus, the front of the chart and stuff.
FZ: In The front of the chart . . .
Bruce: Yes, the, uh, FM chart that's put over out here in Vancouver as, has a distribution for of about fifty thousand.
Ian?: What's happening?
FZ: What do you think, Dick?
Dick: What? A photo at the garbage truck?
Bruce: I think it's really gonna be a great idea. I really do.

. . . I think we can do it on the other side of that and then, uh . . . "But it won't be lonely [pola]for long . . . "
What's the deal?
Howard: Must we stand amidst the scum to get the idea across?
Jeff: "Where are you and it's a on this ah long hot summer
Where are you and it's a on this ah . . . "

Mark: Are we going in it?
Do you think you can could possibly . . . with the like climb up on the tire and put a foot there?
[...] as much as you can
Yeah, there's a ladder. Yeah.

Jeff: . . . find out where . . .
?: Get some . . .
Mark: All skate. Men only! Dick: Hunh?
?: So don't . . .
Aynsley: Man, you shou . . . you shoulda put brought the fuckin' fucking [...]
?: Gotta put that sign on the out in front, man.
?Mark: Got to get that sign on out in the front.
?: [...] sign Pack it up beside of the bass player.
Howard: Why?
Aynsley: Because I . . . I'm gonna have to find [...] I'm fucking nail this in. It's gonna take about five minutes with the other to nail the thing in there in every time to we go on.
Dick: Well, get a piece . . .
Mark: Can we get it hooked up? Can we put it up? Stand it up? [...]
?: Talk to the kids running [...]
Jeff: We could be an even closer . . .
?: Get Add some more weirdness.
?: Hey man.
?: Hey, it's far we sparred right here, man.
?: [...] You want these two together?
?: It's far Sparred right there.
?: Well . . .
?Mark: Perverse!
George: Hey, I'm still an hour here What's in my [...]
MarkHowardMark: See itLet's see, my washboard's in the car. My false breast is in the car.
?: WhatHey, Bob?
?: Bob.
Aynsley: See, they gotta have two holes here.
?: AhBob!
JeffDick?: Yeah.
?Jeff: Washboards . . .Where's your pliers?
JeffIan?: Oh, we got our amps switched. I should be having that amp.
Howard: Put on your costumes.

Mark: If you do not hear me
You may now walk out
For I am here
And I am talking . . .

Howard: This is neat!
Jeff: Spending a night in the motel
Howard: This is about the neatest Holiday Inn I've seen in days. The rooms are in Foon's name, heyeh? Look at that, wild coyotes!
FZ: Ha ha ha ha!
Mark: Okay, uh, you guys are gonna wanna wait while I go in and check?
FZ: Yeah, you're the straightest looking member, so straightest-lookin' members here
Howard: Really, why don't you go in and see if you . . .
Mark: Yeah, man, right over there, right behind that our car
Howard: Singles!
Mark: They're already set up that way
?: Sure
Howard: Oh. Good.

Howard: Sure, man, and I'll go until two and I'm gonna be in there supporting 'em, in fact I'll sit in with those guys. I'm into it, I'll sing a little "Blue Moon . . . "
Mark: Hey man . . .
Dick: Listen, this is a nice place, man, it's got a beautiful room . . .
Howard: Don't give me that man, it's plastic city, it bites, the guy behind . . .
Dick: Relax and enjoy some of the wo-, wonderments of nature . . .
Howard: No no no no, the guy behind the desk is a werewolf. You can't give me any of that, the chick over there's been dead for twenty minutes. I'm hip to this place, I've seen 'em in my sleep, man
Dick: Hey, listen, I've never seen you this way, man
Howard: No, man, I'm not keen keyed at all
Dick: You're unpleasant
Howard: I'm not unpleasant! I can't wait to sign the card and check into my little closet. Unpack my leather cape, hang it up on the wall, get out the washboard, put away my nitty books and get into it! I'm gonna go down and cruise in that lounge, man, I'm gonna have . . .
Dick: Watch this, it's right in there, just step right in
Howard: I'm gonna take a look

?: Hello, Frank . . .
Howard: Ooohoowwoh!
Mark: Hey, what is this, man? Is this the Can-Can Room?
Howard: This place waits for us, man
Mark: This place waits us! Is there a piano?
Howard: There's a juke box with a lotta hokie country songs on it. I am coming in here and getting blottoed blotto in about ten minutes
Mark: Oh, man, me too!

Howard: Yes, ladies and gentlemen, coming to you direct from high atop the Konrad Adenauer Inn. Just a short forty-five minute rocket flight, from where Cape Canaveral meets the Alcan Highway, twenty minutes down Route 66, just a short hop, skip, and a jump from the corner of Sunset and Fifth Avenue. High atop 1 One Fifth Avenue where we're listening to the rancid rhythms of Riles Mizzinnitz[Mishnist] and his music to make you wanna throw up. Yes, and coming up on right after this, ladies and gentlemen, The Five Rancid Fingers of Bezedrine Ben Zedrine and his . . .
Mark: Strings, men, and [j...] . . .
Howard: Silly side and Psilocybin cut upsCut-ups, yes, ladies and gentlemen, here we go into another . . . thing. No, not into another thing, ladies and gentlemen,. I'm glad, because it's. That gives me time to say that you're listening to the National Bum Rushing Bum-rushing Company and we're all sitting around the table here stewed, ladies and gentlemen.
Aynsley: Right on brother. All together.
Howard: And we're sitting here in Spokane, Washington.
Mark: Right on.
Howard: WouldWith beyond the reef "Beyond The Reef."
Mark: Can CanThe Can-Can Room.
Howard: I hope this is it, because I can't go on crooning filling forever,.
Aynsley? Jeff?: Take it.
Howard: Come on in, boys!

Aynsley: Leaving in fifteen fifty minutes, Frank.
Howard: Fifteen minutes.
On TV: Goldie Hawn for president?
Howard: I've never been And everything . . . awayunderwear!

On TV: . . . funnythe future isn't sunny
Mark: Fantastic! The world were was meant for you. Howard: Hey man, anyone checked have you been checkin' out that show that's on called "TV . . . "
FZ: No.
Aynsley: Yeah . . . Mark: . . . show on . . .
Howard: TV Around The World, a BBC show. The lowest.
Mark: TV Around the World . . . [Carving women] . . .
On TV: . . . how a television program is created.

Dick: (Snorks)
Howard: "Not duke, not queen, but heking." You haven't a lost your touch, Snarler, Gnarler, you can snort snork with the best of 'em.
Mark: This guy said that a couple of guys have broken in the doors and shit.
Howard: Oh, great, a riot! Just like Berlin!
Mark: They broke indoors 'cause there is a hassle about the bread or something, the money.
?: Can I carry your brief?
Mark: No, thanks.
?: No?
Howard: Can I brief your carry?
Mark?: I'll do it.
Howard: Really! Would you Wanna be my wife for an hour?

Howard: Right on! Right on!
(Opening Act: Thank you very much.)
Howard: Right on!
(Opening Act: That's right, don't take me down. Don't do it.)
Howard: Don't do it! Don't take me down! I don't wanna go down no more!

Big John MasmanianMazmanian!
Gas Rhonda! Funny Car! Sunday!
FZ: Thank you
Aynsley: You're welcome
Howard: Hey, listen!
Mark: My throat . . .
Howard: Send me twelve eight by ten glossies in Monday's mail ?: Fifty bucks a piece
Howard: Fifty bucks a piece? Cheap at twice the price. Call my service
?: Right
Howard: Thanks a lot man, would really . . . A funny door!

Mark: "Hi, friends. Now just be honest about it, friends and neighboursneighbors. Did you ever consider the possibility that your penis, and in the case of many dignified ladies, that size of the tities titties themselves might possibly provide elements of sub-conscious tension . . . "
Howard: See, the trouble here, Frank, lies in the fact that on that sheet it says "that size," it doesn't say "that the size" therefore it was . . .
FZ: Get a pencil and write in "that the size."
Mark: Could I have a . . .
Howard: Well, I'm sorry.
Mark: " . . . weird, twisted anxieties which could force a person to become a politician, a policeman, a narc, a casket maker . . . "
FZJeff?: An usher!
JeffGeorge?: A musician
Mark: "Or in the case of the ladies, the ones that can't afford a silicon silicone beef-up, become writers of hot books!"
Howard: "I placed my burning phallus between her quivering quim!"
Mark: "A carmelite nun!"
Howard: "She placed my burning phallus between her quivering quim!"
Mark: "Or jockeys! There is no reason why you or your loved one should suffer. Things are bad enough already without the size of your organ organs adding even more misery to the troubles of the world! If you are you're a lady with munchkin tits, you can't can console yourself with this age old line . . . "
FZ: No, "you can CONSOLE yourself"
Mark: "You can console yourself with this age old line from . . . "
Howard: Simmons!
POOO-HHH! POOO-AHH-AHH!
Mark: "And if you're a guy . . . "
Howard: "Anything over a mouthful . . . " Mark & Howard: " . . . is wasted!"
Mark: "And if you're a guy and you're ashamed of your dick and somebody hits on you one night in a casual conversation and turns to you and says, uh . . . "
Howard: "Eight inches or less!"
Mark: "You just swivel right back around and look this the sonofabitch straight in the eyes, and say . . . "

Howard: You, you there with the hard-on!
FZ: With the hard-on, the little napkin in, and the small pocket mirror, would you please rise . . .
Aynsley: That's me.
Mark: Brian Hyland, ladies and gentlemen!
Howard: Sit down, Aynsley! Not you.
?: Shut up!
FZ: Ready?
Mark: Yes.
FZ: Quick! Before these people [beware]revert.

 

Ballen von ZeckenZirkon
Und alten Sporthemden, Sporthemden, Sporthemden
Lachen Laken von Feuer
Lachen Laken von Gummi
Lachen Laken von Tränen
(Sheets of tears)
Ooh ooh ooh awh . . .
Lachen Laken von getrocknetem Wasser
(Sheets of drywall and roofing)
Lachen Laken von drywall Drywall und roofing Roofing
(Sheets of large deprived deep-fried rumba)
Lachen Laken von riesigen, tief-gefrorenen Rumba

A light shines down from heaven
A dense ecumenical bandana
At the right hand of God's big rumba

And his voice pronounceth out
In sheets of plywood
And bales of old sportshirts
And this is what he said

Beklecker nicht
Beklecker nicht
Beklecker nicht
Beklecker nicht
Mein Sofa!

And you know what that means . . .

 

Waitress: Are you having breakfast for lunch?
Howard: I'm having breakfast and he's lunched. I'll tell you what, what can you give me immediately, if not soonsooner? Nothing hot, nothing . . . So that by the time he's finished eating those hot cakes and those dead things that I won't finish will have finished myself
Jeff?: How about an order of sausages?
Waitress: Bacon and eggs? Are you, are you gonna have breakfast?
Dick: No no no no no
Howard: No no
Dick: No no no no no
Howard: He'll never go for that
DickAynsley: No no no [...]
Dick: A roll and some orange juice
?Jeff: . . . Jimmy Virginia Graham
Waitress: Orange juice and . . . uh . . . a roll, uh-huh?
Aynsley: One stale roll
Dick: Yeah
FZ: Bread and water
Aynsley: One stale roll
Dick: Bread and water
Waitress: Thank you
Howard: Frank, you really missed it at the that club last night. You should have seen what went on, man, if you would have had your tape recorder there, you would have been rolling on the ground, holding your sides. It was the greatest. Everybody was out of it, drinking wine, cheap wine. And then there was this group, this nice tight little group that was playin' and then they did about two numbers, and he they said, "Okay, uh, any of you guys wanna come up here?" And of course old Stewed Simmons was the first one to check out the cat's guitar, and so he immediately procceeded proceeded to play lead. This chick came out of the audience, man, á à la Janis Joplin in a gold lamé, only she was rancid, and she came out up there and tried to sing blues changes like Buddy Miles or something, but it just didn't work 'cause and she was singing, "Get yourself together . . . You are where it's at . . . ," she did it for like . . . forty minutes, man, it was wonderful . . . People were applauding everythingevery verse . . .

 

Ooooooh Aaaaaah
Ooooh
Aaaah
Howard: Poor baby!
FZ: Oooooh . . . Don't like the Greek food in this neighborhood, heyeh? Oooooh . . .
FZ: Tell me the truth, what did you eat?
Mark: I ate . . .
FZ: Tell me the truth, what did you eat?
Howard: I had a shish kebab
FZ: Tell me the truth, what did you eat? You didn't eat?
Mark: I was having chicken . . .
FZ: You didn't What did you eat?
Ian?: Go-kart
Howard: He didn't eat anything. He drank wine
Mark: With, uh, spinnach spinach . . .
FZ: What did you eat?
Mark: And boiled potatoes . . .
Jim: I had a roller skate
Mark: Not just any grease but . . .
GREASE

Mark/Howard:
The browness brownness of her body
Makes me sweat inside my crotch
I want so much/bad to kiss her
But she smells of rancid botch/But I smell her rancid botch
Do do do do do do
Oooooooh wagh!

Mark: Grease, grease, I tell ya, all I had was grease, it cost me two dollars and thirty five cents, it was nothing but a plate of grease
Howard: And a the wine tasted like . . .

Bringing in the sheaves
Bringing in the sheaves
We will come rejoicing
Bringing in the sheaves
Whoa!

L.A. in the summer of '69
I went downtown and bought me some wine
Oh, I drank it down under the tableI wasted my head on 3 three quarts of juice
I said: "Watch me now, I'm gonna eat the label!"And now the grapes won't cut me loose
Well 'Cause I'm a wino man
Don't you know I am?Wino man
WINO MAN

36, 24, hips about 30
(36, 24, hips about 30)
I Seen a fine lady and I started talkin' dirty
(Seen a fine lady and I started talkin' dirty)
Boy, She looked over at me and she raised the her thumb
(Thumb, yeah)
She And said: "Jam down the road, you fun-ba-bum-funky-ass bum"
(Jam it down, jam it down, funky-ass bum,
That's no way to talk to a lady!)
I'm 'Cause you're a wino man
Don't you know I am?
WINO MAN

I, I went to the country
And while I was gone
I lost control of my body functions
On A roller-headed lady's front lawn
Caught me widdling weedling on her lawn
I'm I am so ashamed, but 'cause I'm a wino man
And I can't help myself
HELP ME SOMEBODY!

I'm a wino man
Wino man
Oh lord!
WINO MAN

My guitar playing
And my wino career are in a slump
'Cause I find myself now living
In a cardboard refrigerator box down by the Houston dump
And, oh my God, I'm so fuckin' ashamed of myself
(So ashamed of myself)
Everytime I get . . . WHOOAAAH!

I've been drinkin' all night till and my eyes got are gettin' red
Stumbled on Well, I crashed in the gutter and busted, got bugs in my head
Bugs in my zoot suitcoat, been scratchin' like a dog
I can't stand no water, and I stink like a hog
Give me a five-dollar billFIVE fi-i-i-i-i-ive bucks
And an overcoat tooAnd a hot meal
Give me a five-dollar billFIVE fi-i-i-i-i-ive bucks
And an overcoat tooAnd a hot meal
Give me FIVE fi-i-i-i-i-ive bucks
And a hot meal
Give me FI-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I-I. . .
A five-dollar bill and an Maybe an old overcoat too or two
Maybe an old overcoat or two
Maybe an old overcoat or two
A five-dollar bill and a Florsheim shoe Oh, oh my God, I just love overcoats

I'm cryin'
I'm cryin'
I'm cryin' for Sharleena,
Don't you know?
I called up all my baby's friends
'N ask'n um
Where she done went
But nobody 'round here seems to know
Where my Sharleena's been
Where my Sharleena's been

I'm cryin'
I'm cryin'
I'm cryin' for Sharleena,
Can't you see?
I called up all my baby's friends
'N ask'n um
Where she done went
(She done went)
But Nobody 'round here seems to know
Where my Sharleena's been
Where my Sharleena's been

Ten long years I been lov'n her
Ten long years
And I thought deep down in my heart
She was mine (say!)
Ten long years I been lov'n her
Ten long years
I would call her my baby, and now,
I'm always cryin'
(I'm cryin', yes, I'm cryin')

Ugh!
Ugh!

I would be so delighted
I would be so delighted
If they would just
Send her on home to me

I would be so delighted
I would be so delighted
If they would just
Send her on home to me

Sharleena-leena
Sharleena-leena
Sharleena-leena
Sharleena-leena
Cry-y-y-y-yin'
Well hear me cry-y-y-y-yin'
Hear me cryin'
(Oh Sharleena!)
Hear me cryin'
(My Sharleena)
Hear me cryin'
(I called up all my baby's friends)
Hear me cryin'
(And ask'n um)
Aaaaah, hear me cryin', babe
(Where Sharleena went)
Hear me cryin'
(But you know that, nobody 'round seems to know)
Sharleena, hear me cryin'
(Where my baby's gone)
(You know I'm cry-cry-cry-cryin')
For Sharleena
(Don't you know I'm cry-cry-cry-cryin')
For Sharleena
You know I'm cryin'
(For Sharleena)
Hear me cryin'
(For Sharleena)
Hear me cryin'
(You know I'm cry-cry-cry-cryin')
For Sharleena
(You know I'm cry-cry-cry-cryin')
Hear me cryin'
Hear me cryin'
For Sharleena
For Sharleena
Sha-la-la-la . . .
Sha-la-la-la . . .
Sha-la-la-la . . .
Sha-la-la-la . . .

Why doesn't somebody somewhere right here at the Rainbow Theater where Melanie ripped it off up last night
Why don't you send her home
Why can't you send my ever loving Sharleena home
(Send my baby home to . . . )
Why can't you send her home to . . .

Me!

I
(My oh my oh my)
(Ay ay ay)
Must be free
My
(My oh my oh my)
(My oh my oh my oh my)
Fake I.D.
Freeeeeees me
Gotta do a few things
To make my life complete
(SURE YOU DO!)
I Gotta live my life
(Where?)
Out on the street
The difference between us
Is not very far
Cruising for burgers
In daddy's new car
My phony freedom card
Brings to me
Instantly
ECSTASY
ECSTASY
ECS-TA-SYYYYY

Back [...] about a hundred years ago
There wasn't anyway anywhere you can could go down here in Florida Georgia
Mississippi
[...Meredith???] Maryland
Any of [...] things your Southern states
Then Now you got your home [...] honkies
And you got your own things ofays
And you got your soul brothers
Hundred years ago [...] , soul brothers sat out in front of their shanties.
Would never [...] it was Poorer than a [car shack?] they was.
[...]
[...]
They sat out there with their Hohners, just like we do today.
And they played some soulful songs.
[...] Now give me some of your [handwriting?] in the background, ladies and gentlemen
[...] brownie [Eat?] Deep terminal chronic diphtheria harmonica blues
[...] From Asthma Mark
And the Funk Brothers
Good God!
Good God!
[...]
What is this?
I can't stand it
I can't really [...] a heartbreak breathe any more headacheheartache
You They just warm woke [?] me up
Take it to They give me my pocket please bottle of juice
Take it to my hometown They give me my Hohner
Take it to my strawhat They give me my straw hat
Take it in They give me my blue [...] prison shirt
They send sit me down by the scarecrow
And they say,
Hey"Play, boy
You better picking bluebirds been a-pickin' blueberries all day long
It's about time you really got it on
And Now I know all you brothers got rhythm and you got soul
Somebody Go on and you play some, I mean
We gotta have one on every block
Just to show how cool we are
I'm staying [...] and all of this [...] on us
What's that rag you're listening here We'll sit back and listen to you
Would be [Joe Brown and the Twistmen]We'll bake your brownies at Christmas, boy
Would We'll take your women back to their the shed
We're gonna use you to make me feelmincemeat, boy
And then we're gonna sit down and [...] dig on you
[...] 'Cause you play a fine harp
Fine [...] harp, Asthma Mark."
They used to say, "Play that thing there for more , Asthma Mark.
Play the harmonica, boy.
Play that thing."
Asthma Mark goes free, yeah! , "Ee-yeah!"
[...] They go, "What?"
Asthma Mark goes free, yeah!, "Wee-yeah!"
Free yeah!
Free yeah!
Wee-yeah!
Wee-yeah!
Carlos Santana, ladies and gentlemen!

Good God!
Don't break that bottle, brother Aynsley
It's all we got

So Asthma Mark would sit on the corner
And he would play his Diphtheria Blues on this corner his Hohner
And people will would come from miles around
To see Asthma Mark a-wheezing a-wheezin' and a-playing a-playin'
A-playing A-playin' and a-wheezing a-wheezin'
And spewing a-spewin'
And a-foaming a-foamin'
They say,
"We love you, Asthma Mark
And we sing with him you Go The old Diphtheria Blues"

I can't breath breathe
I can't breath breathe
My blow's a sweater throat's a-sweatin'
Miles of water and My eyes are waterin'
[...] My athlete's foot went south for the winter
Oh, I can't stand it
What's gonna happen to me?
Oh, diphtheria got me down
Oh, San Antonio epidemic out now
Oh [...]
Oh Diphtheria Blues
[...] say
Gonna play in this [...] shack
Gonna [...] through
[...] Get bit on the back
[...] some mosquitoes [...]
[...] flies in my place face
[...] Gotta get out of here
[...] No-good funky blues
Diphtheria Blues
Got me down
Diphtheria Blues
Got me down
Can't stand it no more
Diphtheria Blues
Just [...]
[...] Blue Cross won't pay
Diphtheria Blues
Diphtheria Blues
Diphtheria Blues, yeah
Diphtheria Blues, oh
Diphtheria Blues [...]
Can't stand it
Oh no
Oh no
OW!

OW!

HOO-AAHHH!

Diphtheria Blues
Diphtheria Blues
Diphtheria Blues
Diphtheria Blues
Can't stand it
Oh no
Oh no
Diphtheria Blues
Diphtheria Blues
Play that thing, Asthma Mark

Good God!
Good God!
Amen . . .

John Lennon: Okay?
FZ: Sit down and cool it for a minute so you can hear what we're gonna do!
John Lennon: Yeah, this is a song I used to sing when I was in The Cavern in Liverpool. I haven't done it since so . . . Two, three, four . . .

You know I love you, baby, please don't go, well, well
You know I love you, baby, please don't go, well, well
You know I love you, honey child
'Cause There's nothing I wouldn't do for you right now
You know I love you, baby, please don't go, well

You know I love you, baby, please don't go
You know I love you, baby, please don't go
You know I love you, honey child
Nothing I wouldn't do for you right now
Y'know I love you, baby, please don't go, well
Zappa!

You know I want you, baby, please don't go, well, well
You know I want you, baby, please don't go
You know I love you, honey child
''Cause There's nothing I wouldn't do for you right now
You know I want you, baby, please don't go, well

Well, you know I love you, baby, please don't go, well
You know I love you, baby, please don't go
You know I love you, honey child
'Cause There's nothing I wouldn't do for you right now
I know I love you, baby, please don't go, well
Yeah!

Please!
Say please!

FZ: We We'll take turns conducting
John Lennon: Okay

 

Scum Bag, Scum Bag
Scum Bag, Scum Bag
Scum Bag, Scum Bag
Scum Bag, Scum Bag
Scum Bag, Scum Bag
Scum Bag, Scum Bag
Eh, yo, yeah, yo
Scum Bag
(Gonna put all my posessions possessions in a)
Scum Bag
(Gonna shut my damn pa-jamas dreadful lemons in a)
Scum Bag
(Gonna put my dirty movies in a)
Scum Bag
(Gonna put my Yoko , all my records in a)
Scum Bag
(Gonna put my old high school in a)
Scum Bag
(Everybody, everybody, do by the got a)
Scum Bag
(Oh, my pretty baby, do thefriend here, baby, he's a)
Scum Bag
(Everybody)
Scum Bag, Scum Bag
Scum Bag, Scum Bag
Scum Bag, Scum Bag
Scum Bag, Scum Bag
(Oh, Yoko's in a)
Scum Bag
(Everybody, everybody)
Scum Bag
Scum Bag!
(All God's children gotta)
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag!
Oh, Scum Bag
Ah, ooh, gotta Scum Bag, Scum Bag
Choo choo choo . . .
Scum Bag, Scum Bag, Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag

FZ: Hey, listen! I don't know whether you can tell what the words are to this song, but there's only two of them, and I'd like to have you sing along 'cause it's real easy. Anybody who comes to the Fillmore East can sing the song. The name of the song is "Scum Bag," okay? And all you gotta do is sing "Scum Bag." Right on, brothers and sisters, let's hear it for the Scum Bag!

Scum Bag
Scum Bag
Come on, come on, come on
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Scum Bag

Scum Bag, baby, Scum Bag
Scum Bag

Scum Bag, baby
Scum Bag, baby
Scum Bag, baby
Scum Bag, baby
Scum Bag to me, baby
Scum Bag
(Scum Bag to me, baby)
Scum Bag
Scum Bag
(Scum Bag to me baby)
Scum Bag
SCUM BAG
Scum Bag
Scum Bag
Scum Bag
Scum Bag
Do the Scum Bag, hey
Scum Bag
Scum Bag
(Scum Bag, hey)
Scum Bag
Scum Bag
Answer now
Scum Bag
Scum Bag
Scum Bag, Scum Bag, Scum Bag
Scum Bag . . .
Ooh, Scum Bag
Scum Bag
Scum-bag
Scum-bag
Scum-baaag
Scum-baaag
Scum-baaaaag
Scum-baaaag, scum-baaaag, scum-baaag . . .

FZ: Good night, boys and girls!

FZ: Good night!
John Lennon: Good night, thank you!
Yoko Ono: Thank, thank you
John Lennon: We'd like to thank Frank for having us on here
Yoko Ono: Yeah, he's great, isn't he? He's the greatest . . .

Mark: That's the kind of guy [...]
Aynsley: When you just stopped it was running on your head.
Howard: Well I had to do an Edward Arnold slow-burn, man, there was nothing else I could do, 'cept play it for all it was worth.
Aynsley: I said the only other thing to do is go get another can of beer and pour it over HIS head . . .
Howard: Well, it was already getting silly, man. I mean, it was remedial as it is, I think . . .
FZ: Ha ha!
Howard: Let's not make it too childish.
Aynsley: [...]
Mark: Every night for a year and a half, man, no matter how sick I was, or how I felt on stage . . .
?: Howie [...]
Mark: He, I used to sing, he used to sing "How is the weather" in "Happy Together" and pour a whole glass of water over my head, man, and he liked it so much that he made it an integral part of the show, the kids loved it, so I just let it keep happening.
Aynsley: He can't stand it, man, that's all . . .
Mark: And you're just a pansy ass, kiss ass little girl . . .
?: Ha ha ha!
Mark: Simmons!
Howard: Beer is another thing, man! I'm fucking soaked!
Mark: They use beer in some shampoos, Howard.
Howard: I don't give a shit, that's all I know it that water would dry up and not stain, and he ruined my shoes, man! I can't believe it.
?: Ohhh!
Mark: Materialist!
Howard: Hey lookit, Pat McGregorpatent leather!
Mark: Materialistic! Materialistic!
Howard: You're the dude who said . . . (scuffle)
FZ: Oh oh oh!
Mark: Materialist!
?: Ohhh.
Howard: Don't do it to you, I don't have any beer, man.
Aynsley: Okay.
Mark: "New York's so a lonely town."
Howard: I can't even . . . you keep your hands off me you creep
Mark: "And you are the only . . . "
Jeff: You creep, ha ha!
Howard: Stop it, man!

FZ: You know, a lotsa of people don't bother about their friends in the VEGETABLE KINGDOM. They think, "What can I say? What can a person who is new to the Midwest say to a vegetable?"
Howard: Suss it out, wankers!
MarkFZ: Suss it out, wankers!
Mark & Howard: Suss it out, wankers!
Jeff: Suss it out, wankers.
FZ: Suss it out, wankers!
Mark & Howard: Suss it out, wankers!
Aynsley: Suss it out, wankers . . . what's the matter with you?
Howard: Aynsley Dunbar!
FZ: And after sussed "Suss it out, wankers" . . . Mark: Ok.
FZ: You go and get yourself a big bottle of champagne!
Mothers: AAAH!
FZ: Find yourself a young vegetable victim!
Mothers: Yeah!
FZ: Take your young vegetable victim . . . Step one, now this is very important, you have to do it exactly this way. Bring the band on down behind me, boys, this gets technnicaltechnical! First: You get a Polaroid camera . . .
Mothers: Yeah!
FZ: And you make one good jump, from a balcony to another balcony on the seventh floor of the Sheraton Hotel in Jacksonville.
Howard: Aynsley Dunbar, did this ladies and gentlemen.
FZ: When you land on the other balcony with your Polaroid camera, something like this . . .
Mothers: Heeey!
FZ: Shoot off one good flashbulb catching . . . The agent will immediately turn around and say, "You know, I sure would like to have that photograph." You walk up to the agent and say, "Well, hahuh, funny you should mention it, I have this photograph here and just about time to develop it, yes it turned out great, it shows both of you here, and I'll give you this photograph, and if you'll give me the munchkin vegetable that you're with in order that I might make a few more pictures . . . " So you make a quick trade, holding the champagne bottle in abeyance until the rest of the members of your band have jumped over the same balcony . . .
Mothers: Eeeeeeeeh!
FZ: And come in and taken their places around the bed where the munchkin vegetable is laid out, posing: Leg up in the air and legs, leg down, legs leg to the side. Then, after some deft manipulation of the vital parts of the munchkin vegetable . . .
Jeff: Hey, I want some baby to hold my tool and squeeze it
FZ: With one masterful stroke—, or maybe you might use several masterful strokes—shake up the magnum of champagne to a foamy froth, holding your thumb over the end of it . . .
Aynsley: No, no, no . . . not you left the cork in, Frank, you pull the cork out it . . . Suss it out, wankers!
Howard: They're a hip audience, Frank, they know what's gonna happen next!
FZ: After the band has given you their complete attention, and is watching closely for the precise moment of the detonation of the alcoholic beverage into the vital organ, you give a sort of casual glance around the bedroom of the Sheraton, a suave little smile and wink one eye, adjust your bow tie, and just stuff it right in there!
Mothers: Aaaah!
FZ: And then you tell 'em how you feel. You whip it right out, take a snort off of it . . .
Howard?: How do you feel?
Mark: Aynsley Dunbar did this . . .
FZ: No, no, no . . .

Howard: Oh, still drinks it, man . . . what a man! Gotta prove himself!
Mark: Talk about childish perversions!
Howard: Where's Simmons?
Mark: It don't matter, he's in the, he's gettin' out of it, man, he's no. He knows where . . .
Aynsley: He knew what he's got out, man.
Howard: I'll get him in it, man . . .
Aynsley: Lemme, lemme tell you something . . .Here, take [...]
Howard: SayYes, Aynsley, you give me the cue and you let me know when is safe to get him . . .
Aynsley: Ok, man, I don't mind being beer poured on my head, when I'm saturate saturated . . . you can pour it on my head, any time.
Howard: I don't wanna pour it on your head, man.
GeorgeIan?: What I'm am I waiting for, man?
Aynsley: Just shut up, Georgie.
Mark: There he is, man.
Howard: Fucking creep, I can't even stand it! You, you're so child jive I can't even believe it, man!
Mark: For a year and a half you he used to pour water over my head.
Howard: Water! It's what . . . I could have stood water!
Jeff: Well, what I'm saying is . . . Howard: He did it to me
Howard: A little bit, man . . .
HowardJeff: A little bit? Feel that! It's still wet, man!
Mark: Well, listen, [...] I mean, look at that
Jeff: We'll Well, listen, man. ?: Take me Hit me. ?: Take me.
Howard: I don't wanna hear hit you . . .
Jeff: Take me. ?: Take me, I'm yours. ?: I'll take you late, man! Take me away, man.
Howard: It don't mean anything now, man!
Jeff: I hear heard you ranting and raving and you were gonna get me, man.
MarkHoward: What are you saying, man?
Jeff: I was up on the second floor of the stairs, he's just goin', "Wow, man!" [...] his Barber's voice it was is getting uptight with and everybody's eeeeeh!
MarkHoward: What are you talking about, man? Nobody plotted to get you! You lied there on the ground.
Jeff: No, I mean just now!
MarkHoward: You . . . Oh, that!
Jeff: I didn't mean . . . No one plotted get me, no one wants to get me.
Mark: Howard didHoward: I wanna get you.
Jeff: Now you do.
MarkHoward: I wanna get you . . . I'm gonna get you.
?: Oh, yeah Jeff: Okay . . . get me, man.

Jeff: Put that mike down, Frank, it's obscene
Aynsley: Next time you say anything to me, Howard, I'm gonna [...]
GeorgeHoward: Give me my little cup of brown sausagesauce and let me dip my meat in it.
Mark: Oh, man.
Jeff: Hundred dollars for Pinto beans, a pinto bean. Playground psychotics.
Howard: I slipped my burning phallus in her quivering quim!
Mark: Oh, man.
Jeff: Do you like to offend these the other passengers, Underwood? Keep quiet!
Howard: Underwood, the only thing that offends are your green socks! Green velour!
?: Hot wetsJeff: Cobwebs . . .
Aynsley: Could you, could you repeat that?
Jeff: . . . of your mind.
Howard: Now, just take your hand off my leg.
Dick?: Take your hand off my leg
Howard: Listen, what is this? Okay, grab my tit, I'll sit still, you pervert. HowardAh, you're so low.
Jeff: The Andy Devine School of Voice. You are low, Dunbar.
Howard: I just keep . . .
Aynsley: I always keep it low ya, Jeff, 'cause I'm only after one thing.
Jeff: You are ebbing.
Mark or Howard?: God, you are an you're incredible, man.
Aynsley: Who?
Howard: Haven't any of the chics chicks you've gone out with seen through you yet?
Aynsley: No, man, they're they still quite like me.

FZ: What's your name?
Martin Tickman: I'm Martin Tickman
FZ: And what is your position here?
Martin Tickman: Front office manager
FZ: The name of this stablishment is . . . ?
Martin Tickman: This is the Edgewater Inn
FZ: In Seattle, Washington. Can you tell me, uh, how some rock & roll groups have taken advantage of this unique situation?
Martin Tickman: They've taken advantage in different ways, and we do encourage, uh, and advertise that you can fish from your room and we are glad to have our guests fish from 'em
FZ: Do you supply them with fishing equipment?
Martin Tickman: No, but we have a shop in the hotel that does rent the equipment as well as bait
FZ: What sort of bait do they usually use?
Martin Tickman: Uh, it's a preserved minnow of some variety, I don't know exactly what the fish is
FZ: Well, what do they do after they fish from the window?
Martin Tickman: Well, rock & roll bands and other guests as well often catch shark and squid and octopus and usually we, it lands up either in the bath tub or dribbled on the floor on the way to the bath tub
FZ: Mm-mmh . . .
Martin Tickman: But it's not reserved to, uh, to any rock & roll bands, I mean, other guests do it too
FZ: Mm-mmh, but how frecquently frequently do you find squids and sharks and octopuses in the bath tubs of the rooms here at the hotel?
Martin Tickman: After almost any good weekend of pretty heavy occupancy, say like over half the house filled
FZ: If you have over the . . .
Martin Tickman: Way, way . . .
FZ: . . . over half house filled you'd find one, say?
Martin Tickman: Yeah, say, one or something like that
FZ: So how often would you say that is each week? Twice a week you'd find a . . . ?
Martin Tickman: Well, I would, I don't know that I would say that it would average to anything like that, you may find on four or five rooms with fish from various places, you know, around. But there's not much you can do with the shark after you've caught him, you know, some of these things are pretty big
FZ: What would you imagine that's is done with these, uh, sharks after they've been caught before they are left off, uh, for you to be cleaned up?
Martin Tickman: Sometimes the guest calls the houseman or housekeeper to haul it away because there's nothing that they can do with it
FZ: Yeah, wowwell. Have you ever heard of any other things that were done with them before they were hauled away?
Martin Tickman: Yes, a lot of, some people like to, uh, perform vivisection on 'em, or something like that. Occasionally you find that little bit of mess . . .
FZ: Yeah
Martin Tickman: I'll say that the, the, the "blood on the carpet" syndrome is rather, eh, rather rare, but it did occasionally happen
FZ: Do you ever find fish blood on the sheets of your beds here?
Martin Tickman: Not identifiable as such, no . . .
FZ: I see. Do you know of any stories about, uh, bizarre sexual activities performed with squid, octopus and mud sharks here in your rooms?
Martin Tickman: No . . . I should think a mud shark could would be a little uncomfortable, since its their skin it's is so sandy but, uh, never heard of anyone having it with an octopus

Mark or Howard?: Okay, it's, uh, is it just about time, you guy? What d'you say?
?: It's time for the mass.
Jeff: Uh . . .
Mark: One?
Jeff: Rolling?
Mark: Rolling . . . Frank is rolling.
Howard: Rolling? It's rolling . . . ? ?: One!
?: It's the mass.
Mark: Test two. ?: Test . . . three. ?: Oh, now this is what I call a new brother in lawreal brotherly love.
Howard: Man, chics are she's really harmhung, man. Now there are tits.
?: Hey you're taking Aynsley: Get your dick in between that baby [...]
Aaaaah . . .
Howard: No stopping! ?: Oh, I'm telling you . . . ?: There is a chic where I'm chick what am hung.
Jeff?: Oh yes . . .
Mark: And she enjoys every moment of it.
Howard: She wants you, Dick.
Aynsley: She's waiting for your big . . .
Dick: Now Oh, listen.
Jeff: Bwana?
Howard: She said give me the guy with the throb.
AAH!
Jeff: Oh . . . really?
Howard: Okay, enough.
Jeff: What can you say?
Howard: See you later.
Mark: See, this is what happens when you join up a, a rock group, George, and get off that jazz syndrome.
George: Is this like the old [...]
Aynsley: [...] just wanna show us lads what she's got.
Jeff: Oh, man.
Mark: There's no lust in jazz.

Howard: OhWhoa, that's really great! Botulism on the hoof!
Dick: Don't even look at it, Howard, you're over the deadline.
Jeff: The new fascist ensemble says that you can't have anything to eat, man, 'cause. You're over the deadline.
Howard: What's that mean?
Dick: I told you to be down here at noon, man. You're five minutes late, so you can't order.
Jeff: Listen, listen . . .
Howard: You . . . told [...], man.who to be down at noon?
Dick: Frank— These guys ordered like ten minutes ago.
Howard: It's like having Ronald Reagan for a road manager. What can you make me in two minutes . . .
Dick: The deal is that, uh . . .
Howard: . . . besides sick?
Dick: If you help me, uh, . . . for expedite matters to the airport, man, you might be able to woof down some kind of scarf out there.
Howard: What do you mean, "Woof down some kind of scarf out there"?
Dick: Then It means you can stick your fingers in your nose.
Howard: I'm hungry, man.
Dick: Eat a Payday candy bar.
Howard: Listen, how about a little dry cereal? How 'bout an a orange juice.
Dick: Never happenedhappen, man.
Jeff: He Hey, get it on tape that Barber is a [dufus]doofus, man.

Jeff: Ho.
Mark: Hup hup.
Jeff: Let me tell you right now, man. You got your armies; you got your rock bands. You try and turn a rock band into an army, this is what you get.

Howard: I think the big problem, Ian, is that it you've sort of gotta go "HOO-HAA!" as you do it. You go, HOO-WAAARGH! See?
George?: [...] brown out.
IanHoward: You're gonna be the king, the spew king, really.
Ian: My larynx . . . disintegrated in two seconds.
Howard: Walter Dale Walterdale.
Aynsley: Oh, God, there's a few people here , I didn't already.
?: There are Howard: There's a lot of people here.
Aynsley: My God.
Howard: You're They're all twelve years old and pupilypimply.
Aynsley: Are they penetratable?

Howard: We gotta do two shows tonight?
DickJeff: Yeah.Yep. I'll bein' I hope you don't didn't use up your bible vital . . . statistics.
Aynsley: I know he should have been doing that.
Howard: I'm doomed. Two shows, man . . .
DickJeffAynsley: Never And there're two shows importantin Portland, I mean.
Dick: Yeah.
Howard: Couldn't have spared me another twenty minutes sleep, another three hours worth of sleep, coul could have driven down?
Dick: I cut it to the bare minimum, Howard.
Howard: Yeah, man, you're O.D.'ing OD'ing on Preparation age H at this very moment.

FZ: Of course we'll send the penguin through the flaming hoop tonight!
Guy In The Audience: "Concentration Moon"!
FZ: Of course we'll play "Concentration Moon" for you! One, two, three, four . . .

Ooo-Ooo-Ooo etc., etc.,
AH-AH WA WA WA WA WA WA WAH!

I'm losin' status at the high school
I used to think that it was my school . . .
BOW WOW WOW WOW!
I was the king of every school activity
But that's no more . . . oh mama!
What will come of me?

The other night we painted posters
They We played some records by the Coasters
BOW WOW WOW WOW!
A bunch of pom-pom girls looked down their nose at me.
They had painted tons of posters; I had painted three.
I hear the secret whispers everywhere I go
My school spirit is at an all-time low . . . BLA-A-A-AOH NO!

FZ: Of course we'll play "Petrushka"!

I'm losing status at the high school
I used to think that it was my school . . .
BOW WOW WOW WOW!
Everyone in town knows I'm a hand-some football star
I sing & dance & spray my hair & drive a shiny car
I'm friendly & I'm charming . . . I belong to De Molay
I'm gonna try like mad to get my status back today!
Status back baby
Status back baby
Status back baby
Status back baby

Howard: This fucking Fuckin' guy is has flipped out, man! I'll Ought to be locked up!
Jeff: Who, me . . . ?
Howard: Yeah, you too!
Jeff: It was anti-semitic of me to bring that it up.
Mark: WhyWhat, you don't like Jews, man?
Jeff: Let me make it perfectly clear, WolfVolman. I don't mind that you are you're a Jew. Stay out of my way. Thank you for this Take your Bar Mitzvah, man, and shove it.
HowardMark: I never had a Bar Mitzvah.
Jeff: You ever had have a Yamulkayarmulke, man?
HowardMark: No, I wore one once, though . . .
Jeff: I knew it.
HowardMark: What's wrong? You don't like 'em, man?
Howard: That was [...] my cowboy hat . . . Probably don't like cowboy hats, either.
Jeff: [...] Just keep it out of my way, man, I don't wanna see that [yama god] Yamulka yarmulke on stage ever . . .
Howard: Uh . . . well, I don't know, man, that'd be sorta neat. Not in this group of course, maybe but tomorrow.
?: Alright, alright . . . Right, right.
Jeff: Howard Kaylan World!
HowardMark: [the yama . . . ]The YamulkaYarmulke.
FZ: Ha ha ha!
Jeff: Dear Frank, thanks for paying a hundred twenty three dollars for my meal in Amsterdam.
Mark: . . . which I didn't want anyway.
Howard: I hated!
I mean it, man
Jeff: I really enjoy enjoyed playing in your little own ensemble.
Howard: For a day or so.
Jeff: Thanks for bringing a little slice of sunshine into my life.
Howard: Thanks for showing me how sh . . . shitty the music business could really be. I thought I knew.
Jeff: Thanks for make [...] making me the worst bass player in the world. I've been After six months with the Mothers and I figured I've lost everything I've I ever had.

Concentration Moon
(Over the camp in the valley)
Over the camp in the valley
(Concentration Moon)
(OH WHAT A)
Concentration Moon
(I wish I was back in the alley)
Wish I was back in the alley
With all of my friends,
Still running free:
(Running free!)
Hair growing out
Every hole in me
(That's right, you heard right:
Hair growing out
Every hole in me!)
AMERICAN WAY
How did it start?
Thousands of creeps
Killed in the park
AMERICAN WAY
Try and explain
Scab of a nation
Driven insane
Don't cry
Gotta go bye bye
SUDDENLY: DIE DIE
COP KILL A CREEP! pow pow pow

FZ: And speaking of creeps, here they are, ladies and gentlemen . . .

FZ: The Sanzini Brothers!
Howard: The Sanzini Brothers!

HowardMark: Ladies and gentlemen, tonight by special request, we're going to repeat a trick that we performed last night. We hope that you will bear with, if you sought saw it, we hope that you enjoy it again . . .
?Aynsley: Yeah, yeah, yeah.
HowardMark: My brothers Adolf, Rudolph, Pissoff, and Jackoff. The Sanzini Brothers. And we'd like to perform for you tonight the world famous "Sodomy Trick"!

Howard: Complete silence, please!
FZ: The Sodomy Trick! Quiet . . .

Hop!
Hop!
Hop!
Hop! Hup! Hup! Hup! Hup!
Ho! Hun! Hey!

Little Carl . . .

Mark: "It's a good thing we get paid to do this. I could be in L.A., getting reamed, listening to [...] joy [...]an Elton John album."
Howard: "Don't even talk about getting reamed. Listen, I've been without female companionship for so long, a career as a Jesuit monk was looks inviting, Ian is starting to look good to me."
George: "Must be his green velour socks!"
MarkJeff: "Aynsley gone down there too You just calm down there, Duke.
Mark: "Ever since you left the jazz world to seek fame and fortune in the rock & roll industry . . . "
Jeff: "What do you mean rock & roll? This fucking band doesn't even play rock & roll, it's only all that comedy crap!!"
Ian: "If we play played any rock & roll we might make some money. I would like wouldn't mind playing some rock & roll, uh, I like classical music too, but that doesn't mean I wouln't wouldn't enjoy playing rock & roll. I mean, it's not very challenging, intelectuallyintellectually, but I wouldn't mind if we did some rock & roll. We could vote on it."
Jeff: "Vote on it? For what? To tell Zappa we wanna want to play some good music instead of this comedy shit . . . ?"
Aynsley: "I wouldn't mind playing some more rock & roll, it'd be a bit more commercial, with sort of heavy, four parts part harmony, group vocals . . . I mean, I think and a very heavy beat, that the kids could enjoy it. I think we'd definitely make more money that way."
Ian: "Maybe after we finish the movie we could play more rock & roll."
Mark: "Yeah! We could all quit and form other groups and play more rock & roll."
Jeff: "And more blues, extended blues, blues that's but still down and fightingfunky, even though you extended it. George knows what I'm talking about, don't you, George?."
George: "Leave me out of it, this. I come from the jazz world and I know all about these groups that get formed and disappear, with their extensional way . . . extensions waving in the moonlight."
Mark: "You just calm down there, Duke."
Jeff: "Maybe we could all form a group, we can could elect a leader . . . Howard . . . we can could call it Howard Kaylan World."
After having a leader Ian: "We wouldn't have to have any leader."
Jeff: "We could just jam arounda lot."
Aynsley: "There was But it would have to have a really heavy beat and be really commercial so the kids could enjoy us it."
Howard: "[...] late I want to wanna get laid! I'm I am so horny I can't stand it!"
Jeff: "Listen, if you think for a minute that anybody likes this comedy music we've been playing you're crazy. That's why you don't get laid, who wants to fuck a comedian! None of these girls won't take me can take you seriously."
Mark: "Hey, manHang on, you should be careful talking about that kind of stuff."
Jeff: "Why? Does he listen?"
Ian: "He always listens. He's always watching and listening to all the guys in the band. I've been in the band for years and I know, he always listens, believe me."
Jeff: "That's how he gets his material. He listens to us being natural, friendly, humours humorous and good-natured, then he rips us off, sneaks off in the into a secret room someplace and boils it in ammonia, and gets it perverted. Then he brings it back to us in at a rehearsal and makes us play it."
Ian: "I've been in the group for years and let me tell you that is exactly, that is precisely what he does: He steals all his material."
HowardMark: "And the stuff he doesn't steal, Murray Roman writes for him. Listen, without us he'd be nothing!"

FZ: Carl Sanzini will now join in on the second verse of "Concentration Moon"!
Howard: Why don't you?

Concentration Moon
Over the camp in the valley
(OH WHAT A)
Concentration Moon
Wish I was back in the alley
With all of my friends,
Still running free:
(Carl Sanzini, ladies and gentlemen!)
Hair growing out
Every hole in me
(That's right, you heard right
And here's one for little Carl)
AMERICAN WAY
Threatened by US
Drag a few creeps
Away in a bus
AMERICAN WAY
Prisoner: lock
SMASH EVERY CREEP
IN THE FACE WITH A ROCK

Don't cry
(No no no no)
Don't cry
(No no no, no-no-no no no)
Don't cry
(No no no no)
Don't cry
Don't cry, don't cry
Don't cry, don't cry
Don't shoot (no no no no no)
Don't shoot (no no no no no)
Don't shoot (no no no no no)
Don't shoot (no no no no no)
COP KILL A CREEP!
COP WANT A CREEP!
KILL ANOTHER CREEP!
KILL THE FUCKING CREEP!

Mama! Mama!
Someone said they made some noise
The cops have shot some girls & boys
You'll sit home & drink all night
They looked too weird . . . it served them right

Ever Never take a minute just to show a real emotion
In between the moisture cream & velvet facial lotion?
Ever tell your kids you're glad that they can think?
Ever say you loved 'em? Ever let 'em watch you drink?
Ever wonder why your daughter looked so sad? (So sad!)
It's such a drag to have to love
(Oh, it's such a drag to have to love)
A plastic Mom & Dad

Mama! Mama!
Your child was killed in the park today
Shot by the cops as she quietly lay
By the side of the creeps she knew . . .
They killed her too.

FZ: Thank you!
Mark: There's lots of dance on dancing in this, you know, it's k-, kinda like Off Broadway, way off . . .

Howard: Ready, MadgeMarge?
FZMark: You have to feel like . . . Photography by Art Laboe.
Howard: Grow, little trees!

FZ: It's spring, the time of the year when all things grow and little buds are sprouting off of them . . .

BILLY the Mountain
BILLY the Mountain
A regular picturesque
Postcardy mountain
Residing between lovely
Rosamond and Gorman
With his stunning wife ETHELL,
A tree!
A tree!

BILLY was a mountain
ETHELL was a tree
Growing off of his shoulder

BILLY was a mountain
ETHELL was a tree
Growing off of his shoulder

Billy had two big
Caves for eyes,
With a cliff for a jaw
That would go up 'n down,
And whenever it did,
He'd puff out some dust,
And hack up a boulder
(HACK!)
Hack up a boulder
(HACK! HACK!)
Hack up a boulder
(HACK! HACK! HACK!)
Hack up a boulder

Now, one day, a man in a checkered suit drove up in a big Lincoln Continental, and he laid a HUGE, BULGING ENVELOPE right at the corner of BILLY THE MOUNTAIN, right where his 'foot' was supposed to be.

Now, BILLY THE MOUNTAIN, he couldn't believe it! All those postcards he'd posed for, for OVER THESE YEARS, and finally, now, AT LAST, his Royalties!

Royalties!
Royalties . . .
Royalties!
Royalties . . .
Royalties!

BILLY THE MOUNTAIN was RICH! His eyeball-caves widened in amazement, his cliff (which was his jaw), it dropped thirty feet!

Ooh, a bunch of dust puffed out! Rocks and boulders hacked up, (hack! hack! hack! hack hack! hack! hack!) crushing 'The LINCOLN'!

Now, the man in the checkered suit, well, without his car he went screaming off into the desert at sunset (AAAA-AAA-AAAAH!) all the way to Rosamond to get a beer and tell everybody there including Ronnie Cook what had happened to his car.

I gave him the money
He acted real funny
He hocked up a rock and
It TOTALLED my car!

Oh, do you
Know any trucks
Might be bound for THE VALLEY?
I don't wanna stand here
All night in this bar
(Dear Lord)

I don't wanna stand here
All night in this bar
(No shit!)

I don't wanna stand here
All night in this bar!

By two o'clock, and the bars are had already closed down, BILLY had already broken 'THE BIG NEWS' to ETHELL. With dust and boulders everywhere, BILLY, choked with excitement, announced . . .

"ETHELL, we're going on a VACATION!"

Yes, and they WERE going on a vacation! (Oh, and ETHELL, ETHELL, ETHELL, ETHELL just like a woman, of course she was delighted! She creaked a little bit, and some old birds flew off of her . . . Hey, Mr. Tambourine Man, play a song . . . ) BILLY told ETHELL they were going to . . . They were going to NEW YORK!

"ETHELL, we're going to . . . New York!"

But first they were gonna would stop in LAS VEGAS . . .

It's off to LAS VEGAS
to check out the lounges
Pull a few handles,
Drink a few beers,
(Oh, ETHELL!)

ETHELL, my darling,
you know that I love you!
I'm glad we could have a
Vacation this year!
(Oh, NEET-O!)

Glad we could have a
Vacation this year!

They left that night, crunchin' across the Mojave Desert . . . their voices echoing through the canyons of your minds

"ETHELL, wanna get a cuppa cawfee?"

(Howard Johnson's! Howard Johnson's!
Howard Johnson's! Howard Johnson's!)

"Ahhh! there's a HOWARD JOHNSONS! Wanna eat some CLAMS?"

The first noteworthy piece of real estate they destroyed was EDWARDS AIR FORCE BASE . . .

And TO THIS VERY DAY, 'Wing Nuts' and Data Reduction Clerks alike, speak in reverent whispers about that fateful night when TEST STAND #1 and THE ROCKET SLED ITSELF got LUNCHED! By a FAMOUS MOUNTAIN-IN and his SMALL, WOODEN WIFE.

Good bye to LAS VEGAS
Farewell to the lounges
We pulled a few handles
We drank a few beers
(CHA-KA-LA-KA-LAHCHUG-A-LUG-A-LUG!)

Guess that GEORGE PUTNAM
Should be on the air now
With the biggest new story
That has broken this year
(GEORGE PUTNAM!)

His biggest new story
That has broken this year
(Take it away, George!)

"Word just in to the KTTV News Service undeniably links THIS MOUNTAIN and HIS WIFE to drug abuse and pay-offs as part of a San Joaquin Valley SMUT RING! However, we can assure parents in the Southern California area that a recent NARCOTICS CRACK-DOWN, in Torrance, Hawthorne, and Lomita, will provide the SECRET EVIDENCE the Palmdale Grand Jury has needed to seek a CRIMINAL INDICTMENT, and pave the way for STIFFER LEGISLATION, increased FEDERAL AID, and AVERT A CRIPPLING STRIKE of Bartenders and Veterinarians throughout the INLAND EMPIRE. But it is This Reporter's Opinion that ETHELL is a FORMER COMMUNIST . . . "

WITHIN THE WEEK, Jerry Lewis had hosted a Telethon ("Wah wah wah, nice lady!") to raise funds for the injured (injured . . . ) and homeless (homeless . . . ) in Denver, as BILLY had just levelled it, and, a few miles right outside of town, BILLY caused a 'Oh Mein Papa' in the Earth's crust, right over the SECRET UNDERGROUND DUMPS where they keep the POOLS OF OLD POISON GAS, and OBSOLETE GERM BOMBS, just as a FREAK TORNADO cruised through . . .

(My baby, my baby, my baby, my baby)
AH!
(My baby, my baby, my baby, my baby)
POO-AHH!
(My baby, my baby . . .)

. . . sucking up two thirds of it (SUCK! SUCK! SUCK!) for UNTIMELY DISPERSAL over VAST STRETCHES of THE MID WEST!!!

Now, it was about this time, I think it was right outside of Columbus, Ohio that BILLY got his NOTICE TO REPORT for his INDUCTION PHYSICAL. Now, believe me, ETHELL said she wasn't gonna let him go!

"I'm not gonna let you go, BILLY!"

And GEORGE PUTNAM, the RIGHT-WING CREEPO FASCIST PIG NEWSCASTER from Los Angeles said . . . (Take it away GEORGE PUTNAM, the RIGHT-WING FASCIST RADICAL CREEPO PIG NEWSCASTER from Los Angeles!)

"We now have CONFIRMED REPORTS from an INFORMED ORANGE COUNTY MINISTER, that ETHELL is still an ACTIVE COMMUNIST, and it is it's This Reporter's Opinion that she also practices WITCH-CRAFT!"

It was about this time that the telephone rang in the SECRET BRIEFCASE belonging to THE ONE MORTAL MAN who might be able to stop all of this senseless destruction and save 'AMERICA HERSELF'!

Now, some men say he looked like (he looked like) FELIX PAPPALARDI (Felix Pappalardi); still others say (others say), bullshit, man (bullshit, man) he was just born (he was born) next to the Frozen Beef Pies at CHRISTINE'S GRISTEDE'S (Frozen Beef Pies). Still others say (others say he was just another), uh-huh, and uh-huh again, he was just a crazy Italian (crazy Italian) who drove a RED CAR. You see it was hard to tell (but nobody knows), nobody knew for sure (for sure), he was so (so-o-o-o-o-o) mysterious (mysterious), oh yes, he was . . .

HE WAS SO
(He was so, he was so!)
MYSTERIOUS!

HE WAS SO
MYSTERIOUS!

'Cuz when a person gets to be
Such a HERO, folks,
And MARVELOUS BEYOND COMPUTE,
You can never REALLY TELL
About a GUY LIKE THAT
(Whether he's really a NICE PERSON
Or if he just SMILES A LOT),
(What?)
Or if he has a son named 'PINOCCHIO',
Or what?

Whether he's really a NICE PERSON or if he has a son named 'PINOCCHIO' or what?

Some men say he could FLY
Some men say he could SWIM
Others say he could SING (like NEIL SEDAKA),
And all the girls in FLUSHING
Would be AMAZED of HIM
(Two, Three!)
AMAZED of HIM!

Time passing (right!) . . .
January, February . . .
1975, 1986 . . .
March, 1914 . . .

So when the phone rang (thank you)
In the secret briefcase,
(Thank you)
A strong masculine hand
With a wristwatch
And flexy bracelet
GRABBED IT
And answered
In a deep, calmly assured voice:

"Yes, this is he! What? . . . A mountain . . . with a tree growing off of its shoulder . . . ? You're fulla shit, man . . . what? Wha-, uh, are, are you sure? Oh well, alright, let me write this down then, sorta take a few notes here . . . To NEW YORK? Causing UNTOLD DESTRUCTION?"

(My baby, my baby, my baby, my baby, OH!
My baby, my baby, my baby, my baby,
My baby, my baby,
My baby, my baby, my baby,
My baby, my baby)
UH-OH!
(My baby, my baby, my baby)
AHH!

"Wanted for DRAFT EVASION? Can I, can I fly there immediately and REASON WITH HIM? An expense account? And per diem, too?"

SOME MEN SAY HE COULD DANCE!

Yes, he could DANCE. And here it is, Ladies and Gentlemen: THE STUDEBAKER HOCH DANCING LESSON & COSMIC PRAYER FOR GUIDANCE featuring Aynsley Dunbar . . .

Twirly, twirly, twirly, twirly, twirly, twirly, twirly . . . Hey!

RIGHT HAND FROM THE HEART-UH
(Professional)
LEFT HAND FROM THE HEART-UH
(Exquisite)
RIGHT HAND FROM THE HEART-UH
(Homunculus)
LEFT HAND FROM THE LEFT SHOULDER
TO THE HEART-Uh

Twirly, twirly, twirly, twirly, twirly, twirly, twirly, twirly . . . Hey!

There were a number of very peculiar rumors circulating about STUDEBAKER HOCH recently. Consider if you will the rumors that have spread that he could write THE LORD'S Prayer on the head of a pin!

Some men say he could write THE LORD'S Prayer
On the head of a
Head of a
Head of a pin
Ah!
(Three Dog Night)
(Yeah)

Other still maintain the FACT! (Good God!)
He was born next to the Frozen Beef Pies
(And that was the main influence on HIM!)

Boldly springing into action, he phoned his wife (who ran a modeling school), WHEREUPON SHE . . . HE ran around the back of 'KIMBO'SGIMBEL'S' to see if he could find some big un-used cardboard boxes . . .

After which, he hit up [CHRISTIDY'S] GRISTEDE'S for some 'KAISER BROILER FOIL', some 'AUNT JEMIMA SYRUP', and a pair of blunt scissors! Hey-hey!

Yes, and in the parking lot across the street from the one 5thOne Fifth Avenue Hotel (in between a pair of customized trucks where nobody was looking), he cut out a pair of really, really NICE WINGS, and he covered 'em thoroughly with foil . . . thoroughly with foil thoroughly with foil . . . thoroughly with foil . . . thorougly with foil . . .

TH-thor-thorough-LY with FOIL-L
Th-th—thorough-LY wi-TH wi-TH FOIL-L-L!

Then he took those 'WINGS' and wedged one under each of his powerful arms and sneaked into a telephone booth . . .

He CLOSED THE DOOR! And he pulled down his grey denim Busdriver type pants, and he spread even amounts of AUNT JEMIMA syrup all over the inside of his legs, right underneath his boxer pretty print shorts, ha ha ha!

Soon the booth was filling with flies!

(Help me, help me, help me!)

He held open the legs of his boxer shorts so they could all get in . . . Yes! And when each and every one of those little, each and every one of those little cocksuckin' flies had gone into his boxer shorts, and was lapping up all that good AUNT JEMIMA syrup, he bent over and he put his head between his legs and he said to those little flies in a clear, impressive voice . . .

"NEW YORK!"

. . . and the booth and everything lifted up, out of the parking lot, and into the sky!

STUDEBAKER HOCH
YEAH, YEAH
STUDEBAKER HOCH
STU-DE-BAKER HOCH!

STUDEBAKER HOCH
YEAH, YEAH
STUDEBAKER HOCH
STU-DE-BAKER HOCH!

He's coating his legs
With AUNT JEMIMA syrup up and down!

His shorts'll be filled with flies
That will be buzzing all around!
(Help me, help me, help me!)

Stoodlabaker Hoch:
He's really outa sight!
Stoodlabaker Hoch:       
He does it every night!
Stoodlabaker Hoch:     
He treats the flies all right
STOODLA-BAKER HOCH
That's why they never bite, hey!

(Please to New York!
Fly to New York!)

He could be a DOG
Or a FROG
Or a LESBIAN QUEEN!

(Fly to New York!)

He could be a NARK
Or a LADY MARINE!

Or he might play dirty!
He's OVER THIRTY!
(Getting old? Say! I don't know!)

His peculiar attire
And the flies he require
Keep leading him on
'Cause ETHELL is gone
And THE MOUNTAIN she's on

(Please to New York!
Fly to New York!)

(Fly to New York!)

(I don't know!)

His peculiar attire
And the flies he require
Keep leading him on
'Cause ETHELL is gone
They keep leading him on
'Cause ETHELL is gone
And THE MOUNTAIN she's on

We join STUDEBAKER HOCH standing on the edge of BILLY THE MOUNTAIN's mouth.

"BILLY? I've come to REASON with you! Our GREAT COUNTRY needs you in the Armed Forces! Why, it's all fair and square, the LOTTERY, you know? Your NUMBER came up . . . you can't go on running like this forever."

ETHELL shook her twigs angrily, but STUDEBAKER HOCH, UN-ferturbed, continued . . .

"Listen, you (cough cough) . . . listen, you COMMUNIST SON-OF-A-BITCH! You better get your ass down there for your fuckin' physical, or I'll see to it that you get used for FILL DIRT in some impending New Jersey MARSH RECLAMATION . . . and your girl-friend here will wind up disguised as a series of brooms, primitive ironing boards (or a DOG HOUSE) . . . get the (cough, cough), GET THE PICTURE?"

BILLY just laughed:

"HO, HO, HO! If they think they're gonna draft ME, they're CRAZY!"

Now you'd you'll remember that STUDEBAKER HOCH was standing on the edge of BILLY's mouth, so that when he laughed, he lost his balance and unfortunately fell, screaming, two hundred feet into the rubble below!

"Aaahhhhhhhh . . . "

(That was only one hundred feet, you Carnaby cutie,
LET'S HEAR ANOTHER SET!)

"Aaahhhhhhhh . . . "

Which only goes to prove . . .

A Mountain is something
You don't wanna fuck with
You don't wanna fuck with
Don't fuck around
(Don't fuck around)

Don't fuck with BILLY
And don't fuck with ETHELL
(You saw what just happened
To the guy with the flies!)

DON'T FUCK AROUND!
DON'T FUCK AROUND!
DON'T FUCK AROUND!
DON'T FUCK AROUND!
DON'T FUCK AROUND!
DON'T FUCK AROUND!
DON'T FUCK AROUND!

With

Biddilly, Biddilly
Biddilly, Biddilly, Biddilly

BIDDILLY
THE
MOUNTIN-INNNNNNN!

BIDDILLY
THE
MOUNTIN-INNNNNNN!

FZ: Thank you for coming to our concert. Good night.

Howard: "It's him, he's watching us!"
Mark: "You think he heard us?"
Ian: "I've been in the band for years, and . . . you can bet that he hears heard everything."
Jeff: "Let's go over and pretend to be nice to him."
Howard: "Let's go over and pretend we don't know he's watching."
Mark: "And ripping off all our good material."
Howard: "Hi, man."
Ian: "Hi, Frank."
Mark: "Hi, man."
Jeff: "Hi, Frank."
Aynsley: "Hi, man."
George: "Hi, Frank."
Mark: "WellBoy, that's a great new comic comedy song you wrote, you know, the that one about the penis and everything, I was laughing a lot while I was learning it."
Howard: "Yeah, Frank, uh, it was a little hard to get into it at first, but, uh, once we got the drift . . . "
Jeff: "That's a real great part you got in there for the chorus when they go ran-tan-toon ran-ta-tan while 'Ran Tan Toon Toon Na Na Hanninn' where still I steal the room and everything, I don't mind he's you ripping it off so long as I get paid . . . "
Mark: "Me too, I won't don't even care 'bout about the part where it he goes, 'What can I say about this elixir?' so long as me and Howard and Jeff get credit for special material."

Mark: "There's some bad ground brown acid going around, Aynsley . . . you can take it with a grain of salt, ha ha ha . . . "
Aynsley: "I don't didn't mean to upset you, lads . . . I don't didn't mean to upset you, lads, but the reason my retorts were so snappy is because he's making me do this, I should imagine he's making you do yours too, isn't he?"
Howard: "Get out of here, you creep, you even used to live in his house!"
Aynsley: "See you later, lads."

FZ: If you're not a professional actor, the easiest thing for you to do, when you only have a week to make a movie is just to be yourself on the screen. So the lines that the people speak in the film, with the exception of some of the real fantasy characters like the Vacuum Cleaner, or the, or what Theodore Bikel says, are all based on the actual speech patterns and the lifestyle of the people who are in the group.

Mark: "Howard . . . he's right! Ha ha ha!"
Howard: "I know he is. You might as well admit it too, Simmons."
Jeff: "Alright,Right . . . it's pathetic. He's making me do this. I can't help myself. Suicide is imminent . . . "
MarkHoward: By the time he we actually gets get to doing this, man, thing would just be too realit'll just be two reelstoo real .

Jeff: Smurf mee!
Howard: Smurf meee!
Jeff: Metz. Right Howard?
Howard: Right Jeff, we're going for the money, all the way.

Jeff: This is what I joined for. This I don't think is pretty goodpertinent.
FZ: You know . . . In other words, you don't wanna be in the movie.
Jeff: Yeah.
FZ: You're You sure?
Jeff: Mm-mhhmm.
FZ: Did Is there Anybody else? Who that doesn't want to be in the movie? . . . Is there anything specific that you don't like about the that script?
Jeff: No . . . in fact my part is the best part of in the movie, I think . . .
FZ: You have You've got the biggest part.
Jeff: I didn't know how far this could go.
FZ: And why do you think it went so far?
Jeff: It was probably boiled in ammonia
MarkHoward: I'm curious to know whyI gotta ask you this one—like I asked you this morning—why it puts you out so much to do it, man? Unless you're just a little afraid that what you you've gotta say is too much what you'd say anyway?
Jeff: It is what I'd say. It's exactly— It's there!
MarkHoward: So you you're not even acting, man.
Jeff: It's done now. And I don't—
Howard: Why you're are you afraid to say it to the people out there what when you've been saying it to us for months?
Jeff: I'm not afraid to say it to the people out there, I'm just afraid to be in this band, I mean anymore.
MarkHoward: Why?
FZ: The lines that are in this film are based on things I I've heard people say for years, all the way back to the very beginning, you know?. I don't think anybody should have any objection to say saying any of those things, because you're playing yourself.
Jeff: Should I turn this intrim the sceneturn this in?
FZ: Sure.

FZ: From the point that Jeff Simmons quit the group we've had a bunch of adventures trying to find somebody to replace him, not only for the bass parts in the music, but to play the role that he was supposed to play in the film, which is a pretty large part. And, uh, our first candidate for the role was Wilfrid Brambell, who played the grandfather in A Hard Day's Night. So Wilfrid came over, tried out for the part, everything was set, he rehearsed with us for about a week, and then one day came to the studio here, and completely freaked out, and said that he couldn't handle it anymore. So, we went into the dressing room, sat around with the guys in the band, and tried to figure out what we were gonna do about replacing the replacement. And the first person that walked through the door was Martin Lickert, who happened to be Ringo's driver, and, uh, everybody just turned and looked at him and went, "You!"

Martin: I just went out to get some cigarettes for him one day and came back and walked into the dressing room and there's Frank and the rest of the Mothers and Ringo, few other people, and I walked in the room and they all went, "Yeah!" I said, "Yeah what?" You know, "Would, would you like to try Jeff's part?" You know, so I just tried that, and it seemed to work okay.
Roelof Kiers: Mm-mmh . . .
Martin: So Frank said, "Well, if you can play, play bass, you can try playing with the group as well."

FZ: So he took the script and he read it and he sounded good and then just quite by accident, we found out that he was a bass player. I think he's good for the part, is, uh, quite professional on screen and as a bass player he's not astonishing but, uh, he can make the parts.

Howard: Well, the character I play is a great guy, you see, right away that gives me a start. Uh, on the other hand, half of it's reality and half of it isn't, you know? Where the line is, it's sometimes even hard for the players to tell, you know. It's just that when you look at your script some lines come easier than other lines, you know, and usually those are the ones that you've said before, or feel that you could say quite honestly, you know, and some of the other things were made up and it, it comes out that way.

Mark: Ever since you left the jazz world to seek fame and fortune in the rock & roll industry . . .
Martin: Rock & roll! What d'ya mean rock & roll? This fucking band doesn't even play rock & roll, it's all that comedy crap.

Howard: From 200 Motels he expects the worst reviews of any movie ever put out, and I said, "Yeah, Frank? Why is that?" And he says, "Well, nobody's ready for it . . . " But it doesn't really matter, you know? He knows that the kids are gonna go see it, because it's a weird movie. By the time this turkey comes out, man, I mean, there still won't be anything out close to it.

Mark: Well uh . . . I play a version of myself as Frank sees me, you know, like, you know what I mean?
Roelof Kiers: No.
Mark: It's not, uh, he sees the group from . . . like we see him from one point of view and he sees us from another place, this was written around like where, you know, the folklore that each member had brought to create the image that we portray. Like, uh, some of the scenes have happened before. Specifically the, the hotel room scene where the group sits and talks about how Frank is not important to what the group is and . . . that scene I remember happening many times, uh, just the whole idea that it is Frank Zappa & The Mothers Of Invention has always given us something to talk about, you know, Frank is, you know, our boss and so there's always that kinda management, uh, worker relationship that, you know, that just happens, it isn't like you, you plan for it to happen, it just does . . .

Martin: what do you do? You join The Mothers and you end up working for Zappa! And he makes you be a creep! You could have played the blues with John Mayall, or far-out exciting jazz with Blood, Sweat & Tears.
Don: You really think so?
Jeff: Look, no one'll ever take you seriously after this . . . how can they take you seriously? In this business you either gotta play the blues or sing with a high voice.
Don: You're right, I never should have joined The Mothers. Why, I could be a star now! Oh . . .