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Exene: Dear Slash, Will you
please convey my feelings to
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X about how much I like
the album from Los Angeles.
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00:00:25,633 --> 00:00:29,618
The album is intensely personal
to me because I was the
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person that was the
subject of the songs.
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Exene: They are
incredibly accurate.
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00:00:38,833 --> 00:00:42,185
I tried to write some poetry
chronically in my dissent
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into insanity and no
where I was close to
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equaling, equaling
their writing.
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I've never been so
drawn to another
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person in all my life as Exene.
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00:01:07,867 --> 00:01:11,918
And even though the
songs are about me,
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I am very glad
that she understood
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00:01:26,067 --> 00:01:35,418
what I've gone through
and because of that,
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because of that, I'm
not going to sue.
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* She had to leave
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* Los Angeles
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00:02:02,567 --> 00:02:04,918
* All her toys go 'round
in black and her boys
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00:02:04,933 --> 00:02:10,152
* Had too, she started to
hate every nigger and Jew
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* Every Mexican that
gave her lotta shit
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* Every homosexual and
the idle rich, idle rich
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00:02:17,933 --> 00:02:28,267
* She had to get out, get
out, get out, get out, get out
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* She gets confused,
flying over the dateline
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* Her hands turn red, cause
the days change at night
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* The day change in an instant,
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00:02:41,867 --> 00:02:50,133
* The days change at
night, change in an instant
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* She had to leave
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00:03:01,933 --> 00:03:06,367
* Los Angeles
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00:03:06,533 --> 00:03:08,652
* She found it
hard to say goodbye
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00:03:08,667 --> 00:03:10,485
* To her own best friend
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00:03:10,500 --> 00:03:12,618
* She bought a clock
on Hollywood Boulevard
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00:03:12,633 --> 00:03:22,318
* The day she left, it felt
sad, it felt sad, it felt sad
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00:03:22,333 --> 00:03:33,067
* She had to get out, get
out, get out, get out, get out
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* She gets confused,
Flying over the dateline
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00:03:39,167 --> 00:03:44,285
* Her hands turn red, cause
the days change at night
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* Change in an instant,
the days change at night
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00:03:48,867 --> 00:03:51,518
* Change in an instant
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00:03:51,533 --> 00:03:59,500
* The days change at night,
change in an instant *
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00:04:11,900 --> 00:04:13,585
Voiceover: This is the desert.
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00:04:13,600 --> 00:04:16,752
This is the grim waterless
waste that cover most of
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00:04:16,767 --> 00:04:20,200
Los Angeles even within
the memory of living men.
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00:04:21,900 --> 00:04:24,452
Voiceover: Western civilization
at its most hideous...
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Voiceover: I'll
take my own direction
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Black hair man: Stabbing
into your subconscious mind.
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00:04:30,700 --> 00:04:32,200
Voiceover: At no
cost to the governor.
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00:04:55,100 --> 00:04:59,252
Blonde hair woman: Hi, I'm here
with X and this is John Doe
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and Billy Zoom, and
Exene, and DJ Bombreck.
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00:05:09,633 --> 00:05:13,618
Voiceover: Billy put an ad in
the Recycler and I put an ad
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00:05:13,633 --> 00:05:16,385
in the same week and I don't
remember exactly what it said,
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but worded about the same,
you know, people looking
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00:05:19,767 --> 00:05:21,485
to play music that
wasn't bullshit.
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00:05:21,500 --> 00:05:24,152
Voiceover: And the Recycler
came out and I picked up
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a copy and I looked through
it and there was an ad in it
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that was worded almost the
same as what I wrote and
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00:05:29,967 --> 00:05:31,585
Voiceover: She called me up,
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00:05:31,600 --> 00:05:33,818
and I was like, calling each
other at the same time...
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00:05:33,833 --> 00:05:36,118
Voiceover: Well,
I met John first.
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I was very drunk.
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00:05:37,900 --> 00:05:41,552
Voiceover: I just finished
playing a gig with the Eyes.
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00:05:41,567 --> 00:05:43,485
Voiceover: Called up Billy
and said, "Billy there's a guy
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00:05:43,500 --> 00:05:45,152
'down here, he's playing a
huge snare drum and he hits
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Voiceover: He asked
me to audition
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00:05:47,800 --> 00:05:49,052
Voiceover: Promise him anything,
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00:05:49,067 --> 00:05:50,885
we'll worry about
it later. Get him!
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00:05:50,900 --> 00:05:53,885
Exene: Well you know, I met
John at the poetry workshop
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00:05:53,900 --> 00:05:57,818
in Venice and I guess it
was kind of a mutual meet.
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00:05:57,833 --> 00:06:00,185
Voiceover: You know, like
we said, I met Maxine at a
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Voiceover: I never
worked with anyone
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00:06:01,733 --> 00:06:04,152
before and I like that,
but I was scared to do it.
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00:06:04,167 --> 00:06:06,718
Voiceover: She had some of
these poems that were just
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00:06:06,733 --> 00:06:08,752
songs, you know, they were
obviously songs and I said...
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00:06:08,767 --> 00:06:10,685
Exene: And just kind of
encouraged me that I could sing.
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00:06:10,700 --> 00:06:12,618
And, I had never really sang
before and I really had no
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Voiceover: Maxine came down the
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00:06:16,700 --> 00:06:20,185
first time to rehearsal and
Billy's going, "Ah great."
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00:06:20,200 --> 00:06:21,885
Voiceover: Found this good
bass player, he's going to
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00:06:21,900 --> 00:06:25,185
bring his girlfriend around
to sing along and I looked at
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one of the books that
Exene was writing in.
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00:06:28,300 --> 00:06:31,552
She's got that great writing
style and he goes, "Oh no,
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00:06:31,567 --> 00:06:37,685
Voiceover: She might
have talent, but
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00:06:37,700 --> 00:06:40,085
I don't know if I want
to wait two or three
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00:06:40,100 --> 00:06:42,152
years for it to develop.
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00:06:42,167 --> 00:06:44,085
As it turned out it took two
or three years for anybody
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00:06:44,100 --> 00:06:47,385
to pay attention to us anyway,
so there's plenty of time.
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00:06:47,400 --> 00:06:48,885
Exene: And then right before
we went on stage for our
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00:06:48,900 --> 00:06:51,185
first show he kind of patted
me on the head and winked
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00:06:51,200 --> 00:06:53,452
or something and then I realized
that it was okay, I could
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00:06:53,467 --> 00:06:56,800
actually go out there and he
wasn't going to be mad at me.
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00:07:33,400 --> 00:07:35,185
Billy: Our father's
a musician, he
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00:07:35,200 --> 00:07:39,452
was a jazzer, old time jazz.
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00:07:39,467 --> 00:07:40,885
He played clarinet and sax.
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00:07:40,900 --> 00:07:43,752
He played with Django Reinhardt
and Jim.
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00:07:43,767 --> 00:07:48,252
He played with a lot of people,
you know, he got around.
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00:07:48,267 --> 00:07:50,518
Rode motorcycles
and played music.
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00:07:50,533 --> 00:07:52,652
I always played music.
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00:07:52,667 --> 00:07:55,318
Everybody played music
when I was a kid.
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00:07:55,333 --> 00:07:58,952
I use to play piano, and
accordion, and violin, and
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00:07:58,967 --> 00:08:01,252
saxophone, and
flute, and clarinet,
98
00:08:01,267 --> 00:08:05,552
and guitar, you
know, everything.
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00:08:05,567 --> 00:08:08,918
He could play anything and
he always had instruments
100
00:08:08,933 --> 00:08:12,085
around the house, that
was just the way he did.
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00:08:12,100 --> 00:08:14,733
Everybody did it.
102
00:08:36,100 --> 00:08:38,152
See, one morning I woke up
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00:08:38,167 --> 00:08:40,518
and the percolator was going.
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Think he had gotten
up before me as usual.
105
00:08:44,133 --> 00:08:47,185
I heard this sound and I
tried to imitate it, so I came
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00:08:47,200 --> 00:08:52,685
into the kitchen and I
started tapping my foot to the
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00:08:52,700 --> 00:08:57,285
sound of the percolator and
I came up with this rhythm.
108
00:08:57,300 --> 00:09:01,918
It's sort of a polyrhythm.
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00:09:01,933 --> 00:09:04,852
It's three in the foot, starts
at one, two, three, and the
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00:09:04,867 --> 00:09:08,918
left hand is in four; so it
goes, one, two, three, four
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00:09:08,933 --> 00:09:14,185
one, two, three, four, against,
one, two, three, and then
112
00:09:14,200 --> 00:09:18,752
the last rhythm is
five in the right hand.
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00:09:18,767 --> 00:09:20,785
One, two, three, four, five;
One, two, three, four...
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00:09:20,800 --> 00:09:23,167
Okay, like this, play this.
115
00:09:29,067 --> 00:09:33,685
Music just started out as
something that was fun to do.
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00:09:33,700 --> 00:09:36,252
I started out in a
marching band and it was
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00:09:36,267 --> 00:09:39,885
fun to play snare drum and
then I ended up in a big band
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00:09:39,900 --> 00:09:42,418
and it was fun to
read big band music.
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00:09:42,433 --> 00:09:45,352
And then I ended up in an
orchestra, and I got to play
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00:09:45,367 --> 00:09:47,833
the various instruments.
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00:09:50,833 --> 00:09:53,452
My hero is
Captain Beefheart.
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00:09:53,467 --> 00:09:56,952
Whether or not you can tell
from drumming style that I
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00:09:56,967 --> 00:10:00,385
played in X, the one thing
I like about it is the
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00:10:00,400 --> 00:10:02,885
playfulness and his melodies
and that's what I like about
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00:10:02,900 --> 00:10:04,785
Lionel Hampton, too.
126
00:10:04,800 --> 00:10:13,952
Well, I'll do his famous
flying home riff, wrong note
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00:10:13,967 --> 00:10:15,285
I can't even do it.
128
00:10:15,300 --> 00:10:17,218
I need the grunt
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00:10:17,233 --> 00:10:19,652
I guess I'm trying
to compensate for the
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00:10:19,667 --> 00:10:22,518
fact that I don't have bassoons
in the band and I don't
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00:10:22,533 --> 00:10:27,918
have gongs, I try to make it
up on high hats and symbols
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00:10:27,933 --> 00:10:29,267
and solo, which I can't do.
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00:11:51,233 --> 00:11:54,785
Voiceover: Well, let's go
back in time a bit and we know
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00:11:54,800 --> 00:12:00,685
that you started playing live
at The Masque in Hollywood.
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00:12:00,700 --> 00:12:04,185
Voiceover: Yea. We started
playing at the Masque in
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00:12:04,200 --> 00:12:07,152
seventy seven, or
actually seventy eight,
I guess it would be.
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00:12:07,167 --> 00:12:08,685
Voiceover: And what were
some of the other bands
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00:12:08,700 --> 00:12:10,452
that use to play
there in those days?
139
00:12:10,467 --> 00:12:12,318
Or any of them still around?
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00:12:12,333 --> 00:12:14,852
Voiceover: A few of them.
Exene: The Plugs, The Deadbeats,
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00:12:14,867 --> 00:12:17,785
The Weirdos, The Screamers,
The Germs, The Go-Gos,
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00:12:17,800 --> 00:12:21,585
Voiceover: That's about it.
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00:12:21,600 --> 00:12:23,252
Voiceover: Did you say The
Skulls and The Controllers?
144
00:12:23,267 --> 00:12:26,685
Exene: The Skulls and The
Controllers and The Alley Cats.
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00:12:26,700 --> 00:12:29,352
Voiceover: Welcome
to The Masque.
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00:12:29,367 --> 00:12:31,952
Brendan: I haven't
been down here for five
years myself, so I don't
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00:12:31,967 --> 00:12:34,785
quite know what to
expect at the bottom.
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00:12:34,800 --> 00:12:38,052
I know it's pretty trashed
out, but let's go check it out.
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00:12:38,067 --> 00:12:43,918
Just for fun, well, this is
all the graffiti, the legendary
150
00:12:43,933 --> 00:12:46,852
graffiti that the
place is known for.
151
00:12:46,867 --> 00:12:50,918
It hasn't been touched
as far as I can tell.
152
00:12:50,933 --> 00:12:54,318
Touched a little bit.
153
00:12:54,333 --> 00:12:58,067
Here we are, the
bottom of the stairs.
154
00:12:58,967 --> 00:13:03,418
"Hippies go home, you
suck." I guess so.
155
00:13:03,433 --> 00:13:07,152
"Your mother is calling
you, you wimp. Go home."
156
00:13:07,167 --> 00:13:09,685
"Masque welcomes nobody."
157
00:13:09,700 --> 00:13:15,085
Well, here it is, the
main concert room.
158
00:13:15,100 --> 00:13:18,352
My stage disappeared,
somebody else must have
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00:13:18,367 --> 00:13:20,752
stuck that up there,
those letters.
160
00:13:20,767 --> 00:13:23,152
There's a pornographic
movie theater upstairs that
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00:13:23,167 --> 00:13:24,652
own this building.
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00:13:24,667 --> 00:13:27,252
Billy: There wasn't
any place to play
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00:13:27,267 --> 00:13:28,718
and nothing was happening.
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00:13:28,733 --> 00:13:30,452
There was no live music
in L.A. at that time.
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00:13:30,467 --> 00:13:32,485
John: So it was
just an open city.
166
00:13:32,500 --> 00:13:34,267
Let's make live music happen.
167
00:15:31,733 --> 00:15:34,252
Blonde hair woman: So those
gigs were mostly just so that
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00:15:34,267 --> 00:15:36,285
everybody could play
music, not to make money.
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00:15:36,300 --> 00:15:39,118
Exene: Yea. It
wasn't to make money.
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00:15:39,133 --> 00:15:40,952
Voiceover: So, Brendan
could
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00:15:40,967 --> 00:15:42,218
Brendan: You want a list
of people who closed
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00:15:42,233 --> 00:15:44,318
down The Masque?
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00:15:44,333 --> 00:15:47,918
Starting on high, the city
of Los Angeles, itself
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00:15:47,933 --> 00:15:51,085
wasn't ready, beneath
them we have, in
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00:15:51,100 --> 00:15:56,252
order of appearance, the Los
Angeles City Fire Department,
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00:15:56,267 --> 00:15:58,852
the Los Angeles City Building
of Safety Department,
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00:15:58,867 --> 00:16:03,718
the Los Angeles Public
Health Department,
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00:16:03,733 --> 00:16:09,718
the Hollywood Chapter,
the Chamber of Commerce,
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00:16:09,733 --> 00:16:13,367
the Hollywood
Boulevard Division.
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00:16:16,167 --> 00:16:18,185
Voiceover: Now here's a
famous corner in L.A.'s
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00:16:18,200 --> 00:16:20,952
history, Hollywood and Vine.
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00:16:20,967 --> 00:16:25,252
Someone has said it isn't a
place, it's a state of mind.
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00:16:25,267 --> 00:16:28,952
Physically, it's
part of a big town.
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00:16:28,967 --> 00:16:31,385
Actually, its everything to
do with movies and radios,
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00:16:31,400 --> 00:16:33,518
and all the people who live by
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00:16:33,533 --> 00:16:35,233
these fabulous, highly
times.
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00:17:28,333 --> 00:17:31,518
* I am a
black and white ghost
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00:17:31,533 --> 00:17:34,852
* In a black and invisible dress
189
00:17:34,867 --> 00:17:41,352
* Oh, what a mess I'm in,
what kind of fool am I
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00:17:41,367 --> 00:17:49,285
* I am the married kind,
the kind that said I do
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00:17:49,300 --> 00:17:53,467
* Forever searching
for someone new
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00:17:59,833 --> 00:18:03,518
* At night I get
drunk and fly around
193
00:18:03,533 --> 00:18:06,718
* In the day I
dream and lay around
194
00:18:06,733 --> 00:18:10,233
* I drink and smoke
your brand and drink
195
00:18:10,300 --> 00:18:17,267
* I am drunk over you,
I am the married kind
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00:18:17,333 --> 00:18:20,785
* The kind that said I do,
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00:18:20,800 --> 00:18:24,167
* Forever searching someone new
198
00:18:31,467 --> 00:18:34,685
* I am the ghost
of all my dreams
199
00:18:34,700 --> 00:18:41,685
* To me, it's all
pretend, I pretend I'm
alive or just not dead
200
00:18:41,700 --> 00:18:48,733
* I will die for you,
I am the married kind
201
00:29:17,400 --> 00:29:18,518
* The kind that said I do
202
00:29:18,533 --> 00:29:19,352
* Forever searching
for someone new
203
00:29:19,367 --> 00:29:20,318
* My nights are numbered
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00:29:20,333 --> 00:29:21,485
* They don't count for nothing
205
00:29:21,500 --> 00:29:22,918
* I'm not a fool,
I'm just a bride
206
00:29:22,933 --> 00:29:23,852
* I'm just no good inside,
I am the married kind
207
00:29:23,867 --> 00:29:25,052
* The kind that said I do,
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00:29:25,067 --> 00:29:26,067
* Forever searching
for someone new *
209
00:29:27,067 --> 00:29:28,485
Tony: This thing here,
we use to use on stage
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00:29:28,500 --> 00:29:29,685
is from the Ex Lax building
in Brooklyn and it's this
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00:29:29,700 --> 00:29:31,118
real cool enamel,
brown enamel in there.
212
00:29:31,133 --> 00:29:32,585
And, we were there about
three years ago and there
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00:29:32,600 --> 00:29:33,818
were tearing down all the
letters and it said, "Ex Lax".
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00:29:33,833 --> 00:29:35,252
The original home of Ex
Lax went a hole block.
215
00:29:35,267 --> 00:29:36,652
You can imagine how big
the word, Ex Lax, would be
216
00:29:36,667 --> 00:29:38,185
like this, and they were
tearing it down and this guy
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00:29:38,200 --> 00:29:39,118
I say, "Can I have that 'x'?"
and he goes, "Sure, sure kid.
218
00:29:39,133 --> 00:29:40,585
'Come back in about an hour."
219
00:29:40,600 --> 00:29:42,052
And I came back and he hadn't
taken it down and I said,
220
00:29:42,067 --> 00:29:43,552
"Can I still get that 'x'?"
and he goes, "Wait a minute,
221
00:29:43,567 --> 00:29:45,085
'Tony, Tony go take that 'x'
down and be careful with it."
222
00:29:45,100 --> 00:29:46,552
And he takes it down and just
drops straight to the ground.
223
00:29:46,567 --> 00:29:47,752
"Okay, Tony bring it over
here. Here you go kid. I don't
224
00:29:47,767 --> 00:29:48,918
'know why you want
this, but keep it.
225
00:29:48,933 --> 00:29:49,852
'You got a part of
the Ex Lax building
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00:29:49,867 --> 00:29:51,285
because it's getting torn down."
227
00:29:51,300 --> 00:29:52,718
And that's, you know, a
pretty good thing to have.
228
00:29:52,733 --> 00:29:53,952
* I love you, baby,
but you don't understand
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00:29:53,967 --> 00:29:55,252
* When Lord made me,
he made a rabid man
230
00:29:55,267 --> 00:29:56,452
* But some folks might
say, that I'm no good
231
00:29:56,467 --> 00:29:57,885
* That I wouldn't
settle down if I could
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00:29:57,900 --> 00:29:59,285
Voiceover: I've been in bands
and it done cover songs,
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00:29:59,300 --> 00:30:00,752
and learned traditional
harmony, so I knew that but
234
00:30:00,767 --> 00:30:02,185
Exene had never been in a
band, so she didn't have that
235
00:30:02,200 --> 00:30:03,118
traditional harmony in her
head, so she just sang along
236
00:30:03,133 --> 00:30:04,118
until something sounded right.
237
00:30:04,133 --> 00:30:05,552
So we got a real
different sound.
238
00:30:05,567 --> 00:30:06,385
* But you gotta understand
when the Lord made me
239
00:30:06,400 --> 00:30:07,618
* He made a rabid man
240
00:30:07,633 --> 00:30:08,633
Exene: You know how to
play Honkey Tonk Blues?
241
00:30:09,867 --> 00:30:11,285
Exene: I liked country and
western when I was growing up.
242
00:30:11,300 --> 00:30:12,185
I've been able to go back
and listen to all the music
243
00:30:12,200 --> 00:30:13,652
that's been around forever.
244
00:30:13,667 --> 00:30:15,085
You know, just the old country
people like Hank Williams.
245
00:30:15,100 --> 00:30:16,518
And then, the blues guys,
like Leadbelly, Holland Wolf
246
00:30:16,533 --> 00:30:17,752
and all that stuff, which
is, I think the best kind of
247
00:30:17,767 --> 00:30:19,152
influences you can have,
the original sources.
248
00:30:19,167 --> 00:30:20,085
There was Led Zeppelin
doing Robert Johnson songs
249
00:30:20,100 --> 00:30:20,852
isn't a good influence on him.
250
00:30:20,867 --> 00:30:22,085
Robert Johnson is.
251
00:30:22,100 --> 00:30:23,518
Well that works out
pretty easy, actually.
252
00:30:23,533 --> 00:30:24,918
And now I would like to
read a poem about someone
253
00:30:24,933 --> 00:30:25,718
I met recently, a really
wonderful writer who wrote a lot
254
00:30:25,733 --> 00:30:27,152
of Ray Charles songs.
255
00:30:27,167 --> 00:30:28,418
He walked the tracks into
town, we all rode out in our
256
00:30:28,433 --> 00:30:29,885
cars, met him there and
told him to turn around.
257
00:30:29,900 --> 00:30:30,985
I didn't know what a negro
was, I saw metal gates on
258
00:30:31,000 --> 00:30:32,218
liquor stores
windows in Chicago.
259
00:30:32,233 --> 00:30:33,118
I asked my mother, why.
She said, "Burglars."
260
00:30:33,133 --> 00:30:34,585
What are burglars? Negros.
261
00:30:34,600 --> 00:30:35,785
The first time I saw one,
my mother said, "Roll up the
262
00:30:35,800 --> 00:30:36,918
'car windows, and
lock the door."
263
00:30:36,933 --> 00:30:38,152
He had a scar
across his forehead.
264
00:30:38,167 --> 00:30:39,618
In fact, his head
was split in two.
265
00:30:39,633 --> 00:30:41,118
Years later when I met him,
he autographed my cocktail
266
00:30:41,133 --> 00:30:42,133
napkin, "Stay pretty, Percy
Mayfield", and kissed me twice.
267
00:30:43,467 --> 00:30:44,952
Voiceover: How'd this rock and
roll all get started anyway?
268
00:30:44,967 --> 00:30:46,385
Black hair man: Well, what
you call rock and roll now
269
00:30:46,400 --> 00:30:47,218
is rhythm and blues and I've
been playing for fifteen
270
00:30:47,233 --> 00:30:48,652
years in New Orleans.
271
00:30:48,667 --> 00:30:50,118
Voiceover: This rock and
roll music seems to be under
272
00:30:50,133 --> 00:30:51,085
a lot of awful, heavy attack
from all over the country,
273
00:30:51,100 --> 00:30:52,552
you know of any reason for that?
274
00:30:52,567 --> 00:30:53,752
Black hair man: Well, as far
as I know, music can make
275
00:30:53,767 --> 00:30:55,218
people happy, I know
it make me happy.
276
00:30:55,233 --> 00:30:56,152
Voiceover: You wouldn't
blame it on rock and roll?
277
00:30:56,167 --> 00:30:57,618
Black hair man: No, indeed.
278
00:30:57,633 --> 00:30:58,633
and let
me go back to my practice.
279
00:30:59,833 --> 00:31:01,385
Billy: I had read a
review of the Ramones and
280
00:31:01,400 --> 00:31:02,885
some freight paper, I think it
was Rolling Stones or something
281
00:31:02,900 --> 00:31:04,318
like that, and they trashed
them and said they were awful.
282
00:31:04,333 --> 00:31:05,852
The guy really hated him,
he said they were dumb, all
283
00:31:05,867 --> 00:31:07,318
their songs are too fast, too
short, only had three chords,
284
00:31:07,333 --> 00:31:08,552
no guitar solos, the lyrics
were dumb and that just all
285
00:31:08,567 --> 00:31:09,567
sounded like really
positive things to me.
286
00:31:10,567 --> 00:31:12,052
John: Here we are at the
gas station and right
287
00:31:12,067 --> 00:31:13,418
across the street with all
the Van Halen posters is the
288
00:31:13,433 --> 00:31:14,352
old Whiskey a Go Go where
Johnny Rivers got his start.
289
00:31:14,367 --> 00:31:15,785
The Doors, Otis Redding, and X.
290
00:31:15,800 --> 00:31:16,952
It use to be a bank and then
it was the Whiskey and now
291
00:31:16,967 --> 00:31:18,385
it's supposed to become
a dinner theater.
292
00:31:18,400 --> 00:31:19,818
Exene: Here's the marque letters
from the Whiskey a Go Go,
293
00:31:19,833 --> 00:31:21,285
piled up in a box, never to
be used again, or maybe to
294
00:31:21,300 --> 00:31:22,785
be used soon because you never
know, places close before.
295
00:31:22,800 --> 00:31:24,252
The 'x' is missing because our
light man got that already.
296
00:31:24,267 --> 00:31:25,385
This is what you call the
luxury part of the backstage,
297
00:31:25,400 --> 00:31:26,552
the headlining
band's dressing room.
298
00:31:26,567 --> 00:31:28,052
Notice the table,
it's nicely set up.
299
00:31:28,067 --> 00:31:29,485
Notice the holes in the walls,
I think that happened the
300
00:31:29,500 --> 00:31:30,918
other night when people were
sure it was getting closed down.
301
00:31:30,933 --> 00:31:32,318
Here's my dress, this is my
dress peaking through here
302
00:31:32,333 --> 00:31:33,718
and on the other side of
this room, where my dress is
303
00:31:33,733 --> 00:31:34,818
hanging, the little tiny
dressing room, where we're going
304
00:31:34,833 --> 00:31:36,218
to be getting
ready for our show.
305
00:31:36,233 --> 00:31:37,152
They smashed it up like they
always do when they know
306
00:31:37,167 --> 00:31:38,618
a club is closing, just cause.
307
00:31:38,633 --> 00:31:40,085
I'm standing in front of the
air conditioner, which is really
308
00:31:40,100 --> 00:31:41,518
cold, where window here got
busted when we were playing
309
00:31:41,533 --> 00:31:43,052
here the night my sister
died, she was coming here to
310
00:31:43,067 --> 00:31:44,585
see us and John busted this
window out and the other night
311
00:31:44,600 --> 00:31:45,785
when I was here I noticed it
all the broken glass is still
312
00:31:45,800 --> 00:31:47,318
out there on the
air conditioning.
313
00:31:47,333 --> 00:31:48,333
And, so that's something for
my sister is the broken glass.
314
00:31:49,467 --> 00:31:50,652
* Gifts and
flowers lay upon the lid
315
00:31:50,667 --> 00:31:52,118
* Of pink silk
above your face... *
316
00:31:52,133 --> 00:31:53,318
Exene: I started writing
because my sister was a writer
317
00:31:53,333 --> 00:31:54,852
and she gave me a
blank book to write in.
318
00:31:54,867 --> 00:31:56,067
And I started writing in it and
I just always kept up with it.
319
00:31:56,133 --> 00:31:57,585
It's been a year and
a half, I'm okay.
320
00:31:57,600 --> 00:31:59,052
I have a good time, I go out
and laugh and do the same
321
00:31:59,067 --> 00:32:00,585
things we use to do and it's
still really bad everyday
322
00:32:00,600 --> 00:32:02,052
because I surround myself
purposely with all her things.
323
00:32:02,067 --> 00:32:03,485
And it just makes me real
sad and sometimes when I get
324
00:32:03,500 --> 00:32:04,385
real drunk I'll go off by
myself and cry and stuff, but
325
00:32:04,400 --> 00:32:05,867
what can you do, you know?
326
00:32:05,933 --> 00:32:07,385
* I hear a voice
that sounds so much like yours
327
00:32:07,400 --> 00:32:08,818
* Please, please come back
to me I cry and talk to you
328
00:32:08,833 --> 00:32:09,485
* through the bathroom
wall oh please, come back
329
00:32:09,500 --> 00:32:10,500
* To me
330
00:32:12,100 --> 00:32:13,518
Exene: She's also writing all
these poems about the world's
331
00:32:13,533 --> 00:32:15,052
been ruined by hit and run
and about this car accident
332
00:32:15,067 --> 00:32:16,418
she had when she was fifteen
and if I just coulda picked
333
00:32:16,433 --> 00:32:17,918
it up and read it and gone,
"Wait a minute, why don't
334
00:32:17,933 --> 00:32:19,318
'you just stay here today, don't
go out? Don't go in the car."
335
00:32:19,333 --> 00:32:20,800
But you never do, cause
you don't see those things.
336
00:32:20,867 --> 00:32:21,618
But, time takes care of all
that and pretty soon you realize
337
00:32:21,633 --> 00:32:23,052
you can live okay.
338
00:32:23,067 --> 00:32:23,885
* The opening band
is banging out their song
339
00:32:23,900 --> 00:32:25,318
* Please, please...
340
00:32:25,333 --> 00:32:26,767
Exene: So, you write down
this raw material and it
341
00:32:26,833 --> 00:32:28,252
becomes a song or parts
of it becomes a song or it
342
00:32:28,267 --> 00:32:29,452
becomes a title to a song
or it becomes just something
343
00:32:29,467 --> 00:32:30,585
you keep or else it
becomes a poem that you
344
00:32:30,600 --> 00:32:31,818
might use in a
reading or in a book.
345
00:32:31,833 --> 00:32:33,052
It never comes out as
one thing or the other.
346
00:32:33,067 --> 00:32:34,467
It's just a need
you have to do it.
347
00:32:34,533 --> 00:32:35,767
* I made a shrine
for you on the kitchen wall
348
00:32:35,833 --> 00:32:37,233
* With flowers and
Florida souvenirs
349
00:32:37,300 --> 00:32:38,600
* You were walking through
the house last night
350
00:32:38,667 --> 00:32:39,667
* I knew it was you from
the space in your steps
351
00:32:39,700 --> 00:32:41,133
* Please, please come back to me
352
00:32:41,200 --> 00:32:42,152
* I cry and talk to you
through the bathroom wall
353
00:32:42,167 --> 00:32:43,167
* Oh please, come back to me
354
00:32:50,500 --> 00:32:53,885
Ray: Well, the first time I saw
X was at the Whiskey a Go Go
355
00:32:53,900 --> 00:32:59,185
and I read about them in an
article that Chris Morris wrote
356
00:32:59,200 --> 00:33:04,518
called, in the L.A. Reader
called, 'It Sounds Like Murder".
357
00:33:04,533 --> 00:33:07,318
Exene: Okay, come
on in my bathroom.
358
00:33:07,333 --> 00:33:10,685
We have here, oh, you
probably can't see this.
359
00:33:10,700 --> 00:33:13,918
It says, "Circle Jerks suck",
"Fuck the Fears", which are
360
00:33:13,933 --> 00:33:17,385
real popular bands and
that's nice graffiti,
actually, for them.
361
00:33:17,400 --> 00:33:20,252
"Fears sucks", that's
always popular.
362
00:33:20,267 --> 00:33:23,352
Ray: And he had lyrics from
the different bands and the
363
00:33:23,367 --> 00:33:26,618
X song that he had the lyrics
from was Johnny Hit and
364
00:33:26,633 --> 00:33:29,785
Run Pauline and I
read the lyrics and I
thought this band's,
365
00:33:29,800 --> 00:33:33,752
these are good lyrics. this
is some serious poetry going
366
00:33:33,767 --> 00:33:35,252
on here.
367
00:33:35,267 --> 00:33:37,885
Exene: Wasted Youth
is a punk band.
368
00:33:37,900 --> 00:33:41,485
No more, oh, here's a good one,
come on over here, it says,
369
00:33:41,500 --> 00:33:45,285
"No more punk at the
Whiskey, Easy Come Easy Go"
370
00:33:45,300 --> 00:33:47,652
And I really hope that they
don't think that because it
371
00:33:47,667 --> 00:33:50,118
wasn't easy to get in here and
it isn't easy seeing it leave,
372
00:33:50,133 --> 00:33:52,467
but I think some people
look at it that way.
373
00:33:53,533 --> 00:33:58,618
Ray: So, I walk in and X is
into the second song of the set.
374
00:33:58,633 --> 00:34:01,267
And, they were just
incredible, man.
375
00:35:25,900 --> 00:35:27,585
Ray: There's always
obstacles, yea.
376
00:35:27,600 --> 00:35:29,852
Several obstacles for The
Doors, seemed like it took us
377
00:35:29,867 --> 00:35:32,318
forever and X has had
the same obstacles.
378
00:35:32,333 --> 00:35:35,818
Nobody wanted them, nobody
would sign them, the music's
379
00:35:35,833 --> 00:35:42,218
too hard, too wild, too insane,
too dirty, lyrics are dirty,
380
00:35:42,233 --> 00:35:44,752
singing about that
horrible stuff.
381
00:35:44,767 --> 00:35:46,518
No we don't want them.
382
00:35:46,533 --> 00:35:48,585
And Slash was the only one
that would take a chance on
383
00:35:48,600 --> 00:35:50,685
them in the beginning.
384
00:35:50,700 --> 00:35:52,485
Slash: I liked them,
I mean that was it.
385
00:35:52,500 --> 00:35:54,952
We chose the bands that
we did in the beginning
386
00:35:54,967 --> 00:35:56,852
and still do on a
very subjective level.
387
00:35:56,867 --> 00:36:00,052
Gray hair man: I had an
opportunity to distribute X
388
00:36:00,067 --> 00:36:03,718
about a year ago and I can't
remember the gentleman's
389
00:36:03,733 --> 00:36:07,685
name, he was a president of
a magazine, Slash magazine,
390
00:36:07,700 --> 00:36:11,585
I didn't hear it, I didn't think
the music I was listening to
391
00:36:11,600 --> 00:36:14,418
had the kind of commercial
appeal that a distributing
392
00:36:14,433 --> 00:36:16,185
company needs.
393
00:36:16,200 --> 00:36:18,385
Slash: One would think that
this is an obvious money maker.
394
00:36:18,400 --> 00:36:21,218
This can work on a commercial
and aesthetic level.
395
00:36:21,233 --> 00:36:25,085
Gray hair man: I can't waste
my people's time really in
396
00:36:25,100 --> 00:36:27,185
records that are going to
sell in two or three cities.
397
00:36:27,200 --> 00:36:28,852
Slash: Even a band
like the Go Gos,
398
00:36:28,867 --> 00:36:32,152
which are an obvious
commerical...
399
00:36:32,167 --> 00:36:35,352
Gray hair man: You're
looking at limited sales.
400
00:36:35,367 --> 00:36:37,300
Slash: Entity, they
can obviously be a
401
00:36:37,367 --> 00:36:39,052
commercial entity, the
potential is there.
402
00:36:39,067 --> 00:36:40,218
Gray hair man: And
on the other hand
403
00:36:40,233 --> 00:36:42,052
you're looking at high
cost of recording.
404
00:36:42,067 --> 00:36:43,652
Slash: They don't have the
ability at this point in time
405
00:36:43,667 --> 00:36:46,618
to even go out on a limb
for a band like that.
406
00:36:46,633 --> 00:36:48,785
Gray hair man: You know, you
can't sit here and play God.
407
00:36:48,800 --> 00:36:53,852
Slash: We have ten employees
that are here in the offices
408
00:36:53,867 --> 00:36:55,852
that work day in and day out.
409
00:36:55,867 --> 00:37:02,218
At a big label, obviously,
there are, whatever there are,
410
00:37:02,233 --> 00:37:04,218
I don't know, two hundred,
three hundred employees.
411
00:37:04,233 --> 00:37:06,252
Gray hair man: I have almost
nine hundred people in this
412
00:37:06,267 --> 00:37:09,152
division to support, so we're
looking for records that
413
00:37:09,167 --> 00:37:11,285
have a national appeal.
414
00:37:11,300 --> 00:37:14,785
Slash: Well, first of all,
you sign good bands, you don't
415
00:37:14,800 --> 00:37:16,785
sign a bunch of shit.
416
00:37:16,800 --> 00:37:18,318
Gray hair man: We have a band,
we have their third album
417
00:37:18,333 --> 00:37:21,785
coming out and we're all very
excited here about this band.
418
00:37:21,800 --> 00:37:26,718
It's kind of been the favorite
band of the company for
419
00:37:26,733 --> 00:37:28,152
the last two albums.
420
00:37:28,167 --> 00:37:31,552
It's a band that everyone
wants to break badly and I feel
421
00:37:31,567 --> 00:37:34,252
the same way about Point
Blank as I did with Journey
422
00:37:34,267 --> 00:37:37,185
when I was at CBS, they were
at that crossroad, too, and
423
00:37:37,200 --> 00:37:40,918
they came with a record that
was accepted by the masses
424
00:37:40,933 --> 00:37:45,685
and now they sell millions
of albums and so I think the
425
00:37:45,700 --> 00:37:47,218
same thing is going to
happen with Point Blank.
426
00:37:47,233 --> 00:37:50,185
Voiceover: And now for the
moment I'm sure you've all
427
00:37:50,200 --> 00:37:52,752
been looking forward to.
428
00:37:52,767 --> 00:37:56,118
A look at the newest member of
the Ford family of fine cars.
429
00:37:56,133 --> 00:37:58,300
The Edsel.
430
00:38:22,467 --> 00:38:24,433
I have no culture.
431
00:38:24,500 --> 00:38:26,418
I never watch T.V.
432
00:38:26,433 --> 00:38:29,085
Do you? Do you watch T.V.
Black hair woman: Never.
433
00:38:29,100 --> 00:38:30,918
Exene: You know, there's
this Safeway in Los Angeles
434
00:38:30,933 --> 00:38:33,852
that has color television
over each checkout stand,
435
00:38:33,867 --> 00:38:36,618
broadcasting nothing but
commercials and each one
436
00:38:36,633 --> 00:38:38,485
has the same commercial on
it, and then you watch it
437
00:38:38,500 --> 00:38:40,752
and then there's a sweepstakes
and if you can name ten
438
00:38:40,767 --> 00:38:43,352
products advertised on there
you can win this prize.
439
00:38:43,367 --> 00:38:45,385
And I almost started crying
when I saw it cause I thought
440
00:38:45,400 --> 00:38:47,485
it was the ultimate...you
already brought everything, and
441
00:38:47,500 --> 00:38:49,185
you're waiting in line and you
look up and there's products
442
00:38:49,200 --> 00:38:51,618
like you didn't Ban Roll On,
you bought the other one and
443
00:38:51,633 --> 00:38:54,385
then you have to go back
and get the other one cause
444
00:38:54,400 --> 00:38:56,800
that's the one that's on T.V.
445
00:39:10,067 --> 00:39:12,818
Blonde hair woman: And then
you recorded Los Angeles.
446
00:39:12,833 --> 00:39:16,318
Right.
447
00:39:16,333 --> 00:39:18,452
Blonde hair woman: Danger House.
448
00:39:18,467 --> 00:39:20,552
We did that on Danger
House just because it was
449
00:39:20,567 --> 00:39:22,518
the easiest way to make a
record or the hardest way.
450
00:39:22,533 --> 00:39:27,252
We never signed a contract,
it's just that standard old
451
00:39:27,267 --> 00:39:30,118
thing of you don't sign a
contract for your first record
452
00:39:30,133 --> 00:39:33,185
and they beat you
for all the money.
453
00:39:33,200 --> 00:39:35,700
They get all the money,
you don't get nothing.
454
00:39:48,233 --> 00:39:49,785
Claire: It goes straight to a
455
00:39:49,800 --> 00:39:51,152
woman's mind and heart.
456
00:39:51,167 --> 00:39:53,452
It's a look we
can't help liking.
457
00:39:53,467 --> 00:39:56,152
A look that looks so right.
458
00:39:56,167 --> 00:40:01,785
We'll agree with you that
Edsel is America's finest car
459
00:40:01,800 --> 00:40:03,685
in the low price range and
gentlemen, I think what you
460
00:40:03,700 --> 00:40:06,385
have to tow women with
you're going to find a very
461
00:40:06,400 --> 00:40:08,818
receptive audience in 1959.
462
00:40:08,833 --> 00:40:11,718
Black hair man: Claire, that's
all good, but there's more
463
00:40:11,733 --> 00:40:14,485
Claire: Oh, you mean
all that man talk
464
00:40:14,500 --> 00:40:17,233
Black hair man: That's right.
465
00:40:32,400 --> 00:40:35,000
I swear, I never watch it.
466
00:41:23,367 --> 00:41:26,867
Voiceover: Alright, you
guys ready out there?
467
00:41:49,167 --> 00:41:51,518
Voiceover: Take two.
Okay, white girl take two.
468
00:41:51,533 --> 00:41:52,967
Voiceover: Alright.
469
00:42:06,600 --> 00:42:13,118
* She's blonde
she came along the sidewalk
470
00:42:13,133 --> 00:42:25,318
* Leave a trail of blue and
black up to you fighting back.
471
00:42:25,333 --> 00:42:32,252
* Steel chains a noose
of charms on our necks
472
00:42:32,267 --> 00:42:36,452
* I find out nothing
when we talk and sit
473
00:42:36,467 --> 00:42:43,752
* Blue heart passion
and watch the set
474
00:42:43,767 --> 00:42:50,618
* Easy to fall part of your
skull starts to break away
475
00:42:50,633 --> 00:42:54,152
* A cheaters walk down the block
476
00:42:54,167 --> 00:43:00,918
* Behind this evil
street, she's a white girl
477
00:43:00,933 --> 00:43:04,618
* But I'm living
with a white girl
478
00:43:04,633 --> 00:43:08,118
* She's a white girl,
479
00:43:08,133 --> 00:43:14,467
* But I'm living
with a white girl
480
00:43:18,433 --> 00:43:25,133
* Nineteen missing her
man for an old girl
481
00:43:26,333 --> 00:43:31,418
* Drain every beer left
over at home and listen to
482
00:43:31,433 --> 00:43:35,233
* Ghosts in the other room
483
00:43:37,267 --> 00:43:44,185
* Why not you're alone
inside his keeping
484
00:43:44,200 --> 00:43:49,185
* I'll replace your
drunk old man sit in the
485
00:43:49,200 --> 00:43:55,485
* parking lot and hold your hand
486
00:43:55,500 --> 00:44:02,518
* Easy to fall part of your
skull starts to break away
487
00:44:02,533 --> 00:44:09,852
* Drugged and in love out
at a club pulling me outside
488
00:44:09,867 --> 00:44:16,552
* She's a white girl, but
I'm living with a white girl
489
00:44:16,567 --> 00:44:26,600
* She's a white girl, but
I'm living with a white girl
490
00:44:31,867 --> 00:44:38,818
* Easy to fall part of your
skull starts to break away
491
00:44:38,833 --> 00:44:45,485
* Drugged and in love out
at a club pulling me outside
492
00:44:45,500 --> 00:44:53,067
* She's a white girl, but
I'm living with a white girl
493
00:44:53,267 --> 00:45:01,433
* She's a white girl, but I'm
living with a white girl *
494
00:45:23,200 --> 00:45:24,618
Dave: See, how are you going to
495
00:45:24,633 --> 00:45:26,352
miss with a tune like that?
496
00:45:26,367 --> 00:45:30,385
Black hair man: Dave,
from the heart, terrible.
497
00:45:30,400 --> 00:45:32,552
Voiceover: Critics in rock and
roll are too apt to use the
498
00:45:32,567 --> 00:45:35,318
word, masterpiece, but when
I heard that record, by the
499
00:45:35,333 --> 00:45:37,852
time it was over, I was on
the phone calling X, because I
500
00:45:37,867 --> 00:45:39,852
wanted to get them for a picture
so they could run a story
501
00:45:39,867 --> 00:45:41,733
in the following
Tuesday's paper.
502
00:45:46,567 --> 00:45:51,485
* I just heard the
sad song by another band
503
00:45:51,500 --> 00:45:56,185
* Sung by another man he
gave me the once over twice
504
00:45:56,200 --> 00:46:00,685
* I said when, he
said okay, so long
505
00:46:00,700 --> 00:46:06,300
* He hung me with
the endless rope
506
00:46:10,867 --> 00:46:16,385
* I could throw my lipstick
and bracelets like gravel
507
00:46:16,400 --> 00:46:18,952
* And move to Alabama, I got
508
00:46:18,967 --> 00:46:21,318
* some more scotch instead
509
00:46:21,333 --> 00:46:25,852
* Then I died a thousand times
510
00:46:25,867 --> 00:46:31,167
* He hung me with
the endless rope
511
00:46:35,733 --> 00:46:39,718
* Then I died a thousand
times, maybe you don't
512
00:46:39,733 --> 00:46:46,685
* But I do got a
hole in my heart,
513
00:46:46,700 --> 00:46:50,852
* Size of my heart,
size of my heart,
514
00:46:50,867 --> 00:46:56,500
* He hung me with
the endless rope *
515
00:47:05,433 --> 00:47:07,852
Gray hair man: But I didn't
hear anything in there that
516
00:47:07,867 --> 00:47:09,733
I thought was top forty.
517
00:47:19,467 --> 00:47:21,785
Black hair man: I'll take
it up with the committee,
518
00:47:21,800 --> 00:47:23,700
but I don't know.
519
00:47:27,600 --> 00:47:32,618
* I'll see you and
I'll raise you off the floor
520
00:47:32,633 --> 00:47:37,618
* I'll floor you and
we'll dance without a band
521
00:47:37,633 --> 00:47:42,618
* I just heard the sad
song hang another man
522
00:47:42,633 --> 00:47:47,800
* He hung me with
the endless rope
523
00:47:52,367 --> 00:47:57,452
* I just heard the sad
song by another band
524
00:47:57,467 --> 00:48:02,518
* Sung by another man he
gave me the once over twice
525
00:48:02,533 --> 00:48:07,152
* I said, when he
said, "Okay so long"
526
00:48:07,167 --> 00:48:13,200
* He hung me with
the endless rope *
527
00:48:18,367 --> 00:48:22,785
Gray hair man: But, four
months ago I tried to go back
528
00:48:22,800 --> 00:48:25,318
after X because they had
changed a little bit.
529
00:48:25,333 --> 00:48:27,585
They were starting to cut
records that would have more
530
00:48:27,600 --> 00:48:30,052
appeal to...but
they've already made
531
00:48:30,067 --> 00:48:31,785
a deal with Joe
Smith at Elektra.
532
00:48:31,800 --> 00:48:34,618
Voiceover: We just trying to
crack that mainstream rock
533
00:48:34,633 --> 00:48:38,318
radio station that
plays Fleetwood Mac
and plays the Eagles
534
00:48:38,333 --> 00:48:40,652
and plays the Rolling Stones
and put X right up along side
535
00:48:40,667 --> 00:48:45,152
those bands and achieve a
maximum exposure for them.
536
00:48:45,167 --> 00:48:49,167
Voiceover: Stand by please.
537
00:48:57,500 --> 00:49:00,185
Voiceover: Of all the peoples
of the world, the Americans
538
00:49:00,200 --> 00:49:04,252
stand most in fear in
a moment of silence.
539
00:49:04,267 --> 00:49:07,385
For eighty two out of one
hundred U.S. citizens,
540
00:49:07,400 --> 00:49:10,852
radio provides each day of
the year a sure and ever
541
00:49:10,867 --> 00:49:13,518
present escape from their
own lives into an ether
542
00:49:13,533 --> 00:49:16,752
universe of crackling
news, music,
543
00:49:16,767 --> 00:49:19,218
costly entertainment,
and romantic adventure.
544
00:49:19,233 --> 00:49:22,718
Joe: Wowy, whoopty do, luck
you, you're listening to
545
00:49:22,733 --> 00:49:26,085
KROQ FM of Pasadena,
I'm
546
00:49:26,100 --> 00:49:29,967
but I'm here babysitting
Rodney Bingenheimer.
547
00:49:31,600 --> 00:49:34,052
Rodney: Thanks a lot, Joe.
548
00:49:34,067 --> 00:49:36,718
We just heard the Letterbomb
and the Circle Jerks, a
549
00:49:36,733 --> 00:49:39,433
Joe: Dedicated to you, no doubt.
550
00:49:41,233 --> 00:49:43,085
Rodney: I should buy
the short version.
551
00:49:43,100 --> 00:49:44,952
Joe: Yea. I got the
short version queued up.
552
00:49:44,967 --> 00:49:48,300
Rodney: Okay, but I've got
some more Circle Jerks in
553
00:49:52,400 --> 00:49:54,952
Olivia: Rodney, call me
tomorrow, like just ask
for
554
00:49:54,967 --> 00:49:57,752
Rodney: Can you be
on the tenth floor?
555
00:49:57,767 --> 00:50:00,852
Olivia: Yea. Probably.
Rodney: Okay.
556
00:50:00,867 --> 00:50:03,252
Olivia: And maybe I'll have a
party sometime, I don't know.
557
00:50:03,267 --> 00:50:04,652
Rodney: Alright.
558
00:50:04,667 --> 00:50:06,385
Olivia: Okay, bye everybody.
559
00:50:06,400 --> 00:50:08,100
Rodney: Bye.
Joe: Bye.
560
00:50:14,233 --> 00:50:17,252
Voiceover: I'm going to be
stripped naked on stage on
561
00:50:17,267 --> 00:50:19,552
Joe: Really?
562
00:50:19,567 --> 00:50:22,333
Rodney: Close the Whiskey down.
563
00:50:27,733 --> 00:50:30,818
Rodney: Okay that's the
Ronettes, Girls Can Tell and
564
00:50:30,833 --> 00:50:35,085
we're just floating along here
and don't forget to listen
565
00:50:35,100 --> 00:50:37,652
to Young
at twelve midnight.
566
00:50:37,667 --> 00:50:39,352
Okay, I'm going to
send this one out.
567
00:50:39,367 --> 00:50:44,352
This goes out to a young lady
in the hospital, named Olivia.
568
00:50:44,367 --> 00:50:46,585
I hope she gets better and it's
569
00:50:46,600 --> 00:50:48,085
her birthday at twelve midnight.
570
00:50:48,100 --> 00:50:51,952
Exene: Hello Los Angeles,
this is Exene of X and you're
571
00:50:51,967 --> 00:50:55,685
on Rodney on the ROQ
at KROQ FM in Pasadena.
572
00:50:55,700 --> 00:50:58,085
Rodney: I don't know, I
don't follow the real radio.
573
00:50:58,100 --> 00:51:01,218
I just come in every week
with all my records and pray
574
00:51:01,233 --> 00:51:04,785
that I'm going to
be on that night.
575
00:51:04,800 --> 00:51:08,185
Gray hair man: FM was this
fresh of breath air that came
576
00:51:08,200 --> 00:51:10,152
across the spectrum and said
well we'll play anything to
577
00:51:10,167 --> 00:51:11,885
bring in a tape
and we'll play it.
578
00:51:11,900 --> 00:51:14,118
And as they became successful
doing that, large corporations
579
00:51:14,133 --> 00:51:18,918
ABC, Metromedia and others
took over and realized they
580
00:51:18,933 --> 00:51:22,685
were enormous profit
center potential.
581
00:51:22,700 --> 00:51:26,285
Tommy: Well, because we
were owned by ABC, there was
582
00:51:26,300 --> 00:51:30,285
a very definite and very
constricted method that we have
583
00:51:30,300 --> 00:51:32,285
to use to pick our music.
584
00:51:32,300 --> 00:51:35,552
Rodney: No play list on my
show, sometimes I actually
585
00:51:35,567 --> 00:51:37,618
write out a couple
of things before.
586
00:51:37,633 --> 00:51:39,918
Voiceover: In furnishing the
American public it's listening
587
00:51:39,933 --> 00:51:43,385
fare, the four hundred
independent stations and the one
588
00:51:43,400 --> 00:51:47,385
thousand network affiliated
stations alike are able to exist
589
00:51:47,400 --> 00:51:50,733
for only one reason,
the advertising of
commercial products.
590
00:51:53,933 --> 00:51:56,352
Black hair man: And now, let
me tell you about McTavish's
591
00:51:56,367 --> 00:51:59,552
skinless weenie, ummm.
592
00:51:59,567 --> 00:52:02,418
Voiceover: When they add
records by committee and the
593
00:52:02,433 --> 00:52:06,118
first question that's asked
in these committees is we're
594
00:52:06,133 --> 00:52:09,485
after a demographic of twenty
five to fifty, does this record
595
00:52:09,500 --> 00:52:11,418
fit that demographic.
596
00:52:11,433 --> 00:52:13,952
Tommy: The eighteen to
thirty four demo is the one
597
00:52:13,967 --> 00:52:16,885
that is really popular one
in terms of advertisers.
598
00:52:16,900 --> 00:52:18,318
Maybe a little bit now, it's
being overshadowed by twenty
599
00:52:18,333 --> 00:52:20,952
five to forty four, but for
the most part, eighteen to
600
00:52:20,967 --> 00:52:22,252
thirty
four is where most people
want to spend their
601
00:52:22,267 --> 00:52:23,918
money and sell their products.
602
00:52:23,933 --> 00:52:25,418
These are the consumers.
603
00:52:25,433 --> 00:52:27,485
Black hair man: I think you'll
like our script for the new
604
00:52:27,500 --> 00:52:28,885
show, Mr. Dunnam.
605
00:52:28,900 --> 00:52:29,752
Mr. Dunnam: If you don't
mind, I'd like to hear that
606
00:52:29,767 --> 00:52:31,385
commercial first.
607
00:52:31,400 --> 00:52:33,952
Black hair man: Certainly,
Mr. Dunnam, with pleasure.
608
00:52:33,967 --> 00:52:35,318
Girls, will you give us the
new commercial and don't
609
00:52:35,333 --> 00:52:37,333
forget that tempo.
610
00:52:41,767 --> 00:52:49,085
* Consolidated
sardines, America's
delight, have a
611
00:52:49,100 --> 00:52:51,052
* rich tangy flavor with plenty,
612
00:52:51,067 --> 00:52:58,185
* with plenty of bite,
consolidated sardines are
613
00:52:58,200 --> 00:53:02,618
* packed twice as tight,
so eat consolidated
614
00:53:02,633 --> 00:53:11,067
* can't be consolidated,
treat your stomach right. *
615
00:53:11,533 --> 00:53:14,418
Mr. Dunnam: That sounds
pretty good, but couldn't
616
00:53:14,433 --> 00:53:16,818
you work in the name of the
product just a little more?
617
00:53:16,833 --> 00:53:18,852
Here we are today.
618
00:53:18,867 --> 00:53:21,085
Blonde hair woman: Ready
to go touring again?
619
00:53:21,100 --> 00:53:25,085
Yea. As a matter of fact,
touring is hard, but you just
620
00:53:25,100 --> 00:53:27,618
can't find anything like pulling
into a truck stop at three
621
00:53:27,633 --> 00:53:29,685
in the morning, no way.
622
00:53:29,700 --> 00:53:33,085
Exene: Also, touring is
such a necessity now because
623
00:53:33,100 --> 00:53:36,885
it's the only real
exposure you can get.
624
00:53:36,900 --> 00:53:40,552
Exene: Yea.
625
00:53:40,567 --> 00:53:43,452
Anybody can go on tour and
have people see 'em and
626
00:53:43,467 --> 00:53:48,285
that's real good, but the radio
and television and the press
627
00:53:48,300 --> 00:53:51,252
kinda, nothing you can do about
that, either they like you
628
00:53:51,267 --> 00:53:53,385
or they don't.
Blonde hair woman: Umm Hmm.
629
00:53:53,400 --> 00:53:55,433
Exene: So, you have to
do it yourself sometimes.
630
00:54:03,833 --> 00:54:06,952
* Put the
doorknob on my side,
631
00:54:06,967 --> 00:54:11,252
* If you don't
mind, I don't care
632
00:54:11,267 --> 00:54:15,318
* Put the doorknob on my side,
633
00:54:15,333 --> 00:54:19,418
* It's self-locking,
give me your key
634
00:54:19,433 --> 00:54:23,252
* I go to bed
soggy and forgetful
635
00:54:23,267 --> 00:54:27,400
* Hopefully not
waking up so fitfully
636
00:54:37,467 --> 00:54:41,285
* I like coffee and I like tea
637
00:54:41,300 --> 00:54:45,452
* I like a pretty
boy and he likes me
638
00:54:45,467 --> 00:54:49,252
* Put the doorknob on my side
639
00:54:49,267 --> 00:54:53,285
* It's self-locking,
give me your key
640
00:54:53,300 --> 00:54:57,152
* I go to bed
soggy and forgetful
641
00:54:57,167 --> 00:55:01,133
* Hopefully not
waking up so fitfully
642
00:55:03,433 --> 00:55:06,952
* Motels do that
with rubber sheets
643
00:55:06,967 --> 00:55:10,752
* So I can't sleep
staring at my sheets
644
00:55:10,767 --> 00:55:16,267
* Or crying on my sheets,
or bleeding on the same
645
00:55:24,067 --> 00:55:28,452
* Put the doorknob on my side
646
00:55:28,467 --> 00:55:32,685
* If you don't
mind, I don't care
647
00:55:32,700 --> 00:55:35,952
* A motel room in my bed
648
00:55:35,967 --> 00:55:40,318
* Put both door knobs on my side
649
00:55:40,333 --> 00:55:43,618
* I go to bed
soggy and forgetful
650
00:55:43,633 --> 00:55:49,633
* Hopefully not
waking up so fitfully
651
00:55:50,133 --> 00:55:53,318
* Motels do that
with rubber sheets
652
00:55:53,333 --> 00:55:57,085
* So I can't sleep
staring at my sheets
653
00:55:57,100 --> 00:56:03,267
* Or crying on my sheets,
or bleeding on the same *
654
00:56:42,500 --> 00:56:44,218
Exene: The unknown quantity.
655
00:56:44,233 --> 00:56:46,652
We didn't realize
when we named it
656
00:56:46,667 --> 00:56:48,818
that it would be the
unknown quantity.
657
00:56:48,833 --> 00:56:50,585
No one knows who
we are, could you
658
00:56:50,600 --> 00:56:52,600
imagine that, I
don't understand.
659
00:57:07,767 --> 00:57:15,333
* Friends warehouse
pain, attack their own kind
660
00:57:17,900 --> 00:57:23,100
* A thousand kids,
bury their parents
661
00:57:29,267 --> 00:57:32,667
* There's laughing outside
662
00:57:34,267 --> 00:57:40,600
* We're locked out
of the public eyes
663
00:57:50,967 --> 00:57:59,200
* We set the trash on fire
and watch outside the door
664
00:58:01,600 --> 00:58:06,700
* Men come up the
pavement, under the marquee
665
00:58:12,900 --> 00:58:17,133
* There's laughing inside
666
00:58:18,367 --> 00:58:25,267
* We're locked out
of the public eyes
667
00:58:26,800 --> 00:58:35,367
* Some smooth chords
on the car radio
668
00:58:36,867 --> 00:58:46,600
* No hard chords
on the car radio
669
00:58:56,067 --> 00:59:03,367
* Friends warehouse pain,
attack their own kind
670
00:59:06,200 --> 00:59:11,233
* A thousand kids,
bury their parents
671
00:59:17,333 --> 00:59:21,700
* There's laughing outside
672
00:59:22,800 --> 00:59:29,900
* We're locked out
of the public eyes
673
00:59:31,367 --> 00:59:40,100
* Some smooth chords
on the car radio
674
00:59:41,533 --> 00:59:50,567
* No hard chords
on the car radio
675
00:59:51,867 --> 01:00:00,833
* Some smooth chords
on the car radio
676
01:00:02,233 --> 01:00:11,433
* No hard chords
on the car radio *
677
01:00:12,833 --> 01:00:14,685
Tony: Welcome to the alter
of wolf jaws, naked steam
678
01:00:14,700 --> 01:00:18,652
rolls out your mouth, a noble
death forgotten by most.
679
01:00:18,667 --> 01:00:21,885
We left black coats and
colors of any kind where they
680
01:00:21,900 --> 01:00:26,618
remain lost in the wild,
look across the bridge.
681
01:00:26,633 --> 01:00:30,618
They're waiting for you,
danger comes as you slow down.
682
01:00:30,633 --> 01:00:34,500
The snow fence weakens and
the wind direction changing
683
01:00:34,767 --> 01:00:38,185
and you and I through parking
lots jaws and teeth around
684
01:00:38,200 --> 01:00:41,485
the storm drain, travel
became easy then.
685
01:00:41,500 --> 01:00:44,633
You know, wealth
breeds constant travel.
686
01:00:44,967 --> 01:00:51,252
Imagine, silver cross, hung on
leather, swinging side to side
687
01:00:51,267 --> 01:00:57,652
on a neck of a wolf, run twelve
miles, trot five, walk four
688
01:00:57,667 --> 01:01:03,133
win the death and the wolf
achieves endangered royalty.
689
01:02:01,933 --> 01:02:05,500
Tony: I was inspired by a guy
named, Robert P. Williams.
690
01:02:07,833 --> 01:02:13,952
And, he said, nobody, no
man or woman knows what
691
01:02:13,967 --> 01:02:19,185
trouble really is in this
world and I took it to mean
692
01:02:19,200 --> 01:02:22,133
because it can
always gets worse.
693
01:02:22,300 --> 01:02:26,152
And that sort of thought you
can never really identify
694
01:02:26,167 --> 01:02:31,252
true trouble or the blues
or whatever because it can
695
01:02:31,267 --> 01:02:37,618
always go further and so the
song's about the real child
696
01:02:37,633 --> 01:02:41,533
of hell, which you
never really see.
697
01:02:42,600 --> 01:02:47,852
You're in a bar or
in some place, in
something strange start
698
01:02:47,867 --> 01:02:51,785
happening and then all of a
sudden you feel like that thing
699
01:02:51,800 --> 01:02:55,652
is there, that real child hell
is there and is causing this
700
01:02:55,667 --> 01:02:58,618
thing, working it's evil way.
701
01:02:58,633 --> 01:03:02,452
You turn around to look for
it and you can't see it,
702
01:03:02,467 --> 01:03:05,385
you turn around to get
it, it's not there.
703
01:03:05,400 --> 01:03:17,400
* Real child
of hell, Nobody knows
what shape she takes
704
01:03:29,767 --> 01:03:32,733
* repossessed
705
01:03:33,233 --> 01:03:37,200
* My vigilantes acting bored
706
01:03:37,367 --> 01:03:40,933
* The mindless
fan wants my dress
707
01:03:41,067 --> 01:03:45,100
* And I can't which one is worse
708
01:03:45,767 --> 01:03:48,518
* I can't see the cursing child
709
01:03:48,533 --> 01:03:53,585
Exene: Change the ending
710
01:03:53,600 --> 01:03:58,085
* Real child of
hell, nobody's seen him
711
01:03:58,100 --> 01:04:03,767
* Real child of hell,
real child of hell
712
01:04:05,233 --> 01:04:14,733
* Nobody knows what
shape she takes *
713
01:04:21,533 --> 01:04:24,152
Tony: Real child
of hell, nobody seen him,
714
01:04:24,167 --> 01:04:26,685
Real child of hell,
real child of hell
715
01:04:26,700 --> 01:04:31,352
Nobody knows what shape she
takes because it's neither
716
01:04:31,367 --> 01:04:36,485
male nor female, it started
working and that real child of
717
01:04:36,500 --> 01:04:39,718
hell just sounded
real nice with all the
718
01:04:39,733 --> 01:04:42,285
Ls and the vowels
and shit like that.
719
01:04:42,300 --> 01:04:44,052
Exene: I think it's going
to be a hard for people to
720
01:04:44,067 --> 01:04:45,518
understand the words on.
721
01:04:45,533 --> 01:04:47,118
Voiceover: Fuck 'em.
722
01:04:47,133 --> 01:04:49,900
Voiceover: It's going to
be hard to go any faster.
723
01:04:56,800 --> 01:04:59,500
Voiceover: Let's try it there
724
01:05:15,933 --> 01:05:19,818
Voiceover: Then when it
goes into that chorus,
725
01:05:19,833 --> 01:05:21,852
Exene: You guys,
we should do the
726
01:05:21,867 --> 01:05:24,285
regular ending, it's
too confusing otherwise.
727
01:05:24,300 --> 01:05:27,300
Exene: It doesn't do that.
Voiceover: Peter's out.
728
01:05:30,767 --> 01:05:36,733
Voiceover: Break time.
729
01:05:37,267 --> 01:05:39,185
Exene: Yea we did.
Voiceover: That was a punk prom.
730
01:05:39,200 --> 01:05:40,885
Exene: First you did the
punk prom. Voiceover:
That was the best?
731
01:05:40,900 --> 01:05:42,652
Exene: Yea.
Voiceover: That was the best?
732
01:05:42,667 --> 01:05:46,500
Voiceover: And then
they had another one.
733
01:05:56,233 --> 01:05:58,652
Exene: I'm gonna leave all the
plants that are growing like
734
01:05:58,667 --> 01:06:00,452
the ice plants, so then there's
something
735
01:06:00,467 --> 01:06:03,318
But there's real good spider
plants everywhere that
736
01:06:03,333 --> 01:06:07,185
kinda draped
and there's lots of ivy.
737
01:06:07,200 --> 01:06:09,385
Voiceover:
You can come out tomorrow
738
01:06:09,400 --> 01:06:11,452
Voiceover: Let's see.
739
01:06:11,467 --> 01:06:13,185
Exene: Bring your rubber gloves.
Voiceover: Yea.
740
01:06:13,200 --> 01:06:19,185
* Real child of
hell, real child of hell
741
01:06:19,200 --> 01:06:29,300
* Nobody knows what
shape she takes
742
01:06:41,500 --> 01:06:45,600
* St. Paddy's Day, old Irish man
743
01:06:45,700 --> 01:06:49,167
* Shamrocks painted on his face
744
01:06:49,267 --> 01:06:53,218
* He mumbles
warnings from Ireland
745
01:06:53,233 --> 01:06:56,567
* In the back I sense a fight
746
01:06:57,233 --> 01:07:03,085
* And that old man
has done his deed
747
01:07:03,100 --> 01:07:07,285
* Real child of hell,
nobody's seen him
748
01:07:07,300 --> 01:07:13,900
* Real child of hell,
real child of hell
749
01:07:14,300 --> 01:07:23,300
* Nobody knows what
shape she takes *
750
01:07:52,200 --> 01:07:56,100
Tony: And that was pretty
much what it's about.
751
01:08:03,733 --> 01:08:06,200
* He brought
a sterilized hypo
752
01:08:08,067 --> 01:08:17,918
* To shoot a sex machine
drug, he got 24 hours
753
01:08:17,933 --> 01:08:22,233
* To shoot all Paulenes
between the legs
754
01:08:23,200 --> 01:08:31,167
* 96 tears through 24
hours, sex once every hour
755
01:08:35,167 --> 01:08:37,667
* Johnny hit and run Paulene
756
01:08:37,867 --> 01:08:40,418
* Johnny hit and run Paulene
757
01:08:40,433 --> 01:08:42,352
* Johnny hit and run Paulene
758
01:08:42,367 --> 01:08:47,800
* Johnny hit and run Paulene
759
01:08:52,333 --> 01:09:01,452
* L.A. bus doors open,
kicking both doors open
760
01:09:01,467 --> 01:09:06,785
* When it rested on sixth Street
761
01:09:06,800 --> 01:09:11,285
* That's when he
drug a girl inside
762
01:09:11,300 --> 01:09:15,933
* He was spreading her legs
and didn't understand dying
763
01:09:16,167 --> 01:09:21,667
* He was still awake
764
01:09:23,500 --> 01:09:25,852
* Johnny hit and run Paulene
765
01:09:25,867 --> 01:09:28,218
* Johnny hit and run Paulene
766
01:09:28,233 --> 01:09:30,752
* Johnny hit and run Paulene
767
01:09:30,767 --> 01:09:36,333
* Johnny hit and run Paulene
768
01:09:45,133 --> 01:09:52,733
* When he was waking
up, beside the bed
769
01:09:54,533 --> 01:09:59,552
* He found clumps of hair
770
01:09:59,567 --> 01:10:03,367
* The last Paulene
wouldn't cooperate
771
01:10:04,333 --> 01:10:09,252
* She wasn't what you'd
call living really
772
01:10:09,267 --> 01:10:13,767
* She was still awake
773
01:10:16,867 --> 01:10:19,118
* Johnny hit and run Paulene
774
01:10:19,133 --> 01:10:21,385
* Johnny hit and run Paulene
775
01:10:21,400 --> 01:10:23,885
* Johnny hit and run Paulene
776
01:10:23,900 --> 01:10:30,433
* Johnny hit and run Paulene
777
01:10:42,500 --> 01:10:43,952
Tommy: I think they were
aiming at a larger audience
778
01:10:43,967 --> 01:10:46,652
we're aiming at the person
for whom radio is a friend,
779
01:10:46,667 --> 01:10:48,967
but it's not the
end of the world.
780
01:10:54,200 --> 01:10:56,152
Tommy: They liked the station,
but they're not listening
781
01:10:56,167 --> 01:10:57,752
to it twenty four hours a day.
782
01:10:57,767 --> 01:11:00,618
They tune it in, they like
to hear a song that they are
783
01:11:00,633 --> 01:11:03,318
relatively familiar with,
perhaps is something they can
784
01:11:03,333 --> 01:11:05,518
sing along with, that
they know the words to
785
01:11:05,533 --> 01:11:09,285
it evokes memories
of past experiences
786
01:11:09,300 --> 01:11:11,733
things that they can
feel comfortable with.
787
01:11:32,833 --> 01:11:34,518
* The facts we hate
788
01:11:34,533 --> 01:11:37,052
* We'll never meet
walking down the road
789
01:11:37,067 --> 01:11:40,518
* Everybody yelling,
"Hurry up, hurry up"
790
01:11:40,533 --> 01:11:44,552
* But I'm waiting for
you, I must go slow
791
01:11:44,567 --> 01:11:46,218
* I must not think bad thoughts
792
01:11:46,233 --> 01:11:48,252
* What is this world coming to?
793
01:11:48,267 --> 01:11:51,400
* Both sides are right,
but both sides murder
794
01:11:52,267 --> 01:11:56,085
* I give up, why can't they?
795
01:11:56,100 --> 01:11:59,718
* I must not think bad thoughts
796
01:11:59,733 --> 01:12:03,485
* I must not think bad thoughts
797
01:12:03,500 --> 01:12:09,433
* I must not think bad thoughts
798
01:12:09,633 --> 01:12:13,452
* The civil wars and
the uncivilized wars
799
01:12:13,467 --> 01:12:17,452
* Conflagrations leap
out of every poor furnace
800
01:12:17,467 --> 01:12:21,385
* The food cooks poorly
and everyone goes hungry
801
01:12:21,400 --> 01:12:23,852
* From then on it's
dog eat dog, dog eat
802
01:12:23,867 --> 01:12:27,085
* body and body eat dog,
I can't go down there
803
01:12:27,100 --> 01:12:33,452
* I can't understand it, I'm a
804
01:12:33,467 --> 01:12:36,785
* No good coward
and an American too
805
01:12:36,800 --> 01:12:39,185
A North
American, that is
806
01:12:39,200 --> 01:12:40,852
* And I must not
think bad thoughts
807
01:12:40,867 --> 01:12:42,618
* And I must not
think bad thoughts
808
01:12:42,633 --> 01:12:44,585
* And I must not
think bad thoughts
809
01:12:44,600 --> 01:12:46,418
* I must not think bad thoughts
810
01:12:46,433 --> 01:12:48,185
* I must not think bad thoughts
811
01:12:48,200 --> 01:12:51,885
* I'm guilty of
murder of innocent men
812
01:12:51,900 --> 01:12:53,918
* Innocent women,
innocent children,
813
01:12:53,933 --> 01:12:57,652
* Thousands of them,
my planes, my guns,
814
01:12:57,667 --> 01:13:00,152
* My money, my
soldiers, my blood
815
01:13:00,167 --> 01:13:03,285
* On my hands it's all my fault
816
01:13:03,300 --> 01:13:06,585
* I must not think bad thoughts
817
01:13:06,600 --> 01:13:10,685
* I must not think bad thoughts
818
01:13:10,700 --> 01:13:16,367
* I must not think bad thoughts
819
01:13:16,767 --> 01:13:20,452
* The facts we hate
you'll never hear us
820
01:13:20,467 --> 01:13:24,085
* I hear the radio is
finally gonna play new music
821
01:13:24,100 --> 01:13:26,152
* You know, 'The
British Invasion'
822
01:13:26,167 --> 01:13:30,318
* But what about the
Minutemen, Flesh Eaters, DOA
823
01:13:30,333 --> 01:13:32,385
* Big Boys and the Black Flag?
824
01:13:32,400 --> 01:13:35,785
* Will the last American band
to get played on the radio
825
01:13:35,800 --> 01:13:39,452
* Please bring the flag?
Please bring the flag?
826
01:13:39,467 --> 01:13:43,352
* Glitter, disco,
synthesizer, night school
827
01:13:43,367 --> 01:13:47,218
* All this noble
savage drum, drum, drum
828
01:13:47,233 --> 01:13:49,152
* Astronauts going back in time
829
01:13:49,167 --> 01:13:51,085
* To hang out with
the cave people
830
01:13:51,100 --> 01:13:54,685
* It's about time,
it's about space
831
01:13:54,700 --> 01:13:56,685
* It's about some people
in the strangest place
832
01:13:56,700 --> 01:14:02,385
* Woody Guthrie sang about
B E E T S not B E A T S
833
01:14:02,400 --> 01:14:06,085
* I must not think bad thoughts
834
01:14:06,100 --> 01:14:09,785
* I must not think bad thoughts
835
01:14:09,800 --> 01:14:15,485
* I must not think bad thoughts
836
01:14:15,500 --> 01:14:17,352
* The facts we hate
837
01:14:17,367 --> 01:14:20,318
* We'll never meet
walking down the road
838
01:14:20,333 --> 01:14:23,418
* Everybody yelling, "Hurry
up, hurry up, hurry up"
839
01:14:23,433 --> 01:14:27,218
* But I'm waiting for
you I must go slow
840
01:14:27,233 --> 01:14:29,485
* I must not think bad thoughts
841
01:14:29,500 --> 01:14:31,585
* When is this world coming to?
842
01:14:31,600 --> 01:14:34,652
* Both sides are right,
but both sides murder
843
01:14:34,667 --> 01:14:38,385
* I give up, why can't they?
844
01:14:38,400 --> 01:14:42,118
* I must not think bad thoughts
845
01:14:42,133 --> 01:14:46,085
* I must not think bad thoughts
846
01:14:46,100 --> 01:14:51,867
* I must not think
bad thoughts *
847
01:15:32,233 --> 01:15:36,533
Tony: I start this song.
848
01:15:36,867 --> 01:15:52,133
Exene: Put that territory down.
849
01:15:52,300 --> 01:15:59,267
* No one is united,
all things are untied
850
01:15:59,433 --> 01:16:01,652
* perhaps we're
boiling over inside
851
01:16:01,667 --> 01:16:12,052
* They've been telling lies,
who's been telling lies?
852
01:16:12,067 --> 01:16:16,818
* There are no angels, there
are devils in many ways
853
01:16:16,833 --> 01:16:18,900
* Take it like a man
854
01:16:21,267 --> 01:16:26,185
* The world's a
mess, it's in my kiss
855
01:16:26,200 --> 01:16:31,352
* The world's a
mess, it's in my kiss
856
01:16:31,367 --> 01:16:36,418
* The world's a
mess, it's in my kiss
857
01:16:36,433 --> 01:16:41,300
* The world's a
mess, it's in my kiss
858
01:16:42,233 --> 01:16:43,833
* You can't take it back
859
01:16:44,067 --> 01:16:48,852
* Pull it out in the
bottom of the ninth
860
01:16:48,867 --> 01:16:51,452
* Pull it out in
chords of red-disease
861
01:16:51,467 --> 01:16:56,452
* Drag on the system,
drag on my head and body
862
01:16:56,467 --> 01:17:01,152
* There are some facts
here that refuse to escape
863
01:17:01,167 --> 01:17:06,352
* I could say it stronger
but it's too much trouble
864
01:17:06,367 --> 01:17:10,967
* I was wondering down at
the bricks hectic isn't it?
865
01:17:11,367 --> 01:17:16,500
* Down we go, cradle and all
866
01:17:21,833 --> 01:17:28,818
* No one is united,
all things are untied
867
01:17:28,833 --> 01:17:31,252
* Perhaps we're
boiling over inside
868
01:17:31,267 --> 01:17:41,052
* They've been telling lies,
who's been telling lies?
869
01:17:41,067 --> 01:17:46,185
* There are no angels, there
are devils in many ways
870
01:17:46,200 --> 01:17:48,600
* Take it like a man
871
01:17:50,933 --> 01:17:56,052
* The world's a
mess, it's in my kiss
872
01:17:56,067 --> 01:18:00,818
* The world's a
mess, it's in my kiss
873
01:18:00,833 --> 01:18:04,052
* Go to hell, see if you like it
874
01:18:04,067 --> 01:18:05,852
* Then come home with me
875
01:18:05,867 --> 01:18:08,152
* Tomorrow night may be too late
876
01:18:08,167 --> 01:18:10,485
* Both moons are full
dirty night dying
877
01:18:10,500 --> 01:18:15,685
* Like a lovely wife
goodbye my darling
878
01:18:15,700 --> 01:18:18,085
* How high the moon
well I wish I was
879
01:18:18,100 --> 01:18:20,067
*
880
01:18:20,400 --> 01:18:25,400
* The world's a
mess, it's in my kiss
881
01:18:25,500 --> 01:18:30,052
* The world's a
mess, it's in my kiss
882
01:18:30,067 --> 01:18:33,052
* The world's a
mess, it's in my kiss
883
01:18:33,067 --> 01:18:35,900
*
884
01:18:40,767 --> 01:18:45,618
* The world's a
mess, it's in my kiss
885
01:18:45,633 --> 01:18:50,567
* The world's a
mess, it's in my kiss
886
01:18:50,667 --> 01:18:55,885
* The world's a
mess, it's in my kiss
887
01:18:55,900 --> 01:19:00,700
* The world's a mess,
it's in my kiss *
73630
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