Original subtitles

Exene: Dear Slash, Will you please convey my feelings to

X about how much I like the album from Los Angeles.

The album is intensely personal to me because I was the

person that was the subject of the songs.

Exene: They are incredibly accurate.

I tried to write some poetry chronically in my dissent

into insanity and no where I was close to

equaling, equaling their writing.

I've never been so drawn to another

person in all my life as Exene.

And even though the songs are about me,

I am very glad that she understood

what I've gone through and because of that,

because of that, I'm not going to sue.

* She had to leave

* Los Angeles

* All her toys go 'round in black and her boys

* Had too, she started to hate every nigger and Jew

* Every Mexican that gave her lotta shit

* Every homosexual and the idle rich, idle rich

* She had to get out, get out, get out, get out, get out

* She gets confused, flying over the dateline

* Her hands turn red, cause the days change at night

* The day change in an instant,

* The days change at night, change in an instant

* She had to leave

* Los Angeles

* She found it hard to say goodbye

* To her own best friend

* She bought a clock on Hollywood Boulevard

* The day she left, it felt sad, it felt sad, it felt sad

* She had to get out, get out, get out, get out, get out

* She gets confused, Flying over the dateline

* Her hands turn red, cause the days change at night

* Change in an instant, the days change at night

* Change in an instant

* The days change at night, change in an instant *

Voiceover: This is the desert.

This is the grim waterless waste that cover most of

Los Angeles even within the memory of living men.

Voiceover: Western civilization at its most hideous...

Voiceover: I'll take my own direction

Black hair man: Stabbing into your subconscious mind.

Voiceover: At no cost to the governor.

Blonde hair woman: Hi, I'm here with X and this is John Doe

and Billy Zoom, and Exene, and DJ Bombreck.

Voiceover: Billy put an ad in the Recycler and I put an ad

in the same week and I don't remember exactly what it said,

but worded about the same, you know, people looking

to play music that wasn't bullshit.

Voiceover: And the Recycler came out and I picked up

a copy and I looked through it and there was an ad in it

that was worded almost the same as what I wrote and

Voiceover: She called me up,

and I was like, calling each other at the same time...

Voiceover: Well, I met John first.

I was very drunk.

Voiceover: I just finished playing a gig with the Eyes.

Voiceover: Called up Billy and said, "Billy there's a guy

'down here, he's playing a huge snare drum and he hits

Voiceover: He asked me to audition

Voiceover: Promise him anything,

we'll worry about it later. Get him!

Exene: Well you know, I met John at the poetry workshop

in Venice and I guess it was kind of a mutual meet.

Voiceover: You know, like we said, I met Maxine at a

Voiceover: I never worked with anyone

before and I like that, but I was scared to do it.

Voiceover: She had some of these poems that were just

songs, you know, they were obviously songs and I said...

Exene: And just kind of encouraged me that I could sing.

And, I had never really sang before and I really had no

Voiceover: Maxine came down the

first time to rehearsal and Billy's going, "Ah great."

Voiceover: Found this good bass player, he's going to

bring his girlfriend around to sing along and I looked at

one of the books that Exene was writing in.

She's got that great writing style and he goes, "Oh no,

Voiceover: She might have talent, but

I don't know if I want to wait two or three

years for it to develop.

As it turned out it took two or three years for anybody

to pay attention to us anyway, so there's plenty of time.

Exene: And then right before we went on stage for our

first show he kind of patted me on the head and winked

or something and then I realized that it was okay, I could

actually go out there and he wasn't going to be mad at me.

Billy: Our father's a musician, he

was a jazzer, old time jazz.

He played clarinet and sax.

He played with Django Reinhardt and Jim.

He played with a lot of people, you know, he got around.

Rode motorcycles and played music.

I always played music.

Everybody played music when I was a kid.

I use to play piano, and accordion, and violin, and

saxophone, and flute, and clarinet,

and guitar, you know, everything.

He could play anything and he always had instruments

around the house, that was just the way he did.

Everybody did it.

See, one morning I woke up

and the percolator was going.

Think he had gotten up before me as usual.

I heard this sound and I tried to imitate it, so I came

into the kitchen and I started tapping my foot to the

sound of the percolator and I came up with this rhythm.

It's sort of a polyrhythm.

It's three in the foot, starts at one, two, three, and the

left hand is in four; so it goes, one, two, three, four

one, two, three, four, against, one, two, three, and then

the last rhythm is five in the right hand.

One, two, three, four, five; One, two, three, four...

Okay, like this, play this.

Music just started out as something that was fun to do.

I started out in a marching band and it was

fun to play snare drum and then I ended up in a big band

and it was fun to read big band music.

And then I ended up in an orchestra, and I got to play

the various instruments.

My hero is Captain Beefheart.

Whether or not you can tell from drumming style that I

played in X, the one thing I like about it is the

playfulness and his melodies and that's what I like about

Lionel Hampton, too.

Well, I'll do his famous flying home riff, wrong note

I can't even do it.

I need the grunt

I guess I'm trying to compensate for the

fact that I don't have bassoons in the band and I don't

have gongs, I try to make it up on high hats and symbols

and solo, which I can't do.

Voiceover: Well, let's go back in time a bit and we know

that you started playing live at The Masque in Hollywood.

Voiceover: Yea. We started playing at the Masque in

seventy seven, or actually seventy eight, I guess it would be.

Voiceover: And what were some of the other bands

that use to play there in those days?

Or any of them still around?

Voiceover: A few of them. Exene: The Plugs, The Deadbeats,

The Weirdos, The Screamers, The Germs, The Go-Gos,

Voiceover: That's about it.

Voiceover: Did you say The Skulls and The Controllers?

Exene: The Skulls and The Controllers and The Alley Cats.

Voiceover: Welcome to The Masque.

Brendan: I haven't been down here for five years myself, so I don't

quite know what to expect at the bottom.

I know it's pretty trashed out, but let's go check it out.

Just for fun, well, this is all the graffiti, the legendary

graffiti that the place is known for.

It hasn't been touched as far as I can tell.

Touched a little bit.

Here we are, the bottom of the stairs.

"Hippies go home, you suck." I guess so.

"Your mother is calling you, you wimp. Go home."

"Masque welcomes nobody."

Well, here it is, the main concert room.

My stage disappeared, somebody else must have

stuck that up there, those letters.

There's a pornographic movie theater upstairs that

own this building.

Billy: There wasn't any place to play

and nothing was happening.

There was no live music in L.A. at that time.

John: So it was just an open city.

Let's make live music happen.

Blonde hair woman: So those gigs were mostly just so that

everybody could play music, not to make money.

Exene: Yea. It wasn't to make money.

Voiceover: So, Brendan could

Brendan: You want a list of people who closed

down The Masque?

Starting on high, the city of Los Angeles, itself

wasn't ready, beneath them we have, in

order of appearance, the Los Angeles City Fire Department,

the Los Angeles City Building of Safety Department,

the Los Angeles Public Health Department,

the Hollywood Chapter, the Chamber of Commerce,

the Hollywood Boulevard Division.

Voiceover: Now here's a famous corner in L.A.'s

history, Hollywood and Vine.

Someone has said it isn't a place, it's a state of mind.

Physically, it's part of a big town.

Actually, its everything to do with movies and radios,

and all the people who live by

these fabulous, highly times.

* I am a black and white ghost

* In a black and invisible dress

* Oh, what a mess I'm in, what kind of fool am I

* I am the married kind, the kind that said I do

* Forever searching for someone new

* At night I get drunk and fly around

* In the day I dream and lay around

* I drink and smoke your brand and drink

* I am drunk over you, I am the married kind

* The kind that said I do,

* Forever searching someone new

* I am the ghost of all my dreams

* To me, it's all pretend, I pretend I'm alive or just not dead

* I will die for you, I am the married kind

* The kind that said I do

* Forever searching for someone new

* My nights are numbered

* They don't count for nothing

* I'm not a fool, I'm just a bride

* I'm just no good inside, I am the married kind

* The kind that said I do,

* Forever searching for someone new *

Tony: This thing here, we use to use on stage

is from the Ex Lax building in Brooklyn and it's this

real cool enamel, brown enamel in there.

And, we were there about three years ago and there

were tearing down all the letters and it said, "Ex Lax".

The original home of Ex Lax went a hole block.

You can imagine how big the word, Ex Lax, would be

like this, and they were tearing it down and this guy

I say, "Can I have that 'x'?" and he goes, "Sure, sure kid.

'Come back in about an hour."

And I came back and he hadn't taken it down and I said,

"Can I still get that 'x'?" and he goes, "Wait a minute,

'Tony, Tony go take that 'x' down and be careful with it."

And he takes it down and just drops straight to the ground.

"Okay, Tony bring it over here. Here you go kid. I don't

'know why you want this, but keep it.

'You got a part of the Ex Lax building

because it's getting torn down."

And that's, you know, a pretty good thing to have.

* I love you, baby, but you don't understand

* When Lord made me, he made a rabid man

* But some folks might say, that I'm no good

* That I wouldn't settle down if I could

Voiceover: I've been in bands and it done cover songs,

and learned traditional harmony, so I knew that but

Exene had never been in a band, so she didn't have that

traditional harmony in her head, so she just sang along

until something sounded right.

So we got a real different sound.

* But you gotta understand when the Lord made me

* He made a rabid man

Exene: You know how to play Honkey Tonk Blues?

Exene: I liked country and western when I was growing up.

I've been able to go back and listen to all the music

that's been around forever.

You know, just the old country people like Hank Williams.

And then, the blues guys, like Leadbelly, Holland Wolf

and all that stuff, which is, I think the best kind of

influences you can have, the original sources.

There was Led Zeppelin doing Robert Johnson songs

isn't a good influence on him.

Robert Johnson is.

Well that works out pretty easy, actually.

And now I would like to read a poem about someone

I met recently, a really wonderful writer who wrote a lot

of Ray Charles songs.

He walked the tracks into town, we all rode out in our

cars, met him there and told him to turn around.

I didn't know what a negro was, I saw metal gates on

liquor stores windows in Chicago.

I asked my mother, why. She said, "Burglars."

What are burglars? Negros.

The first time I saw one, my mother said, "Roll up the

'car windows, and lock the door."

He had a scar across his forehead.

In fact, his head was split in two.

Years later when I met him, he autographed my cocktail

napkin, "Stay pretty, Percy Mayfield", and kissed me twice.

Voiceover: How'd this rock and roll all get started anyway?

Black hair man: Well, what you call rock and roll now

is rhythm and blues and I've been playing for fifteen

years in New Orleans.

Voiceover: This rock and roll music seems to be under

a lot of awful, heavy attack from all over the country,

you know of any reason for that?

Black hair man: Well, as far as I know, music can make

people happy, I know it make me happy.

Voiceover: You wouldn't blame it on rock and roll?

Black hair man: No, indeed.

and let me go back to my practice.

Billy: I had read a review of the Ramones and

some freight paper, I think it was Rolling Stones or something

like that, and they trashed them and said they were awful.

The guy really hated him, he said they were dumb, all

their songs are too fast, too short, only had three chords,

no guitar solos, the lyrics were dumb and that just all

sounded like really positive things to me.

John: Here we are at the gas station and right

across the street with all the Van Halen posters is the

old Whiskey a Go Go where Johnny Rivers got his start.

The Doors, Otis Redding, and X.

It use to be a bank and then it was the Whiskey and now

it's supposed to become a dinner theater.

Exene: Here's the marque letters from the Whiskey a Go Go,

piled up in a box, never to be used again, or maybe to

be used soon because you never know, places close before.

The 'x' is missing because our light man got that already.

This is what you call the luxury part of the backstage,

the headlining band's dressing room.

Notice the table, it's nicely set up.

Notice the holes in the walls, I think that happened the

other night when people were sure it was getting closed down.

Here's my dress, this is my dress peaking through here

and on the other side of this room, where my dress is

hanging, the little tiny dressing room, where we're going

to be getting ready for our show.

They smashed it up like they always do when they know

a club is closing, just cause.

I'm standing in front of the air conditioner, which is really

cold, where window here got busted when we were playing

here the night my sister died, she was coming here to

see us and John busted this window out and the other night

when I was here I noticed it all the broken glass is still

out there on the air conditioning.

And, so that's something for my sister is the broken glass.

* Gifts and flowers lay upon the lid

* Of pink silk above your face... *

Exene: I started writing because my sister was a writer

and she gave me a blank book to write in.

And I started writing in it and I just always kept up with it.

It's been a year and a half, I'm okay.

I have a good time, I go out and laugh and do the same

things we use to do and it's still really bad everyday

because I surround myself purposely with all her things.

And it just makes me real sad and sometimes when I get

real drunk I'll go off by myself and cry and stuff, but

what can you do, you know?

* I hear a voice that sounds so much like yours

* Please, please come back to me I cry and talk to you

* through the bathroom wall oh please, come back

* To me

Exene: She's also writing all these poems about the world's

been ruined by hit and run and about this car accident

she had when she was fifteen and if I just coulda picked

it up and read it and gone, "Wait a minute, why don't

'you just stay here today, don't go out? Don't go in the car."

But you never do, cause you don't see those things.

But, time takes care of all that and pretty soon you realize

you can live okay.

* The opening band is banging out their song

* Please, please...

Exene: So, you write down this raw material and it

becomes a song or parts of it becomes a song or it

becomes a title to a song or it becomes just something

you keep or else it becomes a poem that you

might use in a reading or in a book.

It never comes out as one thing or the other.

It's just a need you have to do it.

* I made a shrine for you on the kitchen wall

* With flowers and Florida souvenirs

* You were walking through the house last night

* I knew it was you from the space in your steps

* Please, please come back to me

* I cry and talk to you through the bathroom wall

* Oh please, come back to me

Ray: Well, the first time I saw X was at the Whiskey a Go Go

and I read about them in an article that Chris Morris wrote

called, in the L.A. Reader called, 'It Sounds Like Murder".

Exene: Okay, come on in my bathroom.

We have here, oh, you probably can't see this.

It says, "Circle Jerks suck", "Fuck the Fears", which are

real popular bands and that's nice graffiti, actually, for them.

"Fears sucks", that's always popular.

Ray: And he had lyrics from the different bands and the

X song that he had the lyrics from was Johnny Hit and

Run Pauline and I read the lyrics and I thought this band's,

these are good lyrics. this is some serious poetry going

on here.

Exene: Wasted Youth is a punk band.

No more, oh, here's a good one, come on over here, it says,

"No more punk at the Whiskey, Easy Come Easy Go"

And I really hope that they don't think that because it

wasn't easy to get in here and it isn't easy seeing it leave,

but I think some people look at it that way.

Ray: So, I walk in and X is into the second song of the set.

And, they were just incredible, man.

Ray: There's always obstacles, yea.

Several obstacles for The Doors, seemed like it took us

forever and X has had the same obstacles.

Nobody wanted them, nobody would sign them, the music's

too hard, too wild, too insane, too dirty, lyrics are dirty,

singing about that horrible stuff.

No we don't want them.

And Slash was the only one that would take a chance on

them in the beginning.

Slash: I liked them, I mean that was it.

We chose the bands that we did in the beginning

and still do on a very subjective level.

Gray hair man: I had an opportunity to distribute X

about a year ago and I can't remember the gentleman's

name, he was a president of a magazine, Slash magazine,

I didn't hear it, I didn't think the music I was listening to

had the kind of commercial appeal that a distributing

company needs.

Slash: One would think that this is an obvious money maker.

This can work on a commercial and aesthetic level.

Gray hair man: I can't waste my people's time really in

records that are going to sell in two or three cities.

Slash: Even a band like the Go Gos,

which are an obvious commerical...

Gray hair man: You're looking at limited sales.

Slash: Entity, they can obviously be a

commercial entity, the potential is there.

Gray hair man: And on the other hand

you're looking at high cost of recording.

Slash: They don't have the ability at this point in time

to even go out on a limb for a band like that.

Gray hair man: You know, you can't sit here and play God.

Slash: We have ten employees that are here in the offices

that work day in and day out.

At a big label, obviously, there are, whatever there are,

I don't know, two hundred, three hundred employees.

Gray hair man: I have almost nine hundred people in this

division to support, so we're looking for records that

have a national appeal.

Slash: Well, first of all, you sign good bands, you don't

sign a bunch of shit.

Gray hair man: We have a band, we have their third album

coming out and we're all very excited here about this band.

It's kind of been the favorite band of the company for

the last two albums.

It's a band that everyone wants to break badly and I feel

the same way about Point Blank as I did with Journey

when I was at CBS, they were at that crossroad, too, and

they came with a record that was accepted by the masses

and now they sell millions of albums and so I think the

same thing is going to happen with Point Blank.

Voiceover: And now for the moment I'm sure you've all

been looking forward to.

A look at the newest member of the Ford family of fine cars.

The Edsel.

I have no culture.

I never watch T.V.

Do you? Do you watch T.V. Black hair woman: Never.

Exene: You know, there's this Safeway in Los Angeles

that has color television over each checkout stand,

broadcasting nothing but commercials and each one

has the same commercial on it, and then you watch it

and then there's a sweepstakes and if you can name ten

products advertised on there you can win this prize.

And I almost started crying when I saw it cause I thought

it was the ultimate...you already brought everything, and

you're waiting in line and you look up and there's products

like you didn't Ban Roll On, you bought the other one and

then you have to go back and get the other one cause

that's the one that's on T.V.

Blonde hair woman: And then you recorded Los Angeles.

Right.

Blonde hair woman: Danger House.

We did that on Danger House just because it was

the easiest way to make a record or the hardest way.

We never signed a contract, it's just that standard old

thing of you don't sign a contract for your first record

and they beat you for all the money.

They get all the money, you don't get nothing.

Claire: It goes straight to a

woman's mind and heart.

It's a look we can't help liking.

A look that looks so right.

We'll agree with you that Edsel is America's finest car

in the low price range and gentlemen, I think what you

have to tow women with you're going to find a very

receptive audience in 1959.

Black hair man: Claire, that's all good, but there's more

Claire: Oh, you mean all that man talk

Black hair man: That's right.

I swear, I never watch it.

Voiceover: Alright, you guys ready out there?

Voiceover: Take two. Okay, white girl take two.

Voiceover: Alright.

* She's blonde she came along the sidewalk

* Leave a trail of blue and black up to you fighting back.

* Steel chains a noose of charms on our necks

* I find out nothing when we talk and sit

* Blue heart passion and watch the set

* Easy to fall part of your skull starts to break away

* A cheaters walk down the block

* Behind this evil street, she's a white girl

* But I'm living with a white girl

* She's a white girl,

* But I'm living with a white girl

* Nineteen missing her man for an old girl

* Drain every beer left over at home and listen to

* Ghosts in the other room

* Why not you're alone inside his keeping

* I'll replace your drunk old man sit in the

* parking lot and hold your hand

* Easy to fall part of your skull starts to break away

* Drugged and in love out at a club pulling me outside

* She's a white girl, but I'm living with a white girl

* She's a white girl, but I'm living with a white girl

* Easy to fall part of your skull starts to break away

* Drugged and in love out at a club pulling me outside

* She's a white girl, but I'm living with a white girl

* She's a white girl, but I'm living with a white girl *

Dave: See, how are you going to

miss with a tune like that?

Black hair man: Dave, from the heart, terrible.

Voiceover: Critics in rock and roll are too apt to use the

word, masterpiece, but when I heard that record, by the

time it was over, I was on the phone calling X, because I

wanted to get them for a picture so they could run a story

in the following Tuesday's paper.

* I just heard the sad song by another band

* Sung by another man he gave me the once over twice

* I said when, he said okay, so long

* He hung me with the endless rope

* I could throw my lipstick and bracelets like gravel

* And move to Alabama, I got

* some more scotch instead

* Then I died a thousand times

* He hung me with the endless rope

* Then I died a thousand times, maybe you don't

* But I do got a hole in my heart,

* Size of my heart, size of my heart,

* He hung me with the endless rope *

Gray hair man: But I didn't hear anything in there that

I thought was top forty.

Black hair man: I'll take it up with the committee,

but I don't know.

* I'll see you and I'll raise you off the floor

* I'll floor you and we'll dance without a band

* I just heard the sad song hang another man

* He hung me with the endless rope

* I just heard the sad song by another band

* Sung by another man he gave me the once over twice

* I said, when he said, "Okay so long"

* He hung me with the endless rope *

Gray hair man: But, four months ago I tried to go back

after X because they had changed a little bit.

They were starting to cut records that would have more

appeal to...but they've already made

a deal with Joe Smith at Elektra.

Voiceover: We just trying to crack that mainstream rock

radio station that plays Fleetwood Mac and plays the Eagles

and plays the Rolling Stones and put X right up along side

those bands and achieve a maximum exposure for them.

Voiceover: Stand by please.

Voiceover: Of all the peoples of the world, the Americans

stand most in fear in a moment of silence.

For eighty two out of one hundred U.S. citizens,

radio provides each day of the year a sure and ever

present escape from their own lives into an ether

universe of crackling news, music,

costly entertainment, and romantic adventure.

Joe: Wowy, whoopty do, luck you, you're listening to

KROQ FM of Pasadena, I'm

but I'm here babysitting Rodney Bingenheimer.

Rodney: Thanks a lot, Joe.

We just heard the Letterbomb and the Circle Jerks, a

Joe: Dedicated to you, no doubt.

Rodney: I should buy the short version.

Joe: Yea. I got the short version queued up.

Rodney: Okay, but I've got some more Circle Jerks in

Olivia: Rodney, call me tomorrow, like just ask for

Rodney: Can you be on the tenth floor?

Olivia: Yea. Probably. Rodney: Okay.

Olivia: And maybe I'll have a party sometime, I don't know.

Rodney: Alright.

Olivia: Okay, bye everybody.

Rodney: Bye. Joe: Bye.

Voiceover: I'm going to be stripped naked on stage on

Joe: Really?

Rodney: Close the Whiskey down.

Rodney: Okay that's the Ronettes, Girls Can Tell and

we're just floating along here and don't forget to listen

to Young at twelve midnight.

Okay, I'm going to send this one out.

This goes out to a young lady in the hospital, named Olivia.

I hope she gets better and it's

her birthday at twelve midnight.

Exene: Hello Los Angeles, this is Exene of X and you're

on Rodney on the ROQ at KROQ FM in Pasadena.

Rodney: I don't know, I don't follow the real radio.

I just come in every week with all my records and pray

that I'm going to be on that night.

Gray hair man: FM was this fresh of breath air that came

across the spectrum and said well we'll play anything to

bring in a tape and we'll play it.

And as they became successful doing that, large corporations

ABC, Metromedia and others took over and realized they

were enormous profit center potential.

Tommy: Well, because we were owned by ABC, there was

a very definite and very constricted method that we have

to use to pick our music.

Rodney: No play list on my show, sometimes I actually

write out a couple of things before.

Voiceover: In furnishing the American public it's listening

fare, the four hundred independent stations and the one

thousand network affiliated stations alike are able to exist

for only one reason, the advertising of commercial products.

Black hair man: And now, let me tell you about McTavish's

skinless weenie, ummm.

Voiceover: When they add records by committee and the

first question that's asked in these committees is we're

after a demographic of twenty five to fifty, does this record

fit that demographic.

Tommy: The eighteen to thirty four demo is the one

that is really popular one in terms of advertisers.

Maybe a little bit now, it's being overshadowed by twenty

five to forty four, but for the most part, eighteen to

thirty four is where most people want to spend their

money and sell their products.

These are the consumers.

Black hair man: I think you'll like our script for the new

show, Mr. Dunnam.

Mr. Dunnam: If you don't mind, I'd like to hear that

commercial first.

Black hair man: Certainly, Mr. Dunnam, with pleasure.

Girls, will you give us the new commercial and don't

forget that tempo.

* Consolidated sardines, America's delight, have a

* rich tangy flavor with plenty,

* with plenty of bite, consolidated sardines are

* packed twice as tight, so eat consolidated

* can't be consolidated, treat your stomach right. *

Mr. Dunnam: That sounds pretty good, but couldn't

you work in the name of the product just a little more?

Here we are today.

Blonde hair woman: Ready to go touring again?

Yea. As a matter of fact, touring is hard, but you just

can't find anything like pulling into a truck stop at three

in the morning, no way.

Exene: Also, touring is such a necessity now because

it's the only real exposure you can get.

Exene: Yea.

Anybody can go on tour and have people see 'em and

that's real good, but the radio and television and the press

kinda, nothing you can do about that, either they like you

or they don't. Blonde hair woman: Umm Hmm.

Exene: So, you have to do it yourself sometimes.

* Put the doorknob on my side,

* If you don't mind, I don't care

* Put the doorknob on my side,

* It's self-locking, give me your key

* I go to bed soggy and forgetful

* Hopefully not waking up so fitfully

* I like coffee and I like tea

* I like a pretty boy and he likes me

* Put the doorknob on my side

* It's self-locking, give me your key

* I go to bed soggy and forgetful

* Hopefully not waking up so fitfully

* Motels do that with rubber sheets

* So I can't sleep staring at my sheets

* Or crying on my sheets, or bleeding on the same

* Put the doorknob on my side

* If you don't mind, I don't care

* A motel room in my bed

* Put both door knobs on my side

* I go to bed soggy and forgetful

* Hopefully not waking up so fitfully

* Motels do that with rubber sheets

* So I can't sleep staring at my sheets

* Or crying on my sheets, or bleeding on the same *

Exene: The unknown quantity.

We didn't realize when we named it

that it would be the unknown quantity.

No one knows who we are, could you

imagine that, I don't understand.

* Friends warehouse pain, attack their own kind

* A thousand kids, bury their parents

* There's laughing outside

* We're locked out of the public eyes

* We set the trash on fire and watch outside the door

* Men come up the pavement, under the marquee

* There's laughing inside

* We're locked out of the public eyes

* Some smooth chords on the car radio

* No hard chords on the car radio

* Friends warehouse pain, attack their own kind

* A thousand kids, bury their parents

* There's laughing outside

* We're locked out of the public eyes

* Some smooth chords on the car radio

* No hard chords on the car radio

* Some smooth chords on the car radio

* No hard chords on the car radio *

Tony: Welcome to the alter of wolf jaws, naked steam

rolls out your mouth, a noble death forgotten by most.

We left black coats and colors of any kind where they

remain lost in the wild, look across the bridge.

They're waiting for you, danger comes as you slow down.

The snow fence weakens and the wind direction changing

and you and I through parking lots jaws and teeth around

the storm drain, travel became easy then.

You know, wealth breeds constant travel.

Imagine, silver cross, hung on leather, swinging side to side

on a neck of a wolf, run twelve miles, trot five, walk four

win the death and the wolf achieves endangered royalty.

Tony: I was inspired by a guy named, Robert P. Williams.

And, he said, nobody, no man or woman knows what

trouble really is in this world and I took it to mean

because it can always gets worse.

And that sort of thought you can never really identify

true trouble or the blues or whatever because it can

always go further and so the song's about the real child

of hell, which you never really see.

You're in a bar or in some place, in something strange start

happening and then all of a sudden you feel like that thing

is there, that real child hell is there and is causing this

thing, working it's evil way.

You turn around to look for it and you can't see it,

you turn around to get it, it's not there.

* Real child of hell, Nobody knows what shape she takes

* repossessed

* My vigilantes acting bored

* The mindless fan wants my dress

* And I can't which one is worse

* I can't see the cursing child

Exene: Change the ending

* Real child of hell, nobody's seen him

* Real child of hell, real child of hell

* Nobody knows what shape she takes *

Tony: Real child of hell, nobody seen him,

Real child of hell, real child of hell

Nobody knows what shape she takes because it's neither

male nor female, it started working and that real child of

hell just sounded real nice with all the

Ls and the vowels and shit like that.

Exene: I think it's going to be a hard for people to

understand the words on.

Voiceover: Fuck 'em.

Voiceover: It's going to be hard to go any faster.

Voiceover: Let's try it there

Voiceover: Then when it goes into that chorus,

Exene: You guys, we should do the

regular ending, it's too confusing otherwise.

Exene: It doesn't do that. Voiceover: Peter's out.

Voiceover: Break time.

Exene: Yea we did. Voiceover: That was a punk prom.

Exene: First you did the punk prom. Voiceover: That was the best?

Exene: Yea. Voiceover: That was the best?

Voiceover: And then they had another one.

Exene: I'm gonna leave all the plants that are growing like

the ice plants, so then there's something

But there's real good spider plants everywhere that

kinda draped and there's lots of ivy.

Voiceover: You can come out tomorrow

Voiceover: Let's see.

Exene: Bring your rubber gloves. Voiceover: Yea.

* Real child of hell, real child of hell

* Nobody knows what shape she takes

* St. Paddy's Day, old Irish man

* Shamrocks painted on his face

* He mumbles warnings from Ireland

* In the back I sense a fight

* And that old man has done his deed

* Real child of hell, nobody's seen him

* Real child of hell, real child of hell

* Nobody knows what shape she takes *

Tony: And that was pretty much what it's about.

* He brought a sterilized hypo

* To shoot a sex machine drug, he got 24 hours

* To shoot all Paulenes between the legs

* 96 tears through 24 hours, sex once every hour

* Johnny hit and run Paulene

* Johnny hit and run Paulene

* Johnny hit and run Paulene

* Johnny hit and run Paulene

* L.A. bus doors open, kicking both doors open

* When it rested on sixth Street

* That's when he drug a girl inside

* He was spreading her legs and didn't understand dying

* He was still awake

* Johnny hit and run Paulene

* Johnny hit and run Paulene

* Johnny hit and run Paulene

* Johnny hit and run Paulene

* When he was waking up, beside the bed

* He found clumps of hair

* The last Paulene wouldn't cooperate

* She wasn't what you'd call living really

* She was still awake

* Johnny hit and run Paulene

* Johnny hit and run Paulene

* Johnny hit and run Paulene

* Johnny hit and run Paulene

Tommy: I think they were aiming at a larger audience

we're aiming at the person for whom radio is a friend,

but it's not the end of the world.

Tommy: They liked the station, but they're not listening

to it twenty four hours a day.

They tune it in, they like to hear a song that they are

relatively familiar with, perhaps is something they can

sing along with, that they know the words to

it evokes memories of past experiences

things that they can feel comfortable with.

* The facts we hate

* We'll never meet walking down the road

* Everybody yelling, "Hurry up, hurry up"

* But I'm waiting for you, I must go slow

* I must not think bad thoughts

* What is this world coming to?

* Both sides are right, but both sides murder

* I give up, why can't they?

* I must not think bad thoughts

* I must not think bad thoughts

* I must not think bad thoughts

* The civil wars and the uncivilized wars

* Conflagrations leap out of every poor furnace

* The food cooks poorly and everyone goes hungry

* From then on it's dog eat dog, dog eat

* body and body eat dog, I can't go down there

* I can't understand it, I'm a

* No good coward and an American too

A North American, that is

* And I must not think bad thoughts

* And I must not think bad thoughts

* And I must not think bad thoughts

* I must not think bad thoughts

* I must not think bad thoughts

* I'm guilty of murder of innocent men

* Innocent women, innocent children,

* Thousands of them, my planes, my guns,

* My money, my soldiers, my blood

* On my hands it's all my fault

* I must not think bad thoughts

* I must not think bad thoughts

* I must not think bad thoughts

* The facts we hate you'll never hear us

* I hear the radio is finally gonna play new music

* You know, 'The British Invasion'

* But what about the Minutemen, Flesh Eaters, DOA

* Big Boys and the Black Flag?

* Will the last American band to get played on the radio

* Please bring the flag? Please bring the flag?

* Glitter, disco, synthesizer, night school

* All this noble savage drum, drum, drum

* Astronauts going back in time

* To hang out with the cave people

* It's about time, it's about space

* It's about some people in the strangest place

* Woody Guthrie sang about B E E T S not B E A T S

* I must not think bad thoughts

* I must not think bad thoughts

* I must not think bad thoughts

* The facts we hate

* We'll never meet walking down the road

* Everybody yelling, "Hurry up, hurry up, hurry up"

* But I'm waiting for you I must go slow

* I must not think bad thoughts

* When is this world coming to?

* Both sides are right, but both sides murder

* I give up, why can't they?

* I must not think bad thoughts

* I must not think bad thoughts

* I must not think bad thoughts *

Tony: I start this song.

Exene: Put that territory down.

* No one is united, all things are untied

* perhaps we're boiling over inside

* They've been telling lies, who's been telling lies?

* There are no angels, there are devils in many ways

* Take it like a man

* The world's a mess, it's in my kiss

* The world's a mess, it's in my kiss

* The world's a mess, it's in my kiss

* The world's a mess, it's in my kiss

* You can't take it back

* Pull it out in the bottom of the ninth

* Pull it out in chords of red-disease

* Drag on the system, drag on my head and body

* There are some facts here that refuse to escape

* I could say it stronger but it's too much trouble

* I was wondering down at the bricks hectic isn't it?

* Down we go, cradle and all

* No one is united, all things are untied

* Perhaps we're boiling over inside

* They've been telling lies, who's been telling lies?

* There are no angels, there are devils in many ways

* Take it like a man

* The world's a mess, it's in my kiss

* The world's a mess, it's in my kiss

* Go to hell, see if you like it

* Then come home with me

* Tomorrow night may be too late

* Both moons are full dirty night dying

* Like a lovely wife goodbye my darling

* How high the moon well I wish I was

*

* The world's a mess, it's in my kiss

* The world's a mess, it's in my kiss

* The world's a mess, it's in my kiss

*

* The world's a mess, it's in my kiss

* The world's a mess, it's in my kiss

* The world's a mess, it's in my kiss

* The world's a mess, it's in my kiss *