Lumpy Gravy Part 1: Section 12
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Motorhead: I worked in a cheesy newspaper company for a while but that was terrible, I wasn't making enough money to build anything (LOUIE LOUIE!) and then I worked in a printing company and a coupla gas stations. Oh, at the gas station where I was working my brother just got married, and uh . . . he bought a new car and his wife was having a kid and all this miserable stuff, and he needed a job so I gave him a job at the gas station of which I was fired because, you know, he was gonna work there. And he had his car on the rack and he was lubing and changing tires and everything all the time. And so they got fired because he was goofing off, man, and he just kept taking parts and working on his car day and night. And so he lost that job and he went to work in another gas station. He took that one, you know, so he could feed the kids and that. And I went to work in an aircraft company, and uh . . . I was building these planes. I worked on the XB-70, I was the last welder on there. Yeah but, it was pretty good bread because I was making, uh . . . $2.71 an hour. I was making a hundred and a quarter a week, and uh . . . yeah, it was good enough money to be working on, so I got an Oldsmobile, a groovy Olds. But I was going with this chick at that time. By the time I got the Olds running decently, she went out and tore up the engine, and the trans, and a--her and a girlfriend they get in there and booze it up and tear up the seats. Just ripped the seats completely out. So uh . . . when, I got a '56 Olds, which was this one chick's I was going with, and uh . . . we used to drive out all over the place and finally she got rid of that, and uh . . . I got another pickup!
The dialogue spoken by the Mothers’ percussionist/saxophonist, Motorhead Sherwood, about his constantly shifting girlfriends and jobs serves as both an overt example of discontinuity. Watson states that “his rootless switching of jobs and cars and girls becomes the lived equivalent of the fast cuts at the editing board”—the story unfolds in a linear fashion, but is so haphazardly recounted that it comes out disconcerting to our sense of linearity. It also must be noted that Zappa prepares the sonic dissonance of Motorhead’s speech by preceding it with a quick sample from the middle of the speech. We hear “Good bread because I was making $2.71 an hour” with wavering sped up and slowed down manipulations a full three minutes ahead of Motorhead’s full speech; Zappa is playing with our conception of past and future.
 Watson, Negative Dialectics, 98.