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  1. Just to clarify the beginning of this post, I have used phase cancellation and EQing tricks to isolate the dialogue in the separate channels of Heart Beat Pig Meat. The right channel is Don Hall, the film’s music director, reading. He was recorded on two tracks. On one he reads articled from the newspaper, on the other a book. The two are faded back and forth between each other.

    On the right channel, however, is a startling discovery: the dialogue from a cut scene from the film. What was previously assumed to be a woman’s voice is actually several voices, the bulk of which is a young man with a rather high, immature voice. He can be heard in the film. Also heard on the song are the girl listed above as white female and, near the end, Cleaver. It is my belief that this happens either just before the film begins or possibly just after Mark leaves the room. This is a transcript of the dialogue as close as I can manage:

    This is Don Hall’s dialogue from the right channel of the song:

    ..are concerned because teenagers are sometimes so freaked out they cannot sit up straight in class. This is getting…

    …Gimme a hand, Lance. Motor manufacturers in the States report life expectancy of their engines has doubled. I really like that one. Elbow bender…’

    …my listeners…

    …Maxi-coats are both a curse and a blessing for New York dry cleaners. They’re charging 32 shillings to tackle the new styles, nearly double what…

    “They’re taking our nags, Ace!” “Yeah! And making damn good targets of themselves. Let ’em have it!” A withering fire brought two…horses ran free. “Grab them mounts. We’ve got a chance now…”

    Win a Florida holiday and a color TV

    …to charity…

    …battering…

    (laughter)

    What is this…it’s torture

    …Heard the sound and told myself this as I stormed out of the house. “I’d like to say no just once” Now we set up…

    …somebody’s house. This house is a…

    …organize. Police used tear gas…

    …a million years…

    And this is the dialogue on the left, a discussion between several students:

    man 1: …worried about it. They’re playing games with us. But that’s not that kind of opression.
    man 2: Yeah. Can’t be. Plus we have…
    So what are we going to do about it when it happens. If we are actually…when it happens.

    woman 1: …worrying about…

    man 2: …want to educate people about what’s going on in school. What’s happening in school, that’s what all you should worry about. You listen…You know. Perhaps white people are more oppressed than black people because they can’t even see their own opression. That opression is…That, that opression is, ah…

    …police methods are slick, something honest about that. You’re a robot, and it gets worse from there. you can recognize that

    At least face the facts what’s happening in that school. There’ve been troubles since that school was built.

    ..people go to school, you know, to get those grades, to get those degrees. To get those grades, your feeling is like one grade is better than the other…less, um, less A’s and B’s, and people…

    woman 2:…and also, you all know that there was a press conference by the police today. And they said that a man with a green book bag pulled a gun, right? And…

    …against why filed and unfiled, all the issues…

    Kathleen: …these motherfuckers using insults, exchanging insults. you want to go and deal with us on that level we’ll deal with you at that level. outside. You go outside. Then you know I’ll have to meet you. You actually are. There’s nothing in ‘tween you. We’re gonna deal with you [there is an overlap of two words here, the first being “later”, at an edit point in the dialogue] They issue statements. Strikes. Does anybody here [some words are obscured by the sibilance of Roger Waters’ whispering]

    Good one…[the name spoken after this is obscured, as is the next line spoken, by the echo on the voices]

    [a man’s voice] Man they all need me…[then he says more, also buried in the echo]

    [the black guy sitting by Kathleen]…revolution [obscured] we’ve got our lives on the line

    [a couple more obscured words]

    I hope this helps clarify the introduction of the film and maybe add some depth to the opening sequence.

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      1. Not a problem. I’m one of the MQR team that restored the Omayyad outtakes and created the bootleg A Total Zabriskie Point of View – The Complete Collection (amongs severa lothers related to the film. Check out our back catalog here http://magnaqualitasrecords.jimdo.com/). Our focus relative to this film was to make the most out of the Pink Floyd music, but in the process I’ve become very familiar with the film. In discovering the audio for a deleted scene hidden in Pink Floyd’s music I felt it had to be brought into the light, and a site that analyzes the film in such depth as this one does deserves to be the first to have the full transcript.

  2. I should also point out that the transcript above was done with the stereo mix of the song on the soundtrack album. Thje mono mix prepared for and used in the film contains considerably less of each channel’s dialogue

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