is the most upbeat track on the album. The song is led primarily by a distorted guitar and synthesizer. Production-wise, it is raw and unpolished compared to Bowie's 1983 remake. It is a tale of unrequited love inspired by Kuelan Nguyen, partner of French actor-singer Jacques Higelin, who was also recording at the château at the same time. The protagonist's "Shhh..." was a direct quote from Nguyen after Pop confessed his feelings for her one night. Pop improvised most of the lyrics while standing at a studio microphone. Side two In 1997, Pop explained the origins of "Dum Dum Boys": "I only had a few notes on the piano, I couldn't quite finish the tune. Bowie said, 'Don't you think we could make a song with that? Why don't you tell the story of the Stooges?' He gave me the concept of the song and... the title", originally "Dum Dum Days". Likewise a tribute/lament for Pop's former Stooges bandmates, the spoken intro references Zeke Zettner, Dave Alexander, Scott Asheton, and Williamson. O'Leary considers it Pop's equivalent to Bowie's song "Ziggy Stardust". Musically, Seabrook compares it to the Stooges' Fun House (1970). Bowie originally played all the guitar parts himself, but feeling his playing was subpar, he ultimately had Palmer overdub some parts. "Tiny Girls", sequenced between the two longest tracks on The Idiot, is reminiscent of a 1950s doo-wop number. Lyrically, Pop's ideal is getting a "tiny girl" with "no past" and "no tricks". Both Pegg and Seabrook consider Bowie's saxophone performance on the track one of his finest. The final track, "Mass Production", is an eight-minute epic. Seabrook compares it to the Stooges' "Dirt" and Bowie's "Station to Station". Wilcken describes the song as a harsh, grinding piece of early industrial electronica. It begins with a minute of "proto-industrial noises", created by Thibault using tape loops. Bowie suggested the lyrics to Pop, who later recalled: "He just said, 'I want you to write a song about mass production, because I would always talk to him about how much I admired the beauty of the American industrial culture that was rotting away where I grew up." Release and promotion The title of The Idiot was taken from Fyodor Dostoevsky's novel of the same name which Bowie, Pop, and Visconti were all familiar with. In a 1985 interview, Pop said Bowie was the one who titled it. Pop knew it was