Afleveringen
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In the final minute of The Whole Shebang, Mike and Jenny thank their generous Patreon supporters, their lovely, talented and glam guest hosts, and talk a little bit about Velvet Goldmine, watching it for the podcast, and how their opinions of the film may have changed over the 24 weeks of the podcast. Thank you, everyone!
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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In Minute 119 of The Whole Shebang, Mike and Jenny talk more about the soundtrack and about buying it back in the early â00s, about what vinyl we want for Christmas, and then talk about what Bowie songs could have possibly been used if heâd allowed permission and how it is definitely better that the film couldnât use Bowie, and we talk about the real musicians behind the music in the movie, then we move into the Special Thanks, talk about Todd Haynesâs awesome grandparents, and then talk a little about those boilerplate warnings about films being based on real people and how ridiculous it is that Velvet Goldmine has this disclaimer.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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Zijn er afleveringen die ontbreken?
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In Minute 118 of The Whole Shebang, Mike and Jenny finish up the technical credits, talking about film locations, why they shot the Manchester scenes in Manchester, the psychogeographical history of London, a total diversion into forbidding candy factories, and then go into the music credits, talk about Andy Pratt and âAvenging Angel,â which we missed during the movie, and talk about our favorite songs from the film. Then we deliver our long-promised (divergent) thoughts on a Velvet Goldmine sequel, and what happened to the characters after the frame of the movie.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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In Minute 117 of The Whole Shebang, Mike and Jenny continue their look into the closing credits, encountering the progeny of Nicolas Roeg in an unexpected place and we go into Hollywood nepotism, talking a little about Duncan Jones, then Mike realizes he shouldnât mock the job title of âclapper loader,â because it actually when you think about it is probably way complex, how they decide who gets their funny nicknames listed in the credits, Jenny talks about machines named after her, and we talk about Action Vehicles, which gets Jenny thinking of her neighbors during childhood and their electric kid-sized jeep, then we finish looking at the technical credits and talk about what the main cast members have done since Velvet Goldmine. And Mike and Jenny settle all pop culture grudges gleefully, heaping derision on Richard Curtis, new Doctor Who, and The Princess Bride.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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In Minute 116 of The Whole Shebang, Mike and Jenny begin their journey into Velvet Goldmineâs closing credits by talking about Steve Harley and some of the other social realist films of the 1990s that used 1970s-heavy soundtracks, then closing credits in general, how much Mike hates the Marvel movies, closing credits cuteness and all, and how it all started back in the â70s with Burt Reynolds and Dom DeLuise, then we begin with Velvet Goldmineâs actual credits, starting with the top-billed cast. We rank the performances of the top-billed cast and we compare Jonathan Rhys Meyers to Malcolm McDowell, look at some of the workaday actors âbelow the foldâ in the credits, and then spend some time projecting Whatever Happened To The Fripperies, then talk about the stunts and whether or not there were stunt butts. Then itâs onto the cast members who were parts of bands, and a discussion of the producers and the people behind the titles, Bureau.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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In Minute 115 of The Whole Shebang, Jenny and Mike say goodbye to the actual action of the film with a thought about a Victorian and English Gothic aesthetic as captured by Americans like Todd Haynes and Terry Gilliam, Jenny talks about being a âthird culture kidâ and Mike talks about British creators who arenât able to go the other way, how this film is ultimately just a snapshot of a very rarefied pantheon and how an entire story is happening outside the narrow frame of the film, and as we look at a montage of schoolkids looking up, a bunch of umbrellas in motion on the London pavement, and a candlelit pub during the minersâ strikes in 1974, we take a moment to do a last-minute Marxist analysis of the film as a whole and a look at the social, political, and cultural impact of the transistor radio.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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In Minute 114 of The Whole Shebang, Jenny and Mike talk about our final looks at Mandy and the Flaming Creatures watching Jack onstage, the honor given to Brian, Curt, and Malcolm in the silkscreen projections on the curtain at the end of the concert, and our final return to Arthur and Curt on the roof in a misty snow of nostalgia.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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In Minute 113 of The Whole Shebang, Jenny and Mike look at Arthurâs dopey joyful grin, at Arthurâs closing narration and the idea of allowing oneself personal and sexual freedom, how Brian got to have it both ways and how that interacts with the Tommy Stone persona, how all that interacts with the final incontrovertible proof of Jennyâs Theory weâre shown at our final flashback to the Death of Glitter concert, and again, the unbearable poignancy of â2HBâ as delivered in this final sequence.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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In Minute 112 of The Whole Shebang, Jenny and Mike talk about Arthurâs Great Refusal of the Oscar Wilde pin, the beauty of old-style vinyl-playing jukeboxes and Mikeâs childhood jukebox-and-pizza memories, the masterful nostalgic reprise of â2HBâ in this final montage of the movie, the awkward, longing goodbye between Arthur and Curt, how badly we want them to be together, Jenny reveals the secret of the fanfic term âpepperjack cheese,â and the sleight-of-hand involved in dropping a choking hazard into a bottle of beer.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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In Minute 111 of The Whole Shebang, Jenny and Mike look at the history of the legendary green pin (and our awesome pins available on Patreon), take a side trip to Mikeâs intimidating leather jacket-wearing college years, talk about the problems of provenance in Mikeâs Museum Corner, especially when it comes to alien artifacts, our return to the beginning of the film through the pin, memories of the fairytale narrator whoâs never appeared again, and how that fits Velvet Goldmineâs postmodern aesthetic, how Mike doesnât like The Neverending Story, how cute Ewan McGregor is as 1984 Curt, how Curtâs dual flashbacks to his lovers Brian and Arthur use the same film stock and how that signifies nostalgia, Curtâs peeing off the side of the Rainbow Theater and the role of urine in gay and in transgressive art from Warhol to Mapplethorpe to Serrano, how the pin represents something Arthur still cannot access within himself, and how the pin represents handing on an artistic, musical, and cultural legacy.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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In Minute 110 of The Whole Shebang, Mike and Jenny talk about what kind of swear words English people canât say authentically, Curtâs use of an Oscar Wilde quote in talking to Arthur and his possible tacit support for Brianâs artistic change, what Curt is up to artistically in the â80s and what his real-life analogues, Iggy Pop and Lou Reed, were up to in our â80s, what the kids are listening to in the Velvet Goldmine universe, how the kids in our â80s were helped by the second wave of American hardcore punk, Curtâs comment on how the glam scene didnât change the world, just themselves, how Dorian Gray hovers over this set of questions, and how Tommy Stone hovers over the grim music fans of the 1980s.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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In Minute 109 of The Whole Shebang, Mike and Jenny look at Arthur and Curtâs long-promised reunion ten years after their rooftop tryst, Arthurâs flabbergasted approach and Curtâs 1984 look with a ponytail, and the fact that Curt doesnât remember Arthur (or does he?), Curtâs attending the Tommy Stone show (or does he?), and the beginning of Arthur and Curt dancing around the secret identity of Tommy Stone.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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In Minute 108 of The Whole Shebang, Mike and Jenny break down the scene where Arthur gives his Tommy Stone press pass to a young Tommy Stone fan, who just happens to be Whole Shebang friend of the podcast Nadia Williams! In this episode, all is revealed about Christian Baleâs on-set preparation methods and what happened at the Velvet Goldmine afterparty thanks to a listener mail sent in by Nadia! We also talk about what itâs like to briefly touch the band by getting a press pass or a set list at a gig, checking out the wall decorations and jukebox at what we assume is Curtâs bar, and, after finding out the name of Tommy Stoneâs tour, âJuke Box Jive,â the blight of jukebox musicals.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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In Minute 107 of The Whole Shebang, Mike and Jenny sit through the rest of Tommy Stoneâs presser, talk about massive stadium tours of yesteryear, including Bowieâs Glass Spider Tour in 1987 and U2âs Zoo TV Tour in 1992, the spectacle involved in these tours, on â80s Broadway, and on â80s digital compact discs, Mikeâs first gig: a pompous Zoo TV U2 and a fractious about-to-break-up Pixies opening for them, Jennyâs desperate hatred of U2, and then itâs back to Tommy Stoneâs press conference, Arthurâs reaction to both his fellow âjournalistsâ and Tommy Stoneâs showmanship, Arthurâs âoutingâ of Tommy in Reynoldsâs America and what it means for the metaphors of the 1980s gay experience, Tommyâs backstage arrangements and how they differ from 1970s decadence, Tommyâs resemblance to a televangelist, the moment where Tommy sees Brian in his own Dorian Gray cathode-ray image, the grim bar where Arthur ends up after the gig, and Mike waxes rhapsodic on the genius of Arkanoid.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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In Minute 106 of The Whole Shebang, Mike and Jenny finish up their time with Maxwell Demonâs goodbye number, the sprinkling of flower petals gets us talking about the secret origin of confetti and the fragility of avians, we look at Arthur in the crowd at the Tommy Stone show, Tommy Stoneâs sorta-fascist logo, rock and roll logos throughout history, and rock and rollers who use symbols instead of words for their albums and own names. And then we talk about the personal dimension of Arthur in 1984, and how the world of music changed around him, and how Velvet Goldmine might be more about the personal rather than the political, going to gigs as a 40-something, and Tommy Stoneâs impromptu stage door press conference, the egoistic impulse to market a mask of your own face, and Tommyâs weird mid-Atlantic accent.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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In Minute 105 of The Whole Shebang, Jenny and Mike take dueling interpretations of the grand chandelier that appears at the end of this minute and use it as an excuse to talk about two of their favorite movies, Jenny gets into why she hates Close Encountersâs characters, then we get back to the set decoration and the statuary figures, and then we use the excuse of Maxwell Demonâs downfall and the UFOâs presence to talk about Oscar Wildeâs downfall, disgraced artists, and the continuing appeal of disgraced artistsâ art and how some people will still work with disgraced artists despite the ignominy.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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In Minute 104 of The Whole Shebang, Jenny and Mike begin their look at Maxwell Demonâs swan song, âTumbling Downâ by Steve Harley and Cockney Rebel, Alan Parsonsâs involvement as producer, Maxwell Demonâs visual presentation in this sequence as an amalgamation of Maxwell and Brian Slade himself, the broken theater setting of this sequence, how the scenery reminds us of the dichotomy of Maxwell Demon as fusion and Apollonian and Dionysian, how Steve Harley reacted to the use of âTumbling Down,â and how Todd Haynes as an American had to actively seek out British culture in the form of glam, and how American culture doesnât require that kind of work from British fans.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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In Minute 103 of The Whole Shebang, Jenny and Mike look at Arthurâs very sexful way of taking off his shirt and how difficult the âcrossed-armâ method is to pull off smoothly, Curtâs brief flashback (or flashforward) as Arthur and Curt come together, and Arthurâs taking mescaline before the eveningâs events and how many hallucinogens, like DMT, simulate alien contact, and how Jenny is a true believer in the UFO and its glitterdust sprinkling down over Arthur and Curt, Arthur and Curtâs lovemaking and how Curt compares it to being onstage, how this sequence breaks down the boundary in a quite literal sense between audience and artist, how the groupie experience allowed a girl in the 1970s to touch the feeling of being onstage, how we as the audience are watching Arthur, and how the identities of our protagonists are being melded and boundaries are breaking down.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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In Minute 102 of The Whole Shebang, Jenny and Mike take a look at Arthurâs continued approach to Curt on the rooftop, Curtâs continued asking of personal questions of Arthur, Arthurâs engaging in dropping mescaline and how far heâs come since his days in his bedroom, a brief history of the Rainbow Theater, on which roof Curt and Arthur are hanging out right now, Curtâs cracking open an anachronistic pull-tab beer, their spotting of a shooting star, Arthurâs joy in having this time with Curt, and how this minute encapsulates the fanâs prototypical fantasy of hanging out with the band⊠among other things.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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In Minute 101 of The Whole Shebang, Jenny and Mike look at the aftermath of Brianâs incognito visit to the Death of Glitter show, Mandy and Curtâs continued definition of themselves in terms of Brian, Arthurâs reticence about Brian and paralysis in the face of Mandy and Curt and the tantalizing possibility that 1984 is Arthurâs fault, Curt and Arthur cruising each other, Arthurâs fashion, hair, and makeup and how they stick with the amateurishness of the fans throughout Velvet Goldmine, the various relationship mashup names from the movie, Curtâs questions for Arthur and how they betray his need for a human connection, and Arthurâs imminent experience with Curt and the profound fear, pressure, and intensity involved.
Find us on the web at thewholeshebangpodcast.com, and on Facebook, Twitter, and Patreon at wholeshebangpod.
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