In Minute 104 of The Whole Shebang, Jenny and Mike begin their look at Maxwell Demon’s swan song, “Tumbling Down” by Steve Harley and Cockney Rebel, Alan Parsons’s involvement as producer, Maxwell Demon’s 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 “Tumbling Down,” and how Todd Haynes as an American had to actively seek out British culture in the form of glam, and how American culture doesn’t require that kind of work from British fans.
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The Whole Shebang Minute 120: Byeee
The Whole Shebang Minute 119: Any Similarity to Persons Living or Dead is Highly Intentional
The Whole Shebang Minute 118: Microfiche vs. Swordfights
The Whole Shebang Minute 117: I Shouldn’t Have Laughed At The Clapper Loader
The Whole Shebang Minute 116: Grips and Gaffers and Boys, Oh My!
The Whole Shebang Minute 115: Fade Away Never
The Whole Shebang Minute 114: The Curtain Call
The Whole Shebang Minute 113: JENNY’S THEORY!!!! OMG.
The Whole Shebang Minute 112: All Kinds of Shenanigans
The Whole Shebang Minute 111: Plosive and Penultimate
The Whole Shebang Minute 110: Changing Worlds, Changing Selves
The Whole Shebang Minute 109: The Curt Wild Zoom
The Whole Shebang Minute 108: Don’t Be A Dick At The Wrap Party
The Whole Shebang Minute 107: Indie Bands Don’t Revolve
The Whole Shebang Minute 106: A Tartan Rug and a Thermos of Bovril
The Whole Shebang Minute 105: Phantom of the Opera vs. Close Encounters
The Whole Shebang Minute 103: The Easy Mode of Undressing
The Whole Shebang Minute 102: Fan-tasy
The Whole Shebang Minute 101: Is It Carthur or Arurt?
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