The Art Immortal

Celebrating the Art That Shall Endure Throughout Time

Episode #46 — The Asphalt Jungle / Tago Mago / Peruvian Purple Potato / Electricity / Charlotte’s Web / Barney Miller

The Asphalt Jungle podcast review

The Immortals haven’t had a worst episode ever in awhile so we gotta give the fans what they want! Almost all of them go deep into The Asphalt Jungle and even fewer will come out alive. They also are perplexed by the sound of Tago Mago, the size of the potatoes, the backstory of Captain Beefheart, the miracles of Charlotte’s Web, and the age of Abe Vigoda. Also stay tuned to see if Austin releases the episode or not! They definitely nailed this.

Intro 0:00 – 2:47
The Asphalt Jungle 2:47 – 32:52
Tago Mago 32:52 – 42:06
Peruvian Purple Potatoes 42:06 – 50:49
Electricity 50:49 – 1:04:02
Charlotte’s Web 1:04:02 – 1:16:52
Barney Miller 1:16:52 – 1:23:33
Outro 1:23:33 – 1:31:16

 

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Join us Thursday next as we discuss more things. Until then, email or tweet us your thoughts, leave a review on iTunes and other crap every podcast asks you to do. (But we love that you do it!)

 

Artwork by Ray Martindale

Opening Tune by Adam Lord

1 Comment

  1. It has been a while since I left a comment…too much life going on! So I wanted to talk about the last two episodes.
    Back in February, I wrote an essay for “Talking Comics” on ten of the worst and weirdest Best Picture nominees of all time and I put “The Towering Inferno” on the list. It has its charms, and I love the effort that went into the practical effects, which are amazing for 1974 and still hold up today. But the company it kept in the class of ’74 was above and beyond its league, and also…the character development goes so downhill. The whole movie is filled with fire safety lecturing and upper class white people problems presented in a way that is not interesting in the slightest and wastes an awesome cast. Interestingly enough, my college had the original screenplay for the film, and in it Steve McQueen actually HAS a character. All these scenes got chopped out to give him and Paul Newman equal time, but in the script McQueen first appears testifying before the city council about safety regulations and then goes home to his ultra supportive wife and plays catch with his kids…and in the final scene, his wife pushes through the barriers to bring him a corned beef and cabbage dinner! This has always stuck out for me because it really pits the fire chief in opposition to all the cheating, corrupt, living in sin other white guys he’s trying to save…and thus makes the pic even preachier.
    Your discussion of Can was phenomenal and it gave me a reason to check out their music: they are a band I have read about in the works of many of my favorite critics. To speak to a point Austin and Leigh made, their previous album before “Tago Mago” was called “Soundtracks” and featured music written for various indie movies in Germany and the U.K., and it boasts “Mother Sky” which some think is the greatest Can song. What I like about Can, except for the parts where Damo Suzuki starts getting unpleasantly noisy with the vocals, is the magnificent interplay among the musicians: they rarely make abstract sounds and work on rhythm, melody, and harmony with gusto. I actually listened this weekend to “Future Days,” recorded two years later and their final album with Suzuki, and it is even better. It’s quieter, more balanced, and boasts amazing team playing…”Bel Air” goes on for twenty minutes and, like “Halleluwah,” never gets boring and boasts multiple moments of loveliness.
    “Charlotte’s Web” is always and forever one of the most moving, five-henge children’s books ever, and one thing I would add to your discussion is that E.B. White’s style (NO SURPRISE THERE) makes the fantasy work: he is so matter-of-fact, direct, and respectful of the audience: he
    makes you feel very smart.

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