This link has been bookmarked by 15 people . It was first bookmarked on 16 Oct 2007, by someone privately.
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27 May 09
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22 Apr 09
Broadus MSTEALING LIFE
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19 Apr 09
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25 Mar 09
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28 Jul 08
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07 Nov 07
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02 Nov 07
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22 Oct 07
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“The Wire,” Simon often says, is a show about how contemporary American society—and, particularly, “raw, unencumbered capitalism”—devalues human beings. He told me, “Every single moment on the planet, from here on out, human beings are worth less. We are in a post-industrial age. We don’t need as many of us as we once did. So, if the first season was about devaluing the cops who knew their beats and the corner boys slinging drugs, then the second was about devaluing the longshoremen and their labor, the third about people who wanted to make changes in the city, and the fourth was about kids who were being prepared, badly, for an economy that no longer really needs them. And the fifth? It’s about the people who are supposed to be monitoring all this and sounding the alarm—the journalists. The newsroom I worked in had four hundred and fifty people. Now it’s got three hundred. Management says, ‘We have to do more with less.’ That’s the bullshit of bean counters who care only about the bottom line. You do less with less.” ... In creating “The Wire,” Simon said, he and his colleagues had “ripped off the Greeks: Sophocles, Aeschylus, Euripides. Not funny boy—not Aristophanes. We’ve basically taken the idea of Greek tragedy and applied it to the modern city-state.” He went on, “What we were trying to do was take the notion of Greek tragedy, of fated and doomed people, and instead of these Olympian gods, indifferent, venal, selfish, hurling lightning bolts and hitting people in the ass for no reason—instead of those guys whipping it on Oedipus or Achilles, it’s the postmodern institutions . . . those are the indifferent gods.”
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18 Oct 07
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Simon was visiting because the next series he hopes to do for HBO is set in New Orleans—he loves the city, and wanted to use it as a setting even before the storm, though he certainly does not know it as well as he knows Baltimore. He was doing the kind of hangingout research that he used to do as a reporter: listening to how people talk, picking up phrases and perspectives on the world. The series will focus on New Orleans’s music community, and Simon plans to base some of the main characters on real people: a jazz trumpeter named Kermit Ruffins, who plays with a band called the Barbecue Swingers; Donald Harrison, Jr., a musician who is also the chief of an Indian tribe that performs at Mardi Gras; and Davis Rogan, a local d.j. and piano player. Rogan was at the parade—Simon had picked him up earlier at his house, whose decrepit interior had more shades of paint than I had ever seen in any dwelling. Rogan is a tall, shambling guy with unruly sandy hair and a soul patch. He seemed to know every musician in New Orleans, and perhaps two-thirds of the people at the parade. He teaches music in the New Orleans schools, and he once ran for state representative on a platform of legalizing marijuana and using the revenues to fix the city’s streets—“Pot for potholes!†was his slogan.
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16 Oct 07
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Simon makes it clear that the show’s ambitions were grand. “ ‘The Wire’ is dissent,†he says. “It is perhaps the only storytelling on television that overtly suggests that our political and economic and social constructs are no longer viable, that our leadership has failed us relentlessly, and that no, we are not going to be all right.†He also likes to say that “The Wire†is a story about the “decline of the American empire.†Simon’s belief in the show is a formidable thing, and it leads him into some ostentatious comparisons that he sometimes laughs at himself for and sometimes does not. Recently, he spoke at Loyola College, in Baltimore; he described the show in lofty terms that left many of the students in the audience puzzled—at least, those who had come hoping to hear how they might get a job in Hollywood. In creating “The Wire,†Simon said, he and his colleagues had “ripped off the Greeks: Sophocles, Aeschylus, Euripides. Not funny boy—not Aristophanes. We’ve basically taken the idea of Greek tragedy and applied it to the modern city-state.†He went on, “What we were trying to do was take the notion of Greek tragedy, of fated and doomed people, and instead of these Olympian gods, indifferent, venal, selfish, hurling lightning bolts and hitting people in the ass for no reason—instead of those guys whipping it on Oedipus or Achilles, it’s the postmodern institutions . . . those are the indifferent gods.â€
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