Some minor notes here before my next real post. Now I truly know how much it sucks to be an aspiring writer as opposed to an "established" one. I wrote a story in 2003 about cops, not a very good one I admit, but it involved a certain, ah, gimmick. I re-wrote the story in 2007 and actually turned it in to my graduate workshop. It contained the same gimmick and it was pretty much panned across the board. That's okay, it really wasn't all that good, but I remember several people negatively commenting on my gimmick. It would never happen, it was too silly, too coincidental, so on and so forth. And now I fucking see it in The Wire.
**The following is from episode 52...it doesn't really have any spoilers, but if you're like me and don't want to know ANYTHING about the upcoming episodes before you see them, stop reading here**
Kima gets to Chris and Snoop's murder scene, which has had uniform cops present for at least a little while, and after a quick examination she follows a weird noise to a closet, where she finds a live, shivering little boy. In my story, the person in the closet was actually the killer, a very stupid and doped up young man who didn't have the good sense to run and chose the first hiding place he could find and the first cops on scene were only slightly less dumb in not fully clearing the crime scene. Okay, perhaps it is a little hokey, and I'm not trying to get the damn thing published or anything, but still...it was my exact idea. Stings, yo.
Second, I love Steve Earle. Having said that, I understand why anyone doesn't like his cover of "Way Down in the Hole". Even I could without the programmed bass beats, or "hot beats" as I've heard some say. For God's sake Steve, this is Baltimore-the gods will not save you, and neither will The Dust Brothers. Still, his voice adds a nice grit to the song, not as soulful as The Blind Boys or Neville Bros., not as horrifically twisted as Mr Waits, not as dark and intense as DoMaJe, but still, it adds a depth and dimension to the song previously (to my mind) unheard. I am biased to like the cover, and his acting, cause I love his music so much. The acting I will stand by, I have no idea how (cause I don't think he's an actor) but the man projects so much gravity and prideful sorrow and fucking truth, he just owns the role of Waylon...I didn't even realize it was him when I first saw it, till I saw the credits. The voice did kinda tweak something in my mind, but I suppose I never made the connection because my subconscious told me that'd be just too crazy. While I'm on the subject, I'd like to comment on the fact that Clarence Fucking Clemons, saxophonist of Bruce Springsteen's legendary E-Street Band, plays Roman in season 3. What the goddamm hell. It's amazing, but confusing. The rock star connection is strange, especially they've managed to get rock stars that can act.
Finally, I'd like to thank Lefton, Katie and Angela for their posts; in just over 48 hours of this thing's existence they've all posted and rocked this blog harder than I'd ever expected; in just this tiny space of time it has already surpassed all my expectations. Hopefully we'll get a few more people with more different perspectives to keep this humming. Rock on.
P.S.-When I watched episode 51 OnDemand, there was no "previously on", not one of the four or five times I watched it. There was for 52, so I have no idea why they left it out. But they did.