Quarterly report

Have some thoughts on Namond, but I figure I’ll save those until we see just how eventful his professional life gets in #43.

Instead, H&H would like to stroke our own mastiff for a second, and thank the tech folks at Newsweek and Troy McCullough of the Sun for recognizing our fledgling achievements this past week (and those of The House Next Door). Also nothing but love for Joey over at Straight Bangin’, who needs to get his own Wire grind going. On that whole proprietary thing: these days, it’s not about whether you watch or not, but how much you make of it.

Anyone else who has linked to us or mentioned us on message boards, you too can share in this moment of goodwill. This has indeed been a wild and woolly first three weeks for our humble enterprise, and we have no plans of slowing down anytime soon. As long as The Wire continues its reign of glory, we’ll always  be able to find several thousand words a week to say on it.

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6 Comments on “Quarterly report”

  1. Joey Says:

    It is the praise born of earnest admiration and elated relief–always nice to find people who think and write so well (and tend to agree with me). Keep bangin’.

    Sort of unrelated: Why hasn’t Stephen Jackson been contacted about getting on the show? Between the real-life behavior that would land him on a corner (or, sadly, in an abandoned row house) and his resemblance to the older kid who Cutty has been training (whose name I’m blanking on), he’d fit in nicely. I think he’d be best used as a petulant, morality-tale-waiting-to-happen former Barksdale disciple too blinded by his damning vainlgory to switch up and get on Marlo’s package. He’d serve as a foil for Bodie (who I will never truly know by any name other than “Kenny Wangler”).

  2. Shoals Says:

    kid’s name is justin.

    and more than s-jax . . . we need an entire conference staged called “melo on the wire, the wire on melo”

  3. Joey Says:

    Co-sign the Melo idea, Shoals.

    And jhoshea, I don’t see Melo as Namond. Far from an irrevocably damaged soul, Namond–demonstrated through his tough talk but empty actions and fleeting moments of apprehension–has thus far emerged as a young man in search of a role model, an archetype to follow. With a lionized father doing a bid in prison, a mother who tacitly if not explicitly condoned Wee-Bey’s way of life, and a peer group (meaning the corner culture, not just Dookie, Michael, and Randy) that lives and takes pride in the wildest Clipse fantasies, Namond seems to know no better than to embrace the corner life with the aspirational zeal of a young man undeterred by the ugly realities that are easily obfuscated by the supposed glories of “the game.”

    Melo is different. Namond’s moral dilemma arises in the absence of positive influences; Melo’s arises despite them. Unlike Namond, Carmelo has done good and done right–he has achieved in the traditional sense set by the arbiters of mainstream values within the world of basketball. He was a heralded freshman who set aside a myopic pursuit of personal glory and overcame mores regarding experience to win at the highest level in the ultimate team sport. He was tutored by a member of the establishment (Boeheim) while in college and created an identity devoid of the supposedly corrosive values that have challenged establishment basketball in recent years–loose play, style over substance, and a certain “street” mentality that, in many forms, has always been held against players like AI (and sorry to state the obvious).

    But the Syracuse Melo, as we’ve now come to see, may not have been the true Carmelo. The real Carmelo is certainly not the man who sits out games, complains that “ain’t nothin’ ’bout” him, and takes some shots that even Jamal Crawford would not dare. However, those are facets of his personality that he continues to grapple with as he no doubt–see: the snitching video–seeks emotional equilibrium that properly accounts for the realities of basketball success without insincerely eschewing a street culture in which he may have previously both thrived and found a sense of identity that goes beyond his on-court style.

    If anything, I think McNutty is more like ‘Melo, as he too usually knows what’s right but doesn’t always do it, sensing something in himself that would feel dissatisfied were he to begin living the life of an establishment man. McNutty seems to be closer to reconciling his conflict than Carmelo is his, but that is a more apparent parallel, for me.


  4. well it was mostly that they look alike, but if i’m challenged to defend my snap comparison, then that i will.

    both spoiled – namond’s family actually has some money, he’s got it easier than his friends; melo grew in a similar situation by virtue of his athletic fame. melo is obv a good guy, with no real aptitude for the street, regardless of the absurd stop snitching media frenzy; although we’ve been shown precious little about namond’s true feelings for the game we do have some hints – kid’s got bluster, claiming he’d take down marlo himself, dad responds that he respects heart more than anything, hmmm; mom wants him out on the corner, hmm; yet he doesn’t even show for work, he won’t cut his hair, he gives dukie a dollar for ice cream, apologizes to prezbo, and his countenance displays nothing more than his inner sweetheart – dude’s in for some major upheaval as it’s time to carry the family mantle, but that’s just not him – shoulda played basketball.

  5. Jay Phenom Says:

    I’ve seen the whole season so I won’t go into spoilers, however I want those who are watching it to make sure at some point you discuss Namond’s moms, who in my opinion has the most tragic story of all…even though she is a side character who’s story is never explored.

    The wire truly is the last great american crime novel, and Burns and Simon have outdone themselves with this series.

    I hope they don’t make the mistake of trying to put lightning in a bottle when S5 is over.

    Also…the kid who plays donut is incredible, props due to him too.


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