The Wire and Detroit 1-8-7

            A comparison between The Wire and Detroit 1-8-7 is really case of apples and oranges. Indeed, a case of apples and oranges where the apple is in season and the orange has long past being slightly rotten so instead of comparing perhaps it’s best to analyze them individually. These two shows are chronicling similar fictitious arrangements of cops and bad guys, but in drastically different manners. Let’s start with the apple.

            The Wire has probably been described as ‘gritty’ so often now that it’s a cliché of the show but it’s the most apt description of the show, from the storylines and writing to the filming and cinematography, it is all gritty. The Wire is a show that holds you on the edge of your seat ready to jump from whatever happens in the next frame. It holds the viewer in this pose not so much from awe-inspiring storylines or intelligent performances but more from the fearful realism it all depicts. Viewers should be forewarned at the start of each show that they could possibly get a few worry lines or develop premature crows feet from the wincing this show produces. It is, like they say, a show unlike any other on television and all that sort of thing and it is also, like they say, a show that boldly broke the mold of the typical cop show and all that sort of thing too. But what this show does best is what television is meant to do, take the viewer out of their own living room into a reality completely different than their own. The Wire is a show that is legitimately rife with verism and for those who like that sort of thing, it’s the best of its kind, but not for the faint of heart.

            Detroit 1-8-7 is this season’s answer from ABC to the network executive’s question, “How about a cop show?” The show follows the usual self-contained formula of these shows. In these shows drama launches quickly and carries the audience through a series of cliffhangers between commercials. The characters in these old chestnuts are nameless, archetypical bodies performing their functions. Detroit 1-8-7 follows this formula and it is a formula that many people could easily tire of after seeing it done dozens of times. And then there are others who don’t tire of it and will, if ABC hopes and prays enough, fill their rating quota. There is actually nothing truly wrong with this hackneyed form. It can provide intrigue and interest to the viewer just enough to distract them but not enough that they can’t carry on afterwards. And there are shows that utilize the form exceptionally well, such as Law & Order: SVU, unfortunately Detroit 1-8-7 does not make use of it that well.  But all is not lost for those appreciative viewers of this form, for if it does not make it past the network cuts, there will surely be another facsimile to take its place next season.

Jazz on a Summer's Day

Jazz on a Summer’s Day chronicles the Newport Jazz Festival in 1958, capturing an iconic time in jazz history. This was the fourth annual festival and Newport, Rhode Island was an unlikely place for such an event to take place. Until that point Newport had been known for its homes owned by people with last names like Vanderbilt. Even odder, the festival was started by a blue blood socialite, Elaine Lorillard, whose voice is heard briefly in the film through interview. 

The film’s opening credits are shown across water. The light caught reflecting on the bay plunges the viewer immediately into the feeling of this film. The images appear as watercolor paints mixing, bringing to mind the ultra modern artists of the fifties like Pollock, Rothko and Riopelle. And like some of the art of that period, the documentary is a collage. The audio and film is not always in sequence and not always in synch (except where performing singers are concerned). There are moments when the audio and film come together for a brief moment the camera lingers on an audience member singing along to the music, but otherwise the synching is unpredictable and gives the film the sensation of a most erratic jazz tune. Despite this, the film flows beautifully from beginning to end and leaves a feeling of completion. Every performance at the festival is a gem and its only improved upon by the images the filmmaker, Bert Stern, chose to accompany it. Some of the things manipulated with the camera and audio work are startling, such as an performance with a close up on the drummer who pounds away on his instrument, sweat pouring down his face and the bright red lights highlighting his perspiration with the sounds of his percussion barely audible. Over half a century later, watching the film of this event you understand completely the moods of the performers, the audience and the entire festival itself. It is constantly joyous and charming. 

The most delightful aspect of Jazz on a Summer’s Day is the footage of the audience. It’s amazing the wide range of types of people this event drew and there’s not a single person seen in the audience who isn’t intriguing. The festival seemed to be a great equalizer, for everyone congregated together in a totally natural and unquestioned way. Locals and out of towners were side by side; hot, Harlem dolls sat next to wasp-y, seaboard matrons. Watch the film with your eyes open and you’ll even catch a celebrity in the mix (a very young Diahann Carroll). Beyond that, blacks and whites enjoyed the festival without a hint of racial tension. It appears so natural on film but through the lens of history, it’s a shocking image of 1958. Culture without clash. 

The crowd in the film reached its frenzying point for Louis Armstrong. The way some of the audience jived to his music brings to mind the spirit moving through the devoutly religious at tent revivals when particularly inspired by the gospel. Worship became practically literal when the film ended with Mahalia Jackson, who brought a reverence to the event and closed it by singing 'The Lord's Prayer'. The film deservedly received its own saint-like status when the Library of Congress entered it into the U.S. National Film Registry for being “culturally, historically or aesthetically significant.” This film is all three of those apt descriptions. Stern gives us a time, place and culture that was unique and impermanent. Armstrong ended his set by saying, "We very happy we swung for you folks." The audience in the film and the audience watching the film no doubt were very happy about it too.

Anita O'Day singing 'Sweet Georgia Brown' and 'Tea For Two' at the 1958 Newport Jazz Festival in Jazz on a Summer's Day -

John Cage's 'Water Walk' on "I've Got a Secret"

When first viewing John Cage’s performance of ‘Water Walk’ on “I’ve Got a Secret” there seems to be something lacking in fluidity. The piece seems stilted and broken in places. Watching John Cage run all over the stage playing with his bells and whistles and bathtubs doesn’t make much for an engaging or enjoyable piece of entertainment. His performance of starting one sound on one end and beginning another sound on the other has him all over the place and enhances the idea of the sounds being all over the place. But whereas other forms of music that are described as going all over the place, such as jazz, have a thread of sense running through them, this piece sounds disjointed and comes off like it’s trying too hard. One wonders if this wasn’t some sort of slight inspiration for the dance show “Stomp” so many of us were subjected to in the ‘90s, an equally dispiriting performance of artists trying too hard to use “interesting” things to make music.

            There certainly is validity to the argument that it is the audience’s laughter that leaves the piece interrupted and affected. However, looking at the viewer comments one remarked in response to another’s question of how Cage was able to stand the laughs that Cage “…did not ‘stand’ the laughs – he intentionally incorporated them. They are integral part of the piece.” There is nothing to confirm as to whether this is true or not (Cage does indeed have a secret) but watching the performance with that piece of information is an entirely different experience. What didn’t make sense about the succession of sounds before, come together in a new way with the laughter carrying the piece and bridging all the sounds together.

            John Cage made the remark, “I prefer laughter to tears,” and if the performance is watched with a laugh track as part of his preferred set of instruments, the curt music that before looked pretentious, now actually does seem to flow. There’s something about this piece that is always in control, whether the laughter is a part of it or not. Take this piece either way and it is never sloppy. And though, it can’t be said for sure that he’s included the laughter or not it can be said for sure that John Cage knew exactly what he was doing. 

Avocados

Avocados are a peculiar thing. Up until this writing, I wasn't even certain whether they were classified as a vegetable or a fruit. (It's a fruit.) Their color is unusual and brings to mind rotary dial telephones and outmoded kitchen appliances rather than the food itself. Nonetheless, if I were in the dire situation of only being able to eat one food for the rest of my life, I believe I would choose avocados. It seems like an unfair fate for my digestive system but a more than generous one for my taste buds. Whether I'm eating the mushy plant in guacamole or on a hamburger or even simply on it's own, it proves to be nothing but satisfying. I was tempted for a moment to name my most preferred food as guacamole but there are so many other wonderful options that avocados are included in beyond that. For instance, discovering avocado slices in a salad is always delightful. The versatility of the avocado is really incredible. I recently heard of the unlikely avocado milkshake, which I plan to try as soon as possible. I'm not really quite sure what it is about the fruit that I enjoy so much. I think perhaps because it's surprising and unusual to me that makes it consistently pleasing. The texture is so unexpected and the taste is sweet but in no way overtly so. As for the place to find the best of the best of this fruit, one place truly should be as good as another but I recommend Whole Foods as a good place to find a particularly ripe and fresh example.