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Kick off the Boston Book Festival with a thoughtful and timely exploration of The Wire with its cast and creators. Its creator, David Simon, referred to this powerful, gritty, and all-too-realistic exploration of urban poverty as a "visual novel." The Wire, perhaps the most critically-acclaimed series in television history, has been compared to Dickens, to Greek tragedy, even to Shakespearean drama. It is both high art and social commentary. Join several cast members and writer/producer George Pelecanos in a conversation about The Wire and issues of race, class, institutional failure, and the visual novel. The discussion will feature Donnie Andrews (the real "Omar"), Fran Boyd (the inspiration for David Simon's The Corner), Tray Chaney ("Poot"), Robert Chew ("Prop Joe"), and Jamie Hector ("Marlo Stanfield") and will be moderated by Reverend Eugene Rivers, co-founder of the Ten Point Coalition.

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To D'Angelo, the formal labor market is fundamentally unfair. People are not rewarded according to their true worth, and powerful institutions regularly exploit those with less power. Social inequality is the inevitable result -- the McNugget inventor doesn't get his due. "It ain't about right. It's about money," D'Angelo tells the young dealers.

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The story lines in “Treme” begin three months after Katrina, and they follow a diverse group of characters as they rebuild their lives in a city torn apart, a city in which tens of thousands of houses are abandoned, in which only 50 percent of the population remains, in which neighborhoods are still without power. The main characters in “Treme” aren’t the overburdened cops, spiraling addicts, ruthless dealers, struggling dockworkers, corrupt politicians or compromised journalists of “The Wire.” In their place, for the most part, are musicians.

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++++

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1. The Sopranos (HBO)
2. Deadwood (HBO)
3. The Wire (HBO)
4. The Colbert Report (Comedy Central)
5. The Daily Show With Jon Stewart (Comedy Central)
6. Mad Men (AMC)
7. Curb Your Enthusiasm (HBO)
8. Extras (HBO)
9. The Shield (FX)
10. The West Wing (NBC)
Honorable Mention: Countdown With Keith Olbermann (MSNBC); Weeds (Showtime); Fareed Zakaria GPS (CNN); The Office (BBC version).

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2. Whistle “the farmer in the dell” as you walk between cubicles.
3. Show pride in your job via bad grammar
eg. “I’se real web developer.”
3a. Lament the lameness of your office in comparison to everyone else.
eg. “I wish I worked for a real accounts payable department”
20. When in doubt, just kill someone. That always seems to work.

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What I say will likely conflict with what representatives of the newspaper industry will claim for themselves. And I can imagine little agreement with those who speak for new media. From the captains of the newspaper industry, you will hear a certain martyrology – a claim that they were heroically serving democracy to their utmost only to be undone by a cataclysmic shift in technology and the arrival of all things web-based. From those speaking on behalf of new media, weblogs and that which goes twitter, you will be treated to assurances that American journalism has a perfectly fine future online, and that a great democratization in newsgathering is taking place.

But when that same newspaper executive then goes on to claim that this predicament has occurred through no fault on the industry's part, that they have merely been undone by new technologies, feel free to kick out his teeth. At that point, he's as fraudulent as the most self-aggrandized blogger.

Similarly, there can be no serious consideration of public funding for newspapers. High-end journalism can and should bite any hand that tries to feed it, and it should bite a government hand most viciously. Moreover, it is the right of every American to despise his local newspaper – for being too liberal or too conservative, for covering X and not covering Y, for spelling your name wrong when you do something notable and spelling it correctly when you are seen as dishonorable. And it is the birthright of every healthy newspaper to hold itself indifferent to such constant disdain and be nonetheless read by all. Because in the end, despite all flaws, there is no better model for a comprehensive and independent review of society than a modern newspaper. As love-hate relationships go, this is a pretty intricate one. An exchange of public money would pull both sides from their comfort zone and prove unacceptable to all.

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Suspect: I’m sayin’, every Friday night in an alley behind the Cut Rate, we rollin’ bones, you know? I mean all them boys, we roll til late.
McNulty: Alley crap game, right?
Suspect: Like every time, Snot, he’d fade a few shooters, play it out til the pot’s deep. Snatch and run.
McNulty: What, every time?
Suspect: Couldn’t help hisself.
McNulty: Let me understand. Every Friday night, you and your boys are shootin’ craps, right? And every Friday night, your pal Snot Boogie… he’d wait til there’s cash on the ground and he’d grab it and run away? You let him do that?
Suspect: We’d catch him and beat his ass but ain’t nobody ever go past that.
McNulty: I’ve gotta ask you: if every time Snot Boogie would grab the money and run away… why’d you even let him in the game?
Suspect: What?
McNulty: Well, if every time, Snot Boogie stole the money, why’d you let him play?
Suspect: Got to. It’s America, man.

I am having a tough time dealing with news that the former president of Countrywide Financial, the mortgage company that did so much to dig the hole in which we all now reside, is making a killing buying up delinquent mortgage loans from the government at bargain basement rates.

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Zantzinger lived long enough to see Martin Luther King, Jr., honored with a national holiday and to know that this week Barack Obama would be inaugurated as President. We can imagine him galled at this outcome, a small-minded racist rightly defined by his ugliest moment. Perhaps that’s him, or perhaps he was more than that. At any rate, he knew his part and he played it to the end.

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