The Wire: When Journalism Meets Drama.
“American Cultures course,” I said, “and I get to watch TV for class?” I enrolled immediately, the excitement radiating through me from the onset of the semester. I was being forced to take in visual stimulation. As if it weren’t enough to study under William Drummond, a legend in the field of journalism, our curriculum included plenty of boob-tube time and out-of-the-classroom activities. Now this is learning. I wonder, does Harvard do this?
The Wire has received critical acclaim as being a too true to life depiction of “the war on drugs” in the US. Set in streets of Baltimore, we track the crews of cops and crooks, watching the lifestyles they live, the families they keep, the intertwined relationships between doing good and doing wrong, while subtly intaking a commentary on everything else that falls in between the lines -oh the many things that are not shown, not spoken, but are daring to be made visible through this drama.
The Wire follows the BPD as they chase the lives of “every part of the drug food chain” (IMDB.com). We are introduced at the midlevel drug trade, where the environment is exactly as media portrays it to be -full of crime, hate, retaliation, and poor black folk. As the season unfolds, we move through the many tunnels of criminal activity associated with the drug world, from children, to corner boys and hoppers, to muscle, through the many cogs of the game (def. 6), to the prime beneficiaries of the trade, to addicts, and ultimately to the doorstep of the Baltimore Court House.
Spoiler and radical opinion alert:
The final season was perfectly inconclusive. Youngins most vulnerable fall victim to their environment whereas those most equipped with survival skills rise up to be the next generation of criminals. The toughest man in the game dies at the hands of a child and the man with no consciousness becomes protected by the law and an investor in city development. So what makes this perfect? Our focus has been on the streets and stopping the game by stopping the pieces on the board, but the game exists beyond what we can see or have permission to investigate. The game we recognize as “the war on drugs” but it is that only for midlevel critics and below. Recently, I argued for the legalization of the drug market. I still stand by that opinion. After watching all five seasons, drama has played a part in renewing my advocacy. Yes, I go to Berkeley. No, I do not use and I am quite sober when saying so.
In The Wire I have found three things to remain consistent with reality:
1. The illicit drug trade is racialized outwardly to protect a diverse interior
2. Structural inequality leads to illicit opportunity
3. The children, it’s all about the next generation
I decided to do some research, I decided to be a journalist for a day (after all this is a journalism class!) which turned out to be enough get a cross-country sense of the relationship between some police and African-American men in the US. I interviewed three men, varying in age, education, and socio-economic position. Their stories were un-relatable in almost any one area except three: profiling, personal responsibility, and some sort of connection to interracial relationships.
The first interviewee was George Pruden from Washington DC. Born and raised in the suburbs of DC now living on the West Coast, “I had the tools to succeed,” he recalled acknowledging that his rearing under an ex-military father was the main instrument for preparing him to defuse and avoid negative police interaction.
The second interviewee was W. Anthony Davis from Berkeley, California. Born and raised with a Black Panther father and Hippie mother in the Bay Area, he has had a unique upbringing in a renowned ultra liberal community and is now raising his son in the same neighborhoods that fostered his upbringing. “[It] doesn’t start or end with police, it’s just a part of it,” he commented on the systematically deficient policing standards. “When the description [of a perpetrator] reads: black male, 5.5 to 6 feet tall, slender, athletic build, I think shit, they’re looking for me and every other black male friend I have…for me, you have to prove your innocence, it’s not enough just to be innocent.”
The third interviewee was Casey Gittens from a suburb of Dallas, Texas and Nashville, Tennessee. Mr Gittens is the son of immigrant parents and has had the most culturally segregated upbringing of the three, “In order for us to get ahead, we had to move to an area that was predominately caucasian…white.” He was in a graduating class of 695, but only 15 were of African-American heritage. “At times I felt the policing system was against me…they didn’t necessarily have justifiable reasons to behave the way that they did,” he stated. His first negative experience with the police, admittedly, was in a adolescent precarious situation, but his treatment was “degrading.” When asked about racial profiling, there were two experiences that rung a bell louder than the rest, his response to these experiences were “the world is not based on these microcosms of events, and not everybody and everything is based on these events.”
These three men have found that their personal appearance may help deter attracting unwarranted police attention, so they dress consciously to avoid image based profiling; one gentleman even goes at length to wear prescription free glasses. The inevitability of police interaction is certain, but taking steps to lessen its frequency continues to be of daily concern. During the interviews, the three men commented on the role of parenting and striving to see people beyond racial distinctions.
I closed the interviews asking each man about their feelings towards media and drama representation and misrepresentation. I got candid remarks, my favorite of the lot was Pruden’s closing statement quoting Paul Mooney:
“He was watching the Sopranos. It’s a bunch of white people running amuck; running around; causing mayhem; making money; killing people; they’re at home. You watch OZ. there’s nothing but niggas in jail. Doing the same shit, but they’re in jail.”
(The full interviews will be posted soon.)
Drama can access the minds of millions, opposed to the 15 that this blog may reach. It has the power to be part of the virus or, like The Wire, part of the social discussion. Where The Wire concluded brought the conversation to whole new area for investigation, but true to reality, that is where it comes to an end.