". . . But the past does not exist independently from the present. Indeed, the past is only past because there is a present, just as I can point to something over there only because I am here. But nothing is inherently over there or here. In that sense, the past has no content. The past -- or more accurately, pastness -- is a position. Thus, in no way can we identify the past as past." p. 15

". . . But we may want to keep in mind that deeds and words are not as distinguishable as often we presume. History does not belong only to its narrators, professional or amateur. While some of us debate what history is or was, others take it into their own hands." p. 153

Silencing the Past: Power and the Production of History (1995) by Michel-Rolph Trouillot

Thursday, February 21, 2013

*Treme's* Sonny Went To *Nashville!*

And Nashville took him to their heart, as  bad-boy music producer Liam McGuinnis.

Knowing Nashville as I used to know the town and the people who made it there, one way and another,, somehow, this seems the perfect trajectory for Sonny the musician -- if he isn't going to be Sonny the Gulf Environmental Activist.  :)  Which is what I've been going for ....

The funny thing is a while back I was trying to explain to el V that Simon and Co.'s influence upon television, while hardly ever given the visible awards such emmys and so on, are seen all over.  Nashville was, I said (without having watched it yet -- had just read articles about it and re-caps ), taking a central theme of Treme and making it safe for white people. Make it music (though in Treme, it's all of the culture that music holds together) and making it specific to a place. Simon and Co., and his mentors, have been doing the culture specific to place, since Homicide.  But they don't get credit for it, just like with Deadwood's attitude for language, which you see that oratorical rhetoric showing up everywhere these days from Justified to BBC America's  Copper, doesn't get ur-credit, just cheaper rip-offs. 

Nashville, centering the most white music there is, and situating it in this totally White Music City, that is the most nostalgic status quo conservative music there is (it's been decades since there was any edge in Country -- and when there was I loved it -- I grew up with Country). And it's all about who makes it and who doesn't, loaded with more graphic sex and more sex, and all white people.  Did I mention white people?

And that's where Sonny went.  Though it does seem perfect,  I never thought that of him. My respect for his respect for the music of New Orleans was higher than that.  p)

This is what matters: people / actors who work in a David Simon production keep getting work.  I see these actors everywhere, just starting with The Good Wife..  They get good resume and great training.

Even more to the point, without Treme there would never have been a Nashville.


T. said...

"...taking a central theme of Treme and making it safe for white people."

OMG this is so much the perfect statement!!

I was considering Nashville, but I may now have to reconsider.


Foxessa said...

Well, an actor's got to work, and has the right to work!

So it's not about the actor, let me make clear.

But still, Sonny and his musician trajectory -- Nashville is all about the no--name on-call, fill-in to be sure its as generic as you can get!

Hey, they accused el V of -- and I quote in the papers -- "tearing down the very fabic of country," because -- he had horns in the band.

Not to mention, ah-hem, majorly beautiful dancing latinas ....

Love, C.