tag:blogger.com,1999:blog-17517257.post4563350642391419794..comments2024-03-28T18:01:28.997-04:00Comments on What's Alan Watching?: The Wire, Season 2, Episode 12: "Port in a Storm" (Veterans edition)Alan Sepinwallhttp://www.blogger.com/profile/03388147774725646742noreply@blogger.comBlogger54125tag:blogger.com,1999:blog-17517257.post-30166410655860567672012-05-29T13:37:07.322-04:002012-05-29T13:37:07.322-04:00I absolutely regard this show as the greatest ever...I absolutely regard this show as the greatest ever made for many reasons, including Simon's attention to accurate detail. And I'm not typically one of those viewers who looks for inaccuracies in everything I watch to try to prove I'm smarter than writers, show-runners, etc. <br /><br />But something that's always bothered me is how Sergei is charged with and pleas to the Philly murder in Maryland. Did I miss something? How would Maryland have jurisdiction over a crime that happened in Pennsylvania?<br /><br />Nitpicking I know, but this show is incredibly accurate in everything it depicts. Any thoughts?Mr. Lyonnoreply@blogger.comtag:blogger.com,1999:blog-17517257.post-10371606059041096732012-05-10T15:03:34.580-04:002012-05-10T15:03:34.580-04:00While David Simon and crew have done an incredible...While David Simon and crew have done an incredible job nailing the accuracy and realism of all they depict, I'm always bothered by the (apparent) legal mistake in this episode. Sergei and his cronies kill the shepherd in Pennsylvania, yet he's apparently charged and jailed in Maryland. Lester even specifically says something to him about the laws "in this state" (referring to MD) and how he could see death row. Since we see in S5 that he got life, this would essentially mean MD officials proffered a deal with a suspect for a crime committed in another state under another set of laws. <br /><br />Does anyone know if it would be possible to charge and imprison Sergei in Maryland for a murder committed in Philly? Or did I miss something in the show that would explain it? <br /><br />This is obviously a very minor quibble in what is otherwise a perfect piece of art. It's just always bugged me.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-17517257.post-64431677166953937852012-03-12T03:50:32.383-04:002012-03-12T03:50:32.383-04:00As kids if we went to our Dad with a statement lik...As kids if we went to our Dad with a statement like "But Sister Always gets to do that" or some other form he would patiently look back at us and say:<br /><br />Always is a long time.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-17517257.post-37296648987332932142012-02-17T16:51:07.233-05:002012-02-17T16:51:07.233-05:00Amazing stuff Alan –befitting of such an amazing w...Amazing stuff Alan –befitting of such an amazing work as The Wire. <br /><br />I love the juxtaposition of Vondas saying that “his name is not his name” with Marlo’s famous credo. Totally spot-on. I remember my friend who first introduced me to the show and watched it through with me saying the Greeks were “one of the most together organizations in the show,” and in re-watching Season Two I was pondering on why that is. My first idea was that the Baltimore drug crews need territory to operate, which meant muscle, and that reputations serve a real purpose in that regard. The Greeks’ success is predicated on their anonymity. They recognized that it was truly not in their interest to have “their name ring out.” Obviously they come from an entirely different world than Avon or Marlo, and their psyches and motivations reflect this, but still a very interesting contrast. <br /><br />I’ve always wondered why Sergie seems to flip so casually in interrogation, (or I suppose as casually as possible given the stakes of the discussion were literally life and death.) Don’t the Greeks ask “only loyalty” of their people? Sergie was a top lieutenant –the Chris Partlow of the Greeks. Does Sergie really recognize that the cops’ pursuit of Vondas and the Greek will be fruitless, regardless of any information he does/doesn’t provide? Does the prospect of death really shake Sergie so deeply? Remember, prison is nothing to him, after his experiences locked up in the old country. <br /><br />I find Ziggy to be THE most frustrating character in the series. While we are consistently frustrated with characters like Herc whose carelessness/inability to do the right things consistently results in tragedy, at least we understand the majority of the show’s characters’ actions as motivated by self-interest. Ziggy’s course of action through the season seems to be motivated by some sort of psychosis, although he clearly an intelligent dude. Conversely, the tragedies of most all other characters often befall them due to circumstance outside their control –like Randy for instance, in sticking with the Herc example earlier. They are the unhappy collateral damage of the self-interested decision making of others, who fail to realize, as Carver points finally to Herc, out that “this shit matters.” (Even though they thought it didn’t it does.) Ziggy on the other hand, digs his own grave time after time. He could’ve died the slow death of Johnny 50 –I could live with that, understand it. But Zig just seems to take every possible situation and spike it into the ground as hard as he can. It’s more than the poor judgment it took to be convinced that clocking Maui was a good idea–it’s a ravenous self-destructive approach to everything. It almost seems crazy he lasted as long as he did and didn’t get himself killed by the age of 20. <br /><br />By far, the best closing montage. Obviously the closure and perspective of Season 5 will prove emotional and poignant for eternity. But after blowing through the Season in a week or so, man, did that montage get me. Steve Erle is an astoundingly fitting soundtrack. The music befits the working class theme, the lyrical content is relevant, it feels right, and I discovered after listening to this song on Youtube that Erle himself is a recovering Heroin addict and has served time in jail. It doesn’t seem possible that the people who made this show could get so much right on so many levels. “It don’t seem possible.”Unknownhttps://www.blogger.com/profile/06200043980414610768noreply@blogger.comtag:blogger.com,1999:blog-17517257.post-90874008368444474142011-12-23T14:08:19.360-05:002011-12-23T14:08:19.360-05:00Aimee must be or should be wondering why she’s sti...Aimee must be or should be wondering why she’s still keeping Nick’s company, given all he’s put her through. I’ve always regarded her as an intelligent, level-headed person, and would have thought she’d have developed serious reservations about Nick when she discovered the wad of dough in the basement laundry and obviously didn’t buy into Nick’s explanation of where it came from. Now she’s suffered the indignity of a drug bust, so there can – or should - be no doubt in her mind about what he’s been up to. More profoundly she’s faced with the initial prospect of having to go into Witsec and leave behind everyone and every place she’s known. This is weighty stuff for someone so young and just starting out in adult life. I’m guessing that their kid is the major bond but there is still genuine attraction between the two of them, and throwing in a heavy dose of youthful naivete and the possibility that she has nowhere else to turn, she’s not ready to let go.<br /><br />More minutiae: I’ve come to learn that the Polish phrase Valchek utters to Frank when he’s looking at the photo taken in Brisbane of the stolen van is Odpoczywaj w pokoju, which means, “Rest in peace.” I’m still working on obtaining a translation of the Russian phrase Ilona Petrovna mutters at Kima in the interrogation room. It is no doubt an obscenity. If I find out, I’ll be sure to post it.<br /><br />On the subject of Slavic languages, isn’t it a curiosity that we never hear Sergei say anything in Russian/Ukranian? Like I say, minutiae.<br /><br />Stan’s sentimental farewell to Frank is an unexpectedly pleasant and touching departure from their lifelong acrimonious relationship. We see that Valchek actually has a human side. It’s a very nice poignant insertion on the part of Simon and Burns; strictly in terms of poignancy it isn’t at all unlike the scene between Cutty and Grace in the school hallway a couple of seasons hence. Without the human element, Valchek’s “Frank, you cocksucker” would convert the scene into a humorous but less effective (IMO) case of Frank’s pimping Valchek from the grave.Ahmedkhannoreply@blogger.comtag:blogger.com,1999:blog-17517257.post-65557983714301815212011-07-18T07:56:52.542-04:002011-07-18T07:56:52.542-04:00I agree alot with you Alex, to the reasons why the...I agree alot with you Alex, to the reasons why the show is so great. I also agree with alot of you here that the recaps are great, and with Alan I agree the comments written contributes so much in getting more of the Wire-plot.<br /><br />However, a thing bugging me which Alan, as well as many of you writing here seem to agree with, is that The Wire is a critique of capitalist society.<br /><br />I urge you all to read Ayn Rands 'In Defence of Capitalism'. Using her ideas, and her definition of capitalism, such as I myself do, this show is good and accurate critique of our society. But I see most problems depictered in The Wire stemming from statism (thus creating corruption in government 'lobbyism', corrupt institutions, war on drugs, inefficient public schools), while instead the solution (at least in some part) is de facto laissez-faire capitalism. <br /><br /><br />(/Greetings from Sweden,)Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-17517257.post-82333714782541557992010-08-25T12:56:08.794-04:002010-08-25T12:56:08.794-04:00I'm a new comer to this blog and have read the...I'm a new comer to this blog and have read the comments with interest.<br /><br />Season 2 is a great saeson in my opinion but the Port angle only needs to be visited once as it really only serves to demonstrate the supply chain. The depths that the dock workers will sink to in order to put food on the table is perhaps a cliche but perhaps a commercial reality.<br /><br />I too have a problem with Ziggy. Whilst the portayal is good I think the character only really serves to highlight the shortcomings of Frank Sobotka as a father figure; more interested in his precious Union than his own son.<br /><br />Is Nick really in danger from Vondas / The Greek? The police clearly think so but in reality what is there to give up? I think this is why Sergei cracks so easily under interrogation and why he is allowed to live (albeit in the can). Did Sergei realise this? Vondas (and clearly The Greek too) have the ability to walk away from houses, ditch cars and assume new identities with ease, so are the police ever likely to catch up to them irrespective of an informant's information?<br /><br />This is a key theme in the Wire for me. For those outside the Major Crimes Unit (particularly Rawls and Landsman) they are not interested in convicting the main guys but will settle for mid-ranking criminals as long as it produces the stats (red names turning black and the smug grins of Rawls / Landsman in the closing montage).<br /><br />I think the quote of the season is Frank Sobotka's 'used to be we made stuff in this country....' comment. This could be said about many 'advanced' capitalist economies but what happens after that? As per usual The Wire offers up the question and leaves it hanging.<br /><br />I'd missed the subtle repetition of 'always'. Excellent work; it made me think about it. I look forward to exploring more of your blogs.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-17517257.post-36603715174671144952010-04-29T08:15:30.654-04:002010-04-29T08:15:30.654-04:00"given the difficulty the detail had even fin..."given the difficulty the detail had even finding, let alone tailing, Stringer and Avon a season ago, how did Kima and Jimmy get a tail on Prop Joe and/or Stringer so easily?"<br /><br />In the first season, by the time they're tailing anybody, Avon & Stringer are incredibly paranoid. By the second season, they're not thinking about cops anymore. That said, isn't it the first season where Jimmy (a) randomly sees Stringer at a mall and sends his kids after him and (b) tracks Stringer to the community college?Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-17517257.post-38052157237260576272010-04-19T19:51:11.940-04:002010-04-19T19:51:11.940-04:00One question I had from the final, which I just re...One question I had from the final, which I just rewatched on demand. When Nick is confessing to the major case squad, he strongly insists Horse had nothing to do with the smuggling. The final montage shows Horse appearing in court as a defendant. Obviously, they know from the investigation that Horse was assigned to every can that disappeared, but they never bring up the fact that Nick lied to protect the well liked Horse. Maybe I missed some eye contact between Daniels and Pearlman or something.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-17517257.post-35898823263749694112009-11-18T06:59:56.487-05:002009-11-18T06:59:56.487-05:00Great reviews. It´s a pleasure reading them and so...Great reviews. It´s a pleasure reading them and so re-living the pleasure of seeing this great series. <br />(Warning: spoilers in the following!). <br /><br />Just a few little comments after reading other people´s comments. <br /><br />I´m rather surprised to see that apparantly I´m the only one who really can´t stand the Ziggy character. I suppose people are supposed to feel some sympathy for him in the end, but personally he´s the typical sort of guy I can´t stand. I was glad he went to jail and wouldn´t have minded seeing him dead instead of his father. Am I alone in this?<br /><br />Also (about season 1, really). After having watched various times the scene where Bodie and Poot kill Wallace, I am still not sure who is the most cold-hearted of the two. Bodie hesitates but also jsutifies his act (even in later seasons) whereas Poot seems to be crying but also urges Bodie on. They deal with it in very different ways, that´s for sure. And it´s strange that despite Bodie doing this absolutely horrible thing, it did upset me to see him killed later on.matxilhttp://dinzo.wordpress.com/noreply@blogger.comtag:blogger.com,1999:blog-17517257.post-84399694602817111112009-09-08T06:39:59.016-04:002009-09-08T06:39:59.016-04:00Eyeball Wit, you get it right. As far as I can tel...Eyeball Wit, you get it right. As far as I can tell, the sneaker store Poot works in is on Howard Street (as are Stringer's rehab projects), and despite decades of efforts to rehab that once-grand Baltimore shopping corridor, Howard Street was all but dead by the time The Wire went into production. And it's even worse now. When I was last there in April, even the remarkably resilient wig and pager shops were gone.<br /><br />If I had to guess, the best-case scenario for Poot is that he goes through a succession of such no-future jobs. As Simon and Burns' The Corner makes plain, there are precious few happy endings in places like the one Poot comes from.<br /><br />As for all the love heaped on James Ransone, I have to say his Baltimore accent really grated on me. He sounded for all the world like a middle-class kid from the Baltimore suburbs that he is (as am I) trying to sound like a blue-collar boy from Locust Point. Aside from that, I give the guy tremendous credit for making his character so infuriating yet ultimately sympathetic.Tom in Londonnoreply@blogger.comtag:blogger.com,1999:blog-17517257.post-80093711977565291482009-09-07T04:23:29.017-04:002009-09-07T04:23:29.017-04:00Omar - the one character on the show who follows t...<i>Omar - the one character on the show who follows the rules of more traditional filmed entertainment</i><br /><br />Very puzzled by this characterization. Then I realized I had no idea what it meant. It would be like someone saying, "Allan Sepinwall's reviews follow the rules of traditional TV criticism." Absent some common understanding of the "rules of a traditional TV criticism" it doesn't really say anything. But it did evoke for me David Simon's understanding of a rule of traditional filmed entertainment—“the Shakespearean tradition of the angst of the individual and his own conscience and his own struggle against himself”—that provides me with an approach to “always.”<br /><br /><i>[P]eople are very comfortable in the modern world with the Shakespearean, and certainly a lot of the post-Shakespearean, in that it deals with the very modern notion of protagonists struggling against themselves, against the external world, but very much in control of their own destinies. Their choices matter, and their choices can ensure a better outcome. They are affecting their own future when they assert for their own future.</i><br /><br />“The Wire,” ever-Omar-ish, resists and goes its own way making its political argument (everything in “The Wire” is political; Simon did say “I've always regarded storytelling as a means of positing an argument that is political in nature”):<br /><br /><i>”The Wire” made the argument, from its first season, that the modern world is becoming increasingly indifferent to individual catharsis and individual dignity, and human beings are worth less. Every day, human beings are worth less. That's the triumph of capitalism…. We've constructed an economic model that doesn't need a lot of human beings. It doesn't need as many as it once did for certain people to attain wealth. In a world like that, the old superstitions start to seem less superstitious. The idea that these massive institutions—school systems and police departments and drug trades and political entities and newspapers—might actually become utterly unfeeling to the people they're supposed to serve and the people who serve them seems to me to be the paradigm of the 20th century, and I think it's going to continue.<br /><br />That's why the Greek tragedy was employed as a dramatic device. At least for the writers, it speaks to something that is not only latent in the modern world, but is becoming predominant in the modern world. And that's what “The Wire” was about.</i><br /><br />Greek tragedy is a dramatic device employed rhetorically: a dramatic realization of a socio-economic structure governed by market forces and an oligarchical political structure that shields, ideologically and factually, that economy and political power from democratic control ("we're a money-obsessed oligarchy and not a democracy"). But “The Wire” makes no argument about any inevitable consequences of human nature outside of its particular socio-economic context. That's the universalizing drama of traditional filmed entertainment it rejects. “Always” has a context: “as long as….”<br /><br />Getting back to Omar, arguably this episode begins to develop Omar's final story arc—which follows the pattern of a Greek dramatic tragedy to a tee—with its allusion to the blind seer of Greek mythology: “Blind Butchie” as Tiresias. At the end of season 4 Butchie will tell Omar: “You stole this much [<i>hubris</i>], and this ain't over.” Omar in classic Oedipal fashion misinterprets the prophesy as a threat to Reynaldo and seeking to avoid Brandon's fate (tortured and murdered to find him) takes Reynaldo away from Baltimore and thus brings about the worst conceivable outcome (the torture and murder of Butchie … to find him). Omar executes the Greek tragic hero to perfection: “its scope is that of lives lived, whether in action or suffering, at or close to the limits of human possibility—a form of heroism … which, in its concern with human extremes, is inherently religious in its implications for tragedy” (Stephen Halliwell). In a world where human agency has deferred to the Inevitable, not even Omar can control his fate.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-17517257.post-42238842735763236612009-09-07T00:44:08.412-04:002009-09-07T00:44:08.412-04:00Regarding Koutris and the question whether he'...Regarding Koutris and the question whether he's corrupt or if that's just how things work in the FBI...<br /><br />I've been watching the Canadian show "Intelligence", not sure if others have seen it, but it definitely addresses the relative trade-offs of protecting bad guys in order to access the information they have that may lead to other crime-fighting successes.<br /><br />The cost is that these "bad guys" get a free pass to run their businesses. <br /><br />Alan's question about Koutris made me think of this show. I think the nature of the relationship between Koutris and The Greek is still quite vague, but I kind of like how it begs the question but doesn't clearly answer it.mehttps://www.blogger.com/profile/13067880072261707462noreply@blogger.comtag:blogger.com,1999:blog-17517257.post-10783621468813634342009-09-06T16:52:23.972-04:002009-09-06T16:52:23.972-04:00poot is omly about 21 and an ex-con, how many guys...poot is omly about 21 and an ex-con, how many guys like him end up back in the game, back in prison...Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-17517257.post-19959137451360543092009-09-04T22:34:34.676-04:002009-09-04T22:34:34.676-04:00Kirchoff
I guess Poot "got out," but I&...Kirchoff<br /><br />I guess Poot "got out," but I'm not sure that selling sneakers for minimum wage and no health benefits really qualifies as a "real job and a legit life."<br /><br />Poot's straight life actually reminds me a bit of the "cubicle prison" where Vic Mackey ended up in the last episode of The Wire.<br /><br />As Neil Young wondered, is it better to burn out than to fade away?Eyeball Witnoreply@blogger.comtag:blogger.com,1999:blog-17517257.post-20971482998358853262009-09-04T13:22:29.447-04:002009-09-04T13:22:29.447-04:00@Eyeball Wit:
"For all his street smarts, Bo...@Eyeball Wit: <br />"For all his street smarts, Bodie's story is already written. There's no escape for a guy who doesn't understand that different cities have different radio stations."<br /><br />Well, Poot seems to find a way out. <br /><br />Knowing that Poot ends up fairly happy, with a legit life and a real job, really colors his character differently when you go back and watch seasons 1 and 2. <br /><br />It also gives Wallace's murder yet another layer. The guy who hesitates (Bodie) gets a bullet in the brain, while the guy who pulls the trigger on his friend without a second thought (Poot) goes successfully straight.Unknownhttps://www.blogger.com/profile/11898724394664956442noreply@blogger.comtag:blogger.com,1999:blog-17517257.post-66754493513899526722009-09-02T16:46:04.548-04:002009-09-02T16:46:04.548-04:00Sorry, GCAM, but The Greek wasn't referring to...Sorry, GCAM, but The Greek wasn't referring to his *fake passport identity* in that scene, he was referring to himself.<br /><br />As Alan puts it in his own review/recap just above these comments, in this episode we learn "The Greek isn't really Greek."<br /><br />The Wire-Wiki and other fansites confirm this,as does a viewing of the ep.<br /><br />That's why I suggested Alan go right to the source to clear it up.Unknownhttps://www.blogger.com/profile/12053749295025061099noreply@blogger.comtag:blogger.com,1999:blog-17517257.post-39636838912662092082009-09-02T02:51:37.541-04:002009-09-02T02:51:37.541-04:00I too didn't care much for S02 when first watc...I too didn't care much for S02 when first watching it but then it became my favorite season after rewatching on the DVD release. <br /><br />I think Pablo was great as Nick. I was never bothered by his performance and get chills on that final montage.<br /><br />Thanks to all for recaps and comments. Enjoyed reading.J-rodhttps://www.blogger.com/profile/11348149382409634033noreply@blogger.comtag:blogger.com,1999:blog-17517257.post-38062511288522715192009-09-01T23:47:04.234-04:002009-09-01T23:47:04.234-04:00regarding the greek being greek......he is
in the...regarding the greek being greek......he is<br /><br />in the scene with vosnos, vosnos makes a remark about his fake passport, the greek responds that on his fake passport, " i'm not even greek"gcamhttps://www.blogger.com/profile/11961903572641803339noreply@blogger.comtag:blogger.com,1999:blog-17517257.post-61613056256778148292009-09-01T02:02:09.645-04:002009-09-01T02:02:09.645-04:00Just got to highlight The Wire’s second shout out ...Just got to highlight The Wire’s second shout out to all of us down under. (Bird’s “Australian” gun being the first). Even though I’m West Coast (Perth), it was great to see Valchek’s van had made it all the way to Brisbane.Fordhttp://twitter.com/fordysnoreply@blogger.comtag:blogger.com,1999:blog-17517257.post-91684446881412751382009-09-01T00:14:08.287-04:002009-09-01T00:14:08.287-04:00These have been great, Alan.
So what do you say,...These have been great, Alan. <br /><br />So what do you say, seasons 1-4 of the Sopranos starting in summer 2011?Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-17517257.post-16709044784661784032009-08-31T12:57:07.635-04:002009-08-31T12:57:07.635-04:00"If true, that makes it an even funnier joke:..."If true, that makes it an even funnier joke: The Greek doesn't care about leaving the beads behind, because in reality he has very little to worry about. Invisible, invincible, invulnerable, that's him."<br /><br />If true, its even funnier than *that*. It means the Greek was so knowingly, confidently "safe" and "unworried" earlier in the day while *at* his hotel room that his ever-present "worry beads" completely slipped his mind. Then later, when he realizes later that he had left them at the hotel, he doesn't care.<br /><br />Of course, since we know that the Greek "isn't even Greek", it calls into question "The new Number 2"'s theory that these *are* Greek worry beads, so we're still left sort of hanging on this.<br /><br />Go ask Simon. I think he'll know.Unknownhttps://www.blogger.com/profile/12053749295025061099noreply@blogger.comtag:blogger.com,1999:blog-17517257.post-38812486608435651862009-08-31T09:37:50.908-04:002009-08-31T09:37:50.908-04:00Finally, maybe Alan can confirm that Seasons 2/3 a...<i>Finally, maybe Alan can confirm that Seasons 2/3 and 4/5 were ordered by HBO in pairs? </i><br /><br />I don't remember about 2 & 3, but 4 & 5 most definitely were not ordered together. There was a whole thing at the critics press tour the summer before 4 debuted where the head of HBO was saying he felt the show could end after that season if need be, and David Simon was pleading otherwise, and eventually the reviews were so glowing that HBO renewed it the day after the (very low) season 4 premiere ratings came in.Alan Sepinwallhttps://www.blogger.com/profile/03388147774725646742noreply@blogger.comtag:blogger.com,1999:blog-17517257.post-64243927030099220242009-08-31T09:06:11.865-04:002009-08-31T09:06:11.865-04:00"I've come around to the point that I thi..."I've come around to the point that I think it might be my favourite"<br /><br />I had a similar Season 2 experience as this poster. During the first time through, I didn't fully appreciate it. But after seeing the whole show, it is probably my favorite. I think it's very impressive that Simon and company managed to plausibly bring the MCU back together, introduce and connect a whole new set of characters, continue the storyline of the Barksdale organization, and lay the foundation for the Avon/Stringer fireworks of Season 3. Plus, I think the whole "Hot Shots" plotline was spectacular.<br /><br />Finally, maybe Alan can confirm that Seasons 2/3 and 4/5 were ordered by HBO in pairs? Seems like they follow a similar pattern with Seasons 2 and 4 focusing on an entirely new setting while continuing to follow the action on the streets. And both seasons also served as setup for the following seasons (with McNulty and Kima's photo of Joe/Stringer and then with the discovery of all the bodies in the vacants). <br /><br />And thanks again for all the great commentary, Alan.Mike Cnoreply@blogger.comtag:blogger.com,1999:blog-17517257.post-91179856159536806532009-08-30T19:53:23.629-04:002009-08-30T19:53:23.629-04:00Another way that the Greek and Vondas are a metaph...Another way that the Greek and Vondas are a metaphor for capitalism: When things go bad, capital can always flow elsewhere. That's much harder for labor, most of which stays put and has to live with the bad times.Mike Schillinghttps://www.blogger.com/profile/16757322677259634481noreply@blogger.com