One-sentence impression? Like the cop tells Toni, “I just had enough.”
“Rebennack…Like it sounds! Shit”
I like how the mime was really Ashley Morris. To drill into everybody’s heads that Creighton is not Ashley.
Davis’s parents were perfect. I was wondering when they were going to finally introduce the type of Uptowner who wouldn’t be caught dead at a second line. The look on his mom’s face when he said the words “Jacques Morial” was priceless.
And what do I have to do to meet Aunt Mimi?
My first reaction at during the scene at Davis’ parents house was “I love Aunt Mimi!” I want to know where I can get an aunt like her.
I agree, it was perfect that Ashley was Ashley, not Creighton. And Toni dressed as a sperm was the icing on the cake.
“Rebennack…Like it sounds! Shit”
My favorite line of the whole show. And Phyllis Montana LeBlanc was wonderful too. I loved how she read Antoine after he groused at her for putting his tuxedo through the wash.
I’m really enjoying all these characters – they’re hitting a groove.
But I’m not clear: is Deacon John playing himself, or is he playing a character like himself? Anyone know? Everyone watching in New Orleans had to be cringing when he started wheezing in that FEMA trailer…
Deacon John is playing a character who is not himself. And yeah, there was a hint of the formeldahyde trailer issue there.
Love it that mcAlary had an inappropriate Aunt Mimi. Of course he did! Who was playing the Aunt?
Best one since the first one. Really digging how the music is used to fill narrative gaps and add depth to the characters — music as Greek chorus.
For me, the most electric part of any episode is the Indian practice. I’m going to miss those after the Mardi Gras arc is over.
Thinking that Davis is being used as a comedy relief vehicle and little else at this stage.
Worst version of Iko Iko EVER.
And seconding the Elizabeth Ashley love. “Don’t be vulgar, Roger.”
Indian practice doesn’t end at Mardi Gras.
Not in reality, but I would think that it will become a less important part of Albert’s character. It’s all been leading up to getting the gang together for Mardi Gras, and I suspect it will take a back seat to other aspects of his story that need to be developed — family, his budding romance/mentoring, the housing thing, etc.
From what I understand, Season 1 ends at Mardi Gras ’06, so it’ll be Season 2 before we have to worry about such a thing.
The Chief is the Chief. I don’t think that’s going to take a back seat to much.
Be that as it may, I think it’s the roughness and the newness of it that gets me. While we spend the first 55 minutes or so of every episode watching people struggle with the return and their own demons, and hear music of the past that expands and explains and deepens their experiences, at the end we see raw creation. It’s like Vulcan’s forge, watching the music come up and out, summoned by a few more men every week, chanting like shamans in the dark.
That beat-to-shit bar is the engine of the city in Treme, and every week it gets stronger.
The name of episode eight is “All on a Mardi Gras Day,” so assuming that’s the Mardi Gras episode, then there will be some time spent after.
Andrew- don’t know if you live or lived in N.O., but if you haven’t, ‘Mardi Gras’ (or Carnivale) runs usually for at least a few weeks, and the Krewe Du Vieux is just the first parade- ‘Mardis Gras day itself will be daytime parades including Zulu, etc., and the Indians will also parade.
I want to go have martinis w/Aunt Mimi! She rules!!! I loved this episode even more than the last one(s) and I watched all of them during the Treme-rathon today…(thanks to my boyfriend’s hotel room’s HBO) before driving back to Houston to watch the newest one.
Cheers – gonna have to rewatch this one and look more closely for my peeps in the KdV parade!!!
A lot to love in this one.
Davis with his family was a very good scene. His mother is great but, of course, Elizabeth Ashley as Aunt Mimi steals the show. It’s not officially bash Davis day yet, but it was also fascinating to see him falling in love with his own image on tv.
My heart sank when Annie just goes and hangs out at Cafe du Monde and then goes back home. Not good, Annie, not good. And Sonny: “That wasn’t me.”
I liked the use of the phone calls in this episode and especially that sequence ending with Janette just letting it ring as she zipped up her knives and locked the door.
Oh, and to the Annie at CdM scene – yet another mark of how different she is from Sonny. She retreats there and simply indulges in a couple of beignets & cafe au lait whereas he has to score lines/pills/whatnot. I wish she had not gone back to him. Tom McD and the other musicians she’s been playing with would know of a place she could safely crash at.
Sigh…it’s like watching a car wreck in slow motion.
So so much to love in this one.
In addition to her badassness, what I liked about the inclusion of Aunt Mimi is she, in part, explains where Davis got some of his “davisness”. I know it’s not just a Southern thing, but I’ve encountered a lot of crazy iconoclastic aunts like her. I had a couple of them myself. They were lifesavers.
Walker Percy had an Uncle Mimi.
I completely intend to BE Aunt Mimi when I grow up. I think I’ve got a head start.
My sister Pam is ahead of you by a couple of years, and had the exact same sentiment.
Oh. Shit. Here I was thinking I needed to meet Aunt Mimi and I already know her!
What about “Hey Daddy!”
Yet another Spawn d’Antoine.
Yeah, and “say hi to your sister for me.” Wonder if this is the daughter LaDonna was talking about when she said “another one!”
seems like eventually Spawn d’Antoine could be its own parade!
Toni showing up in costume seemed incongruous with their past behavior until I recognized it for what it was: humoring him in his ways. I’m still keeping my money on ultimate splitsville for them for all the reasons Ray aptly documented last week.
And I missed “hey Daddy” (I was bone weary last night) so I think I’m going to have to pull up a rewatch tonight to see what else I missed.
Jeanette closing shop was heart breaking. She needs to get in Davis’s face (or any place else that might work) and figure out how to tap his family money.
And now that I catch myself giving advice to fictional characters well, I think that says something about how this show is going as well.
She wasn’t humoring him at all. She had initially refused to participate and berated Creighton on the grounds that she had to go up and confront judges and prosecutors and deal with Important People and she couldn’t do that if she or her family had made fools of themselves by parading around as sperm (something that was commented upon during my gangwatch as being very un-KdV like, and maybe even unrealistic for New Orleans).
It was the refusal of the DA’s office to help her lawsuit against the police/OPP that turned her — if they’re going to be such useless fucks, then why bother putting on any kind of face for them at all?
Yep Greg, I forgot the chronology this morning, but that connection is clear as you said. I do think at the second line she showed real enjoyment at being there, and wasn’t just there to observe the police as was suggested last week, and she showed the same tonight, and in the line with Creighton about where else could they possibly live. Her story is not just about institutional struggle, as the warmth with her great daughter show.
I didn’t see Toni’s parading as humouring him, she seemed to genuinely enjoy being there with her family, just as she did (briefly) at the second line. She’s been dismissed as ineffectual by quite a few so it was good to see her as doggedly successful as I hoped.
The Hey Daddy was great, and the look of joy on the young man’s face at seeing his dad seemed to honour Antoine’s (over?)abundant love. The scenes with Antoine and Davis (the joint at second line, etc) are more nicely played “as humouring him” than the Toni/Creighton scenes. She’s about family.
I think Deacon John was referred to as “John” in the first or second episode, so perhaps he is playing himself. The relationshiop between Albert and Delmond deepened and broadened this week in pleasing ways. Loved the wordplay on the origins of Davis’ name.
The ringing phone thing was well done and not surprisingly didn’t go the obvious tv path, but I hope it is at least a sign of the outside world rather than the ring of finality.
The show finally went from show to real for me. I mean, everything. Great musicians living in trailers, depressed and having to play trombone at the airport, LaDonna’s mama’s pharmacy gone and the fallout from that, Charity not reopening, Janette closing shop, one stinking FEMA trailer from city council with the excuse of the projects being in federal hands. All capped with “they’re refugees in their own country” and Eddie Jordan’s rules screwing the pooch.
And the bright spots.
Sam: I thought about how awesome it would be to have drinks with Aunt Mimi and how I am her for my nieces. Everyone needs a Mimi! “Don’t be vulgar, Roger.” Classic.
Mark: Toni was pissed off at the establishment and needed a good vent. She had gone all the way to Texas to get proof positive only to be rewarded with Eddie Jordan’s incompetence and the prosecutor’s apathy. I completely understand why she took to the streets with Spermes and I don’t think it was to humor Creighton.
“Hey Daddy” – when was that? I missed it, too.
One more thing: Creighton vs. Davis rears its head again with Creighton saying KdV is tradition while Davis’s campaign is puerile junk. KdV takes itself about as as seriously as Davis McAlary does himself (not very much), or at least that is the intent of the organization. Piazza probably knows this, and used it to show Creighton setting himself apart from what he sees as a buffoon to spar with. Then again, no one in New Orleans makes fun of or thinks less of you for participating in KdV. [A kind reminder to high schoolers thinking about it: You can’t walk in KdV until you’re 18, baby.]
Maitri, as I recall it was right after Antoine’s (weary?) half-acknowledgement of Davis on the sidelines with raising his trombone. The kid comes out from right side of screen. It’s pretty brief. It was well done, and seemed to be true to Antoine’s love of life, and to acknowledge the consequences at least a bit.
I backed up the “Hey Daddy” moment to make sure I heard it correctly. He said “Hey Daddy! Pops! Daddy!” and Antoine sees him.
Maitri, the inclusion of the 15-yr old girl distributing condoms really bugged me. KdV is a parade of adults for adults, and though some people in the crowd bring their kids it is definitely not encouraged. It bugs me to see kids while I’m in that parade (Maitri may be the only person on here who understands why this is the case, and I hearby sentence her to secrecy), though a 15-yr old in the crowd doesn’t bug me as much as the much younger kids you see.
I’m also a bit surprised to hear you say that KdV doesn’t take itself very seriously, because I found that many people especially at captain’s meetings took themselves so seriously that, ironically, it was hard not to laugh. Weren’t you shouted down once for even suggesting that KdV was supposed to be about “fun”?
Michael, hi! Nice to see a comment from you here! Squeee!
I guess I should’ve clarified that that was the principle the krewe was founded on and, at its very core, strives for. Imagine a few people choked on their beers when Creighton referred to Krewe du Vieux as traditional. Very serious bidness this drunken satirical parade as opposed to Davis’s run at city council!
Oh, God, Janette. I just … I want to hug her, but that would be for me. Having to do that … no hug can possibly help. Hey Tom Coliccio, Eric Ripert, maybe give the lady a loan, huh? You can spring for it. Just take what you’d blow on lunches in a week, divide it in half, and pay her staff for a year.
This wasn’t the ep that made me fall in love with this show, I don’t think, but it was the ep that made me realize I had fallen in love with it sometime back.
Antoine’s good at the grand gesture. It’s the day-to-day living where he fucks up.
Clarke Peters, holy fuck. That man should have a rack of Emmys. He’s around my father’s age, but I would hit that so hard. I remarked to Mr. A that this was the case, and his response?
“Get in line.”
“Hey, Daddy” was when Antoine was passing by with the brass band in KdV.
And yeah, I thought a 15 year old marching in KdV was stretching things. If they wanna go younger, I’ll offer up my son next time…
I was so angry when that council aide offered that trailer to Chief Albert, I was screaming at the TV again. No…no…FUCK no. Haven’t yelled like that at anything on a screen since November ’05.
My son now wants to march. Had to tell him, sorry, kiddo.
Oh, and for my money, best line that flew over many heads, when Toni was trying to guess what her daughter’s costume was: “Is she part of a pearl necklace?”
I’m sure glad I discovered urban dictionary.
Haha, yep, that was great. Melissa Leo is phenomenal.
Oh I didn’t miss that one. I was laughing so hard I missed subsequent lines, but Creighton’s “getting it” and quietly choking back a laugh was perfect!
Liam laughed at that too. I need to have a talk with the boy, he’s barely 13.
One sentence reaction, to quote Coco Robicheaux:
Yeah you right, bruh
Toni joining in on Spermes? Eddie Jordan made her do it! “Aaah, fuck those fucking fucks.”
I second Jared’s & Coco’s “Yeah you rite”.
It was nice to see Tim Reid as the Judge in the previous episode and then last night Don Yesso makes an appearance. I recognized his voice and started yelling at my sweetie on the couch, but, as his face was never visible, I had to wait until the credits rolled. Yesso played Shorty on Frank’s Place and has been fairly busy in TV and films.
What I love about this show, and the show in general, is that the characters stick to their guns. There’s no trivializing the situation or the character’s circumstances by trying to contrive any happy endings, nor do the characters try to capitalize on the situation for a bit of fame. There’s an integrity to everyone on the show.
Favorite part: Creighton letting his agent know he will finish the book he originally pitched to the editors, not the book they want to sensationalize New Orleans. Creighton stands his ground for who he is as an author and New Orleanian.
I also liked how the show balanced the scenes between Creighton and Toni, comparing how those on the outside want to see what’s going on and how people on the inside are really trying to deal with things as they are.
I want to know who was calling Janette. I’m hoping against hope for some good fallout from the chefs’ visit.
I also loved Davis’ shout out to Ashley, which I took to be Simon’s actual shout out on behalf of actual Ashley (has this somehow not been mentioned yet, or did I miss it – I know Ashley being the mime in the cage instead of Creighton was mentioned).
I also loved Toni’s “I’m from the document retrieval unit, um, someone from the vehicle retrieval unit will be along shortly (paraphrase),” as she bounces away from the police car lot in St. Charles with the young officer’s ticket book.
I will watch again as soon as I get home from work. I so wish they’d run episodes back to back on first airing like they’ve so often done before. :( I keep having these urges to rewind to catch some bit of dialog I missed.
I was a bit “?” about seeing Toni all spermetically sealed at KdV at first, then I realized, she knows she’s found the right info, she IS right and FYYFF to the establishment – she’s gonna kick some ass…but first she’s gonna kick back and enjoy life again…
I totally guffawed at the ‘pearl necklace’ bit… I can’t wait to watch again and see if I can pick out my friends (who sadly were unknown to me directly back then, but I know them now!!!)!
>>But I’m not clear: is Deacon John playing himself, or is he playing a character like himself? Anyone know? Everyone watching in New Orleans had to be cringing when he started wheezing in that FEMA trailer.<<
John is playing a character. He doesn't play trombone and his house didn't flood because he lives around the corner from me. A lovely man,
I just realized that had Antoine not been talked out of a pawnshop purchase by his patron…
He might have found his lost instrument, and in turn, not received a new one to give to John. I like how that was so neatly tied in to that thread.
Oh, and the Musician’s Clinic sure can use some help:
brueso: looking at how shiny the horn was he gave to DJ, I’m pretty sure he kept his old one and gave him the new one instead.
I thought he let the patron buy him a new one, then the patron also gave him some cash and he went to the pawnshop to buy one for Deacon John and he found his old one there. It’s not clear to me whether he’s keeping his old one for himself and gave Deacon John the new one.
It looked like Deacon John received the new shiny one – the later scene w/Antoine showed him w/his lived-in bone. I thought that was way cool of him.
Yep, definitely cool, I watched for that too. I loved that the admiration, love, respect, concern and joy Antoine showed for his mentor was so well conveyed by this episode.
Yes, he did – the patron insisted he purchase a new ‘bone from the um, non-pawn shop. Guess I was thinking that had he gone to the pawn shop in the first place, he would have found his own instrument, and had no need for a new one. You’re right brueso – I guess the patron might have given him cash anyway, and DJ would have been gifted a replacement horn either way.
My head hurts.
…and by that logic, he still has that wad of cash in his pocket. Guess he can pay full cab fare now, plus tip!
Didn’t mean it to be cynical. It struck me that he wanted to buy a horn for his mentor because he said it wasn’t a purchase for himself, “I’ve got a hell of a horn, me.” Neither was it for a student which the shopkeeper was asking just about the time Antoine spotted his old horn up on the wall. There was no need to be in there buying a horn unless he wanted to give one to his mentor or unless Toni told him to go comb the pawnshops and we got no indication of that. So, he might have preferred his old horn to the new one or simply been happy that he could now give a really fine horn to his mentor.
Also, I long ago gave up believing that people usually have unmixed motives. I don’t think he was trying to give his mentor a lesser gift. Just following his heart one step at a time. The gig at the airport is probably the only way he could get the guy to go to the clinic and that’s what that was about.
I would think he had to buy it out of pawn. I doubt the NOPD carried any weight with the pawnshop owner as far as forcing him to give up the horn for nothing since that’s who he bought it from. IIRC, the police chief offered Toni the money it was redeemed for and she said she wouldn’t touch it; she was going to the FBI.
I think Antoine quite liked the “hell of a horn” the fan bought him and was going to buy another for his mentor with the spare cash but when it turned out to be his own horn he stumbled upon, he had to have that and then decided that he would have to give the fancy new one to his mentor because he couldn’t give him his own (A.B. ’79) old one.
Hmm, that seems a bit cynical Anita; after all, he didn’t have to give John one at all and he seemed to enjoy giving John the better horn he deserved. I hadn’t thought of it that way, but it doesn’t seem to fit the wonderful interaction of the two. I remember thinking last week that Antoine said “I have a hell of a horn” without much conviction. I suppose if your take were the case, then Antoine’s recruitment of John for the airport gig could be read as just self-interest in filling a roster rather than trying to help his beloved mentor and make something right in the mess.
I assumed we were supposed to believe that the chief’s money was roughly equivalent to the pawn money and that she took it as a form of recompense for Antoine when the chief talked Toni out of going to the FBI with his striking “and you want to talk about a trombone” speech.
I think the serendipity of Antoine ending up with his own horn (doubtless those engraved initials–and was that a date–have a great deal of meaning to Antoine. Maybe he’s had that ‘bone since he was a talented young boy. The finest horn couldn’t actually replace it, any more than the finest horn could actually replace Kid Ory’s horn that was lost in the flood. The way the events worked to build up to the lovely gift Antoine was able to give his mentor, complete with the story of the fan from far Japan who meant the horn just for him, that’s priceless. If this is the way Simon tells a story, I’m fatally hooked.
I’m a realist but I’m a sentimental sap, as well.
Antoine would really KNOW that instrument, having played it for so many years.
It takes time to break in a new one.
any one else thinking that annie and sonny might be a mash up of zack and addie , and anders and theresa ?
it would be a lot easier to take if their story takes the latter path.
I have one question – what was going on between Antoine and the bass player at the carnival ball gig? They were playing “A Train,” the bass player started a solo, Antoine said something indistinct, then interrupted his bass solo with his own.
I remember researching but never writing about the dearth of balls and Carnival clubs at that time, (and yes I’m taking this turn to fast and about to spin out of verisimilitude and into the wall) but can anyone refresh my memory? I was pretty sure that there simply weren’t any (or many) of those events that year. I’m more worried about my own memory than I am about the anachronism.
he was bored with the music and he got a little mischeif in him.
he told the cat a train more like z train as in falling asleep i.e. zzzzzz
the up tight band leader on upright bass was his target.
before he swung out.
he said how you like this you shiney headed m.f.
this is how we do it in the treme.
all quotes are paraphrased but i think this is the gist.
Rick, best description of the dynamic between musicians EVER. I bow to you, sir.
And I’m glad Antoine livened up that Young Men Illinois-type ball a bit.
Jacques: We killed those chefs!
Janette: I buried ’em, didn’t I?
i bow to you.
my buddy richard is a member of the bunch club.
he said he started getting calls last night and all thru today asking him what he thought of last nights episode.
i called him this afternoon and his comment was much like your “I’m glad Antoine livened up that Young Men Illinois-type ball”
he than went on to explain to me the differences between the two balls as well as the beau brummels ball which i had never even heard of.
good eye maam.
one of my best friends had told me a couple of stories in the past about bunch club and i thought i was an expert.
turns out treme got me to learn more .
Are we expecting Creighton to survive? Is Goodman is free to continue into season 2?
Someone like Chris Rose, who got so suicidal, is someone else with whom his character seems to share traits. So many got so depressed, for so many reasons, including what has to be called traumatic stress disorder. Too many are still suffering. The BP Oil Blowout Crime Catastrophe isn’t helping with that.
In any case, as some others have mentioned, Creighton’s self-identification as literary novelist, and his failure in that area for so long, aren’t helping Creighton’s view of himself. That his agent showed up to ask for a book really fast on the Flood Disaster and New Orleans was expected. One might think though, considering writers and pontificators want to be read and heard, that he might leap at the opportunity. But who knows? And only four episodes left.
This epsisode was what I adore about the best arc television (or even the best of radio programs too, like some of the HipDeeps on AfroPop Worldwide): it feels like it is going on forever, so filled with incident and character, and the ride is so smooth that you are in a state of constant but o so enjoyable amazement at how much ground you’ve covered, how far you traveled — and yay, there’s still a bit more to go before the episode finishes! Among other bits I got such a kick out McAlary on the candidates’ forum — was it ‘Informed Sources?’ or was it ‘Steppin Out,’ another WYES public television program? — and how Peggy Scott Labord regards him, his platform and presentation, complete with strippers and flogging his CD, which last part is certainly allowed on ‘Steppin’ Out.’
Am rewatching this episode. The use of music as almost a second layer of dialog, almost like a harmonic, is kind of amazing.
And, uh, Davis’s stripper in the gold pants. Does anybody know if she’s an actual stripper and, uh, where she happens to work these days?
Maybe there’s some “If Janette’s such a good cook, why can’t she get creative with keeping her place open?” As opposed to LaDonna, who loves her bar and is suing a crooked contractor over the non-repair of its roof. Where’s the fight, Janette? What the hell?
Being a good chef has almost nothing to do with most of the things you have to accomplish to keep a restaurant going, especially in a town FULL of other restaurants and great chefs. Plus in the middle of the post Katrina clusterfuck.
Like MF said last week, we are seeing characters get to the point where they have to either back away or go all in. Most of them have never faced obstacles like this one, so it’s not surprising we’re seeing people back away, or hit the wall.
Doesn’t mean they won’t get back up.
Ray, you dog you. I’m watching again too, still irritated with Janette, and not really sure why. Must. Sleep. Now.
Virgo, I guess this is where I reveal how far into the show I’ve gotten: deep down, I know what you say is true, but after seeing all the crap Janette goes through, and all the highs and lows she’s endured, to see her not even answering the phone as she locks up her place for the time being, however long that may be, is still heartbreaking. I admire her for not wanting the staff to bear the brunt of her money troubles, but there is a part of me that wants her to be the asshole just a little, for a little while longer. But she can’t do it…dammit. 8-)
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