REAL AFRICANS GETTING REAL TV?

Maybe I shouldn't have doubted Tom Friedman when he claimed that "Superstar," the Arabic version of "American Idol," was a force for democracy in the Middle East. Today comes word that another reality TV show, "Big Brother Africa," has roughly 30 million viewers in across that continent. From Nigeria to Botswana, Kenya to South Africa, the show has become "a Rosrschach test of Africans' views of themselves," Marc Lacey reports. (Free registration required.)

Using a formula already familiar to American and European TV viewers, the producers intalled a group of strangers in a house in Johannesburg and televised their trials, tribulations and foibles -- including all the usual bickering and romantic liaisons, not excluding breakfast belches, kissing and "shower hour" peeking.

The Malawi parliament has banned the show. Religious leaders have denounced it. But, Lacey writes, its many fans have invoked a subtle theme in its defense: the idea of democracy. "The contestants are nominated for eviction by their housemates and then voted off by viewers on the Internet or by cellphone text messaging. The will of the people decides how the show unfolds."

In a region of the world where Big Brother is a reality and democracy a rarity, the mere display of such a social system no matter how trivial or contrived has educational value and, Lacey writes, sends a message to authoritarian rulers. This is the same argument Friedman made for "Superstar."

First thought: If they're right, will we soon see the U.S. military command in Baghdad producing reality TV shows? Second thought: Not if it requires electricity.

September 4, 2003 11:54 AM |

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Me Elsewhere

'WILD SIDE' STILL ROCKS 

Nelson Algren was one of the great American authors of the 20th century, it is no exaggeration to say, and among the most neglected. Consider his underrated classic, "A Walk on the Wild Side." The title -- popularized and co-opted as an idiomatic phrase by Hollywood and Madison Avenue (institutions Algren loathed) -- is familiar to most anyone who speaks English or knows Lou Reed's lyrics. But the novel itself? Hardly.

BUSTER KEATON REVISITED 
Buster Keaton: Tempest in a Flat Hat is not a biography. "This book is merely a fan's notes," Edward McPherson writes in the introduction, although his publisher ignores the disclaimer and calls it a biography on the cover. In fact, the book is a bit of both, a difficult combination to bring off unless you're David Thomson, who set the standard with Rosebud, his penetrating rumination on the life and career of Orson Welles, which was nothing if not a distillation of every obsessive thought he ever had about the myth and the man and all his movies.
LAUREN BACALL, STILL SALTY AT 80 
When Lauren Bacall writes that her singing voice ranges "somewhere between B minus sharp and outer space," she's being candid and funny. It's not every stage star with two Tony Awards for best actress in a musical whose vocal talent offers so little promise. (OK, Harvey Fierstein excepted.) Still less would one admit it.
THE STARS ACCORDING TO BOGDANOVICH 
Peter Bogdanovich's superb collection of movie-star profiles and interviews -- a sequel to Who the Devil Made It, his interviews of top film directors -- begins with an affectionate tale about Orson Welles that reminds us just how intimate the author's connection to Hollywood's greatest has been. But contrary to what we've come to expect from dime-a-dozen celebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and journalistic platitudes.
SAMMY'S WHITE DREAMS 
Four decades ago Lenny Bruce sentenced Sammy Davis Jr. to "30 years in Biloxi," stripping him of "his Jewish star" and "his religious statue of Elizabeth Taylor." Now we have two new biographies of Davis that spring him from ridicule, if not from doubts about his legacy, and restore a measure of dignity to a black entertainer whose huge fame and success never overcame his devout wish -- indeed his lifelong effort -- to be white.
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