DEEPER THAN WE THOUGHT

If this is true, we're in deeper shit than we thought: "During this year's Super Bowl, you'll see ads sponsored by beer companies, tobacco companies, and the Bush White House. But you won't see the winning ad in MoveOn.org Voter Fund's Bush in 30 Seconds ad contest. CBS refuses to air it." That message just arrived from moveon.org's Eli Pariser.

Pariser also writes: "This isn't even a progressive-vs.-conservative issue. The airwaves are publicly owned, so we have a fundamental right to hear viewpoints from across the ideological spectrum. That's why we need to let CBS know that this practice of arbitrarily turning down ads that may be 'controversial' -- especially if they're controversial simply because they take on the President -- just isn't right."

Controversial? Have a look at "Child's Pay," the winning 30-second ad, and judge for yourself. I can understand why CBS would not, if it were asked, broadcast something like the hilarious "Bush in 41.2 Seconds," a parody by liberaloasis.com. But "Child's Pay"? C'mon. Moveon.org is asking people to sign a free-speech petition, to be delivered directly to CBS headquarters. If you feel so inclined go here.

January 23, 2004 10:54 AM |

Categories:

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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This page contains a single entry by CriticalMASS published on January 23, 2004 10:54 AM.

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