THE REAL SUPER BOWL: WILLIE VS. TOBY

The big "if." It's the only reason to tune into the Super Bowl pre-game show this Sunday, as far as I'm concerned. If Willie Nelson sings his war-protest song, "Whatever Happened to Peace on Earth," it might even make up for the craven CBS refusal to air "Child's Pay," moveon.org's 30-second commercial, during the Super Bowl.

Willie is scheduled on the pre-game show, although you'd hardly know it from the pre-game show Web site, which hypes Aerosmith's headline appearance instead of the only thing anybody with a brain might want to know: Will there be a face-off between Willie Nelson and Toby Keith, who is also scheduled on the show?

The odds are probably against it happening, given the CBS attitude toward fair play, but it would be the thing to hear: Willie singing his protest and Keith singing his prowar anthem, "Courtesy of the Red, White and Blue (The Angry American)." Instead, we'll more than likely get their duet from "Beer for My Horses" from Keith's "Unleashed" album. It would be great to be proved wrong, though.

Postscript: This op-ed piece in the Los Angeles Times, "One Thing That Won't Be Tackled on Sunday: Issues," explains everything you need to know about CBS's corporate self-interest.

January 30, 2004 8:51 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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