DOUBLE-TWISTING BACK FLIPS

It's one of those I-told-you-so mornings. Is Sen. Kennedy and/or his staff reading Straight Up? Doubtful. But I couldn't help noticing Kennedy's reference to the "rhetorical double-twisting back flips President Bush performs" in a speech he gave yesterday. He also called our Nincompoop in Chief "the world record-holder for flip-flops."

Earlier this month, an item here, ON FLIP-FLOPS AND SHARP SHIFTS, suggested news ledes to reflect reality, such as: "President Bush did a triple somersault belly flop ..." and "President Bush yesterday did a back flip ..." and "President Bush reversed himself in a belly flop ..."

This was in answer to the question: "How come when the ninny makes a U-turn, does a back flip, lands a belly flop, or pulls his head out of his ass, it's called crossing a bridge, making a concession, embracing a new position, or acknowledging a recommendation?"

Whomever Kennedy and his staff are reading, it's good to know they get it.

Postscript: In re: yesterday's FACIAL MANEUVERS, have a look at Paul Krugman's column this morning about the upcoming presidential debate and "the temptation [for reporters] to revert to drama criticism -- to emphasize how the candidates looked and acted" instead of their substance. He cites Adam Clymer's op-ed piece. Everybody's all over the subject. Let's see if it has any impact.

September 28, 2004 9:29 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 September 28, 2004 9:29 AM.

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