ON FLIP-FLOPS AND SHARP SHIFTS

How come when Kerry does it, it's called "a flip-flop," but when the Nincompoop in Chief does it, it's termed "a sharp shift from an earlier position"? 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?

Here's the lede on the top story, headlined "Bush Now Backs Budget Powers in New Spy Post," in this morning's New York Times.

WASHINGTON, Sept. 8 -- President Bush said on Wednesday that he wanted to give a new national intelligence director "full budgetary authority," a sharp shift from an earlier position and an acquiescence to a major recommendation of the Sept. 11 commission.

It might have read:

WASHINGTON, Sept. 8 -- President Bush flip-flopped on Wednesday, saying he wanted to give a new national intelligence director "full budgetary authority" in a U-turn from his position five weeks ago when he declined to go along with a major recommendation of the Sept. 11 commission.

Here, in order of increasing timidity, are other ledes. On the same story, headlined "Bush Plan Draws on Advice of 9/11 Panel," in this morning's Washington Post:

President Bush yesterday proposed giving a new national intelligence director broad powers to plan intelligence agencies' spending priorities and clandestine activities, making a concession to lawmakers moving to implement the more sweeping proposals of the Sept. 11 commission.

It might have read:

After dismissing the idea five weeks ago, President Bush yesterday did a back flip and agreed on giving a new national intelligence director broad powers to plan intelligence agencies' spending priorities and clandestine activities, while refusing to admit he was making a concession to lawmakers moving to implement the more sweeping proposals of the Sept. 11 commission.

The lede on the same story, headlined "Bush Now Backs Stronger Spy Czar," in this morning's Los Angeles Times:

WASHINGTON -- President Bush, moving toward embracing a key element of the Sept. 11 commission's recommendations, said Wednesday that a new national intelligence director should have authority over more than half of the U.S. intelligence community's estimated $40-billion annual budget.

It might have read:

WASHINGTON -- President Bush reversed himself in a belly flop on a key element of the Sept. 11 commission's recommendations, saying Wednesday that a new national intelligence director should have authority over more than half of the U.S. intelligence community's estimated $40-billion annual budget.

And the lede on the same story, headlined "Bush backs plan to give spy chief budget control," in this morning's Chicago Tribune:

WASHINGTON -- Acknowledging a key recommendation of the Sept. 11 commission, President Bush urged congressional leaders Wednesday to create a national intelligence director with "full budgetary authority" over much of the nation's intelligence community.

It might have read:

WASHINGTON -- Pulling his head out of his ass on a key recommendation of the Sept. 11 commission, President Bush did a triple somersault belly flop when he urged congressional leaders Wednesday to create a national intelligence director with "full budgetary authority" over much of the nation's intelligence community.

Got any more euphemisms?

September 9, 2004 8:58 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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