DEPARTING WORDS

I should have said, "Back in '05, if not sooner." Sooner because I wanted to link to the video of all 50-plus minutes of Bill Moyers's keynote speech to the National Conference on Media Reform. It was posted on the Web this morning by Democracy Now!, the best daily TV-radio-Internet news broadcast we've got.

A video of roughly half the speech, which Moyers gave a year ago (Nov. 18, 2003), was posted last spring by Democracy Now!, but it's worth hearing every last word of what he had to say. You can also read the transcript. (It includes policy recommendations he decided to skip in his speech.) If you prefer a summary, here's mine.

Moyers's eloquence was tasty stuff:

In earlier times our governing bodies tried to squelch journalistic freedom with the blunt instruments of the law: padlocks for the presses and jail cells for outspoken editors and writers. Over time, with spectacular wartime exceptions, the courts and the Constitution struck those weapons out of their hands. But they've found new ones now, in the name of "national security." ...

Never has there been an administration so disciplined in secrecy, so precisely in lockstep in keeping information from the people at large and -- in defiance of the Constitution -- from their representatives in Congress. Never has so powerful a media oligopoly -- the word is Barry Diller's, not mine -- been so unabashed in reaching like Caesar for still more wealth and power. Never have hand and glove fitted together so comfortably to manipulate free political debate, sow contempt for the idea of government itself, and trivialize the people's need to know.

One other thing. When Moyers retired from broadcast journalism, appearing eight days ago for the last time on his weekly PBS program "Now," he said it would continue with David Brancaccio as host. And it will. But "without Moyers's influence at PBS," I was concerned that "you have to wonder how long the show will last." Well, the signs are already lousy. "Now" will be cut down from 60 minutes to 30 minutes, Amy Goodman reports.

December 24, 2004 1:49 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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