OH, REALLY?

Writing about Georgie Boy's $40 million inauguration and his overrated speech, David Brooks noted in his Saturday column, headlined "Ideals And Reality": "What you saw in Washington that day is what you see in America so often -- this weird intermingling of high ideals with gross materialism, the lofty and the vulgar cheek to cheek." Anyone who believes in Georgie Boy's high ideals needs a brain tune-up.

Count on Brooks to get it exactly backwards. (See Greg Palast's fabulous "Oaf of Office.") As he almost always does, Brooks drew the wrong conclusion: "The people who detest America take a look at this odd conjunction and assume the materialistic America is the real America; the ideals are a sham. ... But of course they've got it exactly backward. It's the ideals that are real."

What about this? And this? And this?

"Because of that speech," Brooks wrote, "it will be harder for the U.S. government to do what we did to Latin Americans for so many decades -- support strongmen to rule over them because they happened to be our strongmen. ...

"It will be harder for future diplomats to sit on couches flattering dictators, the way we used to flatter Hafez al-Assad of Syria decade after decade. From now on, the borders established by any peace process will be less important than the character of the regimes in that process."

What about this? And this? And this? Yes, really.

Now see Orlando Patterson's op-ed piece, "The Speech Misheard Round the World," which appeared on the same day and on the same page as Brooks's rose-tinted nonsense, for the actual meaning of Georgie Boy's inaugural address.
January 23, 2005 1:59 AM |

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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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