KILL BILL, THE LATEST VERSION

The demonization of Bill Moyers is not limited to conservative venues. It also finds a warm, comfy outlet on supposedly liberal PBS. George Neumayr, executive editor of the hardline right-wing American Spectator Magazine, was given ample time last night to spew his venom on PBS's NewsHour in a softball interview with Jeffrey Brown. But that's the least of it.

Kenneth Tomlinson, head of the Corporation for Public Broadcasting, is on a mission to destroy PBS by targeting Moyers and "Now," his former program, with outright lies. "Evidence [has] surfaced" indicating he dissembled at best when he claimed that former CPB President Kathleen Cox "approved and signed" a contract to hire someone "to monitor the political leanings" of the the guests who appeared on "Now." This morning's New York Times reports that "a copy of the contract ... shows that Mr. Tomlinson signed it on Feb. 3, 2004, five months before Ms. Cox became president."

Confronted with "the apparent discrepancy" between the contract and what he claimed in a letter to Senator Byron L. Dorgan, Tomlinson had no comment. "If he signed the contract, he was not telling the truth, which would be very troubling," Dorgan told the Times. "He's trying to pawn some responsibility for this on others, which is very troubling. This guy has some real credibility problems." Lies are the default setting for the Bush White House and its minions. (It's not Moyers being demonized in the campaign against him and PBS, Neumayr told Brown on the NewsHour, it's Tomlinson who is the target of "a ridiculous smear ... for simply doing his job.")

I've written before about Moyers, more than half a dozen times. A year ago, I said his speech on truth and journalism at the first National Conference on Media Reform in May 2004 is "what gets me up in the morning." He said then that "our democracy is in danger of being paralyzed." His speech to the second conference last month was another eye-opener. Since then the danger has increased. You can see why on this morning's Democracy Now! "I don't want to make any easy comparisons, but I do sense that there is a desire to silence any dissent in this country by the administration," Moyers said.

They practice extraordinary media manipulation. They're the most secretive administration in my 70 years. And this whole attack on me is indicative of how when anyone rises up to speak an alternative truth, an alternative vision of reality, they try to discredit them. ... I'm targeted because my reporting on "Now" was telling the stories that they didn't want told about secrecy in government, about Cheney's energy task forces, about a cover up at the Department of Interior, about the relationship between business, corporations, and the administration. We were reporting what good muckraking journalism always reports, and they don't like that. So that's why they've singled me out.

Public broadcasting has "to get back to the revolutionary spirit of dissent and courage" that inspired it "in the first place," Moyer noted, "and this country does, too." So inform yourself and do something. In a mammoth essay published Monday in The Washington Post, a version of which is online here, Moyers also laid out the assumptions on which PBS was founded. Read them. And if you're at all interested in previous Straight Up posts about "Exhibit A" of PBS's so-called liberal agenda (Neumayr's term for him), here are some of them: Moyers Moves On, Hanging in With George, Fine Tuning and Departing Words.

June 22, 2005 11:46 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.
HERMAN WOUK'S LATEST 
It's hard to say which comes off worse in Herman Wouk's latest novel, his first in a decade: the U.S. Congress or the American press. "A Hole in Texas" offers the choice between two emblematic stereotypes: a red-faced opportunist who heads the House Armed Services Committee and a mustachioed investigative reporter for the Washington Post.
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