BLAME THE PRESS: DEAD MAN FLOATING

Forgive us, lawd, we know not what we do. Fools that we are, we offered an olive branch to Tom Friedman, and today he reverted to form in another typical faux memo to "Iraq's Kurdish, Shiite and Sunni leaders" from "An American friend." Advising them on the impact Katrina is likely to have on Iraq, due to the weakened political capital of our Bullshitter-in-Chief, he tells them who's responsible for weakening him: It's the press.

Dead man floating.jpg Yup, in Uncle Tommy Boy's view, "the Katrina TV drama is not going away" because, "Hell hath no fury like journalists with a compelling TV story where they get to be the heroes and the government the fools." He says this, mind you, when reporters have had their cameras smashed and guns pointed at their heads by police and the National guard to keep them from photographing Katrina's aftermath, just as was done in Iraq.

This morning's Democracy Now tells about that. As soon as the segment is posted online, we'll provide the link. In the meantime, have a look at this report and this one and this (gracias Romenesko): Washington Post reporter Timothy Dwyer said he heard a sergeant from a state agency telling a camera crew allowed on a boat in a flooded area near downtown New Orleans: "If we catch you photographing one body, we're going to bring you back in and throw you off the boat." And this, from a San Francisco Chronicle reporter: "I did not actually count the number of automatic weapons pointed at me, but there were at least five, and I was certain they were all locked and loaded ..."

-- Tireless Staff of Thousands

Postscript: Here's the DN segment, both video and transcript. And don't overlook this equally revealing segment: FEMA Promotes Pat Robertson Charity, with links to "Pat Robertson's Katrina Cash" in The Nation and "Disaster used as political payoff" in New York's Daily News.

September 9, 2005 9:38 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 Straight Up | published on September 9, 2005 9:38 AM.

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