Wrapup: I did two columns about the Skip Gates affair this week, God help me. The first one is my “Think Again column.” It’s called “Why Does BarackObama Hate America? (Hint: Blame ACORN)” and it’shere.
Then there’s my Nation column, which is called, “Class, not ‘Race,’ withwhich I imagine most Nation readers will strongly disagree and that’shere.That’s all for now.
This week on Moyers:With almost twenty years inside the health insurance industry, WendellPotter saw for-profit insurers hijack our healthcare system and putprofits before patients. Now, he speaks with Bill Moyers about how thosecompanies are standing in the way of health care reform. Potter spokeout against the industry for the first time last month, testifyingbefore the Senate Commerce Committee he said, “Recently it becameabundantly clear to me that the industry’s charm offensive, which is themost visible part of a duplicitous and well-financed PR and lobbyingcampaign, may well shape reform in a way that benefits Wall Street farmore than average Americans.” Wendell Potter is a senior fellow onhealth care for the nonpartisan watchdog group Center for Media andDemocracy, for which he writes a blog on health care reform.
David Bowie, Storytellers by Sal:
The premise of VH-1’s Storytellers was to get an artist to spill thebeans about the genesis of his most popular songs, and maybe give apointer or two about the songwriting process. Who better than DavidBowie then, an artist I have been a huge fan of since Ziggy Stardustfound its way into my bedroom and scared the crap out of my mother in1972, and whose lyrics consistently make little to no sense…to me. Onthis CD/DVD release, you get the episode as it aired, as well as 4 bonustracks that didn’t. Inexplicably, those 4 tracks are only tagged ontothe DVD. (Super annoying.)
Musically, it’s fine, with Bowie and his band performing almost acousticversions of songs, that really were just part of his current tour’s setlist, as opposed to songs that may have benefited from the backgroundthe show was there to offer. Bowie’s storytelling is a bit camp, anddoesn’t really address the songs and their content so much as it justillustrates what may have gone on around the time of the writing. So thecrazy lyrics of “Drive In Saturday” get little explanation, but Bowiedoes inform us that it was written for Mott The Hoople as a follow-up to”All The Young Dudes.” Mott turned it down, and Bowie overreacted byshaving off his eyebrows. I guess that’s a cool enough story.