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Author Topic: Aide says Cheney tried to control Plame story  (Read 127 times)
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JC
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« on: January 28, 2007, 01:31:41 PM »

I have been following this story since its inception and have been waiting for someone from the inner circle to break and drop the first domino. I hope this starts a shit storm.


Aide says Cheney tried to control Plame story

By MICHAEL J. SNIFFEN
Associated Press

WASHINGTON - A smorgasbord of Washington insider details has emerged during the perjury trial of the vice president's former chief of staff.

For example, when Dick Cheney really needed friends in the news media, his staff was short of phone numbers.

No one served up spicier morsels than Cheney's former top press assistant. Cathie Martin described the craft of media manipulation - under oath and in blunter terms than politicians like to hear in public.

The uses of leaks and exclusives. When to let one's name be used and when to hide in anonymity. Which news medium was seen as more susceptible to control and what timing was most propitious. All candidly described. Even the rating of certain journalists as friends to favor and critics to shun - a faint echo of the enemies list drawn up in Richard Nixon's White House more than 30 years ago.

The trial of I. Lewis "Scooter" Libby owes its very existence to a news leak, the public disclosure four summers ago of CIA officer Valerie Plame's identity.

A private brainstorm of Plame's in 2002 brought a rain of public attacks on Cheney the following year. Cheney was accused of suppressing intelligence and allowing President Bush to present false information about weapons of mass destruction in Iraq.

Plame's husband, ex-ambassador Joseph Wilson, started the attack. Her unit at the CIA had sent him to Niger in 2002 to check a report Iraq was buying uranium for nuclear weapons. Cheney and the departments of State and Defense wanted to verify that.

Wilson thought he had debunked the report, but Bush mentioned it anyway in his State of the Union address in 2003. The story helped justify war with Iraq.

Wilson claimed Cheney's questions prompted his trip and Cheney should have received his report long before Bush spoke.

Cheney, Libby and Martin spent a week trying get out word that Cheney did not know Wilson, did not ask for the mission to Niger, never got Wilson's report and only learned about the trip from news stories in 2003.

Cheney personally dictated these points to Martin. She e-mailed them to the White House press secretary for relay to reporters.

When the story did not die, Martin found herself in a bind because Cheney's office was known for disclosing so little.

"Often the press stopped calling our office," Martin testified. "At this point, they weren't calling me asking me for comment."

So she had to call National Security Council and CIA press officers to learn which reporters were still working on stories.

Once Martin got names, Cheney ordered his right-hand man, Libby, rather than lowly press officers, to call.

Top levels of the Bush administration decided that CIA Director George Tenet would issue a statement taking the blame for allowing Bush to mention the Niger story. Cheney and Libby worried Tenet would not go far enough to distance the vice president from the affair.

Libby asked Martin to map a media strategy in case Tenet fell short.

A Harvard law school graduate, Martin had succeeded legendary Republican operative Mary Matalin as Cheney's political and public affairs assistant.

Martin offered these options in order:

• Put Cheney on Meet the Press.

• Leak an exclusive version to a selected reporter or the weekly news magazines.

• Have national security adviser Condoleezza Rice or Defense Secretary Donald H. Rumsfeld hold a news conference.

• Persuade a third party or columnist to write an opinion piece that would appear in newspapers on the page opposite the editorials.

Not only did Tenet leave unanswered questions about Cheney, his remarks came out late on a Friday, the government's favorite moment to deliver bad news.

"Fewer people pay attention to it later on Friday," Martin testified. "And in our view, fewer people are paying attention on Saturday, when it's reported."

Ultimately, Cheney crafted an on-the-record statement to be attributed to Libby by name along with some anonymous background information. Libby personally called Matt Cooper of Time, who had e-mailed questions to Martin earlier.

But when Libby suggested calling Newsweek in fairness, Cheney's aides were at a loss.

"We were scrambling for a number for a reporter that we know there named Evan Thomas," Martin testified. "We were looking around for a number. I didn't have it with me." Eventually, they found a number and left a message."
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« Reply #1 on: January 28, 2007, 09:44:43 PM »

Ex-Cheney Aide Details Media Tactics

    NewsMax.com Wires
    Monday, Jan. 29, 2007


WASHINGTON -- A smorgasbord of Washington insider details has emerged during the perjury trial of the vice president's former chief of staff.

For example, when Dick Cheney really needed friends in the news media, his staff was short of phone numbers.

No one served up spicier morsels than Cheney's former top press assistant. Cathie Martin described the craft of media manipulation — under oath and in blunter terms than politicians like to hear in public.

The uses of leaks and exclusives. When to let one's name be used and when to hide in anonymity. Which news medium was seen as more susceptible to control and what timing was most propitious. All candidly described. Even the rating of certain journalists as friends to favor and critics to shun — a faint echo of the enemies list drawn up in Richard Nixon's White House more than 30 years ago.

The trial of I. Lewis "Scooter" Libby owes its very existence to a news leak, the public disclosure four summers ago of CIA officer Valerie Plame's identity.

A private brainstorm of Plame's in 2002 brought a rain of public attacks on Cheney the following year. Cheney was accused of suppressing intelligence and allowing President Bush to present false information about weapons of mass destruction in Iraq.

Plame's husband, ex-ambassador Joseph Wilson, started the attack. Her unit at the CIA had sent him to Niger in 2002 to check a report Iraq was buying uranium for nuclear weapons. Cheney and the departments of State and Defense wanted to verify that.

Story Continues Below

 

Wilson thought he had debunked the report, but Bush mentioned it anyway in his State of the Union address in 2003. The story helped justify war with Iraq.

Wilson claimed Cheney's questions prompted his trip and Cheney should have received his report long before Bush spoke.

Wilson's charges first surfaced, attributed to an unnamed ex-ambassador, in Nicholas Kristof's New York Times column. But Martin testified she felt no urgency to set him straight because Kristof "attacked us, our administration fairly regularly."

But by July 6, 2003, Wilson wrote his own account in the Times and appeared on "Meet the Press" on NBC.

After that much exposure, Cheney, Libby and Martin spent the next week trying get out word that Cheney did not know Wilson, did not ask for the mission to Niger, never got Wilson's report and only learned about the trip from news stories in 2003.

Cheney personally dictated these points to Martin. She e-mailed them to the White House press secretary for relay to reporters.

When the story did not die, Martin found herself in a bind because Cheney's office was known for disclosing so little.

"Often the press stopped calling our office," Martin testified. "At this point, they weren't calling me asking me for comment."

So she had to call National Security Council and CIA press officers to learn which reporters were still working on stories.

Once Martin got names, Cheney ordered his right-hand man, Libby, rather than lowly press officers, to call — a signal of the topic's importance.

Top levels of the Bush administration decided that CIA Director George Tenet would issue a statement taking the blame for allowing Bush to mention the Niger story. Cheney and Libby worried Tenet would not go far enough to distance the vice president from the affair.

Libby asked Martin to map a media strategy in case Tenet fell short.

A Harvard law school graduate, Martin had succeeded legendary Republican operative Mary Matalin as Cheney's political and public affairs assistant. Matalin had brought Martin to Cheney's office as her deputy and trained her.

Martin offered these options in order:

_Put Cheney on "Meet the Press."

# Leak an exclusive version to a selected reporter or the weekly news magazines.

# Have national security adviser Condoleezza Rice or Defense Secretary Donald H. Rumsfeld hold a news conference.

# Persuade a third party or columnist to write an opinion piece that would appear in newspapers on the page opposite the editorials.

Not only did Tenet leave unanswered questions about Cheney, his remarks came out late on a Friday, the government's favorite moment to deliver bad news.

Why?

"Fewer people pay attention to it later on Friday," Martin testified. "And in our view, fewer people are paying attention on Saturday, when it's reported."

As Martin rated their options, putting Cheney on "Meet the Press," NBC's Sunday morning talk show, "is our best format." Cheney was their best person for the show and "we control the message a little bit more," according to Martin.

The downside was that Cheney could "get pulled into the weeds and specifics. We like to keep him at a pretty high level," she said. Also, it "looks defensive to rush him out on `Meet the Press.'"

Next they could give an exclusive or leak to one reporter and she considered David Sanger of The New York Times, Walter Pincus of The Washington Post, or Time or Newsweek.

Because reporters are competitive, "if you give it to one reporter, they're more likely to write the story," Martin testified.

Plus an official can demand anonymity in return for the favor. "You can give it to them as a senior administration official," she said. "You don't have to say this is coming directly from the White House."

The news weeklies offered a focus on the big picture and opinion-editorial writers and columnists could voice opinions.

Ultimately, Cheney crafted an on-the-record statement to be attributed to Libby by name along with some anonymous background information. Libby personally called Matt Cooper of Time, who had e-mailed questions to Martin earlier.

But when Libby suggested calling Newsweek in fairness, Cheney's aides were at a loss.

"We were scrambling for a number for a reporter that we know there named Evan Thomas," Martin testified. "We were looking around for a number. I didn't have it with me." Eventually, they found a number and left a message.

But Cooper did not use the full quote and Martin called to complain. "I put Scooter on the phone with him, which we didn't do very often on the record with a quote," she testified, "and he took just a piece of it." The result "wasn't helpful" and the story did not fade away.

So the following week, two senior Bush aides — communications director Dan Bartlett and Rice's deputy, Steve Hadley — briefed White House reporters. Cheney invited a group of conservative columnists to lunch at his residence.

© 2007 Associated Press. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed.
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Mobile-friendly version Immortal Technique Biography

Born Felipe Andres Coronel on the 19th of February 1978, hip-hop artist Immortal Technique is a controversial figure in the U.S. His songs speak of the need for social justice and equality among all races, with special emphasis on the people of color or Latin Americans, but they also cover topics such as the fight against unfair imprisonments or militarism and many others.

His biography is hence quite intriguing, to say the least, and, just like the best anti aging cream is probably going to be lingering over the shelves of all cosmetic stores for many years to come, Immortal Technique’s songs are going to remain hot, fresh and sought after for a really long time. Due to the fact they speak about topics which are to be considered taboos, his lyrics continue to be listened to with the exterior shutters down in most homes.

Immortal technique was born in Peru, in El Hospital Militar de Lima; several years later, his family moved to America in order to escape the harsh living conditions in Peru. Even though they could not afford to buy any terrain a vendre there, they managed to move to Harlem in the ‘80s. Immortal Technique went to Hunter High School, but just like a hip replacement recall is never of good omen, his grades and behavior weren’t any good during high school either. He was the school bully, he harassed other students and he was not afraid to get involved in scandals with drug dealers from around the area. And while his interactions with these drug dealers were not as numerous as used cars in Phoenix are, they still managed to leave an ugly mark on his biography.

Plus, his graffiti did not actually resemble any Dreamweaver templates, but he was famous for his controversial acts of vandalism. His violence against others almost got him expelled in 1996, but he somehow managed to finish high school and even attend college at Pennsylvania State University. This time, his college experience only lasted for two years; he was then charged and convicted and he was eventually imprisoned in Pennsylvania.

In prison, just like a SEO San Antonio company would focus on booting a web site’s ranking, Immortal Technique also focused on boosting his own social ranking. He began studying the policy of religious history, and, finding the inspiration he needed, he began putting his thoughts in lyrics. In 1999 he was paroled and, even though he was first considered some sort of Agen Bola, as no one had heard of him at first, he began to attend freestyle battles he started winning.

From there on, his career started to bloom, as he gave birth to albums such as “Revolutionary Vol 1” in 2002, “Revolutionary Vol 2” in 2004 and “Revolutionary Vol 3” in 2008. He also became a political activist and started to sing about political injustice (check out his opinion on the imprisonment of Mumia Abu-Jamal or the songs on George W. Bush). Despite of the fact that his albums might not have gotten the type of positive reviews African mango reviews are usually comprised of, this has not stopped him from getting involved in future projects, including an important film collaboration. He might not approve the work of the CNA Financial Corporation, but we all need to eat, right?




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The History and Growth of Rap Music

If you are a music enthusiast, then it is very likely that you have come across a genre of music called rap music. Rap music is area that has very clear distinguishing features most notably the rapid and rhythmic chanting of the lyrics perfectly timed to the beat and musical accompaniment that forms the base of the song. Rap music traces its roots to the development of the hiphop subculture which predominantly carries four complementary musical styles namely: rapping, dancing and in particular break dancing, scratching or more popularity known as DJing, and graffiti writing which others dub as vandalism. Another sub-element of this genre is beat-boxing which also features heavily in the repertoire of many rap artists. If you thought this was an easy musical genre to characterize, then you were poorly informed: consider, many research papers and doctoral dissertations have been written on the subject of rap music and its accompanying stylistic elements.

The history of rap music, or hip-hop music, is composed of a series of rapid development phases that have all culminated in the popular rap versions of today. Before rap music took off in the 1990s, it was predominantly referred to as disco rap in the late 1970s. The three rappers who had a hand in coining the term “rap music” were DJ Hollywood, Lovebug Starski, and Keith Cowboy, the last one being officially credited with the term hip-hop. Rap music original began with improvisations and freestyle singing to add an element of unpredictability to the songs in parties and other gatherings. Even in the 1960s to 1970s, the initial elements of rap music where already sown in urban subcultures particularly in New York City where adhoc performances in the streets led to a coalescing of influences in the wake of the Civil Rights era. Like the iPhone 5 release date, it had a slow and steady rise building into an explosion of creativity and style that has made it into what it has become today.

At this very early stage of rap development, it was particularly tied to emcee-ing more than it was associated to any specific song. It predominantly tied songs together as an adlib in between. It was born out of the creative inputs of DJs who had to work with self-imposed musical constraints such as the 4/4 time beat and sampling or sequencing sections of other songs to create a smooth flow of uninterrupted musical stimuli. These were eventually married with electronic equipment such as drums and synthesizers, and ultimate melodies to give it that bite and identity. In a sense, rap music artists were basically like a video game designer who had to figure out each artistic component at every turn until it developed into a more coherent musical genre that became the rap music we know today.

The first recorded version of rap music came alive in the early 1980s when DJs decided to make records out of their freestyle MCing. This necessitated the documentation of song lyrics so they do not change during each and every rendition. The age of the stromanbieter for rap music was gone paving the way for more organized chaos. Still, the freestyle and improvisation element remained a part of many DJ interludes as the song goes through certain sections that did not require too much rap singing.

Likewise, as a consequence of the hip-hop records, the influence of rap began to spread faster than ever before. Artists no longer had to travel far to get their music heard. Now, records from New York City and Philadelphia can be reproduced and transported to cities like Los Angeles, New Orleans, Dallas, Baltimore, Washington, D.C., and Seattle among others for people to appreciate and enjoy. This was primarily the reason for rap music’s rapid growth. Like Christmas mini lights, cities formed the nodes through which rap music would spread to other parts of the country. From small beginnings to grand achievements, the birth certificate translation to true stardom took a matter of years for rap music to be realized. Since then, its take-off and rise has been meteoric.

In this regard, it is almost impossible to talk about rap music but not discuss the golden age of rap. This was the era from the late 1980s to the mid 1990s when rap grew at an astounding rate fueled by the creative contributions of many artists from all over the continental United States and in many parts of the world. The primary trait of the Golden Age or Rap was that it was an almost unbroken wave of transformative music with every single pushing the boundaries of the genre. From this age and in the succeeding Gansta Rap age came names like Run-D.M.C., Dr. Dre, Ice T, MC Hammer, The Wu-tang Clan, Snoop Dogg, and The Notorious B.I.G. among others. The list of names can virtually fill a Sharepoint Hive without any problems.

According to social studies published in 2005, teenagers and children are more familiar with hip-hop and rap music more than any other musical genre. Up to 65% of all children from ages 8 to 18 hear hip-hop music on a daily basis, making it their routinary keratin hair treatment session, almost to the point that it has become an intrinsic part of their lives. With the diversification of the genre to include the more stylish R&B or rhythm and blues, it is not difficult to explain how rap music has continued to pervade radio station, TV and movie song line-ups. The marriage of rap and jazz which paved the way for R&B is itself a phenomenon that warrants all sorts of social analysis.

And with its very strong following, it is safe to say that rap music is here to stay. Years from now, when you open your TV on a bright Saturday morning, there’s a big chance you would be watching the next stage in the evolution of rap music, and there’s an even better chance you would be dancing or singing to that tune.

Immortal Technique Rapper Biography

Immortal technique is the stage name for which rapper Felipe Andres Coronel is popularly known. His lyrics characterized by its unique mixture of socialist commentary of social class hierarchy, religion, wealth, poverty to contemporary issues touching on governmental and institutional racism. Perhaps you may have come across information about this popular icon as you undertake research for that mba online, or for whatever course you are undertaking, be it bachelors in criminal justice, performing arts degree, governance systems, online nurse practitioner programs, history, or any other course for which you have to do online research.

The rapper was born on the 19th day of February 1978 in Lima, Peru. During the internal conflicts that took place in their country at the time, his parents migrated to Harlem, New York. Probably, in the process of migration to the country, they may have used boats at least once in the journey. Like many American teenagers, the rapper was engaged in various acts against the law that led to his arrest several times, which in one his public interviews admitted that they were selfish and at best childish acts. After completing his incarceration terms, he took up a political science course in a bid to mend his seemingly torn life, while living with his father.

After completing his studies, he was not lucky enough to secure a job in his field of study owing to the unemployment situation prevailing in the entire United States. Like many American fresh graduates who take up it jobs, nursing jobs, waiter and nursing jobs among many other common jobs that may not necessarily need a specialist, he took up a working in a restaurant to earn a buck from which he could live on.

Through his deep interest in championing for equality between the elite and the under privileged in society, and being not a Mesothelioma Lawyer, the rapper begun his music career basing his lyrics on such issues as injustice, exploitation and mistreatment of the poor. This is captured clearly in his desire to keep control over his production, since he strongly believes that in the music industry, the producers normally make a large profit while the artist for who credit belongs, normally end ups earning peanut amounts at the end of the day.

His popular sediments are captured in his albums that include the revolutionary, both volume one and two, and the 3rd world and the middle passage album. the rapper is increasingly involved in prison visits and working with migrant rights activists, though which he speaks to youths and the unprivileged in the society trazer amor de volta. His investments are largely in farmland in Latin America, which like soweto properties is an unpopular investment option for many celebrity figures. His advice to the youth is not much on taking up an aacsb online mba or an online criminal justice degree, but rather it is based on exploiting ones talents and living soberly within the law.

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