The chairman of the Senate Intelligence committee Jay Rockefeller writes to acting attorney general Peter Keisler, asking why the New York Times has copies of secret torture memoes that the Justice Department has so far refused to turn over to the appropriate Congressional oversight committees, among them his.
October 4, 2007
The Honorable Peter D. Keisler
Acting Attorney General
U.S. Department of Justice
950 Pennsylvania Avenue, NW
Washington, D.C. 20530
Dear Mr. Acting Attorney General:
The New York Times published an article today entitled "Secret U.S. Endorsement of Severe Interrogations" that describes the classified opinions provided by the Department of Justice on the legality of the CIA's interrogation practices, as well as the internal deliberations surrounding those classified opinions. As Chairman of the Senate Select Committee on Intelligence I have repeatedly asked the Department of Justice to provide those classified opinions; the Department of Justice has never provided a formal response.
This letter reiterates my longstanding request for the opinions of the Department of Justice's Office of Legal Counsel analyzing the legality of the CIA's interrogation program. In particular, please provide the principal classified Office of Legal Counsel opinions issued since December of 2004 on the legality of CIA's interrogation program. This should include Office of Legal Counsel opinions assessing the legality of the CIA's practices under section 2340A of the U.S. criminal code, which implements the Convention Against Torture; the substantive provisions of Article 16 of the Convention Against Torture; the Detainee Treatment Act; Common Article 3 of the Geneva Conventions; and the War Crimes Act, as amended by the Military Commissions Act.
I've got an idea. You know all those free Gideons Bibles in hotel rooms all over the world that nobody reads (how many trees? how many carbon emissions?). Let's start a new movement. Let's, one by one, replace them with copies of The Hydrogen Age: Empowering A Clean Energy Future, by Geoffrey Holland and James Provenzano. It's loaded with stories (and pictures) of one view of salvation. Don't like hydrogen? Pick the vision/book that you offers your version of redemption.
In a year of bad news from the Polar regions, a bright note. The ozone hole over Antarctica shrunk 30 percent compared to last year's record size, reports the European Space Agency. This year's ozone loss peaked at 27.7 million tons, compared to the 2006 record of 40 million tons—although the researchers caution the data don't prove the ozone layer is actually recovering. This year's hole was probably smaller because it was less centered on the South Pole, allowing it to mix with warmer air, reducing its growth.
So, we're not off the hook on this one. Though it does mean that for one season, at least, fewer phytoplankton, penguins, leopard seals, and great whales, had to suffer life in the ultraviolet. May that come to pass again next year.
Here's another surprise from the unpredictable frontlines of biology. A new study from Oregon State University finds that steelhead trout raised in hatcheries face a dramatic and unexpectedly rapid drop in their ability to reproduce in the wild—nearly 40 percent per captive-reared generation. Fish reared in a hatchery for two generations had around half the reproductive fitness of fish reared for a single generation. The effects appear to be genetic, and probably result from evolutionary pressures that quickly select for characteristics that are favored in the safe, placid world of the hatchery, but not in the comparatively hostile natural environment. The study, to be published Friday in the journal Science, raises serious questions about what happens to wild populations when they interbreed with hatchery fish, and the wisdom of many hatchery practices.
Visions of teen flicks with happy endings dance in my head when I listen to Le Concorde's EP, Suite. The lyrics are sweet and romantic, and the songs have titles like "I Want You Back" and "Lullaby for Dollface." This is music for someone who just broke up with their boyfriend or girlfriend, you know, at the junior high prom.
In fact, the music is perfectly suited for a soundtrack to a romantic comedy. I can just see the montage now, of a new, young, and happy couple going on their first string of dates together, while Le Concord's "Break You Like a Promise" is playing in the background. "Lullaby for Dollface" could easily have been featured in Zach Braff's uber sentimental Garden State soundtrack in place of that wispy Iron and Wine song, "Such Great Heights."
Le Concorde's music earned the band enough credibility to headline a 2005 CMJ (College Music Journal) showcase performance. Their website fills you in on lots of personal details (Honestly, it was more than I needed to know) about founding member Stephen Becker's journey (earning a PhD, getting a divorce) toward making "Suite." Becker describes the music as "a love—approaching obsession—with the finest details of the sonic sculpture."
The legal black hole in which private contractors have been operating in Iraq may be narrowing. Earlier today, the House voted overwhelmingly in favor of a measure that would extend the reach of the Military Extraterritorial Jurisdiction Act (MEJA) to include any contractor (or subcontractor, at any tier) working outside the United States for any federal agency in any place where the U.S. military is engaged.
This is the second proposed revision of MEJA since 2000. The law initially covered only civilians working directly for the U.S. military overseas. A 2004 amendment expanded its jurisdiction to include employees of any federal agency supporting a DOD mission abroad. But the law still does not apply to civilians working in areas not directly related to the U.S. military.
Blackwater operators involved in the September 16 shootings in Baghdad, which left 17 dead and another 24 wounded, were protecting U.S. diplomats under a State Department contract. It is therefore unclear whether the incident would fall under MEJA's jurisdiction. All contractors are immune from Iraqi law.
This loophole would be closed by the bill—sponsored by David Price, Democrat of North Carolina—that passed the House today by a margin of 389 to 30; all dissenting votes were cast by Republicans. A similar measure is expected to come before the Senate. If senators vote in similar numbers, any veto from President Bush could be easily swept aside.
The White House issued a statement yesterday, opposing Price's bill as carrying "unintended and intolerable consequences for crucial and necessary national security activities and operations." An AP reporter asking for clarification was referred to the Justice Department, which refused comment.
I loathe the Blue Angels. Always have. Maybe it's the screaming noise pollution. Or maybe it's the hundreds of millions of taxpayer dollars wasted on what is essentially a PR stunt. I used to think it was mostly those things, when for the past 10 years, I have had to brace myself for oohs and ahhs on the streets of San Francisco when the Angels come to town.
But now I hate them even more, and less. More because I now have a cousin who's an Air Force pilot who's flying real fighter jets in a real war in Iraq. It's one thing to waste millions of dollars during peacetime, but wholly another to do so when we are sinking hundreds of billions into a war of desperation.
And less because, well, the Armed Forces are desperate for recruits. So the show of speed and acrobatics serves an actual purpose these days. The military needs to spread the patriotic flame amongst everyday citizens, whether it's the Navy's Angels above the Golden Gate or the Marines handing M16s to kids in Times Square. Without a draft recruiting tactics have to become more and more creative. I am not hoping for an onslaught of enlistments necessarily, but it would be nice if we all woke up and realized what the stretch of our military means for those currently fighting, and, who knows, the buzz of a fighter jet might be just the thing to wake us up.
I just want to echo Ezra Klein's thoughts on what he calls the "Democratic hack gap."
Here's what he means. Ann Coulter, that crazy-eyed banshee who moonlights as a conservative commentator, recently said, "If we took away women's right to vote, we'd never have to worry about another Democratic president. It's kind of a pipe dream, a personal fantasy of mine."
Soooo, that's pretty nuts. But liberals won't make a big deal out of it for two reasons: (1) they just want Ann Coulter to go away, and pulling their hair out over her latest piece of insanity will just draw more attention to her, and (2) this quote is obviously out of Coulter's quasi-tongue-in-cheek rhetorical register, and because it appears half-serious liberals feel stupid arguing its merits.
Fair enough. But Ezra points something else out. He writes, "There'll be a fair amount of meta commentary on why this doesn't make it into the papers, or get the sort of coverage that the "Betrayus" ad did, but not a lot of genuine, direct outrage that would actually launch it into said papers. But there should be. It's a despicable thing to say."
He could just as easily replace "genuine outrage" with "phony outrage" — functionally, it's the same thing. We need more Rush Limbaughs on the left, the argument goes. More Sean Hannitys and Michelle Malkins. Dare I say, more Ann Coulters.
Whether or not we'd still want to be liberals if we shared our political space with the likes of those is up for debate (we don't win just for playin' nice, folks), but the fact that the hack gap exists cannot be denied.
Was it really almost 30 years ago that Siouxsie & the Banshees, along with their buddies in The Cure, defined what it means to be goth? Just imagine: if they had decided to wear orange instead of black, how different the club scene would be today. Fashion choices aside, the Banshees, like Blondie, always seemed subsumed under the sheer force of their singer's personality, and their music naturally evolved towards pop, with the success of "Peek-a-boo" the greatest evidence of that transformation. But even that was 20 years ago. Does Ms. Sioux survive the transformation into a one-name persona?
Well, thankfully, her voice is as unique and captivating as ever. Check out "About to Happen," where she struts and teases her way over a beat somewhere between the retro-rock of Wolfmother and the glammy electro of Goldfrapp: "Tension mounts / about to blow." "Here Comes That Day," with its trumpets and loping beat, could be straight out of the Mark Ronson/Amy Winehouse school of updated R&B, but in Siouxsie's hands, it takes on a kind of vampy, cabaret-style appeal. That cabaret sound emerges full force by track 5, "If It Doesn't Kill You," where you can almost see the well-dressed patrons in a smoky lounge, drinking martinis as Siouxsie drapes herself over a piano.
Mostly, though, the sound is definitely current, but still idiosyncratic: it never tries too hard, and despite Siouxsie's longtime absence from music, there's nothing desperate about Mantaray. There's also nothing that urgent; if you never cared about Siouxsie and the Banshees, you probably won't discover yourself falling in love with Siouxsie now. It's the way of the world: a solo record, 30 years after your band helped ignite a whole movement, will probably be a more sedate, professional affair. But if that's a given (and considering how embarrassing these late-career "returns" can be), Mantaray is often very good, both as a tribute to Siouxsie the image, and as a purely enjoyable listen.
Mantaray is out now on Decca. MP3s: "Here Comes That Day," "Into a Swan," and "If It Doesn't Kill You" from Nine Bullets