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The McClatchy Newspapers report today that in the final weeks before the midterm Congressional elections of November 2006, presidential political advisor Karl Rove orchestrated a large-scale effort to suppress voter turnout among potentially Democratic constituencies, leveraging Department of Justice resources in the process. Key to the project were P. Kyle Sampson, Alberto Gonzales’s chief of staff, and Matthew Friedrich, then chief of staff in the Department’s Criminal Division.
Friedrich’s testimony and statements to Congressional investigators made clear that the decision to proceed with “voter fraud” charges in a series of dubious cases resulted from direction from partisan political operatives in the White House, including Rove.
Only weeks before last year’s pivotal midterm elections, the White House urged the Justice Department to pursue voter-fraud allegations against Democrats in three battleground states, a high-ranking Justice official has told congressional investigators.
In two instances in October 2006, President Bush’s political adviser, Karl Rove, or his deputies passed the allegations on to Attorney General Alberto Gonzales’ then-chief of staff, Kyle Sampson.
These and similar allegations make increasingly plain why Rove and the White House are going to such tremendous lengths to block his testimony under oath.
More from Scott Horton:
Six Questions — October 18, 2014, 8:00 pm
Nathaniel Raymond on CIA interrogation techniques.
I recently spent a semester teaching writing at an elite liberal-arts college. At strategic points around the campus, in shades of yellow and green, banners displayed the following pair of texts. The first was attributed to the college’s founder, which dates it to the 1920s. The second was extracted from the latest version of the institution’s mission statement:
The paramount obligation of a college is to develop in its students the ability to think clearly and independently, and the ability to live confidently, courageously, and hopefully.
Let us take a moment to compare these texts. The first thing to observe about the older one is that it is a sentence. It expresses an idea by placing concepts in relation to one another within the kind of structure that we call a syntax. It is, moreover, highly wrought: a parallel structure underscored by repetition, five adverbs balanced two against three.
Percentage of Britons who cannot name the city that provides the setting for the musical Chicago:
An Australian entrepreneur was selling oysters raised in tanks laced with Viagra.
A naked man believed to be under the influence of LSD rammed his pickup truck into two police cars.
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“Shelby is waiting for something. He himself does not know what it is. When it comes he will either go back into the world from which he came, or sink out of sight in the morass of alcoholism or despair that has engulfed other vagrants.”