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Make sure to read the terrific op-ed in Sunday’s Fort Worth Star-Telegram on the massive boondoggle otherwise known as the F-22 fighter. The article is co-authored by James Stevenson, Winslow Wheeler, and Pierre Sprey–Sprey being the world’s greatest warplane designer/Pentagon critic/jazz and blues record producer. They write:
On Dec. 12, the Air Force announced with considerable fanfare at Langley Air Force Base in Virginia that its F-22 fighter had reached “full operational capability.” Air Combat Command commander Gen. John Corley called it a “key milestone.” Brimming with pride, a spokesman for the manufacturer, Lockheed, stated: “The F-22 is ready for world-wide operations”–and then added, “…should it be called upon.”
His afterthought makes the point: There are, of course, two wars going on, and the F-22 has yet to fly a single sortie over the skies of Iraq or Afghanistan. Nor has the Air Force announced any intention of sending the F-22 to either theater. The Air Force is quite right to keep the F-22 as far as possible from either conflict. The airplane is irrelevant to both, and were it to appear in those skies, it almost certainly would set U.S. and allied forces back.
More from Ken Silverstein:
Perspective — October 23, 2013, 8:00 am
How pro-oil Louisiana politicians have shaped American environmental policy
Postcard — October 16, 2013, 8:00 am
A trip to one of the properties at issue in Louisiana’s oil-pollution lawsuits
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.”