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So as I noted here earlier today, it turns out that Senator Norm Coleman’s home was renovated with the help of “Shari Wilsey, an interior designer. Wilsey, along with her husband Roger, are longtime friends of the Coleman’s and financial contributors to the Senator’s campaigns.The Wilsey’s even hosted a fundraiser for Senator Coleman during the Republican National Convention at their Summit Ave mansion, just blocks from the Coleman’s.”
Here’s a bit more: Shari Wilsey has been pals with Norm’s wife, Laurie “Blo & Go” Coleman, since high school, according to a past Star Tribune story. And Wilsey attended Coleman’s 2003 senate inauguration. And back in 2000, when he was mayor of St. Paul, Coleman booted several members of the Heritage Preservation Commission (after they opposed a development project he favored, according to the Star Tribune), and appointed replacements, including Wilsey.
As widely noted here and elsewhere, Coleman rented his Washington “crash pad” from a friend, Jeff Larson, whose consulting firm has been paid more than $1 million by Coleman’s P.A.C. And Coleman’s senate office in St. Paul hired Larson’s wife as a “casework supervisor,” and paid her more than $100,000. And Coleman’s wife is employed by Minneapolis-based Hays Companies, whose executives, spouses and employees have contributed more than $20,700 to Coleman’s campaigns. I’m not even going to go into the widely noted case of another very close friend of Coleman’s, Nasser Kazeminy.
And now another friend handles Coleman’s home renovation. (See the Coleman family’s kitchen, which was part of the renovation project, here.). How can Coleman have so many financial entanglements with his political supporters? At minimum, he’s guilty of extraordinarily poor judgment.
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.”