{"id":6101,"date":"2013-04-10T11:10:48","date_gmt":"2013-04-10T15:10:48","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/?p=6101"},"modified":"2013-04-11T10:34:08","modified_gmt":"2013-04-11T14:34:08","slug":"topor-nails-it-drone-attack-avant-la-lettre","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2013\/04\/topor-nails-it-drone-attack-avant-la-lettre.html","title":{"rendered":"
Topor Nails It: Drone Attack Avant la Lettre<\/em>"},"content":{"rendered":"
<\/a>


From the ‘Panic’ drawings by Topor. Click for video.<\/a><\/p><\/div>\n

And for further edification, there’s “A Secret Deal on Drones, Sealed in Blood”<\/a> about the “origins of the C.I.A.’s drone war in Pakistan” by Mark Mazzetti and “Targeted Killing Comes to Define War on Terror,”<\/a> about the policy of the “drone campaign” by Scott Shane. They’re part of a continuing NY Times series. Mazzetti’s latest<\/a> tells “how a single spy helped turn Pakistan against the United States.”<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

And for further edification, there’s “A Secret Deal on Drones, Sealed in Blood” about the “origins of the C.I.A.’s drone war in Pakistan” by Mark Mazzetti and “Targeted Killing Comes to Define War on Terror,” about the policy of the “drone campaign” by Scott Shane. They’re part of a continuing NY Times series. Mazzetti’s latest […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[19,17],"tags":[],"class_list":{"0":"post-6101","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-art","7":"category-political-culture","8":"entry","9":"has-post-thumbnail"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-1Ap","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/6101","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=6101"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/6101\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=6101"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=6101"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=6101"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}