{"id":840,"date":"2004-10-05T05:10:48","date_gmt":"2004-10-05T12:10:48","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2004\/10\/pm_briefing\/"},"modified":"2004-10-05T05:10:48","modified_gmt":"2004-10-05T12:10:48","slug":"pm_briefing","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2004\/10\/pm_briefing.html","title":{"rendered":"PM BRIEFING"},"content":{"rendered":"

Iraqi Prime Minister Ayad Allawi came halfway clean today. He admitted, in his first speech
\nto the interim national assembly in Baghdad, that the country’s “nascent police force is
\nunderequipped and lacks the respect needed from the public to quell the insurgency,” Edward Wong reports<\/FONT><\/B><\/A>. <\/P>
\n

“The tone of the speech was a sharp departure from the more optimistic assessment Dr.
\nAllawi gave to the American public on his visit to the United States last month,” Wong writes. (In
\nother words, Allawai did a double-twisting back flip<\/FONT><\/B><\/A>.) The
\nother half of his speech — that his bogus report to the American people was part
\nof the window dressing for our prevaricatin’ prez’s campaign — went unspoken.<\/P><\/p>\n","protected":false},"excerpt":{"rendered":"

Iraqi Prime Minister Ayad Allawi came halfway clean today. He admitted, in his first speech to the interim national assembly in Baghdad, that the country’s “nascent police force is underequipped and lacks the respect needed from the public to quell the insurgency,” Edward Wong reports. “The tone of the speech was a sharp departure from […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","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":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-840","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-dy","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/840","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\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=840"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/840\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=840"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=840"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=840"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}