Bunnatine Greenhouse<\/FONT><\/B><\/A> wrote her
\nobjections on a version of the $165-million extension proposal. She scrawled comments such as:
\n“I cannot approve this”; “Incorrect!”; “No! How!”; and “Not a valid reason.”<\/P>
\nAfter Greenhouse raised her objections, she was threatened with demotion. She nonetheless
\nrecorded her complaints in a letter her lawyer wrote to acting Army Secretary Les Brownlee. As
\nreported in the Times and elsewhere, Halliburton is being probed by the FBI in an expanded
\ninvestigation of alleged company overcharges of millions of dollars for fuel deliveries in Iraq.<\/P>
\n
Halliburton’s response to the Greenhouse case is the usual. The company blames politics. “On
\nthe overall issues, the old allegations have once again been recycled, this time one week before the
\nelection,” a spokeswoman is quoted as saying.<\/P>
\n
“But,” Miller writes, “the previously undisclosed documents are part of a growing body of
\nevidence indicating unusual treatment was given to government contracts won by the
\nHouston-based firm.<\/P>
\n
“Career civil servants repeatedly raised objections to contracting decisions that benefited
\nHalliburton, only to be overruled by higher-ups.”<\/p>\n","protected":false},"excerpt":{"rendered":"
In case you missed it, here’s another reason to throw the bums out: The Los Angeles Times reports it has obtained documents showing that Halliburton, Bunker Boy’s old company, won a lucrative extension of its no-bid military contract after the U.S. Army Corps of Engineers did an end-run around its own chief contracting officer, who […]<\/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-888","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-ek","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/888","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=888"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/888\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=888"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=888"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=888"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}