{"id":984,"date":"2005-01-18T10:45:53","date_gmt":"2005-01-18T18:45:53","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2005\/01\/an_absurd_question\/"},"modified":"2005-01-18T10:45:53","modified_gmt":"2005-01-18T18:45:53","slug":"an_absurd_question","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2005\/01\/an_absurd_question.html","title":{"rendered":"AN ABSURD QUESTION"},"content":{"rendered":"

Whom to believe, Seymour Hersh<\/FONT><\/B><\/A> or the Bush regime<\/FONT><\/B><\/A>? Given the regime’s
\ntrack record, can there be any doubt? The comprehensive report<\/FONT><\/B><\/A> that found no WMD in Iraq<\/FONT><\/B><\/A> — which
\ncontradicted nearly every prewar assertion about Iraq made by the regime’s top officials<\/I>
\n— ought to make clear that the regime can’t be believed. And so should its other exposed lies
\nabout Iraq, such as the fine progress we’ve made there, and now about Social Security’s so-called
\nimminent crisis. The trouble is, the government’s practiced crisis-mongering<\/FONT><\/B><\/A> has
\nbecome standard operating procedure; the November election put paid to accountability; and
\nwe’re stuck with Georgie Boy, as well as his lies, for the next four years.<\/p>\n","protected":false},"excerpt":{"rendered":"

Whom to believe, Seymour Hersh or the Bush regime? Given the regime’s track record, can there be any doubt? The comprehensive report that found no WMD in Iraq — which contradicted nearly every prewar assertion about Iraq made by the regime’s top officials — ought to make clear that the regime can’t be believed. And […]<\/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-984","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-fS","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/984","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=984"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/984\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=984"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=984"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=984"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}