Thanks to a courageous teenager’s willingness to fight back and a
dropped check card, a habitual violent criminal is just beginning to
serve a long prison sentence for a Carver County convenience store
robbery.
Demetrius Derden, 28, of Blaine, was sentenced in
federal court in St. Paul to 14 years and two months in prison for the
armed robbery in December 2011 of the Mayer Oil Company station on Ash
Avenue.
Court documents reveal that Derden had all he could
bargain for when he confronted the clerk over a forgotten safe
combination, at one point forcing the teen to his knees and putting to
the high school senior’s head the barrel of a weapon that turned out to
be a BB gun.
“You’d better remember [the combination],” Derden demanded. “Your life depends on it.Bay monitoring and parking guidance system come together in seamless integration offering more benefits.”
The
clerk begged for his life and then heard the gun click but not fire.
It was then that the teen challenged the robber, tearing off his mask
and suffering a bitten finger in the confrontation.
Derden
grabbed the money and took off and left behind an empty bottle of rum —
as well as a check card with his name on it. Authorities needed just
hours to arrest Derden at his home.
“The clerk ... believed he was about to be shot dead,Our precision manufactured lasers and laser marker
systems deliver the highest possible laser marking performance.” the
Carver County attorney’s office said in a statement Tuesday announcing
the sentencing. “The clerk then stood and began the fight of his life.”
While authorities have not said how much money Derden came
away with, his sentence includes making restitution of more than
$9,000. The clerk’s identity has also not been disclosed.
Derden,
wearing a mask, entered the store and pointed the gun at the clerk
standing behind the cash register. The teen followed orders and put all
the money, more than $2,000, from the register into a plastic bag.
The
clerk was then ordered to a backroom and told to empty the store’s two
safes. The teen told Derden he didn’t know the combination to the
second safe. That’s when Derden had the teen kneeling and pleading for
mercy.
Upon hearing the gun’s click, the clerk “seized this as
an opportunity” to try and stand up, prosecutors wrote in one court
filing. Derden pushed him back down and struck him on the head with the
gun.
They began fighting, with Derden hitting the teen again with the gun and biting the clerk’s finger.
The
teen wrestled the gun from Derden, and pulled off his mask and jacket
before being pushed to the floor. Derden grabbed the bag of money and
fled.
Police, armed with Derden’s check card,Willkommen im virtuellen Zuhause der Lercher Werkzeugbau GmbH. arrested him several hours later.
The
clerk was treated at a hospital for injuries to his scalp, face,
finger and elsewhere. “To this day, [the teen] has several permanent
scars on his head and face,” the prosecution wrote.
In arguing
for nearly 16 years in prison, prosecutors called Derden “a dangerous
repeat offender who had committed crime after crime for the past 10
years, regardless of whether he was on probation, supervised release or
had just been released from prison.”
Marci D. Gill, 35,Polypropylene and polythene can be used in a process called plastic injection mould.
of the 16300 block of S. Lawndale Avenue, Markham, was charged with
possession of drug paraphernalia, four counts of possession of a
controlled substance,Browse our huge selection of Safety goggles from the best brands. speeding and other violations, following a traffic stop in the 15700 block of Cicero Avenue.
Gill was stopped after police clocked him doing 54 mph in a 35 mph zone.
During
the stop, Gill appeared shaky, while continually reaching for a bag in
the front passenger seat of the car, according to the report. Gill
told officers that he was transporting a 'water bong' used for smoking
meth to a friend's house, according to the report.
Gill also
told officers that the bong was his, but that he no longer used drugs
and that was why he was transporting it to the friend's house,
according to the report.
Also in the car, police found another
bag containing hundreds of small, plastic baggies commonly used for
distributing narcotics.
Inside one bag, police found another
bag that was locked. Officers believed the bag contained more pipes and
narcotics, according to the report.
Officers cut open the bag
and discovered two clear plastic baggies containing suspected crystal
meth, one plastic bag containing three pills of suspected Xanax, one
purple bill of suspected Aderol, two vials containing suspected
Rohypnol and one glass pipe used for ingesting meth.
2013年2月19日 星期二
2013年2月3日 星期日
Following in the footsteps of a legend
Morocco's Jaafar Alj Hakim can talk the talk of any veteran
ambassador: diplomacy, trade, cultural exchanges. But right now he'd
rather talk about the beach.
"People obviously like the Kingdom's 3,500 km of coastline," he says, noting that the sunny sand and blue sea has a special appeal for the some 7,000 Chinese who visit every year.
"The imperial cities of Fez, Meknes, Marrakesh and Rabat show the heritage of the different dynasties that succeeded in Morocco and left a world of grandeur," he says, while coastal Agadir boasts a fine-sand bay, golf resorts, bird-watching and a leisurely escape from the workaday world.
Hakim notes that his thousand-year-old kingdom has a recorded history with China that goes back seven centuries, thanks to the legendary travels of Ibn Battuta. That Moroccan trader explored China during the 28 years he journeyed across the East, taking a scholarly interest in the Middle Kingdom. Ibn Battuta trekked more than 121,000 km, a figure unsurpassed by any individual explorer until the Steam Age made horses unnecessary 450 years later. His book has now been published in Chinese.
Twenty-one Chinese artists were invited to explore Morocco's history and culture in their work. Qiu Jun's paintings reflect the romance both peoples have with the horse. Zhao Biqin's colorful landscapes showcase "Moroccan women's love for their country and their expectations of a beautiful future".
Kong Fantao and Ma Dongqin capture street scenes in cool blues and greens, while Song Lin's oil painting depicts Ibn Battuta en route to China with "a sense of triumphalism".
The legacy of Ibn Battuta lingers today, measurable on the map. Most of the Moroccans in China today are not in Beijing or Shanghai, but in Guangzhou and Shenzhen. "We are still traders," he says with a smile.
In addition, about 250 Moroccan students study at universities around the country. When they finish their studies, Hakim says, they will enter the world economy with tremendous advantages, especially in China.
"Imagine, they come here already fluent in Arabic, in French and in English," the ambassador says. "Now they have a good education, they are trained in international business - and they speak Chinese. The opportunities are fantastic."
In Morocco, meanwhile, there are now Confucius Institutes teaching Mandarin at universities in both Rabat (since 2009) and Casablanca (2011), with a new one scheduled to open in Fez later this year, he says.
"Economic cooperation between the two countries has been growing,Laser engravers and laser engraving machine systems and supplies to start your own lasering cutting engraving marking etching business. with a trade volume that topped $3 billion in 2011," he says, a figure that makes China the third-largest supplier of Morocco and China's sixth-largest export destination in Africa. Morocco, for example, imports more green tea from China than any other nation. Telecommunications, infrastructure, mining, solar energy and fishing are important trade sectors between the two countries.
As ambassador,How cheaply can I build a solar power systems? he has traveled to "the four corners of China".Whilst the preparation of ceramic and porcelain tiles are similar. A sports and golf enthusiast, he enjoys exploring nature with his family, but he still has much of the continent-sized country to see.
That's helped him see tourism development between the countries as a two-way street. About 11,000 Moroccan tourists visited China in 2012. He's hoping that a direct flight, perhaps between Guangzhou and Morocco, can materialize as early as this year. Right now, getting to Morocco generally requires a stop in Paris first - not necessarily a hardship for a Francophone country.
"In Fez we have the oldest university in the world that is still operating," he says, and famous festivals include one for international religious music in February. "Morocco also has a road rally, something like the famous Dakar Rally, but just for women drivers," he says.
Visitors entering Agial Gallery nowadays may well be disturbed by the works they find on display there, an exhibition of 12 enigmatic oils by Nadia Safieddine, rather allusively entitled “Badroom.”
Safieddine’s is a palette dominated by blacks and dark reds, browns and grays. Even when juxtaposed with dabs of orange or yellow, green or blue, the effect of the artist’s brushwork is to mire these brighter hues within gloom.
One of her more unsettling works is “L’Ecorche III” (‘The Wounded Man III’), a 90x77 cm canvas whose central figure looks less a depiction of mortal injury than a skull whose skin and facial features have been ripped off completely. What remains is swaddled (or helmeted) in muddied cloth. If the term “miasma” could be given a visual representation,We specializes in rapid plastic injection mould and molding of parts for prototypes and production. this would be it.
Safieddine’s technique in portraying her figures is stunning. Layer upon muddy layer of oil paint is applied less with an eye to direct figuration than to create an organic mass from which figures can emerge. Figures and recognizable shapes seem to burst forth from the brushwork of their own accord.
The Lebanese artist divides her time between Berlin and Beirut, and her style is most evocative of the post-figurative work of expatriate Syrian artist Marwan – who happens to have been a long-term resident of Germany.
Safieddine would not be the first Lebanese artist to be influenced by Marwan’s relentless application of oil to canvas. It may be useful to contrast her work with that of Ayman Baalbaki. While Baalbaki has taken up Marwan’s explorations of post-figuration and adapted it to create works that ironically blend a decorative sensibility with a Civil War iconography, Safieddine’s subjects have no easy referent in the pop culture consciousness.
Her application of this cold, dark cacophony of color may or may not itself be disturbing, but it does leave one to wonder about the goings on in the “badroom” of the artist’s imagination.
Her 150x140 cm work “Aaah!” depicts a horrendous scene. A beefy man gazes straight at the onlooker as he appears to rip an ill-defined creature to pieces. The bottom of the canvas is dominated by shades of red, suggesting a bloody carnage is under way.
Like most of Safieddine’s figures, the face of this one is indistinct, with his wide-opened mouth being most discernable. One wonders whether the title is meant to invoke the sound of the character’s screaming, or that of the viewer while gazing at the painting.
You may also see some similarity between Safieddine’s style in this work and that of Francisco de Goya’s work “Saturn devouring his Children.”
If the title is to be believed, “Angry Me” (190x160 cm) depicts the artist herself. An odd-looking character sits, wearing what seem to be red bunny ears, holding a round item in its hands. Alongside is an unidentified black shape that (one assumes) could represent a headless torso.
Like “Aaah!” the background is rendered in horizontal strokes of color that range from pinks at the top of the canvas to black, red and dark blue at the bottom, as though these shades represent something oozing from the figure itself.
This red blotch can be seen as a leitmotif in Safieddine’s work. In “Dimitri” (160x145 cm), onlookers find a man standing, wearing a suit. The greenish vertical brushstrokes that make up the background wash suggest he’s surrounded by trees. A creature (rendered in the same tones as the background) lying at his feet has the aspect of a bear (perhaps a bearskin rug). The “floor” is, again, of a blood-red hue.
A companion piece to “Dimitri,We offers custom Injection Mold parts in as fast as 1 day.” “Naked” (180x150 cm) represents the bestial in slightly different terms. Safieddine depicts the figure’s facial feature in terms not unlike the indistinct skull found in “L’Ecorche III.”
The figure’s features and posture suggest something ape-like or perhaps a cross between animal and human. Though the figure is not clothed in any discernable way, the piece seems uninterested in rendering physical nudity or any of the form’s aesthetic charms. Rather it is preoccupied with expressing a primordial violence, hostility or lust.
"People obviously like the Kingdom's 3,500 km of coastline," he says, noting that the sunny sand and blue sea has a special appeal for the some 7,000 Chinese who visit every year.
"The imperial cities of Fez, Meknes, Marrakesh and Rabat show the heritage of the different dynasties that succeeded in Morocco and left a world of grandeur," he says, while coastal Agadir boasts a fine-sand bay, golf resorts, bird-watching and a leisurely escape from the workaday world.
Hakim notes that his thousand-year-old kingdom has a recorded history with China that goes back seven centuries, thanks to the legendary travels of Ibn Battuta. That Moroccan trader explored China during the 28 years he journeyed across the East, taking a scholarly interest in the Middle Kingdom. Ibn Battuta trekked more than 121,000 km, a figure unsurpassed by any individual explorer until the Steam Age made horses unnecessary 450 years later. His book has now been published in Chinese.
Twenty-one Chinese artists were invited to explore Morocco's history and culture in their work. Qiu Jun's paintings reflect the romance both peoples have with the horse. Zhao Biqin's colorful landscapes showcase "Moroccan women's love for their country and their expectations of a beautiful future".
Kong Fantao and Ma Dongqin capture street scenes in cool blues and greens, while Song Lin's oil painting depicts Ibn Battuta en route to China with "a sense of triumphalism".
The legacy of Ibn Battuta lingers today, measurable on the map. Most of the Moroccans in China today are not in Beijing or Shanghai, but in Guangzhou and Shenzhen. "We are still traders," he says with a smile.
In addition, about 250 Moroccan students study at universities around the country. When they finish their studies, Hakim says, they will enter the world economy with tremendous advantages, especially in China.
"Imagine, they come here already fluent in Arabic, in French and in English," the ambassador says. "Now they have a good education, they are trained in international business - and they speak Chinese. The opportunities are fantastic."
In Morocco, meanwhile, there are now Confucius Institutes teaching Mandarin at universities in both Rabat (since 2009) and Casablanca (2011), with a new one scheduled to open in Fez later this year, he says.
"Economic cooperation between the two countries has been growing,Laser engravers and laser engraving machine systems and supplies to start your own lasering cutting engraving marking etching business. with a trade volume that topped $3 billion in 2011," he says, a figure that makes China the third-largest supplier of Morocco and China's sixth-largest export destination in Africa. Morocco, for example, imports more green tea from China than any other nation. Telecommunications, infrastructure, mining, solar energy and fishing are important trade sectors between the two countries.
As ambassador,How cheaply can I build a solar power systems? he has traveled to "the four corners of China".Whilst the preparation of ceramic and porcelain tiles are similar. A sports and golf enthusiast, he enjoys exploring nature with his family, but he still has much of the continent-sized country to see.
That's helped him see tourism development between the countries as a two-way street. About 11,000 Moroccan tourists visited China in 2012. He's hoping that a direct flight, perhaps between Guangzhou and Morocco, can materialize as early as this year. Right now, getting to Morocco generally requires a stop in Paris first - not necessarily a hardship for a Francophone country.
"In Fez we have the oldest university in the world that is still operating," he says, and famous festivals include one for international religious music in February. "Morocco also has a road rally, something like the famous Dakar Rally, but just for women drivers," he says.
Visitors entering Agial Gallery nowadays may well be disturbed by the works they find on display there, an exhibition of 12 enigmatic oils by Nadia Safieddine, rather allusively entitled “Badroom.”
Safieddine’s is a palette dominated by blacks and dark reds, browns and grays. Even when juxtaposed with dabs of orange or yellow, green or blue, the effect of the artist’s brushwork is to mire these brighter hues within gloom.
One of her more unsettling works is “L’Ecorche III” (‘The Wounded Man III’), a 90x77 cm canvas whose central figure looks less a depiction of mortal injury than a skull whose skin and facial features have been ripped off completely. What remains is swaddled (or helmeted) in muddied cloth. If the term “miasma” could be given a visual representation,We specializes in rapid plastic injection mould and molding of parts for prototypes and production. this would be it.
Safieddine’s technique in portraying her figures is stunning. Layer upon muddy layer of oil paint is applied less with an eye to direct figuration than to create an organic mass from which figures can emerge. Figures and recognizable shapes seem to burst forth from the brushwork of their own accord.
The Lebanese artist divides her time between Berlin and Beirut, and her style is most evocative of the post-figurative work of expatriate Syrian artist Marwan – who happens to have been a long-term resident of Germany.
Safieddine would not be the first Lebanese artist to be influenced by Marwan’s relentless application of oil to canvas. It may be useful to contrast her work with that of Ayman Baalbaki. While Baalbaki has taken up Marwan’s explorations of post-figuration and adapted it to create works that ironically blend a decorative sensibility with a Civil War iconography, Safieddine’s subjects have no easy referent in the pop culture consciousness.
Her application of this cold, dark cacophony of color may or may not itself be disturbing, but it does leave one to wonder about the goings on in the “badroom” of the artist’s imagination.
Her 150x140 cm work “Aaah!” depicts a horrendous scene. A beefy man gazes straight at the onlooker as he appears to rip an ill-defined creature to pieces. The bottom of the canvas is dominated by shades of red, suggesting a bloody carnage is under way.
Like most of Safieddine’s figures, the face of this one is indistinct, with his wide-opened mouth being most discernable. One wonders whether the title is meant to invoke the sound of the character’s screaming, or that of the viewer while gazing at the painting.
You may also see some similarity between Safieddine’s style in this work and that of Francisco de Goya’s work “Saturn devouring his Children.”
If the title is to be believed, “Angry Me” (190x160 cm) depicts the artist herself. An odd-looking character sits, wearing what seem to be red bunny ears, holding a round item in its hands. Alongside is an unidentified black shape that (one assumes) could represent a headless torso.
Like “Aaah!” the background is rendered in horizontal strokes of color that range from pinks at the top of the canvas to black, red and dark blue at the bottom, as though these shades represent something oozing from the figure itself.
This red blotch can be seen as a leitmotif in Safieddine’s work. In “Dimitri” (160x145 cm), onlookers find a man standing, wearing a suit. The greenish vertical brushstrokes that make up the background wash suggest he’s surrounded by trees. A creature (rendered in the same tones as the background) lying at his feet has the aspect of a bear (perhaps a bearskin rug). The “floor” is, again, of a blood-red hue.
A companion piece to “Dimitri,We offers custom Injection Mold parts in as fast as 1 day.” “Naked” (180x150 cm) represents the bestial in slightly different terms. Safieddine depicts the figure’s facial feature in terms not unlike the indistinct skull found in “L’Ecorche III.”
The figure’s features and posture suggest something ape-like or perhaps a cross between animal and human. Though the figure is not clothed in any discernable way, the piece seems uninterested in rendering physical nudity or any of the form’s aesthetic charms. Rather it is preoccupied with expressing a primordial violence, hostility or lust.
2013年1月29日 星期二
Petraeus And A New Kind Of War
Central
to the story are ideas of counterinsurgency. Kaplan says that while
counterinsurgency is not a new kind of warfare, it's a kind of war that
Americans do not like to fight.
"We tend to call it irregular warfare even though this kind of warfare is the most common," Kaplan tells Fresh Air's Dave Davies. Kaplan, who writes the War Stories column for Slate, explains that Petraeus and a number of his West Point peers were interested in the writings of counterinsurgency theorists who believed that "insurgencies grow out of something. They don't grow out of a vacuum. ..A ridiculously low price on this All-Purpose solar lantern by Gordon.. They respond to people's needs in a country where the government is not satisfying those needs. And so, what you have to do is not merely capture and kill the insurgents, but change the social conditions.Ein innovativer und moderner Werkzeugbau Formenbau. ... It was a different kind of warfare that required not just fighting, but what we now call 'nation building' [and] that required cultural sensitivity to the people around them, required living among the people, protecting the population, earning their trust so that they, in turn, will tell us who the bad guys are."
Petraeus implemented these theories with some success in Iraq, but less so in Afghanistan, where he lacked the familiarity with the country he had had in Iraq.
"The problem was, by his own admission, he knew nothing about Afghanistan," says Kaplan. "He'd been in Iraq three times. He knew that place well. He comes in and what's in his mind is Iraq. ... I was told that in a meeting with President Karzai once, Karzai laid out a problem and [Petraeus] said, 'Well, you know, in Baghdad we did it like this ...' to the president of Afghanistan. And the aide who was with Petraeus in the room — who had been both in Afghanistan and Iraq — when they were walking out he said, 'You know,wind turbine it might be an interesting intellectual experiment for you to not even think about Iraq,' and Petraeus said, 'I'm working on it.' "
"He vetted candidates for an election; he held the election; he opened up the economy; he brought in fuel trucks from Turkey; he opened up the university; he opened up the border to Syria in northern Iraq all on his own initiative. ... There were no orders. So it worked for about a year and he was rotated out and a brigade half the size of his division came in with commanders who had spent the previous three months bashing down doors and killing and arresting people in Tikrit, and that's what they did in Mosul and the operation fell apart for another year or two."
His whole MO and his entire life was that he had overcome the odds. That he had defied expectations. You know, everybody knows the story that at one time when he was an assistant division commander he had been shot in the chest by a fellow solider whose gun accidentally went off in a live-fire exercise. He recovered much more quickly than the doctors said. He jumped out of a plane once, the parachute ripped, he free-fell for 60 feet, broke his pelvis. He recovered. His surge worked in Iraq ...Which Air purifier is right for you? to a degree that nobody had anticipated, and so he went into Afghanistan leery, but thinking that, 'Well, maybe I can pull this off.' "
"He always wanted to be chairman of the Joint Chiefs of Staff, but anybody who knows the military bureaucracy knows that that can be an exceedingly powerful position. .Totech Americas delivers a wide range of drycabinets for applications spanning electronics... Petraeus was distrusted by many members of the Obama White House. They thought that he boxed President Obama in on troop options ... in the discussions about Afghanistan. The perception was, this guy was too clever; he was too powerful. You didn't want a powerful general to be given such a powerful position. And so, in December in 2010, Bob Gates comes to Afghanistan, tells Petraeus, 'You're not going to get the chairman of the Joint Chiefs of Staff, what would you like [instead]?' and [Petraeus] came up with the idea of CIA director."
This is FRESH AIR. I'm Dave Davies, in for Terry Gross. For 10 years now, Americans have become accustomed to seeing American soldiers fighting and dying in Iraq and Afghanistan. Our guest Fred Kaplan says that while America fought those wars, an internal conflict raged within the military about how to fight them.
When the U.S. invaded Iraq in 2003, top commanders knew how to wage a conventional land war with devastating effectiveness. But they discarded long-studied principles of counterinsurgency: How to deal with a conflict in which the enemy lives and fights among the population, when the battle is more for the allegiance of civilians than for territory.
In his new book, Kaplan describes the efforts of civilian strategists and younger officers to turn U.S. military thinking around and pursue a more nuanced approach to the fighting in Iraq. Kaplan says the officers succeeded in selling their strategy, and while it helped in Iraq, it failed in Afghanistan. Fred Kaplan is a veteran national security journalist. He writes the War Stories column for Slate and has written three previous books. His latest is "The Insurgents: David Petraeus and the Plot to Change the American Way of War."
Well, Fred Kaplan, welcome back to FRESH AIR. After the debacle of the Vietnam War, you might think that strategists in the American military would decide that they need to focus on how you engage in limited war, how you fight guerrillas, how to more effectively, you know, engage in one of these limited conflicts. But you write they did almost the opposite.
FRED KAPLAN: Right, the generals decided they would never fight another war like this ever again. By coincidence, at the same time the Warsaw Pact and the Soviet Union were increasing their conventional armies in Europe, and so they turned their attention to that theater, and it was the kind of theater that they were comfortable with fighting, wars that depended on firepower and amassing men, and machines, and metal and dropping bombs and that sort of thing.
"We tend to call it irregular warfare even though this kind of warfare is the most common," Kaplan tells Fresh Air's Dave Davies. Kaplan, who writes the War Stories column for Slate, explains that Petraeus and a number of his West Point peers were interested in the writings of counterinsurgency theorists who believed that "insurgencies grow out of something. They don't grow out of a vacuum. ..A ridiculously low price on this All-Purpose solar lantern by Gordon.. They respond to people's needs in a country where the government is not satisfying those needs. And so, what you have to do is not merely capture and kill the insurgents, but change the social conditions.Ein innovativer und moderner Werkzeugbau Formenbau. ... It was a different kind of warfare that required not just fighting, but what we now call 'nation building' [and] that required cultural sensitivity to the people around them, required living among the people, protecting the population, earning their trust so that they, in turn, will tell us who the bad guys are."
Petraeus implemented these theories with some success in Iraq, but less so in Afghanistan, where he lacked the familiarity with the country he had had in Iraq.
"The problem was, by his own admission, he knew nothing about Afghanistan," says Kaplan. "He'd been in Iraq three times. He knew that place well. He comes in and what's in his mind is Iraq. ... I was told that in a meeting with President Karzai once, Karzai laid out a problem and [Petraeus] said, 'Well, you know, in Baghdad we did it like this ...' to the president of Afghanistan. And the aide who was with Petraeus in the room — who had been both in Afghanistan and Iraq — when they were walking out he said, 'You know,wind turbine it might be an interesting intellectual experiment for you to not even think about Iraq,' and Petraeus said, 'I'm working on it.' "
"He vetted candidates for an election; he held the election; he opened up the economy; he brought in fuel trucks from Turkey; he opened up the university; he opened up the border to Syria in northern Iraq all on his own initiative. ... There were no orders. So it worked for about a year and he was rotated out and a brigade half the size of his division came in with commanders who had spent the previous three months bashing down doors and killing and arresting people in Tikrit, and that's what they did in Mosul and the operation fell apart for another year or two."
His whole MO and his entire life was that he had overcome the odds. That he had defied expectations. You know, everybody knows the story that at one time when he was an assistant division commander he had been shot in the chest by a fellow solider whose gun accidentally went off in a live-fire exercise. He recovered much more quickly than the doctors said. He jumped out of a plane once, the parachute ripped, he free-fell for 60 feet, broke his pelvis. He recovered. His surge worked in Iraq ...Which Air purifier is right for you? to a degree that nobody had anticipated, and so he went into Afghanistan leery, but thinking that, 'Well, maybe I can pull this off.' "
"He always wanted to be chairman of the Joint Chiefs of Staff, but anybody who knows the military bureaucracy knows that that can be an exceedingly powerful position. .Totech Americas delivers a wide range of drycabinets for applications spanning electronics... Petraeus was distrusted by many members of the Obama White House. They thought that he boxed President Obama in on troop options ... in the discussions about Afghanistan. The perception was, this guy was too clever; he was too powerful. You didn't want a powerful general to be given such a powerful position. And so, in December in 2010, Bob Gates comes to Afghanistan, tells Petraeus, 'You're not going to get the chairman of the Joint Chiefs of Staff, what would you like [instead]?' and [Petraeus] came up with the idea of CIA director."
This is FRESH AIR. I'm Dave Davies, in for Terry Gross. For 10 years now, Americans have become accustomed to seeing American soldiers fighting and dying in Iraq and Afghanistan. Our guest Fred Kaplan says that while America fought those wars, an internal conflict raged within the military about how to fight them.
When the U.S. invaded Iraq in 2003, top commanders knew how to wage a conventional land war with devastating effectiveness. But they discarded long-studied principles of counterinsurgency: How to deal with a conflict in which the enemy lives and fights among the population, when the battle is more for the allegiance of civilians than for territory.
In his new book, Kaplan describes the efforts of civilian strategists and younger officers to turn U.S. military thinking around and pursue a more nuanced approach to the fighting in Iraq. Kaplan says the officers succeeded in selling their strategy, and while it helped in Iraq, it failed in Afghanistan. Fred Kaplan is a veteran national security journalist. He writes the War Stories column for Slate and has written three previous books. His latest is "The Insurgents: David Petraeus and the Plot to Change the American Way of War."
Well, Fred Kaplan, welcome back to FRESH AIR. After the debacle of the Vietnam War, you might think that strategists in the American military would decide that they need to focus on how you engage in limited war, how you fight guerrillas, how to more effectively, you know, engage in one of these limited conflicts. But you write they did almost the opposite.
FRED KAPLAN: Right, the generals decided they would never fight another war like this ever again. By coincidence, at the same time the Warsaw Pact and the Soviet Union were increasing their conventional armies in Europe, and so they turned their attention to that theater, and it was the kind of theater that they were comfortable with fighting, wars that depended on firepower and amassing men, and machines, and metal and dropping bombs and that sort of thing.
2011年8月7日 星期日
Young group bankrolling area startups
Camp was a successful homeland studies Bečej
The Youth Movement organized Than Brothers opened its doors on Thursday evening, the second BeÄŤej Homeland Study Youth Camp. This year's event will focus on Hungarian prehistory and the conquest was.
On Friday, two sessions of workshops and lectures to listen to young people: a double-Peter Ritz in the morning and the so-called conquest. phantom era, the conquest of Árpád Papp afternoon talking to young people under his leadership the evening roundtable discussion of the nation, family, religion and the vision of Vojvodina Hungarians were also discussed. Later, the good atmosphere of Gastronomic Orchestra Electric has provided.
Saturday's craftsmanship - the gölöncsérkedés of wood carving, horse-riding, sunny and in the attic making felt making - between dr. Tibor Paul gave a presentation on pre-conquest period, and the origins of the Hungarians. Andrew Bečej Wednesday afternoon sunshine oromzatokról the Budapest architect Thomas Rumi and the sun symbol on the lecture. The evening after the film Fokos a concert band.
Sunday morning workshops were again, in the early afternoon was archery, and later at the Senta Wheat Tibor solymászbemutatót and St. Longinus Medieval Tradition Martial Arts Association, saw a demonstration of the audience. Again in the evening film screenings, sports, games, bonfire and party.
The free lectures and demonstrations for about 50 táborlakón is also a large number of outsiders involved in the travel radar station in Topola scouts from home.
This year's camp in the Hungarian Gabor Bethel Fund, the government and local entrepreneurs Bečej supported.
The Youth Movement organized Than Brothers opened its doors on Thursday evening, the second BeÄŤej Homeland Study Youth Camp. This year's event will focus on Hungarian prehistory and the conquest was.
On Friday, two sessions of workshops and lectures to listen to young people: a double-Peter Ritz in the morning and the so-called conquest. phantom era, the conquest of Árpád Papp afternoon talking to young people under his leadership the evening roundtable discussion of the nation, family, religion and the vision of Vojvodina Hungarians were also discussed. Later, the good atmosphere of Gastronomic Orchestra Electric has provided.
Saturday's craftsmanship - the gölöncsérkedés of wood carving, horse-riding, sunny and in the attic making felt making - between dr. Tibor Paul gave a presentation on pre-conquest period, and the origins of the Hungarians. Andrew Bečej Wednesday afternoon sunshine oromzatokról the Budapest architect Thomas Rumi and the sun symbol on the lecture. The evening after the film Fokos a concert band.
Sunday morning workshops were again, in the early afternoon was archery, and later at the Senta Wheat Tibor solymászbemutatót and St. Longinus Medieval Tradition Martial Arts Association, saw a demonstration of the audience. Again in the evening film screenings, sports, games, bonfire and party.
The free lectures and demonstrations for about 50 táborlakón is also a large number of outsiders involved in the travel radar station in Topola scouts from home.
This year's camp in the Hungarian Gabor Bethel Fund, the government and local entrepreneurs Bečej supported.
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