New Post has been published on Obama News Report
New Post has been published on http://www.obamanewsreport.com/spray-cureton-condon-and-bugler-arlington-national-cemetery-2013-01-18/
spray-cureton-condon and bugler - Arlington National Cemetery - 2013-01-18
Check out these IRS Scandal images:
spray-cureton-condon and bugler – Arlington National Cemetery – 2013-01-18 Image by Tim Evanson Command Sgt. Major Mitchell D. Spray (left), Dr. Charles Cureton, and Ms. Kathryn Condon (right) during the installation of the new statue "The Bugler" at the Visitor Center at Arlington National Cemetery in Arlington County, Virginia, on January 18, 2013.
Kathryn Condon is the Executive Director of the US Army National Military Cemeteries, and has responsibility for both long-term planning and day-to-day administration of Arlington National Cemetery and the U.S. Soldiers’ and Airmen’s Home National Cemetery. A former IRS revenue officer, she joined the Army as a civilian management analyst at West Point in 1986. After stints at Fort Belvoir and the Base Realignment and Closure Commission, she joined the Management Directorate of the Chief of Staff of the Army in 1989. She was Acting Deputy for Program Analysis and Installation Assistance in the office of the Assistant Secretary of the Army from 1994 to 1997. Moving into the Senior Executive Service (the elite ranks of the U.S. civil service system), she was the Special Assistant for Resources and Military Support (1997-2000), the civilian Deputy to the Commanding General of the Army Materiel Command (2006-2009), and Special Assistant for Planning to the Under Secretary of the Army.
After the Arlington National Cemetery mismanagement scandal broke in July 2009, Arlington National Cemetery superintendent John C. Metzler, Jr., was removed from his position on May 19, 2010. (Metzler continued to oversee burials and operations until his planned retirement on June 10, 2010.) Condon was named Executive Director of the Army National Cemeteries Program on June 10, 2010.
Spray was appointed Command Sergeant Major of the U.S. Army Band (“Pershing’s Own”) in September 2011. He is only the third Command Sergeant Major in the history of the U.S. Army Band. Prior to his appointment, Spray was Drum Major of the U.S. Army Band from 2001 to 2011.
Dr. Charles H. Cureton (USMCR, ret.) is chief of the U.S. Army Center of Military History’s Museums Division. Cureton joined the Marine Corps in 1972 and was assigned to the Marine Corps Historical Center in 1983. He received his PhD in history from Miami University. (His dissertation was on the organizational development of the Virginia cavalry from 1646 to 1783.) Joining the Marine Corps Reserve, he rose to the rank of Lieutenant Colonel and spent the Persian Gulf War as a field historian with the 1st Marine Corps Division. He later was head of the U.S. armed forces history team sent to Somalia and Haiti. In 1997, he was appointed officer-in-charge of the Marine Corps Field History unit. He is an expert on Marine Corps dress. Before being appointed Chief of the Museums Division in September 1988, Dr. Cureton was director of the Frontier Army Museum at Fort Leavenworth and the 101st Airborne Museum at Fort Campbell.
The model for "The Bugler" was Staff Sergeant Jesse Tubb, a trumpet and bugle player with the Army Band ("Pershing’s Own") Concert Band. He joined the Army Reserves while in college and performed with the 91st Division Reserve Band from 1996 to 1999, and with the 70th Division Reserve Band from 1999-2002. In 2002, he joined the United Stated Army Field Band. In 2005, he won a position with the Army Band (“Pershing’s Own”) Ceremonial Band for two years, then moved up to the “Pershing’s Own” Concert Band.
"The Bugler" was manufactured by StudioEIS, a statuary company based in New York City. A cast of Tubb’s face and body was taken, and a fiberglass statue crafted. The statue was then painted and dressed with an actual bugle and US Army bugler’s uniform.
The statue is the centerpiece of a new exhibit at the Visitors Center, "Honor, Remember, Explore." It is the first revision to the Visitors Center since it opened in January 1990. Previously, there was limited signage and some wall-sized images, but little else to orient visitors about the cemetery, what goes on there, and what it means. The new exhibit contains a limited number of artifacts (replicas of the Medal of Honor of each service, and the bugle played during President Kennedy’s burial). Several computerized kiosks permit visitors to find where graves are located, discover the graves of famous people or high-ranking officers at the cemetery, learn about the monuments and structures at the cemetery, and more.
"The Bugler" is being installed 151 years after the tune "Taps" was first written. Also known as "Butterfield’s Lullaby", the tune was composed by the Brigadier General Daniel Butterfield while at Harrison’s Landing, Virginia, in July 1862. It is a variation on the tune "Scott Tattoo," a French bugle call that also signaled "lights out". The first three notes of any bugle call during the Civil War were unique to the general in charge. Thus, tfirst three notes of "Taps" are a sign to soldiers in Butterfield’s units to that it is Butterfield talking to them via the bugler. Oliver W. Norton was the first bugler play "Taps". "Taps" was adopted by both Union and Confederate forces within months.
"Taps" was officially recognized as a military bugle call by the U.S. Army in 1874, and a standard component of U.S. military funerals in 1891.
spray-cureton-condon – Arlington National Cemetery – 2013-01-18 Image by Tim Evanson Command Sgt. Major Mitchell D. Spray (left), Dr. Charles Cureton, and Ms. Kathryn Condon (right) speak with an unidentified man during the installation of the new statue "The Bugler" at the Visitor Center at Arlington National Cemetery in Arlington County, Virginia, on January 18, 2013.
Kathryn Condon is the Executive Director of the US Army National Military Cemeteries, and has responsibility for both long-term planning and day-to-day administration of Arlington National Cemetery and the U.S. Soldiers’ and Airmen’s Home National Cemetery. A former IRS revenue officer, she joined the Army as a civilian management analyst at West Point in 1986. After stints at Fort Belvoir and the Base Realignment and Closure Commission, she joined the Management Directorate of the Chief of Staff of the Army in 1989. She was Acting Deputy for Program Analysis and Installation Assistance in the office of the Assistant Secretary of the Army from 1994 to 1997. Moving into the Senior Executive Service (the elite ranks of the U.S. civil service system), she was the Special Assistant for Resources and Military Support (1997-2000), the civilian Deputy to the Commanding General of the Army Materiel Command (2006-2009), and Special Assistant for Planning to the Under Secretary of the Army.
After the Arlington National Cemetery mismanagement scandal broke in July 2009, Arlington National Cemetery superintendent John C. Metzler, Jr., was removed from his position on May 19, 2010. (Metzler continued to oversee burials and operations until his planned retirement on June 10, 2010.) Condon was named Executive Director of the Army National Cemeteries Program on June 10, 2010.
Spray was appointed Command Sergeant Major of the U.S. Army Band (“Pershing’s Own”) in September 2011. He is only the third Command Sergeant Major in the history of the U.S. Army Band. Prior to his appointment, Spray was Drum Major of the U.S. Army Band from 2001 to 2011.
Dr. Charles H. Cureton (USMCR, ret.) is chief of the U.S. Army Center of Military History’s Museums Division. Cureton joined the Marine Corps in 1972 and was assigned to the Marine Corps Historical Center in 1983. He received his PhD in history from Miami University. (His dissertation was on the organizational development of the Virginia cavalry from 1646 to 1783.) Joining the Marine Corps Reserve, he rose to the rank of Lieutenant Colonel and spent the Persian Gulf War as a field historian with the 1st Marine Corps Division. He later was head of the U.S. armed forces history team sent to Somalia and Haiti. In 1997, he was appointed officer-in-charge of the Marine Corps Field History unit. He is an expert on Marine Corps dress. Before being appointed Chief of the Museums Division in September 1988, Dr. Cureton was director of the Frontier Army Museum at Fort Leavenworth and the 101st Airborne Museum at Fort Campbell.
The model for "The Bugler" was Staff Sergeant Jesse Tubb, a trumpet and bugle player with the Army Band ("Pershing’s Own") Concert Band. He joined the Army Reserves while in college and performed with the 91st Division Reserve Band from 1996 to 1999, and with the 70th Division Reserve Band from 1999-2002. In 2002, he joined the United Stated Army Field Band. In 2005, he won a position with the Army Band (“Pershing’s Own”) Ceremonial Band for two years, then moved up to the “Pershing’s Own” Concert Band.
"The Bugler" was manufactured by StudioEIS, a statuary company based in New York City. A cast of Tubb’s face and body was taken, and a fiberglass statue crafted. The statue was then painted and dressed with an actual bugle and US Army bugler’s uniform.
The statue is the centerpiece of a new exhibit at the Visitors Center, "Honor, Remember, Explore." It is the first revision to the Visitors Center since it opened in January 1990. Previously, there was limited signage and some wall-sized images, but little else to orient visitors about the cemetery, what goes on there, and what it means. The new exhibit contains a limited number of artifacts (replicas of the Medal of Honor of each service, and the bugle played during President Kennedy’s burial). Several computerized kiosks permit visitors to find where graves are located, discover the graves of famous people or high-ranking officers at the cemetery, learn about the monuments and structures at the cemetery, and more.
"The Bugler" is being installed 151 years after the tune "Taps" was first written. Also known as "Butterfield’s Lullaby", the tune was composed by the Brigadier General Daniel Butterfield while at Harrison’s Landing, Virginia, in July 1862. It is a variation on the tune "Scott Tattoo," a French bugle call that also signaled "lights out". The first three notes of any bugle call during the Civil War were unique to the general in charge. Thus, tfirst three notes of "Taps" are a sign to soldiers in Butterfield’s units to that it is Butterfield talking to them via the bugler. Oliver W. Norton was the first bugler play "Taps". "Taps" was adopted by both Union and Confederate forces within months.
"Taps" was officially recognized as a military bugle call by the U.S. Army in 1874, and a standard component of U.S. military funerals in 1891.
The Shadows of Justice Image by Viewminder I hadn’t thought about those bastards for a while.
I really had wanted just to put the whole thing out of my mind.
Forgetting about it would be my salvation.
Knowing what I knew… seeing what I’d seen… it changed the way I looked at life.
I knew it was all so much more bullshit than anyone would ever have believed.
The whole sordid episode was so far in the back of my head along with all of the other bullshit that surrounded the scandal that I was actually starting to see the world as a better place again.
That felt good.
When the phone rang I noticed it was my mother on the caller I.D.
I hadn’t even got a ‘hello’ out when I hear her say ‘have you heard the news?’
It’s been a while since I’ve paid attention to the news… it all seems bad lately… it kinda bums me out…
‘No… I haven’t heard the news’ I said… pretty much expecting to hear about some fresh tragedy or other.
‘They indicted them… just now… the feds charged them… it was on the radio.’
‘Aw fuck’ I thought.
I was supposed to get some kind of advance warning… a couple of hours at least… maybe enough to arrange a quick little ‘vacation’ to an ‘unknown location.’
I wasn’t ready to deal with the media.
Those dudes are sharks man.
You ever find yourself in the middle of a history making scandal and you’ll see just how they behave.
The thing was… I knew what a lot of the media didn’t know…
There was a lot more ‘history’ to be made.
I knew because I’d already written it.
I knew that they hadn’t come close to exposing the enormity of the story even though I’d given them everything.
I knew there was a lot more for them to figure out.
I was actually hoping my name was long forgotten.
Not a chance.
That’s like hoping that the IRS will forget that you owe them money.
None of the stories in the ‘first wave’ mentioned me… and that was a little bit of a relief.
I knew though… I knew how it worked now… I knew it’d only be a matter of time before the initial story petered out and the media would be there digging deeper.
It was only a matter of time.
All I could hope for was that the ‘second wave’ of stories died down… that would show me that the ‘media cycle’ was waning.
If the next days stories dug deeper… my life was gonna get difficult really fast.
I wasn’t ready for this.
It had been almost three years since I blew the whistle.
And even then… it took me a couple of months of effort to convince the feds that it was really happening.
I had no idea back then how this stuff worked.
I mean… where do you find the number for the guy you gotta talk to when the government is killing hundreds… maybe thousands of people?
It ain’t in the phonebook… I can tell you that.
Three years of nothing but silence from the feds…
three years of putting my life and my family’s life back together…
and they hand up the indictments without even telling me they were coming.
Those guys were as tight as a drum… I mean absolutely tight… there was never a leak out of the US Attorney’s office.
Not one.
Man… the shit was about to hit the fan and I didn’t even have half a chance to duck it.
My nerves calmed down a little bit after I’d read the news on the computer…
There were almost two hundred stories on the wire in newspapers around the country after only a few hours.
It was amazing how the media could be such sharks on one hand and then not ask the most obvious and deserved questions on the other hand.
Nobody ever asked what the two officials who were indicted had to gain from doing it.
That’s the first freakin’ question that I would ask.
Sometimes I forget that it’s a tough case to understand.
I forget that I know what’s happened because I figured it out three years ago.
These people murdered innocent people.
Lots of them.
And no one talks about all the babies that died… all of the miscarriages and spontaneous abortions…
Nobody except the women in that town… and even they only talk about it in whispers.
I don’t know how much of the truth I know… but I know that what I know ‘is the truth.’
And I know that the government that’s supposed to protect us and our families…
they don’t seem too interested in the truth.
I had a sneaking suspicion that they’d throw the heads of a couple of low level officials on a platter to show the masses that they gave a flying fuck about them…
but It was pretty obvious to me that the feds weren’t interested in ‘the truth.’
That’s because ‘the truth’ would shock a whole bunch of people… it’d get the very masses they were trying to appease all riled up.
That’s why I wrote ‘the truth’ down a long time ago…
I made copies of it and gave it to the right people.
I blew that whistle three years ago because I had proof of what they were doing.
And it took me a long time… way too long… to convince the government that they should do something about it.
I knew it was murder from the moment I figured it all out.
COLD
BLOODED
MURDER.
