We are within days of the anniversary of the first revelations from Edward Snowden’s archive of NSA documents. The drum beat of new stories emerging from this trove continues even to this moment.¹ So, Glenn Greenwald’s book, No Place To Hide: Edward Snowden, the NSA, and the US Surveillance State might be greeted with a yawn, what could be new?

In fact, there is much that is new about how these stories have come to light and a very good overview of what we have learned about what Greenwald calls the US Surveillance State. This is a book in two parts. The first 89 pages read like a cross between a detective thriller and a spy story. There are hand offs of thumb drives at airport boarding gates, virgin computers, cell phones sealed off from the reach of the NSA by removing batteries or stuffed in freezers, meetings with a yet to be identified Snowden by an unsolved Rubik’s cube in hand. This part of the book also establishes who Snowden is and how he thinks and views the world and his place in it. This latter introduction of Snowden is completely consistent with the person we have already come to know through his video interviews broadcast a year ago.²

The second half (really it is 170 pages) is a well organized exploration of what has been revealed so far of the NSA’s goals and programs.

THE GIANT SUCKING SOUND – “COLLECT IT ALL”

It is chilling to understand that the internal ethos of the NSA is summed up by the phrase “collect it all” where “it” is all of the information flows in the telephone and internet in the world.  As expressed in the presentation slide “New Collection Posture” from 2010, this is implemented through six strategies: “Sniff It All”, “Know It All”, “Collect It All”, “Process It All, “Exploit It All, and “Partner It All”. Even if you have been following the revelations as published in the various news sources favored with direct access to the Snowden documents, it was hard to envision quite how comprehensive the vision of the NSA is.

BUREAUCRATS DRESSED UP AS JUDGES

Greenwald reiterates the well-known fact that so-called court, the Foreign Intelligence Surveillance Court, set up by congress to oversee activities of the NSA, FBI and others engaged in intercepting communications is not even an effective administrative element. He notes that in 2012 the “court” did not deny a single on of the 1789 applications. As i have argued earlier³ this so-called court lacks most of the important features that our tradition requires of a court – openness, representation of the plaintiff by a lawyer, and ability to confront accusers. The FISC is just a bunch of bureaucrats dressed up as judges.

BENIGN META DATA

Another issue that Greenwald deals with is the claim by the government and its apologists in the media and academia that the collection of meta data is not really an intrusion on privacy – the NSA is not collecting the content of the communications.(( earlier I have twice commented on this issue: “NSA Vacuuming, Meta Data, Mistaken Misleading Metaphors” and “The Uses of Metadata – an experiment you can conduct with your own life’s metadata“)) In a very telling note Greenwald repeats other privacy activists challenge to those claiming that meta data is benign that they release the meta data for all of their phone calls, emails, and other electronic communications. None have thus far taken up this challenge.

Greenwald touches on many other topics: the role of corporations, surveillance of US allies, many NSA software tools to exploit their data warehouses, privacy in human identity, and more.

In closing, Greenwald’s book is an excellent overview of the issues presented to date by the work done to understand the Snowden documents. And, it is actually a great read with its detective/spy thriller opening that engages the reader so effectively in the drama of the early days of the Snowden whistle blowing.

1. NSA Collecting Millions of Faces from Web Images http://www.nytimes.com/2014/06/01/us/nsa-collecting-millions-of-faces-from-web-images.html accessed 06012014 [↩]
2.  http://www.theguardian.com/world/video/2013/jun/09/nsa-whistleblower-edward-snowden-interview-videoand http://www.theguardian.com/world/video/2013/jul/08/edward-snowden-video-interview both accessed 06012014 [↩]
3. “FISA Court – Not a Court – an Administrative Rubber Stamp – Bureaucrats Dressed Up as Judges” http://currentmatters.markorton.com/2013/07/fisa-court-not-a-court-an-administrative-rubber-stamp-bureaucrats-dressed-up-as-judges/ [↩]

–Mark Orton

This review was originally posted at

Current Matters

thoughts on the passing scene from Mr. Wonderful’s World

New Cambridge Observer is a publication of the Harris Communications Group, an award-winning PR and marketing firm based in Cambridge, MA. Mr. Orton is a HarrisCom advisor.

Executive Producer Bryan Kane, Producer Brett Greene, Writer/Director Brandon Harris

Joined friends, family and other enthusiastic audience members on Saturday night, June 29,  for  the Boston premier of  feature film “Redlegs”  at the Roxbury Film Festival, at the Massachusetts College of Art.

I liked the film–which was written and directed by Brandon Harris (and executive produced by Brett Green –who happens to be my cousin). It’s about three 20-somethings trying to deal with their grief after a  childhood friend  is killed,  in  Cincinnati.

The film begins at the friend’s funeral and slowly unfolds– revealing the friends’ relationships with one another and with the victim, and where they are now, in their lives.

The  friends’ actions and reactions sometimes seem inexplicable–   irrational anger at one another; attempts to stay busy by playing frisby and attending sporting events;  beating up a guy who challenges them; incessant use of the “F-word.” But it  works because the point of the film is that they don’t know what to do or how to act–and,taken as a whole,    it all expresses the chaos of grief.

I found it especially interesting to see how a 20-something director portrayed the interactions of males his own age struggling to  define themselves and one another as men.

Congrats, guys!

Here’s the  favorable New York Times Review:  http://movies.nytimes.com/2012/05/25/movies/redlegs-by-brandon-harris-is-a-cincinnati-tale.html?_r=0 .

—Anita M. Harris

New Cambridge Observer is a publication of the Harris Communications Group, a public relations and digital marketing firm located in Cambridge, MA.

Here are photos I took at last night’s gala benefit for Bill Lichtenstein’s forthcoming film, “The American Revolution–a documentary on WBCN radio which Lichtenstein credits as instrumental (pun intended) in the political and cultural upheavals of the late 1960s.

A couple hundred people in the audience included  aging hippies, former (present?) dopers, professional and professorial types.  As an aging something or other myself, my only complaint was that there were no chairs…and it was a four hour show!

Please forgive my including three photos of Bill–wordpress glitch.

Anita M. Harris
New Cambridge Observer is a publication of the Harris Communications Group, a strategic PR/thought leadership/social media firm based in Kendall Square, Cambridge.

Interesting, unusual mix of romance, politics, environmentalism, international affairs, humor, seriousness; has moments that are really fun. The characters (and actors) are attractive, individualized, not cliched, even somewhat complex. The film serves an important purpose in humanizing an Arab sheik for an American audience–and brings up interesting issues about wealth, power, economic development, tradition and resistance to change.

I appreciated Salmon Fishing’s  poking fun at the British government–with humor that we don’t find, these days, in or about American politics. Although it was farfetched, I enjoyed it. My companions, both journalists, found it “too cute.”  I wondered when the movie was conceived and how much sense it makes now, given the current situation in the Middle East.
–Anita M. Harris

Anita Harris, a former journalist, is president of the Harris Communications Group–a Cambridge, MA, PR firm specializing in integrated marketing communications and thought leadership for clients in health, science, technology, energy and education, worldwide.

OK, I guess it’s time for me to weigh in on Sunday’s  Oscar ceremonies. My friends R,  A and I could not help but notice that  many of the be-gowned stars had bad hair: it was  either stringy,  in their faces or matted down, in patches.  Watching  from anything-goes Cambridge, even we were shocked. We liked Jennifer Hudson’s red dress and new figure and Oprah’s hair and straightforward presence (if not the boxiness of created by the stiching in her black  bodice). We  were a bit creeped out by Kirk Douglas and relieved when he made it through.  I thought Anne Hathaway was great in Love and Other Drugs, did a great job with her song,  and was a clear winner in the   best  gushiness category.

Which brings me to the point: James Franco. (Full disclosure–which I repeat whenever I get the chance–he is a cousin. Don’ t ask me how–but my mom grew up in Cleveland with Mitzi, his grandmother, and somehow, their  grandparents were related or perhaps two and the same). James’ Oscar appearance has been the topic of much discussion.

As my friend D wrote on Facebook: Can’t help it — after seeing Bob Hope and Billy Crystal, who can take Anne Hathaway and what’s-his-name seriously as Oscar hosts? At least bring back Alex Baldwin.

This month, Charles LeDray and Evelyn Rydz at the Institute of Contemporary Art, Boston,  and Leonardo Drew, at the DeCordova Museum in Lincoln, MA, share a common theme–all focus on decay and the passage of time.

DeDray makes small items–men’s clothing, thousands of tiny ceramic pots,  sculptures in stitched fabric, carved bone, and wheel-thrown clay. As ICA materials point out, the smaller-than-life formal suits, embroidered patches, ties, and hats, as well as scaled-down chests of drawers, doors, and unique, thimble-sized vessels–and even facsimiles of used clothing stores complete with dust, make the viewer feel large and encourage thought about the content of the constructions. For example the coat in the photo to the left encompasses all sorts of other clothing–bras, pants, tops–making the point that individuals are composites of their experiences and other people.

My friend E liked the exhibit–because it elicited people no longer with us.  S, who tends to save things, found it interesting.

Nearby, in the galleries housing winners in the ICA’s Annual Foster Prize Exhibit, Evelyn Rydz’s “intricate drawings of beaches, based on her own photographs–focus on objects she finds washed up on coastlines worldwide. ”

According to the ICA, this work explores ” the site where sea meets land”…and shows “characters with long stories to tell.” She “references the journey and transformation that these objects have undergone, illuminating their role as castaways in foreign landscapes.”

At the DeCordova, Drew’s show, “Existed”  highlights  “the cyclical nature of creation, decay, and regeneration through a selection of large-scale sculptures, installations, and works on paper.

Built from rows of stacked cotton and wooden boxes, stuffed with rags, covered with scavenged objects, and caked with rust to suggest degeneration, Drew’s sculptural work is made to resemble the detritus of everyday life.

The artist often ages his found and fabricated materials, employing a process that is physically and conceptually steeped in memory, history, and the passage of time. These disparate materials are often composed within a grid that organizes the chaos into an ordered structure.

 Not exactly the pleasantest of subjects.

And  I suppose it’s good to be able to find beauty in decay–or to make beauty of  it.

In pondering the  decisions to highlight these artists,  I can’t help but conclude that  the curators are  making  statements about the current state of civilization, politics, and art.  All of these artists are highly skilled at what they do. But  I ask, after exploring and commenting on decay and loss, what is left for them (and us?) to do?

Anita M. Harris

Anita M. Harris, a writer and photographer, is president of the Harris Communications Group of Cambridge, MA.

The pharmaceutical industry and especially Pfizer will hate Ed Zwick’s forthcoming movie–Love and Other Drugs–which portrays drug reps  as money-grubbing sex fiends.  

But while the  film, starring   Jake Gyllenhaal and Anne Hathaway,  is loaded withsex scenes and Viagra jokes, don’t be fooled: it’s funny and enjoyable for the most part but deals with some very difficult and provocative themes.

In the film,  neer-do-well salesman  Jamie Randall (Gyllenhaal) takes up with the beautiful and insightful  Maggie Murdoch (Hathaway) who, at age 26, has been diagnosed with Stage 1 Parkinson’s Disease. Like Erich Segal’s 1970 Love Story, the film portrays the joys of love but also the anguish that comes with any incurable illness– here, in the context of seemingly uncaring pharmaceutical and medical industries.

Hathaway is convincing, even mesmorizing as the artist and activist who brings old people to Canada to buy drugs. Gyllenhaal is believable and fun as a manipulative salesman who seduces, in one way or another, every woman he meets. The two portray their characters’ evolving realization/questioning of what’s important in life.

I enjoyed the film, but I left feeling unsettled and a bit disturbed–a result of tension between the funny and sad parts, worry about the future of the characters—and wonder about how I myself might deal with a loved one’s serious health issues

My friend K commented that while he liked the film, he felt it was opportunistic –that Zwick and the actors will make a ton of money–while people with Parkinsons and other incurable, debilitating diseases will just go on struggling. 

But I thought Zwick did a great job of personalizing and making more manageble what can sometimes seem like overwhelming problems,  and that he has performed an important service by asking serious questions in a way that will be palatable to a  mass audience.

I recently met Zwick– who was having a publicity photo  taken at the Charles Hotel in Cambridge–and asked why he made the film. It wasn’t for money, he said. He’d been impressed with Jamie Reidy’s  non-fiction book Hard Sell: The Evolution of a Viagra Salesman, on which the movie is based,  and had personal experience with a situation like the one the movie describes.

For the pharmaceutical industry…it’s not a pretty picture. But I guess they’ll have to–and have the resources to –fend for themselves.

The film is to be released in late November. In the meatime, here’s a link to the official site and a trailer:  http://www.loveandotherdrugsthemovie.com/

—Anita M. Harris
New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA.

Went to see my cousin (James Franco) in Eat, Pray Love with my 89-year-old mom, last night. It was so boring she wanted to leave BEFORE her second? third? cousin Mitzi’s grandson from Cleveland even came on. And he was only the FIRST boyfriend.

I made her stay to see him, at least, and we agreed, James  is VERY cute. (The server in the restaurant next door told us she wanted to KISS him).  When James got dumped, my mom asked me if I wanted to leave. (I didn’t–I wanted to see how they handled the ashram scenes).

At one point, Mom handed me a kleenex because we were supposed to be feeling sorry for the Julia Roberts character, who was really wallowing. I apologized  for making Mom stay. She told me no problem, she was enjoying the scenery (not sure if she meant James Franco or Rome) but, really, how many spaghetti closeups can one 89-year-old enjoy?

Made it through the ashram (which I thought was the best part of both the book and the movie, tho it’s not clear how Julia managed to have a spiritual conversion, her guru being a rather annoying Texan. ), then on to Bali.  Not clear how, in book or movie, Julia managed to have a spiritual converversion, her guru being a toothless medicine man who didn’t have much interesting advice except to go for the Brazilian.

My mom could not understand why she would go for such an old guy if she wanted to have children.  Especially when I pointed out that Julia Roberts is 42–but Mom said the character was supposedly in her 30s. She was very surprised to learn that it was a true story and that Elizabeth Gilbert, who wrote the book, ended up marrying the Brazilian. So he could stay in the US.

My mom, who is getting a bit forgetful, told me that if she forgot the title and went to see it again I have her permission to put her in a home.

The upshot: James Franco is hot. Eat first, love the person you see it with, and pray you don’t have to sit through  it again.

–Anita M. Harris

New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA.