but rarely, if ever, is the issue of its legitimacy ever in the western narrative. whether the legit legitimacy she a subject of international, an international forum must be addressed. afghanistan's 19th century emir repeatedly states in his biography written in 1900 that he never considered any pashtun areas as permanently ceded to the british and insisted that the line delineated zones of responsibility and was not an international boundary. there is convincing evidence that the emir did not actually write the sentence in which he renounced his claims to the territory and that other british officials contended that the line was never intended to be an international boundary, but only to define respective spheres of influence. we agree with members of the afghan dais fore rah that the durand line issue should be brought to the world court in order to decide once and for all whether the 99-year lease that the british applied to their control of hong kong apply to the borders separating afghanistan and pakistan also. a major benefit of removing the durand line from

huntsman's narrative is what? civility? or what? >> that is a good question. i think not all that defined, i think his narrative is we need to make different choice ms. this country that we are currently making but with reasoned rhetoric rather than shoiting voices. >> rose: and pawlenty's narrative? >> paul plenty's narrative is, i was a governor in a blue state and i governed in a conservative fashion and can do the same thing in washington. >> rose: and get america to five percent gdp growth in five years or some remarkable projection. >> as a goal, that would be awesome if he could do it. >> and bachmann's narrative? >> i think that is still in formation, i think her narrative revolves around the notion that she is an outsider, even though he is a member of congress and ironically the only sitting officeholder in the field right now, she is someone who says, i will challenge my own party when i disagree with them, rather than saying i am a loyal republican, you know, no matter what happens. so as an grass roots, on a grass roots outside irrelevant who can

matthew' voice in that narrative. it's important who writes history. that's a tremendous part of it, too. other questions? >> i probably didn't have to come to the mic for this, but you mentioned that had the dissenters -- well, you talked about what the dissenters would have preferred the movement to look like opposed to the mainstream leaders, i wanted to get your personal opinion on whether or not you think the movement would have been better served had the dissenters had their way, i guess, in a very large or robust fashion? >> so that's a complicated question in part because -- a part of what i'm arguing is that the dissenters disagree with one another so i can only answer the question by referring to particular dissenters at particular historical moments. and so i'll start with the pragmatists. i do think that the critique of school desegregation that was offered was valuable. thus, when i think and i teach education in policy, when i think about what makes for a good school or good education, i don't just think

the narrative matters. conservatives unfortunately have abandoned the narrative as an emotional toll - whistle to the trap of thinking intellectual argument tends to trumpet emotion you sure on talk radio all the time. we have all the facts on our side. but they don't rely on emotional the time because it works. we need to start taking that fight back. that's the power as narrative by the way was from the movie juneau for those of you who recognize it. hollywood which is the chief foremost political tool is totally run by liberals at this point liberals to discriminate against conservatives, scorn traditional american values and use television in particular as the toll of propaganda in order to achieve their political end. the use the narrative to push their point of view we and they are clever about it and recognize if the slide their messaging and it's much more effective for to convince us to accept a new lifestyle choices and politics and the policies. now hollywood didn't used to be this week. in the 1

of narrative matters. conservatives have abandoned narrative as the emotional toll thinking intellectual argument tends to neutron the motion. you give up on talk radio we all the arguments and facts on our side but they just rely on the motion of the time. because it works. we need to start taking back the fight that narrative was from the movie you to know. hollywood, which is the chief for most political tool of the left liberals who discriminates whose scorn traditional american values and use television propaganda to achieve their end. they use the narrative to push their point* of view their very clever and recognize a face life messaging it is more effective than if they get you in the head with the 2 x 4 so create characters that they like. it has to be based on character who you would rather spend time with and your own family? we watch two or three hours television per night that is more time than you spend with your children or your spouse so they better be people that you like. hollywood does t

the biggest narratively difficult in changing is the media narrative. what we know here is true, the sax all out there. the system we see on tv is insanity. so i want to ask you all, what's your vision of us changing the narrative. thank you. [applause] >> who would like to respond? hilary shelton, naacp. >> i probably present one of the most conservative organizations at this table. we claim what we are and recognized we have represent communities throughout every city in the message but also military bases in germany, korea and japan to the narrative has changed, the kind of programs were doing right here. but also important is as judge burnett laid that we have to pass the national criminal justice commission act. let me tell you why i say that. when we have these conversations, they're some kind of marginalized small community thinkers were saying these things, what we really need is your communities and i think back over all, if we create this federal criminal justice commission, it means were able to bring all these issues to the forefront, to the

commissioner wynns: in the narrative. it does not make clear to people that it is one of the major cuts we made and we are not proposing to add it back. by having no reference there, in the budget pages, in the exhibits, you see that cut. the reason you see it is because last year's line is in there as well. those are significant budget- cutting strategies which i hope we will not be doing any more, but we know we will. a thing by leaving those out in some places we are leaving out a vital piece of information. i do want to talk a little bit and ask some questions about the special education budget, some of the same questions i asked last week. again, by my numbers, a little repetitious -- as i understand it, what we are talking about is increasing the general fund support to special education by $8.40 million. i would kind of like to know why. we discussed this at the committee as a whole, but i do think for budget purposes i want to know what we are spending that on. i think we should, for the public and ourselves, take

commissioner wynns: in the narrative. it does not make clear to people that it is one of the major cuts we made and we are not proposing to add it back. by having no reference there, in the budget pages, in the exhibits, you see that cut. the reason you see it is because last year's line is in there as well. those are significant budget- cutting strategies which i hope we will not be doing any more, but we know we will. a thing by leaving those out in some places we are leaving out a vital piece of information. i do want to talk a little bit and ask some questions about the special education

and they don't want to change the narrative i've been writing about secret operations we've had inside iran in the new york for about five years because they started in late zero four maybe zero five. president cheney was convinced it was a secret facility somewhere underground in iran and so our special forces units were going in and we went in through herat and in afghanistan we went into baluchistan. in pakistan we've been going into iran covertly with money and chemicals and support me i chemicals i mean by plastique found me explosive materials we've been dealing with these chandelle and we've been dealing with the iranian kurds is the resisting groups inside iran with the goal of trying to trying to find. neutralizing their weapons program and finding that secret program we found nada nothing and now there's been too internal what i wrote about in the magazine is that in two major internal studies that's known as national intelligence estimates so it is the most sacred same documents we have in our government in terms of an assessment and they both said nothing there what the oba

narrative. it is clear that in the fourth decade of the war on drugs that we are yet another moment today that a perfect storm is forming on a new narrative. that was in the past 40 years. if there has ever been a moment nationally and internationally when the very real possibility of change has been on the horizon with respect to orienting policy with respect to the war on drugs that quickly became on the black community with selected police practices in the mass incarceration of nearly a million black people where families have been disrupted and communities devastated by drug policy and racism whether overt or institutional fact that time is now. john conyers spoke on that window, jesse jackson opened up, dr. ron daniels open that window but our panel discussion of this afternoon will open that window even further and put flesh on this new narrative triet by discussing what has been the impact of the war on drugs and african-american communities, economically, socially, psychologically. is th

that's a story that introduced the narrative of freedom into western civilization.o put moses on the u.s. seal. statue of liberty was modeled on moses. the civil rights marchers quoted mo moses. one of the great, beautiful, poignant things s that freedom, the society that began in the middle east has now come back, making this attempt to save. >> reporter: it's personal for bruce feiler. after so many years spent walking the middle east, he was diagnosed with bone cancer, had his left leg completely rebuilt. when he went back this year, he climbed the pyramids. in a world full of pessimists, he is a man who seeps hope in these tumultuous times. >> we fought four wars in this region in the last ten years. we're not going to bomb our way to a solution to this problem. there has to be a new solution. and you got a choice. it's open conflict or it's coexistence. that begins with dialogue. you can't have a dialogue unless there's so

so the new narrative, if they're going to have one, is going to be a participatory narrative that they write instead of what they hear. now, the program that you were talking about before the potholes. >> see click fix. >> the potholes lets you be something that has a narrative feeling to it, a narrative style to it so i can get a sense of continuity rather than just the shock. i mean, when you have no narrative at all, you're living moment to moment in a distracted way with every little piece of facebook and tweet coming at you, the only thing that's really going to get your attention, the only thing that will organize you is terror. that's the only thing that will get you to take action that is so frightening that you're going to respond to it; otherwise, you got to figure out a way to create some kind of a journey. some kind of cohesive intention so that you can have agency in this world. and without that, you want to shoot the messenger. >> other questions? somebody back here, yeah. >> i have a question, how you view -- what's happened to us in this age of new media in the full tra

so where does the dominant narrative sort of come from? are the lawyers and thurgood marshall -- are they just more prominent and is that what makes that the dominant narrative or is it -- what explains that? >> hmmm? well, a number of things, i would say. i mentioned that my book is not just winners' history. so the dominant narrative is consistent with winners history. sox we want to tell the history of the naacp lawyers, of thurgood marshall and his conception of equality because we're proud in this country of brown versus board of education and its role in cleansing constitutional law of jim crow. and its role -- and there's some debate about this in contributing to all of the changes, subsequent changes in the law. so to the extent that we value the work of marshall and the history that's being written by those within law schools, one would expect that that particular narrative would be dominant. a corollary of that is that in the constitutional law, as many of you will know, we don't talk so much about inequalities as they relate to

you have a narrative like that. silly if they think the big problem is the government holds up their brassieres and not the fact that it is society. that very silly narrative persists because it gets us off of the hook and forces us to confront the fact that our society is messed up in a lot of ways. >> a comment on the topic which is at the end of the day, hollywood, newspapers as you have shown as our own by 50 companies across the country that are controlling the current population's perception of the world. in the end -- in the 80s they were not thrilled by the fact that by mid 1980 there were more women lost than men lost. they are not going to detect that because they are running the show. >> a very quick point about that because i have been asked this a bunch of times. the pop culture of the 1980s creates the 1980s or the pop culture of the 1980s are reflection of the 1980s. did ronald reagan create the 1980s or was the reflection of the 1980s? in some ways it is both. in this way. if you interview people who

everyone's right well if it's first of all i mean for certain news outlets that have a political narrative that they want to get forward and i'm talking everything from from blogs and news sites to say fox news they have a vested interest in the keeping the story like this alive because it does distract from things that maybe they don't feel is our very helpful to their narrative on the other hand you have some outlets who are basically playing off of that it don't seem. unfair they also you know they want to present something that fills a twenty four hour cycle that will get ratings that will get you know eyes on their new sites you know when they're go crew crisscrossing platforms from their from their news sites to their t.v. stations i mean they want the ratings and we like that people like that despite what you hear on the street because there is a bloc of people whether it's for political reasons because they hate him because he's a liberal down democrat a loud mouth or they just like a good scandal who will keep on that but yemen or greece you know about it the fuck up you know that

becker as we as my grandfather used to say and now at the same time you have a political narrative that's being generated through through fox through right wing news sites and blogs you know that vested interest distracting in a direct sense from the real news out there i mean there was a news it came out today with john mccain's one of his campaign chairman said that the republican field in two thousand and twelve is a mosaic of nonsense so how do you distract from that and from the problems up on the hill the republicans are having with their own members with the debt with the juicy story and i was at the root of it andrew breitbart i know that one one thing that i could the only thing i can perhaps use and it's defense is just recently we did see that scandal with the new york congressman almost nude photos on creating wealth and he ended up stepping down because. it's interesting because we here at r.t. we just wonder how do americans really feel about this i mean does this story deserve the hype that it's been getting so we sent our two producer quincy garfield to hit the streets to

his pecker as we spent my grandfather used to say and now at the same time you have a political narrative that's being generated through through fox through right wing news sites and blogs you know that has a vested interest in distracting in a direct sense from the real news out there i mean there was a news that came out today with john mccain one of his campaign chairman said that the republican field in two thousand and twelve is a noisy. nonsense so how do you distract from that and from the the problems up on the hill the republicans are having with their own members with the debt with a juicy story and i was at the root of it andrew breitbart and what is a small scandal or a non traverse he becomes a big one and you see waiters using that i got i think of another from the congressman's response is again i mean yes in this day and age not responding is basically the admission of guilt is that right is that fair you know but it you know if he were to come forward and say yes maybe i did take that picture but i don't know i mean that's the narrative now i don't know how it got on twit

to have what used to be call read and write to understand the narrative of human history is composed by people and there's marxists and capitalism and we understand that because we're literal, but to understand the programs by which we live, we have to understand what programming is even if we can't program ourselves. we have to know the stuff called programming exists. these sequences of lines of code that determine the quality of interactions that we have in programmed environments. >> that's interesting. you know, i'm not completely familiar with julian's analysis, but it's to make it harder for them to share information internally. you do this attack with transparency to snarl up their own decision making ability. in other words, he's trying to hack their program -- >> or crack it. >> or crack it, yeah. it's not at all clear if that makes sense, but the reason -- >> transparency is sabotage. >> the reason i ask the question is because what's so fascinating to a lot of us about assange is that he hacked a superpower, you know, and it wasn't just sort of in the science fiction nove

that you have a narrative like that.ncredibly silly if they think their big problems and not the fact that we live in a violent, misogynistic society. and again, the very silly narrative is something get us off the hook and confront the fact that our society is still messed up in a whole of ways. >> at the end of the day is hollywood newspapers, which as you showing our call and a 50 companies across the country that are controlling the current populations perception of the world. some in the 80s, they were not thrilled with the fact that by may 1980 there were more women blasphemes. they are not going to depict that on our show because they are the ones running the show. >> i want a very quick point about that because i've been asked this but the pop culture at the 1980s create the 1980s board of the pop culture the 1980s reflected in the 1980s? ronald regan create the 1980s or is the reflection in the 1980s? i think in some ways it is sort of boat in this way, that if you interview people who make entertainment product

narrative is iran is bad at making bombs even if we can't find it we know it must be they're evil people and so what's the consequence for the american public if they're not aware that most american public is right there with twenty four hour cable more interested in you know the leaders stupid things some congress i did with. the internet which is chronic and goes all the time has the united states taken the right course in responding to the so-called arab spring you know we have such a we view everything to what american prism you know everything and it's to lead probably who believe that the sun revolved around us and we didn't revolve around that anyway. look if you're an iranian in the middle east and you know what's going on in bahrain and you see the white house. iran. and criticize the run at the same time everybody in iran and everybody in the middle east is watching what's going on in bahrain everything nothing how do you think it impacts going to be a park or see there's nowhere for us a bit in that is not my gulf anymore because we've been betrayed the trust. in the streets o

this case i think the trails was quite desperate to show in some fashion to to create a new media narrative that would reflect progress in the war at a moment remember this is mid two thousand and ten when the news media were actually covering afghanistan in a way it was showing its warts it was after the famous battle of marjah this nine city that was presented to the american people as a city of eighty thousand which the united states had taken over from the taliban and it was very unfavorable coverage which i think petraeus understood unless he could come up with a new striking line he was going to have a great deal of difficulty selling the idea of progress so the idea of this s.o.f. the special ops. missions forces going in an almost in a superhuman manner effectively shutting down the taliban by capturing so many thousands and killing thousands was the way in which you chose to try to me case and how did you learn this was a crock well it's impossible essentially for a journalist to fact check the claim that so many thousands of taliban were actually killed without actually being on t

. >> and that becomes hardened into their narrative. that's the story now.nd people on the ground, reporters or investigators in this case from major universities are valuable as quote machines to plug into that narrative. but if they conflict with that narrative, bye, bye baby. >> right. >> and that's i think what happened here. they, editors and producers in new york, saw the big spiral shape in the gulf, they saw hurricane damage in mississippi. they saw new orleans flood. they connected the dots, wrongfully as it turned out and then they went away. >> right. and it took, took you personally some time to discover this yourself. >> well, i mean living in new orleans as i do most of the time. >> right. >> .i was treated to the local media's reporting day by day, week by week of the interim findings of these two investigations. >> appreciably different from what the rest of us have heard in most cases. >> absolutely, diametrically different. >> yeah, yeah. and so the story is you were making a film in los angeles. >> yes. >> .at the time that, that the hurri

as i write in the narrative, there was nothing safe about any of that. it did not provide safety.avis: how aware our presidents of what is happening inside of area 51? what does obama know? aboutthe president's know area 51. one of the great enigmas of the entire story that i reveal came to me from a source, the only anonymous source, who revealed a program that is one of those abhorrent programs that never should have happened. when i asked him how that could have happened, his response was, the president did not have a need to know. tavis: hmm. there's a lot of the things that are being talked about. as dense as it is, the part that has been most controversial are the last seven pages. why those pages causing a controversy? >> i came to the story of area 51 as a newcomer. i did not have a horse in the race. i am not an aviation historian. i am not an air force f-15 not -- aficinado. my aim was to find the facts from men who were there and report them in the most objective manner i could. to my surprise was this experience i had in my first interview with then -- a weapons engine

there is no need to cooperate with that narrative but that does cooperate with the core obama narrative. the republican message should be a vote for republicans for economic recovery for jobs, less regulation and lower taxes. >> don't miss "the last word with lawrence o'donnell" week nights at 8:00 p.m. eastern time only on msnbc. >>> here's the first look at other news going on today. an amazing survival story played out in front of a surveillance camera during last week's deadly massachusetts tornado. the video shows the driver making a life saving move right there, park between cars just before the storm tore through the area. the ef twister killed three and leaves debris scattered its quake. >>> video used to convict the mastermind of a courthouse bombing has been released. he planned to be the hero and receive leniency in other cases in return for help for other cases. >>> and this is disturbing. a florida woman's work day came to a horrific end when she was attacked during a robbery. a mother of four was savaging beaten by suspects while another grabbed cash from a safe office. >>

they have been shaping the narrative to their liking. that gets me the angriest is how they treat people like sarah palin. regardless of what you think of her politics, and there is a movie coming out called "the undefeated" which the middle of the movie shows how unbelieve -- unbelievably competent she is with 88% approval rating. it is an amazing film and the press just destroyed her because they could and because she wasn't part of their ilk. these people protect their own and that's what jeffrey tubin was doing and that's what salon was doing and the huffington post, that's what all of them were doing. it is dispiblable. >> -- despicable. >> john stewart, what is your take on that? >> he says i am just a comedy show and it is the two masks of greek drama. if they are not altogether honest, but it is interesting -- who tried harder than anyone to matter as an anchor? katie couric. she is a joke. who makes jokes and matters as an anchor? john stewart. trying to be a comedy show is the way the news program wound up. david foster wall li

now, the narrative out there is to the contrary. but i was there on the inside. >> rose: what do you think the narrative is? >> oh, i think narrative is what you're suggesting, what you just said. >> rose: that there was the difference in terms of what ought to be... i mean, there were... first caspar wine berger and then colin powell who he worked with, there were a certain principle that he enunciated ant when the united states should go in and it should go in with full force and you know the rules he articulated. that would be a difference from what you might have been saying. >> no. >> rose: okay. >> no, he didn't express differences of views inmeeting at i was attending. >> rose: you can tell me that you know of no conflict that existed on either stlat ji or ins between you and the secretary of state? >> the intelligence material that he studied day after day out at the agency in the national secury council. >> rose: you said before he made the speech. >> and then he made a decision what should be in the speech. he gave the spe

so from the beginning to the end there is a real person commenting so well pulls together in a narrative about might experience and unusual things happen. >>c-span: one of the principal characters is dead. >> guest: he died january 1990. at first, he came down to get the paper and make himself some tea or coffee and collapsed behind his desk and died what they thought was a heart attack but the irony is he died in the very spot when the claim nine years later. >>c-span: where were you? >> guest: i was in the atlanta airport on my way from miami. i got the word that he had died and i was on my way back there any way. in fact, that is the end of the book but it happened of 47 how close were you to him? >> guest: he was one of the best interviews labor had been very forthcoming. one of the best of my professional life. very articulate eight and a wonderful storyteller. the story last one sentence plants his charming and allied with literature so i borrowed that technique to tell the story and the narrative style so he was terrific. we were not bosom buddies but very friendly. fire pretty ma

narrative from a particular perspective. now, we have chaos. i'm not saying that is not a problem, but on the other hand, we need to think about the fact that we have a lot more voices and a lot more information, and we need to develop citizens that understand not only how to read a news story and understand it, but also know how to tell a story, understand how fact work, how confirmation works, how non- fiction story telling works. that is a big challenge. we also need to develop procedures within the community of journalism in the new media that are as thoroughgoing and really comprehensive about the nature of the practice of journalism for the new media as they were in the newsroom, say, 20 years ago. >> i think one answer to the question of how we police bias, at least on line, is that online news is a conversation, right? that is one thing that is great about it. when you are talking about a piece that runs on line -- online that people can immediately start commenting about, people can start talking immediately about w