The Liberty City Seven, the Fort Dix Six, the Detroit Ummah Conspiracy, the Newburgh Four—each has had their fear-filled day in the sun. None of these plots ever came close to happening. How could they? All were bogus from the get-go: money to buy missiles or cell phones or shoes and fancy duds—provided by the authorities; plans for how to use the missiles and bombs and cell phones—provided by authorities; cars for transport and demolition—issued by the authorities; facilities for carrying out the transactions—leased by those same authorities. Played out on landscapes manufactured by federal imagineers, the climax of each drama was foreordained. The failure of the plots would then be touted as the success of the investigations and prosecutions.

The above is from Stephan Salisbury’s amazing article “Stage Managing the War on Terror“, which details just how bad the situation of informant handling has become… and how it puts us at risk.  Tonight, Mike and Mark speak with Salisbury about this incredibly well-researched piece.

About the guest:

Stephan Salisbury is the senior cultural writer for the Philadelphia Inquirer, where he has been a reporter for three decades.

He has won numerous awards for his work and was a finalist for a Pulitzer Prize as part of an Inquirer investigative team looking into local election fraud.

He is author of the recently published Mohamed’s Ghosts: An American Story of Love and Fear in the Homeland published by Nation Books.


Stage Managing the War on Terror – Stephan Salisbury’s brilliant article.

The 100 Years Episode – 4 Federal Agents talk about the state of Security and intelligence both in the U.S. and around the world.


We talked about the story last week – but this week, we got someone who is actually involved in the case. Mark interviews David Rocah, ACLU attorney for Anthony Graber – the motorcyclist who is being prosecuted for wiretapping after he posted a video of a law enforcement officer pulling him over on a highway exit ramp.

Here’s the video in question… the action begins at about the three-minute mark: