FOCUS: GEOGRAPHY

Track-It Balkans

Mentioned in 88 news articles

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Obama names Susan Rice National Security Adviser after Donilon steps down

NEW YORK DAILY NEWS | on Wed, Jun 5, 5:09 PM

Susan Rice won by losing. Having lost a chance to be Secretary of State amid harsh Republican criticism, the U.N. ambassador was picked by President Obama on Wednesday to be his national security adviser.

on Mon Jun 3 6:31 PM

Latin American Herald Tribune - Turkey Becomes a Destination for People Seeking Fertility Treatments

LATIN AMERICAN HERALD TRIBUNE

Turkey has become the preferred destination for couples from the Middle East, Eastern Europe and even the United States who seek in vitro fertilization so they can have babies.

on Mon Jun 3 4:14 PM

John Feffer: Curating the Curators

HUFFINGTON POST

There is an art to curation. Curators must not only choose the works for an exhibition, which involves making aesthetic judgments about "good" and "bad" as well as what fits together according to the exhibition's theme. Curators must also provide...

Erdogan rejects 'dictator' claims - Yahoo! News

YAHOO! NEWS - THE CUTLINE | on Sun, Jun 2, 4:38 PM

Turkey's prime minister on Sunday rejected claims that he is a "dictator," dismissing Istanbul protesters as an extremist fringe, even as thousands returned to the landmark Istanbul square that has become the site of the fiercest...

on Sun Jun 2 9:52 AM

Turkish Prime Minister Erdogan rejects 'dictator' claims as anti-government protests spread

THE GLOBE AND MAIL

Under Erdogan’s leadership, Turkey has boosted economic growth and raised its international profile. But he's a divisive figure in the country, with his government recently passing legislation curbing the sale of alcohol and taking a strong...

on Sat Jun 1 2:37 PM

Comment - why Serbia's long and arduous path to EU membership will be worth it

THE TELEGRAPH

Serbia's pro-European politicians must do their best to the country into Europe, argues Vladimir Krulj

on Fri May 31 4:20 PM

Christopher Geidt: the suave, shrewd and mysterious royal insider | Media

THE GUARDIAN

MPs have in the past asked in the Commons whether Geidt – now the Queen's private secretary – was a member of MI6This article was amended on 31 May 2013 to remove a number of inaccuracies regarding Sir Christopher Geidt in the article, which...

on Thu May 30 6:32 PM

It's All Politics : NPR

WITF TV 33

Trips to war zones have become a signature for Sen. John McCain. While some senators use poster board displays on the Senate floor to make their points, McCain goes them one better and by posing in dangerous places alongside wary men with...

on Thu May 30 10:19 AM

Iconic Greece: Thessaloniki – Intelligent Travel

NATIONAL GEOGRAPHIC

Icons are, for the uninitiated (that means most of us), an encounter with the unknown: religious paintings on wooden panels of great antiquity. For others, they take on great spiritual significance. And there’s no better place to see them than...

on Mon Apr 1 1:00 PM

The Iraq War's Lessons For Syria : NPR

NPR

Washington Post deputy editorial page editor Jackson Diehl says that the Iraq War taught him a lot about how we should deal with the civil war in Syria. In an op-ed he argues that without U.S. intervention, Syria could produce "a much worse...

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Luchezar Boyadjiev was trained as an art historian -- in fact, in the same institute in Sofia that produced Bulgaria's most famous artist, Christo. This course of study included training in all the traditional disciplines of drawing, painting, printmaking. He has also worked as a curator. So he is well positioned to create art that blurs the distinction between artist and curator. Consider the piece he did for a show on contemporary art in the Balkans in 2003 in Kassel, Germany - and subsequently in several other places -- that he called Schadenfreude Guided Tours. Rather than provide a static piece of art that could be enclosed in a space defined as "Balkan art," Boyadjiev himself showed up in the gallery. In some sense, he refused to be curated, to be packaged. "I insisted that I stay for seven weeks at the exhibition," he told me one evening last September at a café in Sofia. "I did these tours for six or seven hours a day, as long as there were people there to listen to me. I was cross-referencing the works from different countries and artists, and there were nearly 120 artworks at this exhibition from all over the Balkans. I was drawing on everything from personal gossip to very complex issues related to the issue. That made it worth my while to be in that show." In other words, Boyadjiev was re-curating the show according to his own experience and his own judgments. "I called it Schadenfreude because I would take pleasure in the fact that the other artists were not there and I could say what I wanted about their art," he told me. But that of course is what a curator does: they speak of the art in the absence of the artist. We talked about the trajectory of his artistic career as well as his disenchantment with theory, the challenges of establishing an art culture in Bulgaria, and the failure of understanding the contributions of Muslims in Bulgaria. The Interview How did 1989 change your artwork? Up until 1995, there was a general interest in the art produced in what was considered Eastern Europe. In the second half of the 1990s, the idea of "East" shifted: to the Far East, then the Muslim East, then the Central Asian East. This is one thing to consider. Also, the second half of the 1990s ushered in the digital era and new media art. There were a lot of expectations and investment in this field, and some people hoped that the Internet would solve all issues connected to separation and participation, which happened to a certain extent. We learned a lot, but we didn't solve anything. Then came 9/11, and all of a sudden people realized that the divides are not what they used to be. Other divides exist, and the world is more complex and difficult to navigate. My work has shifted from first dealing with science and recognizable iconological entities and codes of visual language taken from different cultures, such as astrology or religion or the newspaper. I would take these and invest them with something of where I come from. Ten years ago, I was more interested in interviewing people and making video portraits of them. Then from 2002-3 up until two or three years ago, my work consisted of two lines. One was a lot of photographs and texts related to the changing face of cities all over the world in the context of global capitalism -- post-socialist, neocolonial, or desert capitalism like in Dubai -- and comparing these developments in architecture, advertising, public monuments, the behavior of people on the streets. The other trend was more performative. I started developing a work called Schadenfreude Guided Tours. I would stay after the opening of an exhibition for as long as possible giving guided tours to the show. It would be organized, with the agreement of the curators, and I would interact with the audience by animating the space. I called it Schadenfreude because I would take pleasure in the fact that the other artists were not there and I could say what I wanted about their art. I could put them down or whatever! I did this in Kassel in 2003 at a show on contemporary art in the Balkans, then in Sharjah in 2005 in the United Arab Emirates, then at the Biennale in Singapore in 2006 and 2008; as well as in Santa Fe, New Mexico in a completely different context. In 2008, I also did it in Jerusalem, which is obviously a very tough place to present anything - the place is already heavily loaded politically. That was all until the financial crisis struck. I was in Singapore when Lehman Brothers collapsed. I was talking to people from hedge funds, sovereign investment funds. Once again the world changed at the end of 2008, beginning of 2009. All of a sudden a huge part of art-making and art exhibitions disappeared for a while. I now sell more, which is good, but I'm no longer an unknown quantity; people know that they won't lose money if they invest in what I do. But it's getting tougher and tougher for younger artists. Very often when they construct a budget for an institution or an exhibition, the last thing on their agenda is a small payment to the artists, who are workers just like anybody else. It's almost taken for granted that artists are very vain and happy to show their works. Well, I don't want to show my work any more just like that. I want to show my work to people who appreciate it, who are prepared to sacrifice something to see it just as I am sacrificing something, not much perhaps, to make it. Here I am almost quoting literally the American artist Mark Rothko, a top abstract expressionist who committed suicide in the 1970s after creating his chapel in Houston. In the late 1960s, when he was at the top of his game and getting high prices for his paintings, a collector asked him, "Why do you charge me so much for this painting. It's very minimal." Rothko answered, "My friend, I have paid with my life and blood and everything for the whimsy to want to make it. Now you have to pay with your money for the whimsy to want to have it." There are some very good corporate collections made by curators who assist collecting in a responsible way. But that unfortunately is missing from this country. Business in Bulgaria is international. You can no longer say that this is only a Bulgarian corporation. But we have failed to educate them. The most powerful corporations and businessmen have developed tastes that range from total kitsch to just plain cheating. There was, for instance an exhibition of Salvador Dali at the National Gallery for Foreign Art two years ago without a single "work" by the artist that has his signature on it. It was just lithographic reproductions of his drawings... This is a country without a history of collecting, except for the collection of Bulgarian art, which is original. There are some very nice pieces of foreign art at the museums, but there is nothing of masterpiece quality. It's spotty, uneven. In this way, we're back to where we started in the 1970s and 1980s. In all these countries - here, Czechoslovakia, the Soviet Union -- you led a double life. You had an official life, like Ilya Kabakov, who was a graphic designer illustrating books for children, which were very didactic in the Soviet Union. And at the same time he was an avant-garde artist. Now it's become divided spatially. I have one kind of existence here, where I am known by the media and colleagues but I am not established. There are hardly any public collections let alone private collections to guarantee some kind of continuity of practice. I matter only outside of Bulgaria, which is my other existence. When I go outside the country, I'm more respected.You said that Bulgarian companies have become internationalized. I want to apply that to the art world. Do the intermediate terms between global and individual -- East European, Balkan, Bulgarian -- have any meaning today for artists today in Bulgaria? To read the rest of the interview, click here[1].   Follow John Feffer on Twitter: www.twitter.com/johnfeffer [2] "; var coords = [-5, -72]; // display fb-bubble FloatingPrompt.embed(this, html, undefined, 'top', {fp_intersects:1, timeout_remove:2000,ignore_arrow: true, width:236, add_xy:coords, class_name: 'clear-overlay'}); }); References^ click here (www.johnfeffer.com)^ www.twitter.com/johnfeffer (www.twitter.com)",
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	"story_summary" => "Turkey&#039;s prime minister on Sunday rejected claims that he is a &quot;dictator,&quot; dismissing Istanbul protesters as an extremist fringe, even as thousands returned to the landmark Istanbul square that has become the site of the fiercest anti-government outburst in years.",
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	"story_title" => "Turkish Prime Minister Erdogan rejects 'dictator' claims as anti-government protests spread",
	"story_summary" => "Under Erdogan’s leadership, Turkey has boosted economic growth and raised its international profile. But he&#039;s a divisive figure in the country, with his government recently passing legislation curbing the sale of alcohol and taking a strong stand against the Syrian regime that some believe has put security at risk",
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	"story_seo_url" => "http://www.guardian.co.uk/media/2013/may/31/royal-insider-sir-christopher-geidt",
	"story_title" => "Christopher Geidt: the suave, shrewd and mysterious royal insider | Media",
	"story_summary" => "MPs have in the past asked in the Commons whether Geidt – now the Queen's private secretary – was a member of MI6This article was amended on 31 May 2013 to remove a number of inaccuracies regarding Sir Christopher Geidt in the article, which overstated his role as the Queen's private secretary in relation to the royal charter for the press. We have also clarified aspects of his legal action against John Pilger and Central Television. We apologise for the errors.When the Queen turned around to reveal herself as James Bond's spymaster in a skit for the opening ceremony of the London Olympics, jaws dropped in living rooms around the country at the audacity and humour. But for those that know Sir Christopher Geidt, the Queen's highly trusted private secretary who has been credited with her deft presentation in recent years, it was more a case of eyebrows raised.Geidt, 51, now in his sixth year by the Queen's side at Buckingham Palace, has a past that includes suggestions of involvement in and around the secret services. When he successfully sued for libel after being wrongly accused of being part of an SAS operaton training allies of the traitor Pol Pot in Cambodia, questions were nonetheless raised in parliament as to whether he had links with the intelligence services. Geidt had a three-year spell in the army intelligence corps before seven years with the Foreign Office, the United Nations and the European commission in the Balkans.The man who would be consulted by government about the process by which the royal charter can be approved by the privy council won "substantial" damages in a 1991 libel action against Central TV and the journalist John Pilger. Geidt and a fellow former army officer brought the libel action over a documentary which, they said, accused them of having been SAS members training Pol Pot's Khmer Rouge to lay mines.Pilger later wrote that he had not intended to make any such accusation. He accepted that the two men had not trained any guerillas. The trial was settled on the third day of the hearing, with Pilger and Central TV apologising and accepting that the programme did make the allegations complained of. In his 1994 book Distant Voices, Pilger described how the Treasury solicitor warned that it was "prepared to intervene in the proceedings at any stage … in respect to evidence from any witness".Pilger said the authority for a public interest immunity certificate – a gagging order – signed by the then defence secretary, Tom King, was presented to the judge."Evidence regarding the SAS and the security services, such as MI6, which might have been produced as evidence … would be challenged," wrote Pilger.A long-standing friend of Geidt, the journalist William Shawcross, wrote in the Guardian on 15 May 2013 that Pilger's account of the suppressed evidence in the trial was "bluster" and that it was "nonsense" for anyone to suggest that government "gagging" had prevented him from defending his case. In his palace role, Geidt now represents the Queen in any processes involving a charter to regulate the press. Royal charters are ultimately overseen on an ongoing basis by the Queen's private secretary and the head of the privy council – in practice, the government.Buckingham Palace is at pains to stress that, as private secretary, Geidt is responsible only for the process of any royal charter in so far as the Queen has a role, not its substance.  Described by former colleagues as unflappable, strategically shrewd, modernising, suave and charming, Geidt caught the attention of the Queen in 2002 when he was appointed to her household as an assistant private secretary. He took over from Sir Robin Janvrin in 2007 as perhaps her closest male confidant after Prince Philip.It is a position that requires the utmost discretion and the highest level of vetting. As well as acting as the daily conduit between the Queen and Downing Street, he has access to all summaries of MI6 intelligence. Through daily red boxes of secret state documents, an open channel with the cabinet secretary, Sir Jeremy Heywood, and advising the Queen on everything from constitutional law to her Christmas message, it is a role that puts him at the heart of the British establishment."One of the tasks of the private secretary is to ensure that the monarchy is modernised, but the monarchy cannot afford to be ahead of public opinion," said Professor Vernon Bogdanor, an expert on constitutional affairs.Geidt was born in 1961, attended private schools in Oxford and Scotland and studied at Trinity Hall, Cambridge. He had been invalided out of Sandhurst when he began working for the Royal United Services Institute before taking a post in army intelligence. That experience made him a natural choice as the British government's man at the headquarters of the European Community monitoring mission in Sarajevo in 1994 at the height of the Bosnian war. The European monitors in their distinctive white outfits – many Brits wore their cricket whites – could travel on both sides of the front line and included active and former spies from around Europe."He was always popping up and disappearing again, working at his own rhythm, doing his own stuff," said one international official who worked with him. He later became senior adviser at the Office of the High Representative, set up after the war by the international community to oversee implementation of the 1995 Dayton peace treaty.A former colleague there remembers him as "suave and charming, very proper, clipped and British with a regimental tie, but also with a touch of the spook about him".But Geidt first came to the attention of a group of MPs and campaigning journalists towards the end of 1989 in Cambodia. After the genocide by the Khmer Rouge under Pol Pot in the 1970s, fears persisted in Cambodia that factions resisting the incumbent government, including the Khmer Rouge would try and take power again.Geidt showed up at a mission to see Vietnamese troops pull out of Cambodia in October 1989. His visit caught the attention of MPs concerned about that issue and they unearthed varying accounts of why he was there. During a Commons debate which touched on the matter, the Labour MP Bob Cryer asked under parliamentary privilege: "Surely not MI6?"A spokesman for Buckingham Palace said: "He didn't comment on the accusations at the time and, as then, he will let the legal judgments speak for themselves. We won't comment on the questions relating to Sir Christopher's work before joining the royal household."Press regulationNewspapers & magazinesFreedom of speechMilitaryMI6MonarchyRobert BoothJulian Borgerguardian.co.uk &copy; 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds",
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	"story_title" => "It's All Politics : NPR",
	"story_summary" => "Trips to war zones have become a signature for Sen. John McCain. While some senators use poster board displays on the Senate floor to make their points, McCain goes them one better and by posing in dangerous places alongside wary men with semiautomatic rifles.",
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	"story_title" => "Iconic Greece: Thessaloniki – Intelligent Travel",
	"story_summary" => "Icons are, for the uninitiated (that means most of us), an encounter with the unknown: religious paintings on wooden panels of great antiquity. For others, they take on great spiritual significance. And there’s no better place to see them than Thessaloniki in northern Greece.",
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I was cross-referencing the works from different countries and artists, and there were nearly 120 artworks at this exhibition from all over the Balkans. I was drawing on everything from personal gossip to very complex issues related to the issue. That made it worth my while to be in that show." In other words, Boyadjiev was re-curating the show according to his own experience and his own judgments. "I called it Schadenfreude because I would take pleasure in the fact that the other artists were not there and I could say what I wanted about their art," he told me. But that of course is what a curator does: they speak of the art in the absence of the artist. We talked about the trajectory of his artistic career as well as his disenchantment with theory, the challenges of establishing an art culture in Bulgaria, and the failure of understanding the contributions of Muslims in Bulgaria. The Interview How did 1989 change your artwork? Up until 1995, there was a general interest in the art produced in what was considered Eastern Europe. In the second half of the 1990s, the idea of "East" shifted: to the Far East, then the Muslim East, then the Central Asian East. This is one thing to consider. Also, the second half of the 1990s ushered in the digital era and new media art. There were a lot of expectations and investment in this field, and some people hoped that the Internet would solve all issues connected to separation and participation, which happened to a certain extent. We learned a lot, but we didn't solve anything. Then came 9/11, and all of a sudden people realized that the divides are not what they used to be. Other divides exist, and the world is more complex and difficult to navigate. My work has shifted from first dealing with science and recognizable iconological entities and codes of visual language taken from different cultures, such as astrology or religion or the newspaper. I would take these and invest them with something of where I come from. Ten years ago, I was more interested in interviewing people and making video portraits of them. Then from 2002-3 up until two or three years ago, my work consisted of two lines. One was a lot of photographs and texts related to the changing face of cities all over the world in the context of global capitalism -- post-socialist, neocolonial, or desert capitalism like in Dubai -- and comparing these developments in architecture, advertising, public monuments, the behavior of people on the streets. The other trend was more performative. I started developing a work called Schadenfreude Guided Tours. I would stay after the opening of an exhibition for as long as possible giving guided tours to the show. It would be organized, with the agreement of the curators, and I would interact with the audience by animating the space. I called it Schadenfreude because I would take pleasure in the fact that the other artists were not there and I could say what I wanted about their art. I could put them down or whatever! I did this in Kassel in 2003 at a show on contemporary art in the Balkans, then in Sharjah in 2005 in the United Arab Emirates, then at the Biennale in Singapore in 2006 and 2008; as well as in Santa Fe, New Mexico in a completely different context. In 2008, I also did it in Jerusalem, which is obviously a very tough place to present anything - the place is already heavily loaded politically. That was all until the financial crisis struck. I was in Singapore when Lehman Brothers collapsed. I was talking to people from hedge funds, sovereign investment funds. Once again the world changed at the end of 2008, beginning of 2009. All of a sudden a huge part of art-making and art exhibitions disappeared for a while. I now sell more, which is good, but I'm no longer an unknown quantity; people know that they won't lose money if they invest in what I do. But it's getting tougher and tougher for younger artists. Very often when they construct a budget for an institution or an exhibition, the last thing on their agenda is a small payment to the artists, who are workers just like anybody else. It's almost taken for granted that artists are very vain and happy to show their works. Well, I don't want to show my work any more just like that. I want to show my work to people who appreciate it, who are prepared to sacrifice something to see it just as I am sacrificing something, not much perhaps, to make it. Here I am almost quoting literally the American artist Mark Rothko, a top abstract expressionist who committed suicide in the 1970s after creating his chapel in Houston. In the late 1960s, when he was at the top of his game and getting high prices for his paintings, a collector asked him, "Why do you charge me so much for this painting. It's very minimal." Rothko answered, "My friend, I have paid with my life and blood and everything for the whimsy to want to make it. Now you have to pay with your money for the whimsy to want to have it." There are some very good corporate collections made by curators who assist collecting in a responsible way. But that unfortunately is missing from this country. Business in Bulgaria is international. You can no longer say that this is only a Bulgarian corporation. But we have failed to educate them. The most powerful corporations and businessmen have developed tastes that range from total kitsch to just plain cheating. There was, for instance an exhibition of Salvador Dali at the National Gallery for Foreign Art two years ago without a single "work" by the artist that has his signature on it. It was just lithographic reproductions of his drawings... This is a country without a history of collecting, except for the collection of Bulgarian art, which is original. There are some very nice pieces of foreign art at the museums, but there is nothing of masterpiece quality. It's spotty, uneven. In this way, we're back to where we started in the 1970s and 1980s. In all these countries - here, Czechoslovakia, the Soviet Union -- you led a double life. You had an official life, like Ilya Kabakov, who was a graphic designer illustrating books for children, which were very didactic in the Soviet Union. And at the same time he was an avant-garde artist. Now it's become divided spatially. I have one kind of existence here, where I am known by the media and colleagues but I am not established. There are hardly any public collections let alone private collections to guarantee some kind of continuity of practice. I matter only outside of Bulgaria, which is my other existence. When I go outside the country, I'm more respected.You said that Bulgarian companies have become internationalized. I want to apply that to the art world. Do the intermediate terms between global and individual -- East European, Balkan, Bulgarian -- have any meaning today for artists today in Bulgaria? To read the rest of the interview, click here[1].   Follow John Feffer on Twitter: www.twitter.com/johnfeffer [2] "; var coords = [-5, -72]; // display fb-bubble FloatingPrompt.embed(this, html, undefined, 'top', {fp_intersects:1, timeout_remove:2000,ignore_arrow: true, width:236, add_xy:coords, class_name: 'clear-overlay'}); }); References^ click here (www.johnfeffer.com)^ www.twitter.com/johnfeffer (www.twitter.com)",
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	"story_title" => "Christopher Geidt: the suave, shrewd and mysterious royal insider | Media",
	"story_summary" => "MPs have in the past asked in the Commons whether Geidt – now the Queen's private secretary – was a member of MI6This article was amended on 31 May 2013 to remove a number of inaccuracies regarding Sir Christopher Geidt in the article, which overstated his role as the Queen's private secretary in relation to the royal charter for the press. We have also clarified aspects of his legal action against John Pilger and Central Television. We apologise for the errors.When the Queen turned around to reveal herself as James Bond's spymaster in a skit for the opening ceremony of the London Olympics, jaws dropped in living rooms around the country at the audacity and humour. But for those that know Sir Christopher Geidt, the Queen's highly trusted private secretary who has been credited with her deft presentation in recent years, it was more a case of eyebrows raised.Geidt, 51, now in his sixth year by the Queen's side at Buckingham Palace, has a past that includes suggestions of involvement in and around the secret services. When he successfully sued for libel after being wrongly accused of being part of an SAS operaton training allies of the traitor Pol Pot in Cambodia, questions were nonetheless raised in parliament as to whether he had links with the intelligence services. Geidt had a three-year spell in the army intelligence corps before seven years with the Foreign Office, the United Nations and the European commission in the Balkans.The man who would be consulted by government about the process by which the royal charter can be approved by the privy council won "substantial" damages in a 1991 libel action against Central TV and the journalist John Pilger. Geidt and a fellow former army officer brought the libel action over a documentary which, they said, accused them of having been SAS members training Pol Pot's Khmer Rouge to lay mines.Pilger later wrote that he had not intended to make any such accusation. He accepted that the two men had not trained any guerillas. The trial was settled on the third day of the hearing, with Pilger and Central TV apologising and accepting that the programme did make the allegations complained of. In his 1994 book Distant Voices, Pilger described how the Treasury solicitor warned that it was "prepared to intervene in the proceedings at any stage … in respect to evidence from any witness".Pilger said the authority for a public interest immunity certificate – a gagging order – signed by the then defence secretary, Tom King, was presented to the judge."Evidence regarding the SAS and the security services, such as MI6, which might have been produced as evidence … would be challenged," wrote Pilger.A long-standing friend of Geidt, the journalist William Shawcross, wrote in the Guardian on 15 May 2013 that Pilger's account of the suppressed evidence in the trial was "bluster" and that it was "nonsense" for anyone to suggest that government "gagging" had prevented him from defending his case. In his palace role, Geidt now represents the Queen in any processes involving a charter to regulate the press. Royal charters are ultimately overseen on an ongoing basis by the Queen's private secretary and the head of the privy council – in practice, the government.Buckingham Palace is at pains to stress that, as private secretary, Geidt is responsible only for the process of any royal charter in so far as the Queen has a role, not its substance.  Described by former colleagues as unflappable, strategically shrewd, modernising, suave and charming, Geidt caught the attention of the Queen in 2002 when he was appointed to her household as an assistant private secretary. He took over from Sir Robin Janvrin in 2007 as perhaps her closest male confidant after Prince Philip.It is a position that requires the utmost discretion and the highest level of vetting. As well as acting as the daily conduit between the Queen and Downing Street, he has access to all summaries of MI6 intelligence. Through daily red boxes of secret state documents, an open channel with the cabinet secretary, Sir Jeremy Heywood, and advising the Queen on everything from constitutional law to her Christmas message, it is a role that puts him at the heart of the British establishment."One of the tasks of the private secretary is to ensure that the monarchy is modernised, but the monarchy cannot afford to be ahead of public opinion," said Professor Vernon Bogdanor, an expert on constitutional affairs.Geidt was born in 1961, attended private schools in Oxford and Scotland and studied at Trinity Hall, Cambridge. He had been invalided out of Sandhurst when he began working for the Royal United Services Institute before taking a post in army intelligence. That experience made him a natural choice as the British government's man at the headquarters of the European Community monitoring mission in Sarajevo in 1994 at the height of the Bosnian war. The European monitors in their distinctive white outfits – many Brits wore their cricket whites – could travel on both sides of the front line and included active and former spies from around Europe."He was always popping up and disappearing again, working at his own rhythm, doing his own stuff," said one international official who worked with him. He later became senior adviser at the Office of the High Representative, set up after the war by the international community to oversee implementation of the 1995 Dayton peace treaty.A former colleague there remembers him as "suave and charming, very proper, clipped and British with a regimental tie, but also with a touch of the spook about him".But Geidt first came to the attention of a group of MPs and campaigning journalists towards the end of 1989 in Cambodia. After the genocide by the Khmer Rouge under Pol Pot in the 1970s, fears persisted in Cambodia that factions resisting the incumbent government, including the Khmer Rouge would try and take power again.Geidt showed up at a mission to see Vietnamese troops pull out of Cambodia in October 1989. His visit caught the attention of MPs concerned about that issue and they unearthed varying accounts of why he was there. During a Commons debate which touched on the matter, the Labour MP Bob Cryer asked under parliamentary privilege: "Surely not MI6?"A spokesman for Buckingham Palace said: "He didn't comment on the accusations at the time and, as then, he will let the legal judgments speak for themselves. We won't comment on the questions relating to Sir Christopher's work before joining the royal household."Press regulationNewspapers & magazinesFreedom of speechMilitaryMI6MonarchyRobert BoothJulian Borgerguardian.co.uk &copy; 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds",
	"story_date" => "2013-05-31 16:20:00",
	"source" => "THE GUARDIAN"
),
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	"id" => "2013053100000448",
	"provider_id" => "1107",
	"story_seo_url" => "http://www.npr.org/blogs/itsallpolitics/2013/05/30/187354221/war-zone-visit-a-mccain-trademark?ft=1&f=1014",
	"story_title" => "It's All Politics : NPR",
	"story_summary" => "Trips to war zones have become a signature for Sen. John McCain. While some senators use poster board displays on the Senate floor to make their points, McCain goes them one better and by posing in dangerous places alongside wary men with semiautomatic rifles.",
	"story_date" => "2013-05-30 18:32:00",
	"source" => "WITF TV 33"
),
	array(
	"id" => "2013053100001617",
	"provider_id" => "352",
	"story_seo_url" => "http://feedproxy.google.com/~r/IntelligentTravel/~3/0W-UWwQmZTc/",
	"story_title" => "Iconic Greece: Thessaloniki – Intelligent Travel",
	"story_summary" => "Icons are, for the uninitiated (that means most of us), an encounter with the unknown: religious paintings on wooden panels of great antiquity. For others, they take on great spiritual significance. And there’s no better place to see them than Thessaloniki in northern Greece.",
	"story_date" => "2013-05-30 10:19:12",
	"source" => "NATIONAL GEOGRAPHIC"
),
	array(
	"id" => "2013060100000361",
	"provider_id" => "49",
	"story_seo_url" => "http://www.npr.org/2013/04/01/175938447/op-ed-the-iraq-wars-lessons-for-syria?ft=1&f=1010",
	"story_title" => "The Iraq War's Lessons For Syria : NPR",
	"story_summary" => "Washington Post deputy editorial page editor Jackson Diehl says that the Iraq War taught him a lot about how we should deal with the civil war in Syria. In an op-ed he argues that without U.S. intervention, Syria could produce "a much worse humanitarian disaster" than Iraq.",
	"story_date" => "2013-04-01 13:00:00",
	"source" => "NPR"
)
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