FRANK RICH
Why Did James Baker Turn Bush Into Nixon?<snip>
It was Mr. Baker's job to negotiate the 32-page debate agreement with Vernon Jordan, representing the Kerry camp, and by all accounts, the Bush campaign got almost everything it wanted. Yet as we now know, every Bush stipulation backfired, from the identically sized podiums that made the 5-foot-11 president look as if he needed a booster stool, to the flashing "Time's up!" lights that emphasized Mr. Kerry's uncharacteristic brevity and Mr. Bush's need to run out the clock by repeating stock phrases ad infinitum and ad absurdum.
The most revealing Baker error, though, was to insist that the first debate be about the president's purported strong suit, foreign affairs, instead of domestic policy. Did no one anticipate the likelihood that Iraq might once again explode that day, as it has on so many recent others? Insurgent attacks have gone from a daily average of 6 in May 2003 to as high as 87 in August. And so, as Adam Nagourney of The Times reported, "In the hours leading up to the debate, television images of aides to Mr. Bush and Mr. Kerry were mixed with images of corpses and bloody children from Baghdad," on a day when some 35 Iraqi children were slaughtered by car bombs. With this montage grinding away in the media mix, Mr. Kerry probably could have gotten away with even more inconsistent positions about the war than he did that night.
Mr. Baker isn't responsible for the other split-screen visuals that undid Mr. Bush on Sept. 30: the reaction shots during the debate itself. They were forbidden by the 32-page agreement. But earlier that week, the networks, including Fox News, publicly announced they would violate that rule. The Bush campaign has since said that the president knew this was coming, but if so, that makes his lack of self-discipline seem all the more self-destructive, or perhaps out of touch. He couldn't have provided a better out-take promo for the DVD release of "Fahrenheit 9/11" had Michael Moore been directing it himself.
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That's a shocking development because until recently, that manipulation had been meticulous and then some. The administration has been brilliant at concocting camera-ready video narratives that flatter if not outright fictionalize its actions: "Saving Jessica Lynch," "Shock and Awe," the toppling of the Saddam Hussein statue (a sparsely populated, unspontaneous event, when seen in the documentary "Control Room"), "Mission Accomplished." Mr. Bush has been posed by his imagineers to appear to be the fifth head on Mount Rushmore; he has kept the coffins of the American war dead off-screen; he has been seen in shirtsleeves at faux-folksy Town Hall meetings that, until his second debate with Mr. Kerry, were so firmly policed in content and attendees that they would make a Skull and Bones soiree look like a paragon of democracy in action. Time reported last spring that even the Department of Homeland Security was told to take a break from its appointed tasks to round up one terrorism-fighting photo op a month for the president.
http://www.nytimes.com/2004/10/10/arts/10rich.html?8hpib