Some context: Judith Miller (born January 2, 1948) is an American journalist and commentator. She worked in The New York Times' Washington bureau before joining Fox News. Accused by, among others, Edward Said, for a purported anti-Islamic bias in her writing, Miller became embroiled in controversy after her coverage of Iraq's Weapons of Mass Destruction (WMD) program both before and after the 2003 invasion was discovered to have been based on the inaccurate information in the intelligence investigations, particularly those stories that were based on sourcing from the now-disgraced Ahmed Chalabi. The New York Times later determined that a number of stories she had written for the paper were inaccurate.
On October 12, 2001, Miller opened an anthrax hoax letter mailed to her New York Times office. The 2001 anthrax attacks had begun occurring in the wake of the September 11 attacks in 2001, with anthrax-laced letters sent to ABC News, CBS News, NBC News, and the New York Post, all in New York City, as well as the National Enquirer in Boca Raton, Florida. Two additional letters (with a higher grade of anthrax) were sent on October 9, 2001, to Senators Tom Daschle and Patrick Leahy in Washington. Twenty-two people were infected; five died. In 2008, the government's investigation of these mailings focused on Bruce Ivins, who later committed suicide, with the investigation determining that Ivins acted alone. Miller was the only major U.S. media reporter, and The New York Times the only major U.S. media organization, to be victimized by a fake anthrax letter in the fall of 2001. Miller had reported extensively on the subject of biological threats and had co-authored, with Stephen Engelberg and William Broad, a book on bio-terrorism, Germs: Biological Weapons and America's Secret War which was published on October 2, 2001. Miller co-authored an article on Pentagon plans to develop a more potent version of weaponized anthrax, "U.S. Germ Warfare Research Pushes Treaty Limits", published in The New York Times on September 4, 2001, weeks before the first anthrax mailings. Miller also participated in a senior-level bio-terror attack simulation on Oklahoma City conducted on June 22 and June 23, 2001, called "Operation Dark Winter"; her role was media reporter/observer.
Are there any other significant details about this case ?
A: only major U.S. media reporter, and The New York Times the only major U.S. media organization, to be victimized by a fake anthrax letter in the fall of
Some context: Orchestral Manoeuvres in the Dark (OMD) are an English electronic music band formed in Wirral, Merseyside in 1978. Spawned by earlier group The Id, the outfit is composed of co-founders Andy McCluskey (vocals, bass guitar) and Paul Humphreys (keyboards, vocals), along with Martin Cooper (various instruments) and Stuart Kershaw (drums); McCluskey is the only constant member. OMD released their debut single, "Electricity", in 1979, and gained popularity throughout Europe with the 1980 anti-war song "Enola Gay".
The eponymous first album (1980) showcased the band's live set at the time, and was basically recorded by the Humphreys/McCluskey duo, although included some guest drums from Id drummer Malcolm Holmes, and saxophone from Wirral musician Martin Cooper. It had a simple, raw, poppy, melodic synth-pop sound. Dindisc arranged for the song "Messages" to be re-recorded (produced by Gong bassist Mike Howlett) and released as a single (right) - this gave the band their first hit. Dave Hughes, a founder member of Dalek I Love You who joined OMD in early 1980, is featured in the "Messages" video. A tour followed, Winston the tape recorder was augmented with live drums from Malcolm Holmes, and Dalek I Love You's Dave Hughes on synths. Hughes then left OMD in November 1980, replaced by Martin Cooper. The second album Organisation (a reference to the band which preceded Kraftwerk, founded by Kraftwerk's original members Florian Schneider-Esleben and Ralf Hutter) followed later that year, recorded as a three-piece with Humphreys, McCluskey and Holmes. It was again produced by Howlett, and had a rather moodier, dark feel. The album spawned the hit single "Enola Gay", named after the plane that dropped an atomic bomb on Hiroshima. The song was intended to be included on the debut album, but was left out at the final selection. The tour for this album had a 4-piece band line-up, with saxophonist Martin Cooper (another Dalek I Love You alumnus) recruited for keyboard duties. In early 1981, Record Mirror named OMD as the fourth-best band of 1980; NME and Sounds both named the group as one of the 10 best new acts of that year. Howlett then presided over the recording of a further hit single, "Souvenir", co-written by Cooper & Humphreys. It ushered in a lush choral electronic sound. The song also became OMD's biggest UK hit to date. In November 1981, their most commercially successful album was released in the UK and Europe - Architecture & Morality. The group went into the studio with Richard Mainwaring producing. Cooper then temporarily dropped out and was replaced by Mike Douglas, but this change was reversed by the time the album was released and a tour embarked upon. The album's sound saw OMD's original synth-pop sound augmented by the Mellotron, an instrument previously associated with prog rock bands. They used it to add very atmospheric swatches of string, choir and other sounds to their palette. Two more hit singles "Joan of Arc" and "Maid of Orleans" (which became the biggest-selling single of 1982 in Germany) were taken from the album. "Joan of Arc" and "Maid of Orleans" were originally both titled "Joan of Arc"; the name of the latter single was changed at the insistence of the publishers and to avoid confusion. It became "Joan of Arc (Maid of Orleans)" and later simply "Maid of Orleans". In 1983 the band lost commercial momentum somewhat, with the release of their more experimental Dazzle Ships album, which mixed melancholy synth ballads and uptempo synth-pop with musique concrete and short wave radio tape collages. It was recorded by the 4-piece Humphreys/Holmes/Cooper/McCluskey line-up, and produced by Rhett Davies. Its relative commercial failure caused a crisis of confidence for Humphreys and McCluskey and brought about a deliberate move towards the mainstream.
Did they perform with any other bands or artists during this time?
A:
The tour for this album had a 4-piece band line-up, with saxophonist Martin Cooper