Leon Neyfakh (12:45)
Before I go on, I want to ask the audience real quick, how many people here knew who Webster Hubble was before hearing his name on Slow Burn? Some, but definitely not even most. Right. And typically that would be a pretty good basis from which to surmise that he probably wasn't that important, right? Or at least that he wasn't as pivotal a figure in the Clinton saga as, say, Linda Tripp or Ken Starr or Paula Jones. But if working on Slow Burn has taught me anything, it's that even the most consequential players in a story can fall out of the narrative that gets passed down to us through our collective memory. Webster Hubble is one such player because, as I said earlier, it's possible that without him, Ken Starr would have never even been able to investigate the Lewinsky matter. Do you guys want to know? I think that. Okay. When Linda Tripp called Starr and his team and told them about Monica Lewinsky, the detail they latched onto, of all things, was the apparent involvement of Clinton's friend Vernon Jordan. Starting in the fall of 1997, Lewinsky had been pressuring Clinton to help her find work in the private sector, and Clinton delegated the task to Jordan, who got Lewinsky an interview at Revlon and separately set her up with a lawyer to deal with a subpoena from the Paula Jones team. The reason the Vernon Jordan angle caught the attention of Starr's prosecutors was that it reminded them of Webster Hubble. In both cases, the prosecutors thought Clinton was using his powerful friends, Vernon Jordan in particular, to buy people's silence. And that overlap was critical. And it was what Starr and his people pointed to In January of 1998, when they made the case to justice department officials that they should be allowed to expand the Whitewater investigation to include the Lewinsky angle. Attorney general Janet Reno was apparently convinced by the argument that even though it involved a lot more sexual and a lot fewer billing issues, the Monica Lewinsky situation resembled the Webster Hubble situation closely enough that Starr could incorporate it into his probe. And then prom night happened not long after that. So it's clear why I find this story so attractive. Right here you have this guy, Webster Hubble over here, who happens to become friends with the Clintons. And over here is this completely unrelated situation with Monica Lewinsky. But together, they became part of a chain reaction, this sort of Rube Goldberg machine that set history into motion. And this gets at a big, overarching question that I kept asking myself as I worked on Slow burn, season two. Why did all this happen? To phrase that a little more grandiosely, how does history work? What propels it? What determines the plot? The Webster Hubble story brings to mind a few possible answers. One of them is that Rube Goldberg theory that basically, history is the series of arbitrary events that crash into each other and mix together in unpredictable ways that are as consequential as they are meaningless. But from a different angle, what happened with Webster Hubble was not arbitrary at all. It was the result of specific decisions made by specific individuals with specific personalities and specific goals and specific flaws. And in this light, this sequence of events looks less like a chain reaction. And more like a series of choices. The Clintons chose to be friends with Webster Hubble. Webster Hubble chose to be a person who overbuild his clients and then chose to take a job in the Department of Justice. Vernon Jordan then chose to help out when Hubble was being jammed up by Ken Starr. And there's a third way to look at this as well, I think, and that's through an institutional lens, one that suggests a kind of immutable logic to political scandal from this point of view. The independent counsel's office was always going to find some way to connect Lewinsky to Whitewater, because the purpose of an independent council investigation, whether it's Ken Starr running it or Bob Fisk or Bob Mueller, is to be as aggressive and voracious as possible and in relation to its target. So as you know, if you've heard our first two seasons, there are all these parallels right, between then and now. And while I've been very happy to see that listeners are delighted by these parallels and I'm delighted by them as well, part of me also thinks, well, it's not exactly surprising, right, that when you arrange a set of chess pieces on a board with the president over here and Congress over here, the Supreme Court over here and the Independent Council over there, they're going to interact in certain predictable ways. There will be fights over access to evidence, there will be weaponized leaks to the media, and there will be a politicization of the proceedings that will ultimately, if indirectly, leave the outcome up to voters. So why was Clinton impeached? Why did all this happen? Was it really because of Webster Hubble and that perfectly shaped keyhole that he unwittingly provided to star by accepting help from Vernon Jordan? Obviously, it wasn't just that, but thinking about it that way makes me look forward to the day when we'll be able to spot today's keyholes, the ones we're not yet able to see. And maybe then in 10 or 20 or 30 years, we'll be able to say, oh, that's why that happened, and we'll be able to pinpoint exactly where it all went wrong. What you just heard was my performance of that monologue in Portland. If you're wondering about that photo of upstair Hubble that I mentioned when I complimented his chin, we'll post that on the slate plus Facebook page. In Washington, D.C. i sat down with Ruth Marcus, the Washington Post editor and columnist. You may remember Ruth from this past season in episode two, she was a White House correspondent during the early Missteps of the Clinton administration from Travelgate to Harrigate to Whitewater. I began by asking her about those scandals. How inevitable do you think all of this was? I mean, you know, especially the first couple of years. How could it have been avoided, this horrible opening act of the Clinton administration where they were just bumping into one wall, into another.