{"id":1004,"date":"2005-01-14T10:31:32","date_gmt":"2005-01-14T18:31:32","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2005\/01\/they_really_meant_it\/"},"modified":"2005-01-14T10:31:32","modified_gmt":"2005-01-14T18:31:32","slug":"they_really_meant_it","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2005\/01\/they_really_meant_it.html","title":{"rendered":"THEY REALLY MEANT IT"},"content":{"rendered":"

Overnight notices are now showing up regularly in the print edition of The New York Times on
\nthe inside pages of the Metro section, per the paper’s effort to perk up its arts coverage, as reported earlier<\/FONT><\/B><\/A>.
\n

<\/P>
\n

John Rockwell’s dance review this morning on page B2, “Through a Dada Forest
\n…,”<\/FONT><\/B><\/A> <\/FONT>is only the latest. On Thursday Allan
\nKozinn had a review of the New York Philharmonic<\/FONT><\/B><\/A> on B4, and the day
\nbefore that Jeremy Eichler had one on a Philadelphia Orchestra
\nconcert<\/B><\/FONT><\/STRONG><\/A>, also on B2.<\/P>
\n

How long will it be before arts organizations start complaining — if they haven’t begun to
\nalready — that overnights on inside pages of the Metro section are, well, buried!<\/I> and
\nthey’d rather see the reviews appear in the arts section a day later, if necessary, where culture
\nvultures expect them?<\/p>\n","protected":false},"excerpt":{"rendered":"

Overnight notices are now showing up regularly in the print edition of The New York Times on the inside pages of the Metro section, per the paper’s effort to perk up its arts coverage, as reported earlier. John Rockwell’s dance review this morning on page B2, “Through a Dada Forest …,” is only the latest. […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-1004","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-gc","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1004","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=1004"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1004\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=1004"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=1004"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=1004"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}