{"id":1234,"date":"2005-09-01T09:16:45","date_gmt":"2005-09-01T16:16:45","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2005\/09\/rough_riders_and_tough_talkers\/"},"modified":"2005-09-01T09:16:45","modified_gmt":"2005-09-01T16:16:45","slug":"rough_riders_and_tough_talkers","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2005\/09\/rough_riders_and_tough_talkers.html","title":{"rendered":"ROUGH RIDERS AND TOUGH TALKERS"},"content":{"rendered":"<p>Entertained by its right-wing humor, William Carlson pays <a href=\"http:\/\/www.washingtonpost.com\/wp-dyn\/content\/article\/2005\/08\/29\/AR2005082902109.html\" class=inline target=new\"><strong><font color=#003399>tribute to The Weekly Standard&#8217;s neoconnery<\/strong><\/font><\/a> for the magazine&#8217;s 10th anniversary. Although Carlson makes a fetish of two witty Standard writers (Andrew Ferguson and Matt Labash), he&#8217;s inspired by founding editor William Kristol&#8217;s bottomless warmongering on Iraq:<\/p>\n<blockquote><p>In fact, it inspired me to think: Maybe he should join the fight. He could emulate Theodore Roosevelt, who proved his zeal for the Spanish-American War by quitting his cushy desk job and organizing his own regiment to fight in Cuba &#8230; the Rough Riders. Kristol&#8217;s regiment could include other war-hawk opinion slingers in the Murdoch empire, guys like Sean Hannity and Bill O&#8217;Reilly. He could call it the Tough Talkers.<\/BLOCKQUOTE><br \/>\nThanks for the tip, Leon.<br \/>\n<i>&#8212; Tireless Staff of Thousands<\/I><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Entertained by its right-wing humor, William Carlson pays<\/p>\n","protected":false},"author":3,"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-1234","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-jU","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1234","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\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=1234"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1234\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=1234"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=1234"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=1234"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}