{"id":1349,"date":"2005-11-24T11:52:54","date_gmt":"2005-11-24T19:52:54","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2005\/11\/thanks_but_no_thanks\/"},"modified":"2005-11-24T11:52:54","modified_gmt":"2005-11-24T19:52:54","slug":"thanks_but_no_thanks","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2005\/11\/thanks_but_no_thanks.html","title":{"rendered":"THANKS, BUT NO THANKS"},"content":{"rendered":"<p>The best, least fawning part of George Will&#8217;s grammatically challenged <a href=\"http:\/\/www.washingtonpost.com\/wp-dyn\/content\/article\/2005\/11\/23\/AR2005112301669.html\" class=inline target=new\"><strong><font color=#003399>tribute to William F. Buckley<\/strong><\/font><\/a>, who turns 80 today, has this to say:<\/p>\n<blockquote><p>Married to a woman who matches his mettle, his proposal to her, made when he called her away from a card game, went like this:<br \/>\nHe: &#8220;Patricia, would you consider marriage with me?&#8221;<br \/>\nShe: &#8220;Bill, I&#8217;ve been asked this question many times. To others I&#8217;ve said no. To you I say yes. Now may I please get back and finish my hand?&#8221;<\/p><\/blockquote>\n<p>Presumably, Buckley will send Will a note of thanks with a slap on the wrist, expressing both his gratitude for the column&#8217;s sentiments and his chagrin at its poor grammar.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The best, least fawning part of George Will&#8217;s grammatically challenged<\/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-1349","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-lL","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1349","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=1349"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1349\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=1349"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=1349"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=1349"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}