{"id":494,"date":"2003-12-16T01:55:33","date_gmt":"2003-12-16T09:55:33","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2003\/12\/not_the_onion\/"},"modified":"2003-12-16T01:55:33","modified_gmt":"2003-12-16T09:55:33","slug":"not_the_onion","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2003\/12\/not_the_onion.html","title":{"rendered":"NOT THE ONION"},"content":{"rendered":"

Last Saturday Straight Up had an item, THE FUNNY PAGES<\/FONT><\/EM><\/B><\/A>, noting that an obit correction
\nin The New York Times “read like a satire from The Onion,” as did a David Brooks
\ncolumn. We also pointed out that “a tidbit from Reuters” about Italy’s multibillionaire prime
\nminister, Silvio Berlusconi, was “too funny for The Onion.”<\/P>
\n

Two days later, on Monday, Elizabeth Spiers was wondering in her New York magazine
\nblog, The Kicker<\/FONT><\/EM><\/B><\/A>, about an oddball news
\nstory on Madonna and whether she could believe it. “I keep checking the dateline on
\nthis to make sure it still says ‘Reuters’ and not ‘The Onion,'” she wrote. “Hold on a
\nsecond…yep, still Reuters.” Is it something in the air? Has something happened at Reuters that we
\ndon’t know about? Does anyone care to start a Not the Onion<\/B> blog?<\/P><\/p>\n","protected":false},"excerpt":{"rendered":"

Last Saturday Straight Up had an item, THE FUNNY PAGES, noting that an obit correction in The New York Times “read like a satire from The Onion,” as did a David Brooks column. We also pointed out that “a tidbit from Reuters” about Italy’s multibillionaire prime minister, Silvio Berlusconi, was “too funny for The Onion.” Two days […]<\/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-494","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-7Y","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/494","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=494"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/494\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=494"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=494"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=494"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}