{"id":806,"date":"2004-09-14T08:59:25","date_gmt":"2004-09-14T15:59:25","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2004\/09\/oddities\/"},"modified":"2004-09-14T08:59:25","modified_gmt":"2004-09-14T15:59:25","slug":"oddities","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2004\/09\/oddities.html","title":{"rendered":"ODDITIES"},"content":{"rendered":"

David Remnick describes, in this week’s New Yorker, “a paranoid President<\/FONT><\/B><\/A> who refuses
\nthe burdens of democratic accountability and the need to reshape a policy that is good for little
\nbut more bloodshed.” Remnick’s subject is not our Maximum Leader. He’s talking about Vladimir
\nPutin. But it’s eery. Consider the top story in the print edition of this morning’s New York Times:
\n“Putin Issues Plan to Tighten Grasp, Citing
\nTerrorism.”<\/FONT><\/B><\/A> And the top story in this morning’s Washington Post: “Dozens Killed in Baghdad Car
\nBombing.”<\/FONT><\/B><\/A> Meanwhile, the Museum of Bad Art has solved the mystery of “Sunday on the Pot With
\nGeorge.”<\/FONT><\/B><\/A> The portrait is based on none other than John Ashcroft<\/FONT><\/B><\/A>.<\/P><\/p>\n","protected":false},"excerpt":{"rendered":"

David Remnick describes, in this week’s New Yorker, “a paranoid President who refuses the burdens of democratic accountability and the need to reshape a policy that is good for little but more bloodshed.” Remnick’s subject is not our Maximum Leader. He’s talking about Vladimir Putin. But it’s eery. Consider the top story in the print […]<\/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-806","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\/sbvgEs-oddities","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/806","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=806"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/806\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=806"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=806"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=806"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}