{"id":881,"date":"2004-11-01T11:47:24","date_gmt":"2004-11-01T19:47:24","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2004\/11\/back_on_deadline\/"},"modified":"2004-11-01T11:47:24","modified_gmt":"2004-11-01T19:47:24","slug":"back_on_deadline","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2004\/11\/back_on_deadline.html","title":{"rendered":"BACK ON DEADLINE"},"content":{"rendered":"

Overnight reviews are back, in case you hadn’t noticed, at The New York Times. The first
\none in years — an opera review<\/FONT><\/B><\/A> by Anthony
\nTommasini, of “Haroun and the Sea of Stories” — appeared this morning in the Metro section on
\npage B2. (Online it’s listed in the Arts section.) Overnight notices used to be the custom for
\nink-stained critics. I recall pushing midnight deadlines on theater reviews for the morning edition
\nat the Chicago Sun-Times. Not all NY Times reviews will be overnights, according to classical
\nmusic editor James R. Oestreich, only those deemed practical and\/or appropriate because of an
\nevent’s importance. He told a conference of music critics at Columbia University several weeks
\nago that the move is part of the paper’s effort to give its arts coverage more zing.
\n

Postscript:<\/B> Here’s an update<\/FONT><\/B><\/A> on those overnights.<\/p>\n","protected":false},"excerpt":{"rendered":"

Overnight reviews are back, in case you hadn’t noticed, at The New York Times. The first one in years — an opera review by Anthony Tommasini, of “Haroun and the Sea of Stories” — appeared this morning in the Metro section on page B2. (Online it’s listed in the Arts section.) Overnight notices used to […]<\/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-881","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-ed","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/881","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=881"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/881\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=881"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=881"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=881"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}