{"id":599,"date":"2006-08-05T01:04:00","date_gmt":"2006-08-05T08:04:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=599"},"modified":"2006-08-05T01:04:00","modified_gmt":"2006-08-05T08:04:00","slug":"the_policy_on_comments","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2006\/08\/the_policy_on_comments\/","title":{"rendered":"The Policy On Comments"},"content":{"rendered":"<p>Readers have asked why <em>Rifftides<\/em> does not allow comments to be posted directly.  I want the opportunity to review comments and, when it feels right, to respond to them in context and with editorial discretion. It has developed, as I thought it would, that <em>Rifftides<\/em> readers are not inclined to inititiate the kinds of shouting matches that infect too many web sites, so that has never been a worry. But there is another reason: spam. About half of the alleged comments that I receive are spam. If I allowed them to pop up unsupervised, you would be seeing random insults from web trawlers, pitches for ringtones and viagra and opportunities for a wide variety of personal services from members of all of the sexes. Not on this weblog, folks.<br \/>\nThe <em>Rifftides<\/em> staff encourages you to send comments, whether or not  they are about something you&#8217;ve seen here . They may end up in the comments section at the end of an item, as part of a posting in the main section or, rarely, on the cutting room floor. You may send a message to the e-mail address in the upper right-hand column or click on the &#8220;Comments&#8221; link at the end of an item. Please do.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Readers have asked why Rifftides does not allow comments to be posted directly. I want the opportunity to review comments and, when it feels right, to respond to them in context and with editorial discretion. It has developed, as I thought it would, that Rifftides readers are not inclined to inititiate the kinds of shouting [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","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":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-599","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/599","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=599"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/599\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=599"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=599"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=599"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}