{"id":577,"date":"2005-11-16T12:02:13","date_gmt":"2005-11-16T17:02:13","guid":{"rendered":"http:\/\/www.artsjournal.com\/riley\/wp\/2005\/11\/in_the_criminal_justice_system\/"},"modified":"2005-11-16T12:02:13","modified_gmt":"2005-11-16T17:02:13","slug":"in_the_criminal_justice_system","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/riley\/2005\/11\/in_the_criminal_justice_system\/","title":{"rendered":"IN THE CRIMINAL JUSTICE SYSTEM"},"content":{"rendered":"


\nJOE FRANKLIN SHOULD KISS HER FEET
\n<\/B>


\nSam Anderson on Sarah Silverman in THE ARISTOCRATS: “Silverman was the only comic in the film who met the challenge of the joke: She pushed it too far…<\/A>”
\n


\n\"\"
\nLENNON LIFE
\n<\/B>


\n
\nfree preview link
\n<\/A>
\n


\n
\nSAFE AS MILK
\n<\/B>


\nAlex Beam’s piece on
\nsamizdat<\/A><\/i> includes one of my favorite George Meyer jokes, “They can kill the Kennedys. Why can’t they make a cup of coffee that tastes good?” A joke that could only have been written in Boulder. Somehow it’s a relief to learn that while Tina Brown commissioned that Meyer profile from David Owen, she killed it by dubbing the Simpsons “pass\u00e9”…. As far as I know, nobody has reprinted or even posted Tom Carson’s crowning achievement in this vein, which Kit Rachlis actually published at the LA WEEKLY: the George Bush (41) as dog-fucker profile during the Republican convention of 1992. Track that down, make sure you tell me about it…
\n


\n
\nLET’S GET LOST
\n<\/B>

Behind on this, but
\n
\nhey<\/A>.
\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

JOE FRANKLIN SHOULD KISS HER FEET Sam Anderson on Sarah Silverman in THE ARISTOCRATS: “Silverman was the only comic in the film who met the challenge of the joke: She pushed it too far…” LENNON LIFE free preview link SAFE AS MILK Alex Beam’s piece on samizdat includes one of my favorite George Meyer jokes, […]<\/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":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-577","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/577","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/comments?post=577"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/577\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/media?parent=577"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/categories?post=577"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/tags?post=577"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}