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Forward your portion of five quarters or MORE to support the Orange Forest Orator Quarterly, a member of the Camelcase Capital Portfolio Of Office Properties.
Why give?
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The Orange Forest Orator Quarterly is desperate for your support. Not to mention your attention, your affection, and your memory retention.
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Camelcase Capital employs a robust team of hyper-confident investment managers who all vigorously claim to have totally attended top schools. Top schools.
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Where else can you get totally real news for these totally real times?
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Don’t think of it as a wimpy donation; think of it as a powerful investment into Camelcase Capital’s Portfolio Of Office Properties, where your ROI is our IOU.
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It takes a massive ton of black coffee, zero-point energy, and tetraboroxol to crank out this high-quality, truth-distributing journalism. None of that crap comes cheap.
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The Orange Forest Orator Quarterly Editor-in-Chief Maximilien Subabillian demands ever more resources to fund his pyrrhic hunt for pyritic treasure.
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FAQs
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Tom Wolfe, in his anthology The New Journalism (1973), describes the genesis of new journalism this way: "It was in the nature of a discovery. This discovery, modest at first, humble, in fact, deferential, [to novelists], you might say, was that it just might be possible to write journalism that would... read like a novel. Like a novel, if you get the picture."
Well, with all due respect to Mr. Wolfe, he must’ve spent a little too much merry time chugging the electric kool-aid because he pranked us all and got it backward.
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Creative endeavors will always end up with capitalism exploiting and commodifying the “product” and blah blah blah capitalism will even consume and commoditize anti-capitalistic creations and productions if the market finds them profitable.
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As part of the Camelcase Capital Portfolio Of Office Properties, we here at the Orange Forest Orator Quarterly know every quarter counts. That’s why we count every quarter. Can we count on counting your quarters?
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Yadda yadda yadda a project focusing on the state of modern storytelling during late-state capitalism using a once ubiquitous medium, now on life support, that examines, satirizes, and critiques the rise of hyper-commoditized and AI-generated content, rapidly dwindling investment into local journalism/arts, and the continued consolidation of media outlets, and which, at its core, attempts to re-engage its audience in a tangible and interactive, though ephemeral, real-world fashion typically not found nowadays via streaming services, online platforms, or the few dwindling third-place social locales still operational.