Daily Archives: February 5, 2021

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JARS: 20th Anniversary = 20,000+ Reasons to Celebrate!

The Journal of Ayn Rand Studies just received its 2020 annual report from Pennsylvania State University Press. This report does not count print subscriptions. But the news is wonderful. As the only scholarly, university-press published, interdisciplinary, double-blind peer-reviewed journal dedicated to the study of Ayn Rand and her times, last year—our twentieth anniversary year—gave us 17,907 requests for articles from JSTOR alone and 4,302 from Project MUSE for a grand total of 22,209 global article requests!

To put this into perspective, this journal began in 1999 with only a couple of hundred subscribers. The collaboration of JARS with Penn State Press began in 2013. That first year, our total electronic downloads were 7,922. By 2019, that total had increased to 14,515. The majority of the requests had come from the United States. Today, a strong 48% of the 22,209 article requests still come from the United States. But the majority of requests now stretch from North and South America to Europe, Asia, Africa, and Oceania, encompassing nearly 130 countries.

This journal remains a trailblazing periodical, welcoming perspectives from all over the intellectual spectrum. I want to extend my deepest appreciation to everyone who has requested even a single article, let alone over 20,000 to mark last year’s 20th anniversary celebration.

The July 2021 issue will be submitted to Penn State Press in less than a month, to kick off the beginning of our third decade.

The best is yet to come …

Song of the Day #1836

Song of the Day: Airport 1975 (“Main Title”) [YouTube link], composed by John Cacavas, opens the second installment in the “Airport” film series, inspired by the original Arthur Hailey novel (and 1970 film). George Kennedy (as Joe Patroni) was the only actor to star in all four films of the series (not counting the 1980 parody film, Airplane!). This 1974 film starred Charlton Heston, Karen Black, and Gloria Swanson (as herself) in her last film role. Not nearly as fine a production as its predecessor, it nevertheless went on to become the seventh highest-grossing film of 1974. And it sports an elegant main title.