{"id":11024,"date":"2025-07-22T22:26:47","date_gmt":"2025-07-23T03:26:47","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=11024"},"modified":"2025-07-22T22:26:47","modified_gmt":"2025-07-23T03:26:47","slug":"review-jimmy-greenes-as-we-are-now","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/review-jimmy-greenes-as-we-are-now\/","title":{"rendered":"Review: Jimmy Greene\u2019s \u2018As We Are Now\u2019"},"content":{"rendered":"\n<p>Saxophonist and composer Jimmy Greene is recognized by many as a vital member of Ron Carter\u2019s Foursight Quartet, which will be appearing at the 2025 Newport Jazz Festival. Greene has also established a solid career as a leader, having received a Grammy nomination and acknowledgment in the DownBeat Magazine Critics Poll. He also endured a life-altering tragedy when his then six-years-old daughter, Ana&nbsp;Grace M\u00e1rquez-Greene, was among those killed twelve years ago at Sandy Hook School in Newtown, Connecticut. Since that horrific day, Greene has devoted much of his music to the memory of his daughter. Coming five years after <em>While Looking Up <\/em>(Mack Avenue, 2020)<em>, As<\/em> <em>We Are Now<\/em> (Greene Music Works, 2025) is the artist\u2019s fourth album since her passing and the first on his own label.&nbsp; As we get older, we each typically receive physical wellness checks. In that light, we can consider this record, his tenth as a leader, as a wellness check on Greene\u2019s mental well-being. The clich\u00e9 that time heals wounds, in most cases, is rarely true. Music becomes a means of channeling a myriad of emotions, as the deeply faithful Greene attests to with this statement.<\/p>\n\n\n\n<p><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_cOzjjz3Nmrc\"><div id=\"lyte_cOzjjz3Nmrc\" data-src=\"\/\/i.ytimg.com\/vi\/cOzjjz3Nmrc\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/cOzjjz3Nmrc\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/cOzjjz3Nmrc\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><\/p>\n\n\n\n<p>The core of this project is a suite of songs commissioned by Chamber Music America after Greene was named a winner of its Doris Duke Charitable Foundation-funded New Jazz Works grant program in 2023. Interestingly, the suite is not labeled as such, but one can infer that it makes up the first six of the eight tracks. Unlike previous releases that include strings and large ensembles, here, Greene works with a core quintet of longtime collaborators: pianist Aaron Goldberg, guitarist Mike Moreno, bassist Dezron Douglas, and drummer&nbsp; Jonathan Barber. Several notable guests join as well. Vocalist, recording artist, and winner of the inaugural season of NBC\u2019s \u2018The Voice\u2019, Javier Colon, appears on one track. Organist Shedrick Mitchell appears on two. Percussionist Gabriel Globus-Hoenich\u2019s congas strengthen the closing track, and percussionist Rogerio Boccato sprinkles in his flourishes on several of the Greene composed pieces that make up the album.<\/p>\n\n\n\n<p><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_yh28igXMOqc\"><div id=\"lyte_yh28igXMOqc\" data-src=\"\/\/i.ytimg.com\/vi\/yh28igXMOqc\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/yh28igXMOqc\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/yh28igXMOqc\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><\/p>\n\n\n\n<p>Mitchell\u2019s organ imbues the Black Church inspired opener, \u201cPraises,\u201d with Greene delivering the vocal-like melody on his tenor before passing the baton to Goldberg for a roof-raising piano solo while Moreno\u2019s contributions notably course through the piece. Greene switches to soprano for \u201cSeventeen Days,\u201d a track that features Colon\u2019s rich vocals as he sings lyrics penned by Greene, referencing the saxophonist\u2019s early days as a touring musician trying to balance the joy of performing with the responsibilities of family life. Barber\u2019s drum solos, interspersed in a few places, add potency. Greene stays with the soprano for the wildly fluid \u201cImpatient,\u201d drawn from the \u2018Charleston\u2019 rhythm, from the composition of the same name written over a century ago by a pioneer of Harlem stride piano, James P. Johnson. The piece features vigorous dialogue between Greene and Moreno while Douglas and Barber stoke the fire below.&nbsp;<\/p>\n\n\n\n<p><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_7NH0kaOffsM\"><div id=\"lyte_7NH0kaOffsM\" data-src=\"\/\/i.ytimg.com\/vi\/7NH0kaOffsM\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/7NH0kaOffsM\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/7NH0kaOffsM\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><\/p>\n\n\n\n<p>Inevitably, we get to pieces where Greene has his daughter in mind. \u201cUnburdened\u201d is uplifting, with a melody designed to evoke Ana\u2019s free-flowing, carefree spirit. Greene is especially adept at lyrically emotive tenor lines like those heard here. Other notable aspects are the unison lines between Greene and Moreno as well as Moreno\u2019s smooth solo. The last piece in the suite &#8211; in this author\u2019s best estimation &#8211; is \u201cAnhelando,\u201d a title derived from the Spanish word for \u201clonging.\u201d. It\u2019s played in a slow Brazilian partido alto groove, almost the opposite of \u201cUnburdened,\u201d in that there\u2019s a mournful, commemorative aspect that yearns for Ana\u2019s presence. It\u2019s more akin to the kind of pieces Greene recorded in the first four or five years following her passing. Nonetheless, the percussive groove helmed by Barber and Boccato adds vitality to the otherwise contemplative melody.&nbsp;<\/p>\n\n\n\n<p>Sandwiched in between is the jolting title track. It\u2019s not the backbeat-groove, enhanced by Mitchell, that attracts notice as much as the voices. Greene\u2019s speaking voice is heard in the song\u2019s intro, inviting the listener to consider his answer to the frequently posed question, \u201cHow are you doing now?\u201d Later, snippets of recent speeches and interviews with his wife, Nelba M\u00e1rquez-Greene, and their son, Isaiah, are sprinkled in. Note also the soulful call-and-response exchange between the band and Dezron Douglas\u2019 thick, earthy bass.<\/p>\n\n\n\n<p><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_Yc5z_AA-YQY\"><div id=\"lyte_Yc5z_AA-YQY\" data-src=\"\/\/i.ytimg.com\/vi\/Yc5z_AA-YQY\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/Yc5z_AA-YQY\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/Yc5z_AA-YQY\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><\/p>\n\n\n\n<p>\u201cFlood Stage,\u201d named in the aftermath of the \u201conce-in-a-thousand-year\u201d storm that ravaged Greene\u2019s home and southwestern Connecticut community in August of 2024, is based on Wayne Sorter\u2019s chord progression of \u201cPinocchio.\u201d It\u2019s one of the few tunes rendered just by the core quintet and features blistering runs from Goldberg, Moreno, and the leader on tenor. Greene returns to Latin strains, in this case Afro-Cuban, with Globus-Hoenich\u2019s congas in a rework of Kurt Weill\u2019s \u201cSpeak Low.\u201d Similar to \u201cAnhelando,\u201d there\u2019s a longing in Greene\u2019s melody offset by the danceable rhythms that convey joy. That latter owes to Greene\u2019s profound faith. The album indicates he is still reflecting on his daughter &#8211; How can he not? &#8211; yet, the sound here is much different than his previous three releases since 2012, indicating that his spirit is indeed healthy.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong><em>\u2018As We Are Now\u2019 will be released on July 25, 2025. Greene will be performing with the Ron Carter Foursight Quartet at the Newport Jazz Festival on Friday, August 1, 2025.<\/em><\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>Photo credit: Brenden Castro<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Saxophonist and composer Jimmy Greene is recognized by many as a vital member of Ron Carter\u2019s Foursight Quartet, which will be appearing at the 2025 Newport Jazz Festival. Greene has also established a solid career as a leader, having received a Grammy nomination and acknowledgment in the DownBeat Magazine Critics Poll. He also endured a [&hellip;]<\/p>\n","protected":false},"author":59,"featured_media":11030,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"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,"iawp_total_views":145,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2],"tags":[],"class_list":["post-11024","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_0143-1.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-2RO","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":10753,"url":"https:\/\/postgenre.org\/staging\/4567\/review-abstraction-jbl\/","url_meta":{"origin":11024,"position":0},"title":"Review: James Brandon Lewis Quartet&#8217;s &#8216;Abstraction Is Deliverance&#8217;","author":"Jim Hynes","date":"June 24, 2025","format":false,"excerpt":"Tenor saxophonist James Brandon Lewis has established himself as the most versatile tenorist on the scene today in a relatively short time. He\u2019s played in classical settings, gospel settings, in a punk trio, with a rock band, and as a sideman for Ches Smith and others. But his most consistent\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2704-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2704-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2704-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2704-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":8184,"url":"https:\/\/postgenre.org\/staging\/4567\/reflections-karriem-riggins\/","url_meta":{"origin":11024,"position":1},"title":"Reflections : A Conversation with Karriem Riggins on Jahari Massamba Unit\u2019s \u2018YHWH is Love\u2019","author":"Rob Shepherd","date":"April 1, 2024","format":false,"excerpt":"The corporate-led division of music into genres ignored the reality of the music presented. This is perhaps no better seen than in the relationship between \u201cjazz\u201d and \u201chip hop.\u201d Over the last two decades, many have written about the meeting of these two stylistic influences. This analysis, however, is incredibly\u2026","rel":"","context":"In &quot;Interviews&quot;","block_context":{"text":"Interviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/03\/IMG_7889.jpeg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/03\/IMG_7889.jpeg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/03\/IMG_7889.jpeg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/03\/IMG_7889.jpeg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":4662,"url":"https:\/\/postgenre.org\/staging\/4567\/reboot-ronnie-foster-i\/","url_meta":{"origin":11024,"position":2},"title":"Rebooting the Connection : A Conversation with Ronnie Foster (Part One)","author":"Rob Shepherd","date":"July 4, 2022","format":false,"excerpt":"While Fats Waller, Count Basie, and Wild Bill Davis charted the organ trio\u2019s course across the 1920s, 1930s, and 1940s, the format did not hit its zenith until the late 1950s. Central to the emergence of the organ trio was the rise of soul jazz, an amalgamation of influences from\u2026","rel":"","context":"In &quot;Interviews&quot;","block_context":{"text":"Interviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/Ronnie-Foster-by-Jen-Rosenstein-copy.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/Ronnie-Foster-by-Jen-Rosenstein-copy.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/Ronnie-Foster-by-Jen-Rosenstein-copy.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/Ronnie-Foster-by-Jen-Rosenstein-copy.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":4437,"url":"https:\/\/postgenre.org\/staging\/4567\/all-connected-ron-carter-ii\/","url_meta":{"origin":11024,"position":3},"title":"All Connected: A Conversation with Ron Carter (Part Two)","author":"Rob Shepherd","date":"May 9, 2022","format":false,"excerpt":"We continue our conversation with Ron Carter by discussing his Foursight Quartet's upcoming performances at both Carnegie Hall and the Newport Jazz Festival, his musical explorations of other cultures, and the power of music and education. You can read part one of our conversation here. PostGenre: So far, we have\u2026","rel":"","context":"In &quot;Interviews&quot;","block_context":{"text":"Interviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/05\/ronheader.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/05\/ronheader.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/05\/ronheader.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/05\/ronheader.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1252,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-ii\/","url_meta":{"origin":11024,"position":4},"title":"A History of the Newport Jazz Festival \u2013 Chapter II: Diminuendo and Crescendo, 1956","author":"Rob Shepherd","date":"July 24, 2020","format":false,"excerpt":"The 1956 Newport Jazz Festival\u2019s schedule was adjusted slightly compared to the prior two outings. While still a three-day event with a focus on nighttime performances, it was moved up a day to begin on Thursday and end on Saturday while also having an earlier start time. Much of the\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19604.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19604.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19604.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19604.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1414,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-vi\/","url_meta":{"origin":11024,"position":5},"title":"A History of the Newport Jazz Festival \u2013 Chapter VI: Electric Aquidneck Experiment, 1969","author":"Rob Shepherd","date":"July 31, 2020","format":false,"excerpt":"At the time of the first Newport Jazz Festival in 1954, there were two primary ways to enter the city on Aquidneck Island. From the North, travelers would cross the Mount Hope Bridge. But most traffic came from the West, where one would invariably need to take a ferry or\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/BeFunky-collage-5.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/BeFunky-collage-5.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/BeFunky-collage-5.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/BeFunky-collage-5.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11024","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/users\/59"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=11024"}],"version-history":[{"count":4,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11024\/revisions"}],"predecessor-version":[{"id":11031,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11024\/revisions\/11031"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/11030"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=11024"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=11024"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=11024"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}