{"id":11918,"date":"2026-01-04T07:46:02","date_gmt":"2026-01-04T13:46:02","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=11918"},"modified":"2026-01-04T07:46:02","modified_gmt":"2026-01-04T13:46:02","slug":"review-solastalgia-davis-lutoslwaski","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/review-solastalgia-davis-lutoslwaski\/","title":{"rendered":"Review: Kris Davis and the Lutos\u0142awski Quartet\u2019s \u2018The Solastalgia Suite\u2019"},"content":{"rendered":"\n<p>Coined by the philosopher Glenn Albrecht, the term \u2018solastalgia\u201d centers on the theme of homesickness while still at home with a focus towards surveying environmental damage. \u201cOur environment is transforming around us, and we grieve for the landscapes and ecologies we knew,\u201d says Albrecht. These feelings inspire <em>The Solastalgia Suite<\/em> (Pyroclastic, 2025), Grammy-winning pianist and composer Kris Davis\u2019 first record with a string quartet, Poland\u2019s renowned Lutos\u0142awski Quartet. Davis, a Vancouver native, has witnessed ecological devastation in her homeland, feeling that her connections with nature are different &#8211; or, in some cases, broken &#8211; due to climate change and encroaching technology and those sentiments guide the recording. The eight-movement suite evokes a wide range of tones and emotions. From the graceful to the bracing. From the defiant to glimmers of hope. It may well be the most ambitious of Davis compositional work, given that the string quartet doesn\u2019t merely accompany her piano and renowned prepared piano. Instead, the strings often serve as percussionists and owners of the melody, at times the driving force of a full orchestra, wherein the piano is just one element. The versatility of the Lutos\u0142awski Quartet is staggering.&nbsp;&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_lJ9EeRvYRTY\"><div id=\"lyte_lJ9EeRvYRTY\" data-src=\"\/\/i.ytimg.com\/vi\/lJ9EeRvYRTY\/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\/lJ9EeRvYRTY\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/lJ9EeRvYRTY\/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>Commissioned by the Jazztopad Festival in Wroc\u0142aw, Poland, <em>The Solastalgia Suite <\/em>premiered at such festival and at Dizzy\u2019s Club at Jazz at Lincoln Center in New York. The Lutos\u0142awski Quartet, founded in 2007 and named after the Twentieth Century Polish composer Witold Lutos\u0142awski, has collaborated with classical and jazz artists, notably Vijay Iyer, Craig Taborn, Kenny Wheeler, Uri Caine, and Benoit Delbecq.&nbsp; Compositionally, Davis drew on the work of Olivier Messiaen, notably his \u201cQuartet for the End of Time.\u201d<\/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_OJ6rdIGsuj0\"><div id=\"lyte_OJ6rdIGsuj0\" data-src=\"\/\/i.ytimg.com\/vi\/OJ6rdIGsuj0\/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\/OJ6rdIGsuj0\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/OJ6rdIGsuj0\/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 titles of the suite\u2019s movements are intriguing and enticing. Among them, \u201cAn Invitation to Disappear,\u201d \u201cTowards No Earthly Pole,\u201d \u201cThe Known End,\u201d \u201cGhost Reefs,\u201d \u201cPressure and Yield,\u201d \u201cLife on Venus,\u201d and \u201cDegrees of Separation.\u201d There\u2019s a sleight of hand at play as well with the opening piece entitled \u201cInterlude,\u201d suggesting we are joining in the middle rather than at the beginning of the narrative. Davis\u2019s chords are dense, foreboding, and emphatic as the strings swirl around them, alternatively gentle and stormy. Toward the end, the quartet takes charge, galloping to an abrupt climax. One lonely, weeping violin begins the moving, elegant \u201cAn Invitation to Disappear,\u201d soon joined by the other quartet members. Davis enters about two-and-a-half minutes in with a simple, scalar single note excursion before quickly surrendering to the quartet.&nbsp; Davis re-enters slightly after the four-minute mark, collaborating with the strings to glide to a graceful, calm exit. \u201cTowards No Earthly Pole\u201d features strident, scraping strings set against Davis\u2019s bold prepared piano, creating an eerie, sense of life-on-the-edge.&nbsp;&nbsp;<\/p>\n\n\n\n<p><\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"120\" style=\"position: relative; display: block; width: 100%; height: 120px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=2533907579\/album=3123629555\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>\u201cThe Known End\u201d will shake you out of a reverie as the quartet resorts to a concerto-like form as a backdrop for Davis\u2019s adventurous piano, before assuming control in the mid-section, and then working with Davis in a call-and-response manner, building intensity via controlled chaos. Yet, midway through, sonics descend into a low whisper, suggesting a proverbial calm before the storm, the latter of which fails to materialize. It\u2019s the T.S Eliot effect wherein the \u201cworld doesn\u2019t end with a bang but a whimper.\u201d The brief, haunting \u201cGhost Reefs\u201d references the loss of bleached coral reefs, with the music shaped by Davis\u2019s study with Henry Threadgill.&nbsp;&nbsp;<\/p>\n\n\n\n<p>The music in \u201cPressure and Yield\u201d embodies its title. Atonal strings, serving almost like a complex percussion setup, simulate cracks and fissures of an Earth in upheaval. Piano is virtually absent here, but its definitive chords lie like tolling bells as they provide a critical aspect of the ethereal \u201cLife on Venus,\u201d that otherwise aptly floats into the ether.&nbsp; The eleven-minute final movement, \u201cDegrees of Separation,\u201d begins with a jolt of strings and moves obtusely and chaotically through a series of changes and dynamic shifts, emblematic of constant, and at times, terrifying change. Bracing sections give way to brief calm pauses, only to gather more intensity as the piece evolves into an unsettled, by turns startling listen.&nbsp;&nbsp;<\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-9-16 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_GKhGA7Fn6Y4\"><div id=\"lyte_GKhGA7Fn6Y4\" data-src=\"\/\/i.ytimg.com\/vi\/GKhGA7Fn6Y4\/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\/GKhGA7Fn6Y4\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/GKhGA7Fn6Y4\/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>\n<\/div><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p>The idea of homesickness, while still at home, resides more subconsciously than consciously for many. Davis and the Lutos\u0142awski Quartet bring it to the forefront vividly, emphatically, and rightly disturbingly.&nbsp; With <em>The Solastalgia Suite<\/em>, Kris Davis continues to stake her claim as one of our most visionary composers.&nbsp;&nbsp;<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong><em>\u2018The Solastalgia Suite\u2019 will be released on January 9, 2025 on Pyroclastic Records. It can be purchased <a href=\"https:\/\/krisdavis.bandcamp.com\/album\/the-solastalgia-suite\">on Bandcamp. <\/a><\/em><\/strong><\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Coined by the philosopher Glenn Albrecht, the term \u2018solastalgia\u201d centers on the theme of homesickness while still at home with a focus towards surveying environmental damage. \u201cOur environment is transforming around us, and we grieve for the landscapes and ecologies we knew,\u201d says Albrecht. These feelings inspire The Solastalgia Suite (Pyroclastic, 2025), Grammy-winning pianist and [&hellip;]<\/p>\n","protected":false},"author":59,"featured_media":11920,"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":149,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"Review: Kris Davis and the Lutos\u0142awski Quartet\u2019s \u2018The Solastalgia Suite\u2019","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":[1148,1479,1484,1471,1489,1483,1485,67,1486,1488,1443,1491,1416,1482,1487,1490],"class_list":["post-11918","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews","tag-avant-garde","tag-classical-music","tag-climate-change","tag-composition","tag-dizzys-club-at-jazz-at-lincoln-center","tag-ecology","tag-environmental-damage","tag-jazz","tag-kris-davis","tag-lutoslawski-quartet","tag-music","tag-olivier-messiaen","tag-quartet","tag-solastalgia","tag-the-solastalgia-suite","tag-wroclaw"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3584.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-36e","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":6681,"url":"https:\/\/postgenre.org\/staging\/4567\/music-box-davis-vanguard\/","url_meta":{"origin":11918,"position":0},"title":"Five Music Boxes: A Conversation with Kris Davis on &#8216;Diatom Ribbons Live at the Village Vanguard&#8217;","author":"Rob Shepherd","date":"September 5, 2023","format":false,"excerpt":"In Brian Kiwanuka\u2019s excellent review of Kris Davis\u2019 latest Diatom Ribbons album, he outlines how the music presented fits within the context of the pianist\u2019s output to date. It\u2019s a compelling analysis, but an equally worthy one is where to place the work within the history of the venue where\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\/2023\/09\/Kris-Davis-Quintet-%40Vanguard-%C2%A9Mardok-11231.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\/2023\/09\/Kris-Davis-Quintet-%40Vanguard-%C2%A9Mardok-11231.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/09\/Kris-Davis-Quintet-%40Vanguard-%C2%A9Mardok-11231.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/09\/Kris-Davis-Quintet-%40Vanguard-%C2%A9Mardok-11231.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":6673,"url":"https:\/\/postgenre.org\/staging\/4567\/review-diatom-ribbons-vanguard\/","url_meta":{"origin":11918,"position":1},"title":"Review: Kris Davis&#8221;Diatom Ribbons Live at the Village Vanguard&#8217;","author":"Brian Kiwanuka","date":"August 29, 2023","format":false,"excerpt":"On February 17, 2018, pianist Kris Davis played in the second of two concerts at Harvard University to honor the late jazz pianist Geri Allen. It was a fantastic night of music worthy of Allen\u2019s tremendous talent. Davis took the stage in various ensembles, with some featuring drummer Terri Lyne\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\/2023\/08\/IMG_6674.jpg?fit=1200%2C800&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/08\/IMG_6674.jpg?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/08\/IMG_6674.jpg?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/08\/IMG_6674.jpg?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/08\/IMG_6674.jpg?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":9508,"url":"https:\/\/postgenre.org\/staging\/4567\/no-isolation-dave-holland-i\/","url_meta":{"origin":11918,"position":2},"title":"No Isolation: A Conversation with Dave Holland (Part One)","author":"Rob Shepherd","date":"September 1, 2024","format":false,"excerpt":"Ludwig van Beethoven once noted, \"Music is the one incorporeal entrance into the higher world of knowledge which comprehends mankind but which mankind cannot comprehend.\" Such knowledge includes a unified understanding of humanity in which we all, to some extent, influence one another. Given the brilliance of their output, it\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\/09\/img_9505-1.jpg?fit=1200%2C800&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/09\/img_9505-1.jpg?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/09\/img_9505-1.jpg?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/09\/img_9505-1.jpg?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/09\/img_9505-1.jpg?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":1210,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-history-chapter-i\/","url_meta":{"origin":11918,"position":3},"title":"A History of the Newport Jazz Festival &#8211; Chapter I: A New Tradition, 1954-1955","author":"Rob Shepherd","date":"July 23, 2020","format":false,"excerpt":"By 9:18 PM on the evening of July 17, 1954, Eddie Condon\u2019s tribute to Dixieland finally began its delayed performance. Next was vocalist Lee Wiley, a jam session, and then a series of musicians who in hindsight left an indelible mark of music: the Modern Jazz Quartet with Horace Silver\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\/pasted-image-02-1.png?fit=711%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/pasted-image-02-1.png?fit=711%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/pasted-image-02-1.png?fit=711%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/pasted-image-02-1.png?fit=711%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1323,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-iv\/","url_meta":{"origin":11918,"position":4},"title":"A History of the Newport Jazz Festival \u2013 Chapter IV: Revival, 1961-1964","author":"Rob Shepherd","date":"July 26, 2020","format":false,"excerpt":"Following the riots of the prior summer, there was no Newport Jazz Festival in 1961. However, the city had not abandoned the idea of being a cultural center for jazz. Instead, promoter Sid Bernstein hosted \u201cMusic at Newport.\u201d In some ways, it emulated the original. It was set in both\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\/1956-19609.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\/1956-19609.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19609.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19609.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2360,"url":"https:\/\/postgenre.org\/staging\/4567\/chacona-best-of-2020\/","url_meta":{"origin":11918,"position":5},"title":"John Chacona\u2019s Best Albums of 2020","author":"John Chacona","date":"January 17, 2021","format":false,"excerpt":"Here it is, a \"Best Of\" list for the worst of years. Alright, that's a bit jokey; the fact is that 2020 produced an extraordinary efflorescence of great music. Lilacs out of the dead land of pandemic-ravaged, polarized America. This list was culled from a larger list of superb recordings,\u2026","rel":"","context":"In &quot;Lists&quot;","block_context":{"text":"Lists","link":"https:\/\/postgenre.org\/staging\/4567\/category\/lists\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/chacona-list-2020.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\/2021\/01\/chacona-list-2020.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/chacona-list-2020.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/chacona-list-2020.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11918","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=11918"}],"version-history":[{"count":2,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11918\/revisions"}],"predecessor-version":[{"id":11921,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11918\/revisions\/11921"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/11920"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=11918"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=11918"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=11918"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}