{"id":2502,"date":"2021-02-07T23:21:38","date_gmt":"2021-02-08T05:21:38","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=2502"},"modified":"2021-06-21T20:32:10","modified_gmt":"2021-06-22T01:32:10","slug":"rr-now-live","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/rr-now-live\/","title":{"rendered":"Review: &#8216;\u200eR+R=Now Live&#8217;"},"content":{"rendered":"\n<p>If 2020 has shown us anything, it is how quickly circumstances can change. One day you are living your \u201cnormal\u201d life. The next you are unexpectedly shut-in for the foreseeable future. So when R+R = Now &#8211; a band intended to reflect upon and respond to the events of the current moment, not weeks or months ago-&nbsp; releases a live album two years after its October 2018 recording at the Blue Note, one is naturally suspect. For a group so focused on current events, what relevancy does this music have years later? While this author cannot pretend to know what transpired during the period from recording to release date, <em>R+R = Now Live<\/em> (Blue Note, 2021) is not weakened by the passage of time. If anything, the music is more empowered by it.<\/p>\n\n\n\n<p>Consider when Omari Hardwick joins the ensemble on \u201cNeeded You Still.\u201d The version included on the studio release, <em>Collagically Speaking<\/em> (Blue Note 2018), showcases a narrator missing a loved one who passed and their struggles without that person in their life.&nbsp; It is also laden with religious imagery as the speaker tries to make sense of the universe.\u201c Needing you to bring back the chalk\/So we can outline the love\/ Flirting with ash to dust\/ Feel like a vast land between us\/ A nomad feigning for romance and a bus\/ I feel like the last man with no meaning\/ My heaven been in hell for months.\u201d <em>Live<\/em> revisits these cues but also subtly explores the dual nature of technology. Hues of this concept were in the original but used primarily to accent the song\u2019s other themes. \u201cSo much distance, feel like we phony\/Like we never really exist\/Like when we FaceTime you be like &#8220;who is this?&#8217;\u201d But on <em>Live<\/em>,<em> <\/em>Hardwick adds one simple line which recontextualizes these phrases. \u201cLike I\u2019m reading a poem off a phone, that way when you call I can be home\u201d shows these tools have utility as well. These themes- personal distance, man\u2019s place in the universe, and technology &#8211; all take on new meanings or have been subject to new examinations during the pandemic era.&nbsp;<\/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_J6otZuP_G28\"><div id=\"lyte_J6otZuP_G28\" data-src=\"\/\/i.ytimg.com\/vi\/J6otZuP_G28\/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\/J6otZuP_G28\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/J6otZuP_G28\/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>Similarly, the spontaneity of live performance produces songs that are rawer, less processed, and more organic. Conversations with the audience and jokes by Robert Glasper recur which would not have worked in a studio setting. \u201cPerspectives\/Postpartum\u201d begins with the pianist joking about the piece &#8211; a combination of compositions by Christian Scott aTunde Adjuah and Taylor McFerrin respectively &#8211; being a \u201cmedley joint.\u201d And it concludes with Glasper mocking Linda Rondstadt\u2019s \u201cSomewhere Out There\u201d while trying to make light of how streaming services treat artists and Justin Tyson\u2019s futile efforts to get the pianist to rap. Although it is easy to write off these little items as non-sequiturs, they play a significant role in creating greater intellectual intimacy between the artists and the listener. This closeness is particularly precious in an era where public performances are prohibited.&nbsp;<\/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_227kXmjlvtI\"><div id=\"lyte_227kXmjlvtI\" data-src=\"\/\/i.ytimg.com\/vi\/227kXmjlvtI\/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\/227kXmjlvtI\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/227kXmjlvtI\/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<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_NoaSSpWTEE0\"><div id=\"lyte_NoaSSpWTEE0\" data-src=\"\/\/i.ytimg.com\/vi\/NoaSSpWTEE0\/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\/NoaSSpWTEE0\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/NoaSSpWTEE0\/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>This aspect of the music also manifests itself in intentional changes in color. \u201cBeen On My Mind\u201d once started with a haunting trumpet and Goapele\u2019s swaying R&amp;B influenced vocals with bass and drums in the background. Now, a laid-back solo by Derrick Hodge begins the piece then weaves in and out of Glasper\u2019s phrases. The absence of vocals relaxes the song while accenting the underlying groove. Particularly fascinating is how the band produces a human-like sound when the only voice is disguised behind a vocoder. Part of this comes from a short repeated beat that sounds almost biological, like a small cough or a hiccup. Again, a subtlety but another reminder of the ability to share human emotion through non-verbal means, again something of increased importance in a time of COVID.&nbsp;<\/p>\n\n\n\n<p>The track which will probably receive the most attention on <em>Live <\/em>is \u201cHow Much a Dollar Cost.\u201d&nbsp; The Martin co-penned tune from Kendrick Lamar\u2019s <em>To Pimp a Butterfly<\/em> (Top Dawg, 2015) is enjoyable but it is a mistake to pin it as the album\u2019s finest moment. Instead, that honor lies with \u201cResting Warrior.\u201d<\/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_BgOAHU_XYEI\"><div id=\"lyte_BgOAHU_XYEI\" data-src=\"\/\/i.ytimg.com\/vi\/BgOAHU_XYEI\/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\/BgOAHU_XYEI\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/BgOAHU_XYEI\/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><em>Collagically Speaking<\/em>\u2019s version mined the middle ground between jazz and funk, reminiscent of Weather Report or the Headhunters, but with a slight modern R&amp;B tinge. A passionate trumpet solo combined with fleeting synthesizer runs and Glasper\u2019s Hancock-like keyboard phrases. That version is excellent but does not compare to <em>Live<\/em>\u2019s stirring twenty-five-minute epic. The latter builds from a deep bassline and repeated kalimba motif into fiery drum rhythms and wisps of keyboards, adding an African tinge. Martin\u2019s alto sax- an avenue of his talent generally underutilized by the group &#8211; provides an extra layer of soulfulness even as he wanders untethered by his surroundings. His solo ultimately builds to a fever pitch only to subside and make room for Christian whose trumpet sends images of a lone figure wandering a barren foreign land searching for something familiar, occasionally dueling a synthesizer for survival. Over time, synthetic tones subsume his clarion cries for assistance. But then the kalimba returns, slowly but surely burning a path for the stranded traveler through the wilderness. A lengthy dialogue between synthesizer, keyboards, bass, drums, and vocoder ensues. Their texture reminiscent of Miles\u2019 explorations in the early 70s but, again, with a more contemporary feel morphs into a funk rhythm before revisiting the theme. \u201cResting Warrior\u201d shows the malleability of musical ideas and is exciting and unpredictable. The piece is a wild ride and alone worth the price of admission.&nbsp;<\/p>\n\n\n\n<p>It would be a mistake to assume the years that passed between <em>R + R = Now Live<\/em>\u2019s recording date and its release diminished its power. Instead, the chaos of 2020 adds new contexts to much of the album. And in the case of \u201cResting Warrior,\u201d a sonic environment emerges which seemingly transcends time itself.&nbsp;<\/p>\n\n\n\n<p><a href=\"https:\/\/store.bluenote.com\/products\/r-r-now-r-r-now-live\">&#8216;R+R=Now Live&#8217; will be available on Blue Note Records on February 12, 2021<\/a><\/p>\n\n\n\n<p>Tracklist: 1. Respond; 2. Been On My Mind; 3. How Much a Dollar Cost; 4. Change of Tone; 5. Perspectives\/Postpartum; 6. Needed You Still; 7. Resting Warrior.<\/p>\n\n\n\n<p>Personnel: Robert Glasper (piano, keyboards), Terrace Martin (synthesizer, vocoder, alto saxophone), Christian Scott aTunde Adjuah (trumpet), Derrick Hodge (electric bass), Taylor McFerrin (synthesizer), Justin Tyson (drums). <\/p>\n","protected":false},"excerpt":{"rendered":"<p>If 2020 has shown us anything, it is how quickly circumstances can change. One day you are living your \u201cnormal\u201d life. The next you are unexpectedly shut-in for the foreseeable future. So when R+R = Now &#8211; a band intended to reflect upon and respond to the events of the current moment, not weeks or [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2504,"comment_status":"open","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":32,"_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-2502","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\/2021\/02\/r_r_now.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-Em","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":6305,"url":"https:\/\/postgenre.org\/staging\/4567\/tide-witness-cautious-clay-newport-2023\/","url_meta":{"origin":2502,"position":0},"title":"Tide is My Witness: Cautious Clay Previews his 2023 Newport Jazz Festival Performance and New Blue Note Album","author":"Rob Shepherd","date":"July 31, 2023","format":false,"excerpt":"Jazz music has long had an interesting, albeit complicated, relationship with more popular musical forms. Swing bands were the pop music craze of the 1930s and 40s. With the emergence of bop, particularly during the postwar era, the lines between artful improvisation-based music and more commercial sentimentality became increasingly stark.\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\/07\/original-262D0BBF-B2F0-4B97-B2D3-31F109CD6BC9.jpeg.jpeg?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\/07\/original-262D0BBF-B2F0-4B97-B2D3-31F109CD6BC9.jpeg.jpeg?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/original-262D0BBF-B2F0-4B97-B2D3-31F109CD6BC9.jpeg.jpeg?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/original-262D0BBF-B2F0-4B97-B2D3-31F109CD6BC9.jpeg.jpeg?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/original-262D0BBF-B2F0-4B97-B2D3-31F109CD6BC9.jpeg.jpeg?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":1758,"url":"https:\/\/postgenre.org\/staging\/4567\/blue-note-reimagined\/","url_meta":{"origin":2502,"position":1},"title":"Review: &#8216;Blue Note Re:imagined&#8217;","author":"Colin Stanhope","date":"October 12, 2020","format":false,"excerpt":"Blue Note has a more important discography than almost any label in the history of jazz, encompassing decades of some of the most significant music ever recorded within the idiom. For more than 80 years, the label has produced legendary recordings. It has not rested on its laurels in the\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\/2020\/10\/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\/2020\/10\/1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/10\/1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/10\/1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":9831,"url":"https:\/\/postgenre.org\/staging\/4567\/keeping-flame-zev-feldman\/","url_meta":{"origin":2502,"position":2},"title":"Keeping the Flame: A Conversation with Archival King Zev Feldman","author":"Rob Shepherd","date":"November 20, 2024","format":false,"excerpt":"Far too often, history is perceived through a lens of minimizing the problems of the present. According to George Santayana, \u201cThose who cannot remember the past are condemned to repeat it.\u201d Or to Edmund Burke, \u201cPeople will not look forward to posterity, who never look backward to their ancestors.\u201d But\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\/11\/img_0259-1.jpg?fit=1170%2C780&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/11\/img_0259-1.jpg?fit=1170%2C780&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/11\/img_0259-1.jpg?fit=1170%2C780&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/11\/img_0259-1.jpg?fit=1170%2C780&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/11\/img_0259-1.jpg?fit=1170%2C780&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":3608,"url":"https:\/\/postgenre.org\/staging\/4567\/rob-shepherds-favorite-albums-of-2021\/","url_meta":{"origin":2502,"position":3},"title":"Rob Shepherd&#8217;s Favorite Albums of 2021","author":"Rob Shepherd","date":"December 22, 2021","format":false,"excerpt":"In some ways, 2021 can be seen as a return of music. In reality, through live-stream and various recordings, music continued to be created the year before. But 2021 felt like- to steal a subtitle of one of the albums on my top ten list- a freeing out of our\u2026","rel":"","context":"In &quot;Best of Lists&quot;","block_context":{"text":"Best of Lists","link":"https:\/\/postgenre.org\/staging\/4567\/category\/lists-2\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/2021-list1.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\/12\/2021-list1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/2021-list1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/2021-list1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1998,"url":"https:\/\/postgenre.org\/staging\/4567\/shepherd-2019-list\/","url_meta":{"origin":2502,"position":4},"title":"Rob Shepherd\u2019s Favorite Jazz Albums of 2019","author":"Rob Shepherd","date":"November 25, 2020","format":false,"excerpt":"As the PostGenre Team is working on their list(s) of Favorites from 2020, here is a flashback to Rob Shepherd's 2019 list. This list originally appeared at Nextbop. -------------------------------------------------------------------------------------------------------------Perhaps the most interesting takeaway from 2019 is the number of artists adapting music from the past into something new. Many of\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\/2020\/11\/BeFunky-collage-4.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\/11\/BeFunky-collage-4.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/BeFunky-collage-4.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/BeFunky-collage-4.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11447,"url":"https:\/\/postgenre.org\/staging\/4567\/review-time-traveler-brooks-barron-garnett\/","url_meta":{"origin":2502,"position":5},"title":"Jazz Detective Zev Feldman Begins Yet Another Journey with New Imprint, Time Traveler Recordings, and Resurrecting Three Largely Forgotten Gems from the Muse Records Catalog","author":"Jim Hynes","date":"October 20, 2025","format":false,"excerpt":"By now, most readers know that the Jazz Detective, Zev Feldman, does not limit his archival work to Black Friday and Record Store Day. Recently, he unveiled the terrific Charlie Rouse Brazilian recording, Cinnamon Flower (Resonance, 2025). As the archival consultant for Blue Note Records, he has another great one\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\/10\/img_2105.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\/10\/img_2105.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2105.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2105.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/2502","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\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=2502"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/2502\/revisions"}],"predecessor-version":[{"id":2829,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/2502\/revisions\/2829"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/2504"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=2502"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=2502"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=2502"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}