{"id":24457,"date":"2025-10-05T07:00:00","date_gmt":"2025-10-05T06:00:00","guid":{"rendered":"https:\/\/aata.dev\/?p=24457"},"modified":"2025-10-03T10:40:29","modified_gmt":"2025-10-03T09:40:29","slug":"pass-it-on-canary-islands-to-the-uk","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2025\/10\/05\/pass-it-on-canary-islands-to-the-uk\/","title":{"rendered":"PASS IT ON: canary islands to the uk"},"content":{"rendered":"\n

a sidetracks and detours publication<\/strong><\/p>\n\n\n\n

5th<\/sup> October 2025<\/strong><\/p>\n\n\n\n

written by<\/strong><\/p>\n\n\n\n

 Norman Warwick<\/strong><\/p>\n\n\n\n

CONTENTS<\/p>\n\n\n

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Island Life by Norman Warwick<\/strong><\/p>\n\n\n\n

ANTONIO CORUJO TEJERA: ARTIST<\/strong><\/p>\n\n\n\n

\u00b4turned music and dance into a life mission\u00b4.<\/strong><\/p>\n\n\n

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He was a key figure in the preservation of the island’s cultural traditions, <\/strong>soLanzarote mourns the passing of Antonio Corujo Tejera<\/strong>,<\/p>\n\n\n\n

(right)<\/strong> Lanzarote’s favourite son<\/strong> and an essential figure in the island’s cultural and musical history.<\/p>\n\n\n\n

I first learned the sad news from a report on Lancelot Digitas<\/strong> Born in San Bartolom\u00e9<\/strong> in 1933, Antonio Corujo<\/strong> dedicated his life to folklore, preserving oral tradition, and passing on a legacy deeply rooted in Lanzarote’s identity. Heir to a family of singers and dancers linked to the Rancho de Pascua in San Bartolom\u00e9<\/strong>, he knew from childhood how to turn music and dance into a life mission. His voice, his unmistakable style, and his commitment were instrumental in keeping alive some of the most unique expressions of the island’s cultural heritage.<\/p>\n\n\n\n

The Lanzarote Council<\/strong> named him a Favourite Son<\/strong> of the island, a distinction he received in a moving ceremony held at the end of 2024. Antonio Corujo<\/strong>‘s influence transcends stages and eras: from his contribution to the Rancho de Pascua<\/strong> to the dissemination of the verses of V\u00edctor Fern\u00e1ndez, El Salinero, <\/strong>through his participation in historic folk groups, international performances, and recordings that today form part of the Canarian cultural heritage.<\/p>\n\n\n\n

Corujo<\/strong> married Mar\u00eda del Carmen Garc\u00eda Mart\u00edn<\/strong>, known as Maquita,<\/strong> in 1958. He had two daughters and three sons, all of whom followed their father’s musical path: Domingo, Antonio, Juan Manuel, Carmen, and Mar\u00eda del Carmen Corujo Garc\u00eda<\/strong>. We should also  extend his condolences to his friends and all those who found inspiration in him.<\/p>\n\n\n\n

President Oswaldo Betancort<\/strong>, on behalf of the Corporation, expressed his condolences for the loss of the folklorist from San Bartolom\u00e9, a key figure in the preservation of Lanzarote’s musical and cultural traditions. “Today, Lanzarote loses one of its greatest cultural icons. His life was a testament to the love for the island, for its folklore, and for the collective memory of our people. With him, a unique voice passes away, but the flame of the traditions he knew how to preserve and bequeath to future generations remains alive,”<\/em>  Betancort <\/strong>commented.<\/p>\n\n\n

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rest in peace logo<\/p>\n\n\n\n

With the loss of Antonio Corujo<\/strong>, Lanzarote says goodbye to a unique figure in its cultural identity.<\/p>\n\n\n

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island life<\/strong><\/p>\n\n\n\n

CONCERT POSTPONED.<\/strong><\/p>\n\n\n\n

Tonin Cojero quartet<\/strong><\/p>\n\n\n\n

report ty<\/strong> Norman Warwick<\/strong><\/p>\n\n\n

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I feel very privileged to have already seen half a dozen concerts by Tonin Corujo<\/strong>; some with and some without his now established quartet. <\/strong>I was due to see him again with his three musical colleagues last Friday night, 26th<\/sup> September<\/strong> at the wonderful and somehow historic Timple Museum<\/strong> in the centre of Teguise. (<\/strong>you can find articles about the venue in our archive of more than 1,500 articles)<\/em><\/p>\n\n\n\n

The concert, of course, was postponed due to the circumstances detaile4d in the piece above, but I\u00b4m sure the hearts of all ticket holders go out to Tonin<\/strong> at this time.<\/p>\n\n\n\n

A Canarian timple player with an eclectic style, Tonin Corujo<\/strong>, has for many years been making roots music with a universal projection.<\/p>\n\n\n\n

His work, writing, composing, recording and performing, is conceived as a musical tribute to his land and his people, through a successful fusion of avant-garde music, jazz and elements of the Canarian musical identity. I liken what he does as being in the same high calibre as the work of bluegrass afficienado, Bela Flak<\/strong>.<\/p>\n\n\n\n

Tonin<\/strong>\u00b4s compositions wander through spaces and people, recalling figures such as C\u00e9sar Manrique, Jes\u00fas Soto,<\/strong> and Leandro Perdomo<\/strong>. They also feature magical Lanzarotan<\/strong> places, such as Famara, Mancha Blanca, <\/strong>or ancestral elements like the Gofio,<\/em><\/strong> to which he also dedicated one of his songs.<\/p>\n\n\n\n

Their music, filled with hypnotic melodies, provokes sensations that transport the listener to the magical spaces to which they allude.<\/p>\n\n\n\n

The secret to creating shows filled with complicity and unique proposals lies in their great ability to create participatory teams.<\/p>\n\n\n\n

Its musicians, virtuosos and versatile multi-instrumentalists of eclectic style, offer a concert of incredible dimensions that range from the most absolute calm to the most active and unbridled atmospheres.<\/p>\n\n\n\n

To\u00f1\u00edn Corujo<\/strong> offers a sensational musical offering. Drawing on tradition, yet open to the musical reality of the entire planet, the timple player offers contemporary art made from the heart.<\/p>\n\n\n\n

To\u00f1\u00edn Corujo is one of the most renowned composers and performers of the timple.<\/em><\/strong><\/p>\n\n\n\n

The Canarian musician was born in  1960<\/strong>  in Arrecife, Lanzarote, to a family of musicians. His surname is one of the most important in the Canary Islands’ folk music scene.<\/p>\n\n\n\n

In 1975  Corujo<\/strong>  joined the group Awa\u00f1ac,<\/strong> helping to revive the verses of V\u00edctor Fern\u00e1ndez Gopar.<\/strong><\/p>\n\n\n\n

In 1987,<\/strong>   he traveled from Paris with the Guitar Consort t<\/strong>o Czechoslovakia, giving concerts in Kladno and Prague. Also in Paris, he had the opportunity to share experiences with Juan Carlos P\u00e9rez<\/strong> and Domingo Rodr\u00edguez<\/strong>, and to take classes with Michelle Ponce<\/strong> and Roland Dyens<\/strong>.<\/p>\n\n\n\n

In 1998<\/strong>  Tonin<\/strong> directed the recording of \u201cRancho de Pascua de San Bartolom\u00e9\u201d<\/strong> and participated in Artenara<\/strong>\u2019s first album.<\/p>\n\n\n\n

In 2004  he<\/strong>  released his first album as a leader: \u201cArrecife\u201d.
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 He participated in the Womad Canarias<\/strong> in 2005<\/strong> where he shared the stage with Salif Keita<\/strong>, The Wailers<\/strong>, Carmen Par\u00eds<\/strong>, Yasmin Levy<\/strong> or Trilok Gurtu<\/strong>, Amadou & Mariam<\/strong>, The Bays, Crist\u00f3bal Repetto, Kanda Bongo Man<\/strong>, and others.<\/p>\n\n\n\n

In  2006<\/strong>  he participated as a performer, composer and arranger in the Tewiza <\/strong>project.<\/p>\n\n\n\n

In  2007<\/strong>  he presented \u201cSalt and Sand\u201d,<\/em><\/strong> a carefully produced recording by Andreas Prittwitz and featuring Jos\u00e9 Antonio Ramos, \u00c1ngel Crespo, Javier Saiz, David San Jos\u00e9, Antonio Toledo, Fernando Anguita, Diego Galaz<\/strong> and Mariano D\u00edaz.<\/strong><\/p>\n\n\n\n

He gave concerts at the Expo Zaragoza<\/em><\/strong>  2008 .<\/p>\n\n\n\n

In  2011<\/strong> , To\u00f1\u00edn Corujo<\/strong> brought together the most important figures in the Canary Islands music scene to record “El Salinero,”<\/strong> based on the verses of V\u00edctor Fern\u00e1ndez Gopar <\/strong>and performed by his father, Antonio Corujo.<\/strong><\/p>\n\n\n\n

In  2011<\/strong>  he also published \u201cLanzarote Music\u201d.<\/em><\/strong><\/p>\n\n\n\n

photo<\/strong> Since Saturday, June 15,  2013<\/strong> , the \u201cTo\u00f1in Corujo Quartet\u201d<\/strong> has been offering a concert every Saturday at Noches de Jameos<\/strong> with Carlos Perez<\/strong> on saxophone, Yarel Hern\u00e1ndez<\/strong> on guitar, Israel Curbelo<\/strong> on piano and percussion, and To\u00f1in Corujo himself on timple. The live recording of \u201cUna Noche en Jameos del Agua\u201d<\/strong> was held in 2015<\/strong> .<\/p>\n\n\n\n

2016<\/strong>  presented the show “Dawn Of A Game”<\/strong> at the “Jameos del Agua Auditorium”<\/strong><\/p>\n\n\n\n

2018<\/strong>  included the Universo Colorao<\/strong> show at the Jameos del Agua Auditorium.<\/strong><\/p>\n\n\n\n

With the \u201cTo\u00f1in Corujo Quartet\u201d<\/strong> he travels to Berlin every year, where they perform in various venues and in the city’s famous jazz clubs.<\/p>\n\n\n\n

The promoters of  the concert scheduled for last Friday have promised this is a postponement rather than a a cancellation and assured us that we will all be contacted as soon as new date is confirmed.<\/p>\n\n\n\n

So,\u2026.. even at such a sad time there is still much to look forward to.<\/p>\n\n\n\n

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HOT BISCUITS & JAZZ<\/strong><\/p>\n\n\n\n

handed down by<\/strong><\/p>\n\n\n\n

STEVE BEWICK from the mix-cloud<\/strong><\/p>\n\n\n\n

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Everything about the Hot Biscuits<\/strong> project somehow seems to have re-energised itself over the last three months. There has been a slight increase in its co-presenters and contributors, giving bright new thoughts, but there remain Steve and Gary Heywood Everett<\/strong> digging and loosening, without disturbing the  roots of  of the jazz the programme first became known for. There is, though, a fresh tone added to the music still being delivered on the jazz scene throughout the UK.<\/p>\n\n\n\n

Steve contacted me yesterday saying  that \u00b4during this week\u00b4s Hot Biscuits, Jazz-on-line offer<\/strong> an insight into John-Paul Muir<\/strong><\/a>‘s<\/strong> recent release Home Grown<\/strong>, a lively sound explored by colleague Gary Heywood-Everett<\/strong><\/a>.<\/strong><\/p>\n\n\n\n

Also to be found in the show is a selection of new singles as we dip into the blues scene with one Dave Speight<\/strong><\/a> who is not convinced his new girlfriend is 5` 7″<\/p>\n\n\n\n

Michael Roach<\/strong><\/a> and daughter Sadie Roach<\/strong><\/a> re-join in a number called, Take This Hammer<\/strong>. Step aside your speakers for that one.<\/p>\n\n\n\n

Julia Titus<\/strong><\/a> was not always Ma Bessie Productions<\/strong><\/a>. Listen into this one from her solo CD of earlier days, Celebration.<\/strong><\/p>\n\n\n\n

Hoang Minh Chau<\/strong><\/a> is forever surprising us and does so again with a first and beautiful ballad, Love Echoes<\/strong>.<\/p>\n\n\n\n

Our jazz fusion fix comes this week from Granada, Espanola <\/strong>and David Margam<\/strong><\/a>.<\/p>\n\n\n\n

Concluding the show, we are back with the blues and a new single, `That Thing Called Love.`<\/strong> from a lively, Debbie Bond<\/strong><\/a>.<\/strong><\/p>\n\n\n\n

The presenters,  researchers and performers are working hard to  maintain Hot Biscuits fine reputation for old jazz and recordings and today\u00b4s live jazz in the UK , today have their fingers firmly on the jazz pulse.<\/p>\n\n\n\n

Give them a round of applause when you tune in to listen to this week\u00b4s programme at www.mixcloud.com\/stevebewick\/<\/strong><\/a> 24\/07 for a great show!<\/p>\n\n\n

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<\/strong>JAZZ AT PROGRESS:<\/strong><\/p>\n\n\n\n

CHRIS BRISCOE & HIS PROFILES QUARTET<\/strong><\/p>\n\n\n\n

10TH<\/sup> October 2025<\/strong><\/p>\n\n\n\n

Friday 10 October 2025 <\/strong>| Progress Theatre, Reading (details below) | 7:30pm | \u00a320.00 (\u00a318.00 concessions, \u00a310 under 16) plus maximum 5% booking fee | Bar at all gigs from 7:00pm. Drinks may be taken into the auditorium.<\/p>\n\n\n\n

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Chris Biscoe<\/strong> saxes and alto clarinet
Alcyona Mick<\/strong> piano
Larry Bartley<\/strong> bass
Winston Clifford<\/strong> drums
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Chris Biscoe<\/strong> (right)<\/strong> writes: \u201cJazz has always been a music about people and places, the connections, the routes (and roots) between, the meetings and the getting away.<\/em><\/p>\n\n\n\n

\u201cWhen I recorded some of the repertoire from my band Mingus Moves I realised how many of Charles Mingus\u2019 compositions are dedications to musicians, friends and family, lovers and political enemies, not forgetting one toilet-trained cat. The CD was Profiles of Mingus, and this became the working name for the band<\/em><\/p>\n\n\n\n

.\u201cThe Profiles Quartet draws on this tradition, expanding it to include compositions by other jazz greats, and something of the travel which is so significant a part of the life of working musicians.<\/em><\/p>\n\n\n\n

\u2018Tunes for the quartet include Thelonious Monk\u2019s Jackie-ing (written for his niece Jackie Smith) and Monk\u2019s Dream, Eric Dolphy\u2019s Miss Ann and his portrait of Monk, Hat and Beard. Teenies\u2019 Blues, another family dedication, was written by Oliver Nelson for his little sister. It\u2019s impossible to leave out Charles Mingus, who is represented by Goodbye Pork Pie Hat (for Lester Young), Pussy Cat Dues (that bemused looking cat perched on a Manhattan apartment toilet seat), and Fables of Faubus, the great satirical composition \u2018dedicated\u2019 to Orval Faubus, Governor of Arkansas.<\/em><\/p>\n\n\n\n

\u201cMigration and travel appear too, with Billy Strayhorn\u2019s Take The A Train, and Goin\u2019 to Chicago, not the familiar blues but Mike Westbrook\u2019s multi-faceted composition.\u201d<\/em><\/p>\n\n\n\n

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Chris Biscoe<\/strong> came to prominence in the late 1970\u2019s, with Mike Westbrook\u2019s Brass Band. He has toured and recorded extensively in the USA and France, and in the UK. Chris is a founder member of Way Out West, the west London jazz collective which has presented over 800 concerts since 2004. Chris Biscoe crosses musical boundaries in his playing, from \u2018cool\u2019 on baritone sax with Allison Neale, post bop with Tony Kofi, contemporary jazz with Liam Noble, through to free and improv jazz with various bands.<\/p>\n\n\n\n

Alcyona Mick<\/strong> is a pianist working at the forefront of the London Jazz scene\u2026 Recently nominated for a Parliamentary Jazz Instrumentalist Award, she is a member of the London Jazz Orchestra and many other UK bands. She has toured and performed worldwide. As a composer she has a Master\u2019s in Composing music for film from the National Film and Television school. She has written and produced music for many independent short films, documentaries, animation and silent cinema. She won an award for Best Soundtrack at the Anima Mundi International Festival, Brazil.<\/p>\n\n\n\n

\u2018World class ingenuity\u2019   <\/em>the Guardian<\/p>\n\n\n\n

\u2018Alcyona Mick is an unusual powerhouse of a talent\u2019<\/em> \u2013 MOJO<\/p>\n\n\n\n

Larry Bartley<\/strong> is a bassist and composer who has been a staple of the London and international jazz scene as a side man and as a leader.<\/p>\n\n\n\n

\u201cExcellent bassist \u2013 with a distinctive Mingus-like drive to his propulsive bass lines.\u201d<\/em> Time Out<\/p>\n\n\n\n

\u201cLarry taps into a vast pool of different types of music to create a unique project that deserves to be applauded.\u201d<\/em> Jean Toussaint \u2013 Drummer<\/p>\n\n\n\n

\u201cYou can understand why Bartley is so much in demand on the London jazz scene.\u201d<\/em> BBC<\/p>\n\n\n\n

Drummer Winston Clifford<\/strong> is a powerhouse behind the kit for a wide variety of great bands, led by the likes of Gwilym Simcock, Monty Alexander, Stanley Turrentine, Benny Golson and Courtney Pine.<\/p>\n\n\n\n

A master of a huge array of drum techniques, Clifford is constantly inventive, immersed in a stream of consciousness yet with ears wide open to hints, suggestions and prompts from his playing partners. He regularly plays around the kit with his bare hands for softer timbres, another card to play in the constant search for dynamic expression and imaginative phrasing.<\/p>\n\n\n\n

Jazz at Progress<\/strong> thanks Hickie\u2019s Music Store of Reading and Tiverton<\/strong> for the hire of the piano which will be used at this event.<\/p>\n\n\n\n

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Get into the festive spirit with Baked A La Ska as they celebrate the release of their Christmas album Ska of Wonder. They’ll be delivering seasonal ska treats such as “When You Wish Upon A Ska”, “Walking In The Air”, “We Three Kings” “Harmonica for Christmas” and many more!
 
Baked A La Ska are the \u201cheavy heavy sound\u201d of Manchester. Since 2008, they have been serving up the sweetest of good party vibes, vintage ska sounds and an eccentric platter of covers.

Baked A La Ska performed at our Festival this year and it was one of the highlights, which is why we’ve invited them back. So if you missed out earlier this year don’t miss out now. Saturday 20th December, 8pm (doors open 7.15pm) at St Mary’s Centre, Clitheroe. 

Book before the end of October to avoid all booking fees.
Tickets \u00a322, Members \u00a318 and U16s \u00a310.
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ROCHDALE MUSIC SOCIETY @ Bamford<\/strong><\/p>\n\n\n\n

LOUIS VICTOR BAK: pianist<\/strong><\/p>\n\n\n\n

review by GRAHAM MARSHALL<\/strong><\/p>\n\n\n\n

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Here’s my Review of the recent Rochdale Music Society<\/strong>‘s concert, the first of the Season 2025-26 concerts being held on Sunday afternoons in St. Michael’s, Bamford.<\/p>\n\n\n

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Rochdale Music Society\u2019s CONCERT SERIES 2025-26<\/strong> began on Sunday 21 September<\/strong> with a spectacular programme of mainly French piano music played in the parish church of St. Michael, Bamford<\/strong>, by the French pianist, Louis-Victor Bak<\/strong> (right)<\/strong> , now resident in London after studying first in Lyon and more recently at The Royal College of Music.<\/strong><\/p>\n\n\n\n

He began with the set of the three pieces that make up Book 2 of Debussy<\/strong>\u2019s \u2018Images\u2019. These explore the wide range of tonal effects which can be achieved by the performer\u2019s keyboard control, and offer the listener musical \u2018imagery\u2019 to evoke sights and sounds beyond the black and white of the keyboard itself, \u2018impressionism\u2019, as it began to be described. Louis-Victor\u2019s accomplished technique manifested itself immediately as he began to play No. 1, “Cloches \u00e0 travers les feuilles” (Bells sounding through the leaves, and his fine artistry continued through No.2 , “Et la lune descend sur le temple qui fut” (And the moon descends on the temple that once was), and No. 3, “Poissons d’or” (lit. Gold Fish). The musical imagery was vivid.<\/p>\n\n\n\n

The concert continued with a finely presented account of one of Chopin<\/strong>\u2019s late works, the \u2018Polonaise-Fantasie Op. 61\u2019, which illustrates the depth of the composer\u2019s personal exploration of musical sounds and the abundant inventiveness with which he had become able to exploit the discoveries he had made over the years. Hence its fantastic structure filled with intense feeling, which Louis-Victor showed he understood and was more than capable of conveying to a receptive and attentive audience.<\/p>\n\n\n\n

The Chopin was followed by the Austrian composer Alban Berg<\/strong>\u2019s single movement \u2018Sonata Op. 1\u2019. This was the only non-French music in this concert, but it fitted into the programme very well, since it complements the technical freedom of Latin \u2018impressionism\u2019 with the more constrained technique of contemporary Teutonic \u2018expressionism\u2019 and reveals a warmth of artistic feeling and aesthetic aspiration common to all great music. Louis-Victor brought to his performance an obvious appreciation of this, with resounding success: an \u2018ear-opener\u2019 for those who had not heard this mind of music before! To end the first half of the concert the audience was treated to two of the six Concert Studies written in the 1880s by the female composer, Cecile Chaminade<\/strong>: No. 5 \u2018Impromptu\u2019 and No.4 \u2018Appassionato\u2019. Louis-Victor has become a champion of Chaminade\u2019s music, and these two examples of music which concentrates on particular aspects of pianistic technique show why he is to be encouraged to continue to do so. The flowing melodies and charming pirouettes which soar about the flowing accompaniment in the Impromptu, along with the need for firm wrists and flexible fingers to cope with the demands of the Appassionato, make rich artistic sense as well as calling for the highest degree of techincal accomplishment.<\/p>\n\n\n\n

The second half of the concert began with the \u2018Valses nobles et sentimentales\u2019 of Ravel, another very colourful \u2018impressionist\u2019 work presenting a succession of contrasting \u2018noble\u2019 and \u2018sentimental\u2019 waltzes in a way that only Ravel could conjure up to fill a quarter of an hour with seriously heart warming music. Executed with full attention to the intricate detail demanded of the performer, this provided the last part of a musical thread which had run through the programme to link Debussy with Henri Dutilleux, who died in 2013 in his nineties, and whose Sonata for piano Op. 1 featured as the climax of the whole concert. The first movement \u2018Allegro con moto\u2019 begins with an engaging and expansive tune from which emerges another, contrasting melody which leads into a sound world that brings together in a creative dialogue musical ideas which have something in common with what Stravinsky and Prokofiev were exploring at the time but could only be taken up and developed by a twentieth century French composer. The second, much shorter, movement is a \u2018Lied\u2019 ( German for Song) and seems to drag its feet in a somewhat melancholy, German fashion suited, I think, to the 1940s decade in which it was written..The last movement is a \u2018Chorale et variations\u2019 (Choral and Variations). It starts with an imposing Choral that suggests a four-part Choir and sounds carillon-like with sonorities that are created by the overlapping of low and high sustained notes. Four variations follow without no breaks. They illustrate the composer\u2019s creativity. Several passages are of brilliant toccota like character, others are ethereal and shadowy, and the final moments recall the opening Choral but end in a resolved though strangely (?) subdued fashion. Louis-Victor\u2019s brilliant and spellbinding account of this Sonata\u2019s musical thought processes brought a well-deserved accolade of applause from the audience.<\/p>\n\n\n\n

The next concert is on 19 October<\/strong>, when the classical and flamenco Guitarist, Galina Vale<\/strong>, will be performing music from all over the Latin world. More details on www.rochdalemusicsociety.org<\/strong><\/a><\/p>\n\n\n\n

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On Sunday 7th<\/sup> December we preview a brand new series of articles called Songwriters & Invisible Angels to be published quarterly over the next two and a half years. Peter Pearson and Norman Warwick have each selected twelve of their own favourite artists. We will list all the selections in our December issue, as well as a preface by Norman Warwick that explains how a song can be construed as an invisible angel, citing Jackson Brown\u00b4s For a Dancer.<\/p>\n\n\n\n

See you in December<\/p>\n\n\n\n

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a sidetracks and detours publication 5th October 2025 written by  Norman Warwick CONTENTS Island Life by Norman Warwick ANTONIO CORUJO TEJERA: ARTIST \u00b4turned music and dance into a life mission\u00b4. He was a key figure in the preservation of the island’s cultural traditions, soLanzarote mourns the passing of Antonio Corujo Tejera, (right) Lanzarote’s favourite son […]<\/p>\n","protected":false},"author":2,"featured_media":24469,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-24457","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorised"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/24457","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=24457"}],"version-history":[{"count":6,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/24457\/revisions"}],"predecessor-version":[{"id":24491,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/24457\/revisions\/24491"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/24469"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=24457"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=24457"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=24457"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}