{"id":25913,"date":"2026-08-23T07:00:00","date_gmt":"2026-08-23T06:00:00","guid":{"rendered":"https:\/\/aata.dev\/?p=25913"},"modified":"2026-08-23T08:14:04","modified_gmt":"2026-08-23T07:14:04","slug":"sidetracks-detours-sunday-23rd-august-2026-buddy-mondlock-is-a-songwriter","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2026\/08\/23\/sidetracks-detours-sunday-23rd-august-2026-buddy-mondlock-is-a-songwriter\/","title":{"rendered":"SIDETRACKS & DETOURS, Sunday 23rd August 2026, includes UK folk album charts and news. + we remember when Guy Clark told us that BUDDY MONDLOCK IS A SONGWRITER"},"content":{"rendered":"
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SOUND ROOTS AND ENGLISH FOLK EXPO<\/strong><\/p>\n\n\n\n

Sharing their news of awards, charts, gigs and festivals,<\/p>\n\n\n\n

Norman Warwick<\/strong> invites sidetracks & detours<\/strong> readers to PASS IT ON<\/strong><\/p>\n\n\n\n

August, die she must, as the harmonious voices of Paul & Arties once warned us.  But I believe that Simon and Garfunkel knew the changing seasons needn\u2019t bring only chilly nights and darker days. Sound Roots and English Expo Folk<\/strong> have another carefully curated programme of folk concerts to provide some added warmth and merriment from September through to November.

We\u2019ll soon be welcoming much-loved icons, master songwriters and a tour-de-force fiddler to some of Greater Manchester<\/strong>\u2019s finest venues. Take a look at what\u2019s in store below.<\/p>\n\n\n\n

MIKE MCGOLDRICK & TIM EDEY<\/strong>
Sat 12 September | The Met, Bury<\/strong><\/p>\n\n\n\n

This special reunion of long-time friends brings together breathtaking virtuosity with pure musical magic. Former BBC Folk Awards Musician of the Year,<\/strong> master flautist and piper\u00a0McGoldrick<\/strong> meets accomplished guitarist and accordion player\u00a0Edey<\/strong>\u00a0in this must-see celebration of Celtic folk music.<\/p>\n\n\n\n

BRIGHT PHOEBUS REVISITED<\/strong>
Sat 12 September | Stoller Hall<\/strong><\/p>\n\n\n\n

Bright Phoebus<\/strong>, Lal and Mike Waterson\u2019s<\/strong> 1972 folk-noir masterpiece, has long been recognised as one of British music\u2019s legendary lost records. Bright Phoebus Revisited celebrates the cult folk album, with family members Marry Waterson<\/strong> and Eliza Carthy<\/strong> performing its songs alongside\u00a0Daragh Lynch (Lankum)<\/strong> and other special guests.<\/p>\n\n\n\n

TOM ROBINSON WITH ADAM PHILLIPS<\/strong>
Thu 24 September | Hall\u00e9 at St Michael’s<\/strong><\/p>\n\n\n\n

Coming this autumn, Tom Robinson<\/strong> presents an evening of tall tales and top tunes from half a century working on the wilder fringes of the music industry! Joined by Adam Phillips<\/strong>, expect encounters with Alexis Korner, Ray Davies, Elton John, Peter Gabriel, Todd Rundgren, Eddy Grant and Brian Eno<\/strong> – alongside classics such as War Baby, Glad to Be Gay and 2-4-6-8 Motorway.<\/strong><\/p>\n\n\n\n

GRACE PETRIE<\/strong>
Sat 3 October | Aviva Studios<\/strong><\/p>\n\n\n\n

Irrepressible live force Grace Petrie<\/strong> returns to Manchester this autumn with a show encompassing an intimate solo set and a full band performance. Razor-sharp, heartfelt and fiercely uplifting, if you\u2019re after songs of hope and solidarity, this is one you won\u2019t want to miss.<\/p>\n\n\n\n

RANAGRI<\/strong>
Sat 14 November | Hall\u00e9 St Peter’s<\/strong><\/p>\n\n\n\n

Award-winning indie folk band Ranagri<\/strong> bring their signature cinematic, prog-infused folk music to Hall\u00e9 St Peter\u2019s this November. Promising soaring vocals, rich harmonies, driving rhythmic energy and masterful instrumentation, the four-piece delivers a sound that is both intricate and expansive.<\/p>\n\n\n\n

RYAN YOUNG<\/strong>
Sun 22 November | Band on the Wall<\/strong><\/p>\n\n\n\n

After his jaw-dropping set at this year\u2019s festival, virtuosic Scottish fiddle player Ryan Young<\/strong> will be making his triumphant return. Young will be joined by guitarist Louis Campbell <\/strong>(Sam Lee, Sam Sweeney) and together they will offer masterfully detailed explorations of their traditional repertoire, alongside highlights from Young’s high acclaimed new album.<\/p>\n\n\n

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FOLK ALBUM OF THE YEAR AWARD RETURNS.<\/strong><\/p>\n\n\n\n

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Building on an incredibly successful launch, the vibrant folk music scene across Britain and Ireland will once again be celebrated through an award presented by music charity Sound Roots<\/strong> and the award-winning podcast Folk on Foot<\/strong>, following\u00a0 the success of previous award winning folk artists and their albums. Created in 2025, the Folk Album of the Year Award<\/strong> recognises the most artistically accomplished work released within the relevant calendar year\u00a0by artists who further, contribute to and celebrate contemporary and traditional folk, roots and acoustic music. Albums are selected by a distinguished jury of performers, promoters, journalists and broadcasters.\u00a0Eight shortlisted 2026 albums will be announced in November, with the finalists performing at a live-streamed ceremony at Rochdale Town Hall<\/strong> on Tuesday 26 January 2027<\/strong>. The overall winner will then be revealed before an invited audience of musicians, industry professionals and folk fans. The award is supported by Rochdale Development Agency<\/strong>, which recognises the importance of championing exceptional artists and the vital role cultural initiatives play in enriching communities and preserving our cultural heritage and creating new roots.The announcement follows this spring’s inaugural event, where Barry Kerr<\/strong> was crowned the winner for his outstanding album Curlew’s Cry.<\/em><\/strong><\/p>\n\n\n\n

SUBMIT YOUR ALBUM<\/strong><\/p>\n\n\n\n

Submissions will open to artists and their representatives, including labels and publishers, on Friday 7 August at midday. The application deadline is 11.59pm on Friday 30 October 2026.<\/strong><\/p>\n\n\n\n

The Folk Album of the Year Award<\/strong> showcases the breadth and diversity of folk music across all four nations of the UK and the Republic of Ireland, recognising originality, artistic quality and cultural impact, regardless of commercial profile.

To find out whether your album is eligibleyou should check out the full terms and conditions, on line<\/p>\n\n\n\n

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Today, the Official Charts Company<\/strong> reveals the Official Folk Album Chart<\/strong><\/a>,<\/u><\/strong> produced by Sound Roots<\/strong>, featuring the Top 40 best-selling and most-streamed folk albums released during the July<\/strong> reporting period by British and Irish artists. Listen back to the Official Folk Albums Chart Show<\/strong><\/a>, presented by Folk on Foot<\/strong>, via their YouTube channel for the full rundown of new entries and the positional changes.<\/p>\n\n\n\n

This month’s chart features\u00a0five new albums<\/strong> in the Top 40<\/strong>. Those latest new entries\u00a0and their chart positions are:<\/p>\n\n\n\n

No. 6<\/strong> \u2013 Damien Dempsey\u2019s Holywell<\/em><\/strong> (Sony Music Ireland)<\/strong> \u2013 a deeply personal collection rooted in the Irish oral tradition, drawing on songs passed down through generations that Dempsey describes as, “like a holy well”, bringing healing through singing.<\/p>\n\n\n\n

No. 8 <\/strong>\u2013 Sam Carter Sings Nic Jones \u2013 Live at Celtic Connections<\/em><\/strong>(Captain) <\/strong>\u2013 a live tribute celebrating the songs of revered folk singer Nic Jones. Throughout, Sam Carter\u2019s<\/strong> performances showcase the captivating storytelling and innovative guitar work that have made Jones\u2019s music so enduring.<\/p>\n\n\n\n

No. 13<\/strong> \u2013 Phil Odgers and John Kettle\u2019s The War Is Over <\/em>(Vinyl Star)<\/strong> \u2013 the duo\u2019s second collection of Phil Ochs songs, inspired by world events and dedicated to Ochs\u2019s enduring legacy of protest, resistance and political songwriting.<\/p>\n\n\n\n

No. 20<\/strong> \u2013 Cinder Well’s A Blooming Body<\/em> (Hen House Studios) <\/strong>\u2013Multi-instrumentalist Cinder Well\u2019s fifth album expands her sonic palette through richly textured arrangements alongside lyrics that capture the, “kind of harsh mundanity that life can carry.”<\/p>\n\n\n\n

No. 40 <\/strong>\u2013 Emily Portman\u2019s Dominion of Spells<\/em> (Hudson Records) <\/strong>\u2013 Portman’s luminous fourth record draws on ballads and folk tales to chart a heroine\u2019s midlife journey through themes of burnout, motherhood, miscarriage and transformation.<\/p>\n\n\n\n

The Official Folk Albums Chart is compiled by The Official Chart Company and produced by Sound Roots. The Official Folk Albums Chart Show<\/strong><\/a> is presented by Folk On Foot with the support of Sound Roots.<\/p>\n\n\n\n

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BUDDY MONDLOCK IS  A SONGWRITER<\/strong><\/p>\n\n\n\n

said Guy Clark<\/strong><\/p>\n\n\n\n

and Norman Warwick is forever grateful.<\/strong><\/p>\n\n\n

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Buddy Mondlock (left)<\/strong> is a songwriter<\/p>\n\n\n\n

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In the winter of 1990 \/ 91 David Deverson<\/strong>, publisher and editor of the then Detours<\/strong> magazine,  wrote of how refreshing it is whenever we  are reminded  that there is a wealth of new talent around in our favourite genres of music, be it acoustic as was then, or Americana as it now is. It is often the case that these relatively unknown performers are already identified by their peer group and have the respect of the established hierarchy of the genre, most of whom offer them active encouragement..<\/p>\n\n\n\n

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The ways in which we first learn of these lesser names are myriad. For those of us who work in the supportive media it might be that a new name falls out in conversation in the way Guy Clark<\/strong> once mentioned  to me during an interview the name of Buddy Mondlock<\/strong>. Of course, once we have been given a recommendation, we journos set out in bloodhound-mode in search of new DNA. When I found the clues and gathered the evidence I learned, to my excitement and my embarrassment, that Mondlock<\/strong> had already had songs covered by the likes of Janis Ian<\/strong> (right)<\/strong> and Joan Baez<\/strong>.   <\/p>\n\n\n\n

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Nowadays, some thirty five years on, that \u00b4unknown name  is part of today\u00b4s hierarchy: so much so that the opening sentence on his official web site states that Buddy Mondlock writes songs.<\/p>\n\n\n

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He does it so well that some great songwriters have recorded his songs on their own albums. Guy Clark,<\/strong> Nanci Griffith<\/strong>, and Janis Ian<\/strong> (left),<\/strong> to name just a few. You might\u2019ve heard his song \u201cThe Kid\u201d<\/strong> (recorded by David Wilcox, Peter, Paul and Mary <\/strong>and Cry, Cry, Cry<\/strong>) and maybe even sung it yourself around a campfire. He draws you into his world – where a single snowflake follows the trajectory of a relationship, where you get your pocket picked by a Roman cat, where you might swim over the edge of the world if you\u2019re not careful and where dreams that don\u2019t come true still count.<\/p>\n\n\n\n

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A later album, Filament<\/strong>, finds him exploring some new territory, both sonically and rhythmically. Produced by Brad Jones<\/strong>, known for his creative approaches to singer\/ songwriters, songs like Problem Solved<\/strong> and Sunlight In My Pocket<\/strong> are propelled along by drums and percussion. Others are painted with woodwinds and string arrangements. Buddy is at heart a storyteller and the songs cover a lot of territory too, ranging from a young artist who finds fame too soon in the title song, to the wonders and mysteries found in The Dark<\/strong>, a song he co-wrote with the great Guy Clark. <\/strong>When Buddy\u2019s not on the road you can find him in Nashville<\/strong> but he grew up in Park Forest, Illinois, a suburb of Chicago.<\/strong> He didn\u2019t have a troubled childhood. His parents were nice to him. They paid for guitar lessons when he was ten and they never said, \u201cwhen are you going to get a real job?\u201d He sang Crosby, Stills and Nash<\/strong> songs with his sisters and answered his little brother\u2019s questions from the top bunk. A few years away at college puzzling over Homer <\/strong>and Plato<\/strong> and then he was back.<\/p>\n\n\n\n

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Living in the big city, this time, he was playing open mics at Chicago\u2019s crucible for songwriters in those days, the famed Earl Of Old Town. He once opened for the amazing Steve Goodman<\/strong> there on New Year\u2019s Eve. Buddy was 21. He says he could have walked out of there that night and gotten hit by a bus and he wouldn\u2019t have felt like life cheated him at all.<\/p>\n\n\n\n

When Buddy made his first trip to Texas from his native Chicago, Guy Clark heard him singing one of his songs under a tree at the Kerrville Folk Festival<\/strong> and liked it. So Guy went back to Nashville, opened the door and said, \u201clisten to this kid, he\u2019s good!\u201d A publishing deal, and a U-Haul headed south, soon followed. People were starting to pay attention. In 1987 he was a New Folk Award Winner at Kerrville<\/strong> and he released his On The Line<\/strong> as his first album.<\/p>\n\n\n\n

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Over the next few years David Wilcox recorded \u201cThe Kid\u201d on his first record for A&M. Buddy did some writing with this other new kid in town named Garth Brooks<\/strong>. Janis Ian heard him singing at the Bluebird Cafe<\/strong> and asked him if he\u2019d like to write with her. Their song Amsterdam<\/strong> got recorded by Joan Baez. Nanci Griffith asked Buddy to sing on a show she was taping for Irish television. She ended up liking that song, Comin\u2019 Down In the Rain<\/strong>, so much that she recorded on her Grammy Award winning collection Other Voices, Other Rooms<\/strong>. Garth became a star and Mondlock\u00b4s Every Now and Then<\/strong> ended up on his album The<\/strong> Chase.<\/strong><\/p>\n\n\n\n

Buddy was touring all over the U.S. by this time playing coffeehouses and the occasional festival (he\u2019d become a regular on the main stage at Kerrville). And there were trips to Europe too. Buddy\u2019s second album, produced by Steve Addabbo<\/strong> in 1994, got picked up by Son Records, a small label in Ireland<\/strong> started by the band U2<\/strong>, and he was well received on the island of poets. He\u2019s toured there consistently ever since. 1996 was a good year. Peter, Paul and Mary recorded \u201cThe Kid\u201d and then asked the kid himself to sing with them on a \u201cGreat Performances\u201d TV special<\/strong>. He won a Kerrville Music Award for Song of the Year that autumn forThe Kid too.<\/p>\n\n\n\n

Since then Mondlock released a string of critically acclaimed solo recordings on his own label<\/strong> and on EMI<\/strong>. And in 2003<\/strong> Buddy toured North America and Europe with Art Garfunkel<\/strong> and Maia Sharp<\/strong> in support of their album, Everything Waits To Be Noticed<\/strong>,  which they wrote and recorded together as a trio.<\/p>\n\n\n\n

In addition to writing and touring Buddy also teaches song-writing. Along with one day workshops across the US and Europe he has also been a staff instructor at the Swannanoa Gathering<\/strong>, the Kerrville Folk Festival Song School<\/strong>, the Sisters Folk Festival Song Camp<\/strong> and retreats like Ellis Paul\u2019s New England Songwriter Retreat <\/strong>and Cedarsongs in Tennessee<\/strong><\/p>\n\n\n\n

Filament <\/strong>became his seventh album. In recent years Buddy has been writing songs with military veterans through a program sponsored by an organization called Music Therapy of the Rockies<\/strong> and he includes several of those songs in his shows (and one on his new album).<\/p>\n\n\n\n

The first album of his that I bought was Poetic Justice<\/strong>, with its gorgeous self-penned title, and opening, track delivered in honeyed tones. I was hooked from then on and still have several of its tracks on my playlists in the office, including New Jersey Sunset<\/strong> and a song of a lifetime, Sarah Kills The Day<\/strong>, as well as Coming Down In The Rain.<\/strong> I saw him play on a short UK tour back in the day, and learned that not only is it correct to say  Buddy Mondlock is a songwriter, but it would also be true to describe him as an  eloquent and gracious communicator and stage performer.<\/p>\n\n\n\n

And his mention of Maia Sharp set me out on to research of her career to date, as I hadn\u00b4t heard of her till now, and once again justified my long held belief that if I hear a musical recommendation from a considered source, I invariably come up with new names on my playlists.<\/p>\n\n\n

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He has been a constant in the music I listen to now anbd, of course, I am reminded of Guy Clark each time I listen to Buddy. So, as I re-visited his web site recently to help prepare this article, another name tumbled out on to the tsable. Maia Sharp<\/strong> (left) <\/strong>and her discography immediately immersed me in what sounded like an interesting anon of work.<\/p>\n\n\n\n

\u201cThis has been such a powerful experience and I\u2019m honoured to have been trusted with these stories of trauma and of triumph too,\u201d Buddy<\/strong> said. in commendation of Maia Sharp (left) <\/strong>, and he should know as he has also collaborated with her on a new project, a musical called  The Girl In The Red Dress<\/strong>.<\/p>\n\n\n\n

It includes several songs from their project with Art Garfunkel <\/strong>and a slew of new material from Buddy and Maia. Set in a world where The Leader<\/strong> has banished all colour as subversive, the story focuses on a young woman who must learn to believe in herself and comes to find that she can actually make a difference.<\/p>\n\n\n\n

Furthermore, after four solo albums and one trio album (with Art Garfunkel and Buddy Mondlock<\/strong>), Maia Sharp<\/strong> has built a following through touring on her own and opening for such headliners as Bonnie Raitt, Keb’ Mo’, Patty Griffin<\/strong> and Art Garfunkel.<\/p>\n\n\n\n

In spotlights, on national radio and television, penning songs for Bonnie Raitt, The Dixie Chicks, Trisha Yearwood, Cher<\/strong> and many more, in writing sessions with Carole King, Lisa Loeb, Jules Shear<\/strong> and David Wilcox, <\/strong>behind studio consoles producing for Garfunkel, Edwin McCain <\/strong>and others, Sharp<\/strong> has proven her ability to excel wherever talent manifests itself in music.<\/p>\n\n\n\n

Her last album, Echo<\/em>,<\/strong> was produced by Don Was, but after producing Edwin McCain’s latest album, Mercy Bound<\/strong><\/em>, as well as two songs for Art Garfunkel’s upcoming record, she elected to produce Change The Ending<\/em><\/strong> herself. She wrote or co-wrote all 11 tracks.<\/p>\n\n\n\n

Producer Don Was <\/strong>says of Maia Sharp that she is \u00b4one of America’s great singer-songwriters. Her storytelling runs profound and deep while honoring a pop tradition that urges you to sing along and feel good\u00b4.<\/em><\/p>\n\n\n\n

“Maia is making some of the most innovative and soulful music around with songs that are head and shoulders above the rest\u00b4,<\/em> says Bonnie Raitt. <\/strong>\u00b4<\/strong>She has become one of my favorite artists…a brilliant album, start to finish.” <\/em>– Bonnie Raitt<\/p>\n\n\n

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Four years ago, Maia Sharp achieved a lifelong ambition when Bonnie Raitt invited her to open for and perform with her on the road. It began when Raitt released Souls Alike, with three Sharp songs in the lineup. That album also featured Sharp’s backup on those and several other tracks, which led to her joining Raitt on tour.<\/p>\n\n\n\n

Produced by studio legend Don Was, Sharp’s new album heralds her ascension into the spotlight after being embraced by Raitt, Carole King, the Dixie Chicks, <\/strong>Art Garfunkel, Keb’ Mo’, Terri Clark, Trisha Yearwood <\/strong>and many others who have recorded her songs.<\/p>\n\n\n\n

“In the tradition of great female artists, Karla Bonoff, Bonnie Raitt, Christine McVie, Shawn Colvin, Sarah McLachlan<\/strong>…now enter Maia Sharp.” says Art Garfunkel<\/p>\n\n\n\n

From this point, the secret is out and Sharp stands on her own – a uniquely gifted singer, writer and multi-instrumentalist whose peers are the most discerning artists in the business but whose music on Echo reaches out toward the wider world.<\/p>\n\n\n\n

Change the Ending<\/em><\/strong> (right)<\/strong> is both intimate and varied. Sharp<\/strong> is a communicator, blessed with a broad vocabulary, verbal and musical. She writes conversationally, with an ear for finding poetry in direct expressions of emotion. The complexities of a relationship taking a wrong turn come alive over a strong medium-tempo groove and sharp melodic hook in the chorus of the album’s first single, “Me After You<\/strong>.” A similar theme launches on “Your Stepping Stone<\/strong>” with just a stinging acoustic guitar motif and a thigh-patted beat before morphing through a series of contrasting textures and feels. “Sober<\/strong>” sounds as the title suggests, a little fuzzy and woozy, though the message quickly takes an unexpected, ironic turn. And on “I See Cecelia<\/strong>,” which Maia penned with her father, the respected songwriter Randy Sharp, swinging brushes on the drums and sad but loveable Salvation Army style horns evoke the affection woven into her appreciative words.<\/p>\n\n\n\n

While much of the material on\u00a0Change the Ending<\/strong><\/em>\u00a0is relatively new, some of it is more seasoned, particularly the songs that have already been covered by other singers. “Standing Out in a Crowd<\/strong>” is one example. Like many of\u00a0Sharp<\/strong>‘s songs, it comes from her own experiences and observations, in this case regarding the loneliness that young girls in particular can feel when ostracized for being “different.” She might have sent out this message on an earlier album, if not for the fact that Trisha Yearwood<\/strong> released it first, several years ago.\u00a0Change the Ending<\/strong><\/em>\u00a0allows us even another glimpse into\u00a0Sharp<\/strong>‘s artistry, through her saxophone solo on an instrumental remix of one track, “Buy My Love<\/strong>.”<\/p>\n\n\n\n

Sharp<\/strong> grew up in Los Angeles, where she started playing local clubs while she was still in her teens. She gives a sly wink to her hometown’s biggest industry with the new album’s cover art. Filmmaking provides the perfect metaphor in the title track, as the narrator considers how a romance might have fared with a little rewrite. “It’s a beautiful story,” she observes ruefully in the chorus. “If you change the ending.”<\/p>\n\n\n\n

“Sharp<\/strong> always leads with her heart and comes across as a performer worth getting to know,” said USA Today<\/em> in a three-star review of Echo<\/em> while NPR<\/em>‘s “All Things Considered” hailed her as “a songwriter set to arrive” and The Washington Post<\/em> called her “a sterling up-and-coming talent.”<\/p>\n\n\n\n

I love it when names fall oiut in coversation !<\/p>\n\n\n\n

BUDDY MONDLOCK IS A SONGWRITER<\/strong><\/p>\n\n\n

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SIDETRACKS & DETOURS SUNDAY 30th<\/sup> AUGUST 2026<\/p>\n\n\n\n

Too Darn Hot. Live Jazz<\/strong><\/p>\n\n\n\n

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SIDETRACKS & DETOURS SUNDAY 30th<\/sup> AUGUST 2026<\/p>\n\n\n\n

Too Darn Hot: live jazz<\/strong><\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 6th<\/sup> SEPTEMBER 2026<\/p>\n\n\n\n

Canary Cruising,\u2026cool<\/strong><\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 13th<\/sup> SEPTEMBER 2026<\/p>\n\n\n\n

secretly recorded live gigs legitimised on line?<\/strong><\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 20th<\/sup> SEPTEMBER 2026<\/p>\n\n\n\n

Waiting For Godot and Music At Lunchtomes<\/strong><\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 27th<\/sup> SEPTEMBER 2026<\/p>\n\n\n\n

r.i.p. David Alan Coe, songwriter and unreliable narrator<\/strong><\/p>\n\n\n\n

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SOUND ROOTS AND ENGLISH FOLK EXPO Sharing their news of awards, charts, gigs and festivals, Norman Warwick invites sidetracks & detours readers to PASS IT ON August, die she must, as the harmonious voices of Paul & Arties once warned us.  But I believe that Simon and Garfunkel knew the changing seasons needn\u2019t bring only […]<\/p>\n","protected":false},"author":2,"featured_media":25931,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-25913","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\/25913","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=25913"}],"version-history":[{"count":13,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/25913\/revisions"}],"predecessor-version":[{"id":27263,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/25913\/revisions\/27263"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/25931"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=25913"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=25913"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=25913"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}