{"id":1110,"date":"2007-10-17T01:05:00","date_gmt":"2007-10-17T08:05:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=1110"},"modified":"2007-10-17T01:05:00","modified_gmt":"2007-10-17T08:05:00","slug":"compatible_quotes_31","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2007\/10\/compatible_quotes_31\/","title":{"rendered":"Compatible Quotes"},"content":{"rendered":"<blockquote><p><strong>Piano. n. <\/strong>A parlor utensil for subduing the impenitent visitor. It is operated by depressing the keys of the machine and the spirits of the audience. &#8212; Ambrose Bierce, <em>The Devil&#8217;s Dictionary<\/em><br \/>\nNothing soothes me more after a long and maddening course of pianoforte recitals than to sit and have my teeth drilled. &#8212; George Bernard Shaw<br \/>\nGet up from that piano. You hurtin&#8217; its feelings.&#8211; Jelly Roll Morton<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"<p>Piano. n. A parlor utensil for subduing the impenitent visitor. It is operated by depressing the keys of the machine and the spirits of the audience. &#8212; Ambrose Bierce, The Devil&#8217;s Dictionary Nothing soothes me more after a long and maddening course of pianoforte recitals than to sit and have my teeth drilled. &#8212; George [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-1110","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1110","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=1110"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1110\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=1110"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=1110"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=1110"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}