{"id":311,"date":"2006-01-09T01:04:00","date_gmt":"2006-01-09T09:04:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=311"},"modified":"2006-01-09T01:04:00","modified_gmt":"2006-01-09T09:04:00","slug":"comment_more_marquetteisms","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2006\/01\/comment_more_marquetteisms\/","title":{"rendered":"Comment: More Marquetteisms"},"content":{"rendered":"<p>Jack Tracy writes concerning <a href=\"http:\/\/www.artsjournal.com\/rifftides\/archives\/2006\/01\/pee_wee_marquet_1.html\"target=\"_blank\">Pee Wee Marquette<\/a>:<\/p>\n<blockquote><p>PeeWee also was noted for garbling some names, as when he announced the in-house presence one night of &#8220;Marlo Brandon.&#8221; My favorite, however, was when bassist Teddy Kotick inevitably became &#8220;Teddy Kotex.&#8221;<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"<p>Jack Tracy writes concerning Pee Wee Marquette: PeeWee also was noted for garbling some names, as when he announced the in-house presence one night of &#8220;Marlo Brandon.&#8221; My favorite, however, was when bassist Teddy Kotick inevitably became &#8220;Teddy Kotex.&#8221;<\/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-311","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\/311","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=311"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/311\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=311"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=311"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=311"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}