{"id":394,"date":"2004-05-25T08:53:00","date_gmt":"2004-05-25T12:53:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/riley\/wp\/2004\/05\/eustace_tilleys_earwax_buildup\/"},"modified":"2004-05-25T08:53:00","modified_gmt":"2004-05-25T12:53:00","slug":"eustace_tilleys_earwax_buildup","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/riley\/2004\/05\/eustace_tilleys_earwax_buildup\/","title":{"rendered":"EUSTACE TILLEY&#8217;S EARWAX BUILD-UP"},"content":{"rendered":"<p><a href=\"http:\/\/www.newyorker.com\/critics\/music\/?040531crmu_music\" target=\"_blank\">Gary Giddins<\/A> looks pretty sharp leaving the Voice with this piece, don&#8217;t he? Alongside Sasha Frere-Jones and Alex Ross, music suddenly becomes the boldest section in the back of book. Could be a golden era until someone forgets. (Does anyone else find Nancy Franklin overrated?) Now if the profiles would just come back in force.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Gary Giddins looks pretty sharp leaving the Voice with this piece, don&#8217;t he? Alongside Sasha Frere-Jones and Alex Ross, music suddenly becomes the boldest section in the back of book. Could be a golden era until someone forgets. (Does anyone else find Nancy Franklin overrated?) Now if the profiles would just come back in force.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","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-394","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/394","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/comments?post=394"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/394\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/media?parent=394"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/categories?post=394"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/tags?post=394"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}