{"id":1255544,"date":"2017-11-20T17:35:15","date_gmt":"2017-11-20T14:35:15","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1255544"},"modified":"2017-11-20T17:35:15","modified_gmt":"2017-11-20T14:35:15","slug":"the-year-in-protest-music-2017","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1255544","title":{"rendered":"The Year in Protest Music 2017"},"content":{"rendered":"
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Lists & Guides<\/span><\/div>\n<\/div>\n<\/div>\n

The Year in Protest Music 2017<\/h1>\n
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A list of 20 urgent tracks that spoke truth to power this year<\/div>\n
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By <\/span>Pitchfork<\/span> and Stacey Anderson<\/span><\/span><\/span><\/div>\n

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Graphic by Jessica Viscius<\/span><\/div>\n<\/div>\n<\/figure>\n<\/div>\n<\/div>\n<\/header>\n<\/div>\n<\/div>\n
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The future that liberals want currently costs $30 and is located behind a ravaged warehouse door in downtown Los Angeles. Here, in a cluster of glass-scattered, splinter-strewn rooms called Rage Ground, patrons indulge their most destructive impulses, smashing sledgehammers and steel pipes into TV monitors, windowpanes, baby pianos, and more. The house special: Donald Trump pi\u00f1atas, distended and tangerine, ready for a drubbing.<\/p>\n

According to management, the pi\u00f1atas have sold out every week since debuting in July. Meanwhile, demand has nearly tripled. The dummies offer a uniquely emotional experience; customers have been known to sob as they destroy them. People also often request to hear one band to complete the experience: Rage Against the Machine, the angry uncles of modern protest music. They want a soundtrack that gives voice to their turmoil as primal forces consume them.<\/p>\n

It\u2019s a tempting prospect, flinging a hammer after months of being hammered politically, whipping a bat while chanting all of the Trump administration\u2019s social, racial, and moral antagonisms. For those of us who despise the leadership of this country, or anyone who\u2019s just tried to keep apace of its fulminating news cycle, 2017 limps to a close as a sum of destructions, a torrent of crises and outrages interrupted only by bouts of bodily fear. But it\u2019s also been a year buoyed by civil demonstration and dissent in droves, with a tow of grassroots urgency that may just continue to springboard diverse politicians forward.<\/p>\n

And the music of 2017\u2014well, it has tried to land its blows, too, however it could. This year redefined our notions of politically reactive music: what it sounds like, who it comes from, and how much identity ignites its contents. Unlike other modern eras of American populist resistance, there was no single, centralized scene for discordant song: Instead of looking to waifish folk bards to deliver broadsheet laments, as in the 1960s, or hoarse hardcore punks to rail against Reaganomic hypocrisies, as in the \u201980s, we took solace in a wide range of styles. Sometimes they explicitly condemned the policies and people who dominated the year. And, just as often, for many artists, visibility itself was the defiance; this was music made by the marginalized voices Trump was working to exclude. Truly, in 2017, \u201cprotest music\u201d seemed like a redundant term; when all identities are this politicized, all music feels political. \u00a0\u00a0<\/p>\n

In a year of borders, protest music floated through them, with artists reacting to headlines while also resisting via assertions of personal identity. The innate political consciousness of hip-hop took new strides; within Trump\u2019s first 100 days, Joey Bada$$ lamented the \u201cThree K\u2019s, two A\u2019s in AmeriKKKa,\u201d and Kendrick Lamar parsed the prejudice pulling at society\u2019s ever-tenuous seams. The punk band Downtown Boys, led by Latinx frontwoman Victoria Ruiz, flung their stones against \u201cA Wall.\u201d The electrosoul twins Ibeyi remixed Michelle Obama\u2019s wisdom into an elegy, and Hurray for the Riff Raff\u2019s Alynda Segarra, a queer Puerto Rican singer-songwriter, refracted Trump\u2019s hostility towards minorities into a bilingual cry for courage. Perfume Genius\u2019 Mike Hadreas, who is gay, reveled in the euphoria of self-acceptance and teased the zealotry that would blithely stomp his civil rights. With their work and presence, these artists created openhearted, safe spaces away from political rancor.\u00a0\u00a0<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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It\u2019s remarkable that\u2014in a year hijacked by Trump\u2019s reckless, witless Twitter belches\u2014artists didn\u2019t dive to meet his level. Far and away, in the music of 2017, we heard more broad, embracing statements of community than we did rebukes and secessions; as passions flared, cool heads somehow still prevailed. Musicians weren\u2019t clamoring to dispatch the first topically reactive songs anymore, a notable schism from the 1960s\u2014often because they were taking to social media, swiftly, with their stormy initial reactions. They also were mobilizing through projects for progressive causes, including fundraising compilations 7-Inches for Planned Parenthood, Our First 100 Days, and 1,000 Days, 1,000 Songs. In this process, through this larger creative pause, they could create art filled with more than indignant retorts and spiking rage. They could fill their music with visions beyond the next grim moment; they could turn our eyes from dark and frightening horizons, help us push onward against ignorance and hatred. Together, we made another world, if only for a few minutes at a time. \u2013Stacey Anderson<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Listed alphabetically, the following 20 songs showed what protest music could be throughout the year. In 2017, in Trump\u2019s America, this is what democracy sounded like:<\/p>\n

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21 Savage: \u201cNothin New\u201d<\/h2>\n

Known for his dead-eyed songs of gore and murder (see: \u201cSlaughter Ya Daughter\u201d), 21 Savage seems to have more common with Freddy Krueger than Chuck D. But it\u2019s that unexpected quality that gives the downcast cultural commentary of \u201cNothin New\u201d its power. The song is about as nihilistic as what we\u2019ve come to expect from the Atlanta rapper, but instead of violence for violence\u2019s sake, it outlines the systemic oppression that has shaped his bleak worldview. In this context, his flatline flow isn\u2019t menacing. It\u2019s heartbreaking. \u2013Ryan Dombal<\/p>\n

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Broken Social Scene: \u201cProtest Song\u201d<\/h2>\n

On this track, the life-affirming Canadian collective don\u2019t take on one specific issue as much as they tackle the incessant nature of protest itself: There will always be something pissing us off, and the key is to stay vigilant. At the end of the song, singer Emily Haines\u2019 hook\u2014\u201cWe\u2019re just the latest in the longest rank and file list\/Ever to exist in the history of the protest song\u201d\u2014seems to skip back on itself, cycling around a task that will never end. \u2013RD<\/p>\n

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Downtown Boys: \u201cA Wall\u201d<\/h2>\n

Downtown Boys\u2019 politics are not embellished with metaphors or lyrical wordplay. Why bother? Some injustices are not meant to be romanticized, and \u201cA Wall\u201d wastes no time denouncing hate. While the song is an explicit protest of the proposed physical border between the U.S. and Mexico, it is equally about abstract divisions that encourage bigotry, racism, classism, and oppression. Its blunt fury proves that condemning hate is not complicated. As frontwoman Victoria Ruiz wails, \u201cA wall is a wall\/And nothing more at all.\u201d \u2013Quinn Moreland<\/p>\n

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Eminem: \u201cThe Storm\u201d<\/h2>\n

In October 2016, Eminem released \u201cCampaign Speech,\u201d a mealy-mouthed, eight-minute ramble of a song with several threats directed at Donald Trump. It didn\u2019t make much of a cultural impact. At the time, it could have been considered piling on, given that Hillary Clinton had a 92 percent chance of winning Em\u2019s home state of Michigan and an 87 percent chance of becoming the first female president. One year later, though, Eminem\u2019s anti-Trump BET Hip Hop Awards freestyle became a lightning rod. Some facts haven\u2019t changed much: A majority of Americans still<\/em> disapprove of Donald Trump. Other facts, of course, have changed. A lot.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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\u201cThe Storm,\u201d as Em titled the freestyle, is not primarily about Trump\u2019s various ills. It speaks to our collective anger that we let this happen, that there are people who can\u2019t see what\u2019s wrong. It\u2019s a plea begging anyone who will listen to avoid the same mistakes. \u2013Matthew Strauss<\/p>\n

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Fever Ray: \u201cThis Country\u201d<\/h2>\n

\u201cThis country makes it hard to fuck!\u201d exclaims Fever Ray\u2019s Karin Dreijer near the end of this thrilling track from her second album, Plunge<\/em>. Specifically which country the Swedish artist is referring to is deliciously unclear, but her calls for \u201cfree abortions\u201d hint at the ways that government restrictions on female reproductive rights almost literally make it \u201chard to fuck,\u201d while her calls for clean water and against nukes underline the disturbingly existential stakes. The eerie, alien synth-pop she has perfected is set to its most hauntingly dreadful here, capturing this past year\u2019s perpetual killjoy sense of unsexy impending doom. A few breaths earlier, when she proclaims, \u201cEvery time we fuck we win,\u201d she outlines one of the few immediately achievable ways of fighting the Twitter-era power. As manifestos go, this one seems pretty simple: Log off, and turn on. \u2013Marc Hogan<\/p>\n

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Fiona Apple: \u201cTiny Hands\u201d<\/h2>\n

You know what they say about small hands: big ridicule. When nearly half a million people descended on Washington D.C. for the Women\u2019s March, donning their pink \u201cpussy\u201d hats and proportionate gloves, this mocking yet ultimately sincere ditty by Fiona Apple became a returning group credo throughout the day. \u201cWe don\u2019t want your tiny hands\/Anywhere near our underpants\u201d spoke to the visceral disgust women have felt hearing Trump brag about his sexual predation. (Apple\u2019s words also never failed to make the few MAGA interlopers at the Women\u2019s March flinch every time they were uttered.) Women don\u2019t want to be reduced to our bodies, and we usually don\u2019t aim to detonate that attitude on others\u2014but every rule deserves its exception. \u2013Stacey Anderson<\/p>\n

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Hurray for the Riff Raff: \u201cRican Beach\u201d<\/h2>\n

Hurray for the Riff Raff\u2019s Alynda Segarra, who is Puerto Rican, wrote this song about a fictional, future-shocked city that\u2019s been militarized and segregated to hell, with artifacts of its origin\u2014language, names, faith\u2014wiped clean. That story is already a bitterly prescient pill to swallow for the descendants of any postcolonial diaspora. But in the aftermath of Hurricane Maria\u2019s devastation this past September, it\u2019s even more haunting. \u201cWell, you can take my life, but don\u2019t take my home,\u201d she sings over restless hand percussion. \u201cBaby, it\u2019s a solid price\/It comes with my bones.\u201d \u2013Eric Torres<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Ibeyi: \u201cNo Man Is Big Enough for My Arms\u201d<\/h2>\n

It rings like a sort of failed prayer, now. Michelle Obama\u2019s impassioned October 2016 speech, delivered in the aftermath of Donald Trump\u2019s infamous \u201cAccess Hollywood\u201d tape, feels like a fragment of a world where a man who aggressively dehumanized half the world\u2019s population, leered at his own daughter, and was trailed by decades of rape and assault charges would never assume the presidency. The French-Cuban twin duo Ibeyi treat Michelle\u2019s words exactly this way\u2014like a dirge. \u201cThe measure of any society is how it treats its women and girls,\u201d she is heard saying on \u201cNo Man Is Big Enough for My Arms,\u201d in a loop both agonizingly painful and tender. Lisa-Kaind\u00e9 and Naomi D\u00edaz surround it with somber, pained harmonizing, a harrowing sound that underscores the melancholy truth of Obama\u2019s assertion. It remains true, and we have been\u2014accurately, horribly\u2014measured. \u2013Jayson Greene<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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J Balvin, Willy William, and Beyonc\u00e9: \u201cMi Gente\u201d<\/h2>\n

Consider it a corrective to \u201cDespacito\u201d: Instead of acting as a gambit for the same crossover audiences that spun Luis Fonsi and Daddy Yankee\u2019s summer hit to oblivion following its Justin Bieber remix, J Balvin and Willy William\u2019s reworked version of their pop-reggaeton earworm actually stood<\/em> for something. Spiked with Beyonc\u00e9\u2019s star power\u2014as well as the thrilling return of her inimitable rapping\u2014the remix was released as a charity single for Puerto Rico, Mexico, and other lands impacted by recent natural disasters, launching it to No. 3 on the Billboard Hot 100. The song itself is imbued with a spirit of anti-discrimination and cross-cultural harmony, as Balvin succinctly puts it: \u201cMi musica no discrimina a nadie<\/em>\u201d (\u201cMy music doesn\u2019t discriminate against anyone\u201d). \u2013ET<\/p>\n

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Jay-Z: \u201cThe Story of O.J.\u201d \u00a0<\/h2>\n

Capitalizing on O.J. Simpson\u2019s recent return to the zeitgeist, Jay-Z\u2019s \u201cThe Story of O.J.\u201d uses the disgraced star as an entry point into classism and racism, finding various intersections between the two. Over a sample of Nina Simone\u2019s \u201cFour Women,\u201d he ties together ideas about colorism, community building, financial freedom, and establishing generational wealth as a means to conquer social inequality. Jay-Z has always been a capitalist to the core so, naturally, money is at the core of his solutions for saving Black America\u2014and though equality hinges more on crucial policy changes than better asset management, there is something to his message on investing in Black communities. His deepest insights come when he identifies the perils for those well below his tax bracket (\u201cPlease don\u2019t die over the neighborhood that your mama renting\u201d) and makes it clear that no amount of success ever supplants blackness. \u2013Sheldon Pearce<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Joan Baez: \u201cNasty Man\u201d<\/h2>\n

Fifty-four years after Joan Baez performed \u201cWe Shall Overcome\u201d at the 1963 March on Washington, an iconic moment of the civil rights movement and her anointment as a protest-folk icon, she took the stage at the Women\u2019s March in San Francisco last January. \u201cWomen, we need to be empathetic where there is no empathy,\u201d she said, echoing statements she has made indelible over her long career. A few months later, Baez released \u201cNasty Man,\u201d her first new song in 25 years. With the familiar elements of 1960s topical folk\u2014mournful, stevedore fingerpicking and verbose wordplay\u2014she excoriates this \u201cfuture dictator\u201d who is now childishly \u201cstompin\u2019 through the famous Rose Garden.\u201d Her disgust for Trump is clear, but she doesn\u2019t lean into easy ridicule; she implores him to protect the earth and see a shrink for those \u201cpsychological disorders.\u201d Safe to say, this bohemian ballad greatly outclasses its source material. \u2013SA<\/p>\n

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Joey Bada$$: \u201cLand of the Free\u201d<\/h2>\n

All-Amerikkkan Bada$$<\/em>, Joey Bada$$\u2019s latest album, looked to teach a new generation about the politics of blackness, and \u201cLand of the Free\u201d is its manifesto. \u201cDonald Trump is not equipped to take this country over,\u201d Joey raps, making his stance clear. But he also recognizes Trump as a symptom of a disease that has existed in this country for centuries: white supremacy and the systematic disenfranchisement of people of color. So he turns his focus to the industrial prison complex, criminal profiling, corruption, and gentrification, issues that shape black communities. His is a somewhat basic understanding of critical race theory, tracing the scar tissue of an uprooted people (\u201cAll our history hidden, ain\u2019t no liberty given\/We all fit the description of what the documents written\u201d), but he raps with such conviction, it\u2019s inspiring. When rap demanded new champions take up arms against a corrupt administration, returning to the overt politics of Public Enemy and N.W.A, he eagerly answered the call. \u2013SP<\/p>\n

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Kamasi Washington: \u201cTruth\u201d<\/h2>\n

This is not the most obvious protest song. Saxophonist Kamasi Washington\u2019s 13-minute jazz excursion has no lyrics, for one thing; beyond that, it\u2019s driven not by anger or antagonism, but love. Someday\u2014in another context, another America, another world\u2014the song may sound merely like a nonspecific expression of nostalgia mixed with joy.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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But what makes it resonate as protest music in 2017 is, in part, its video, which fills the frame with people of color going about their daily lives, alone and together\u2014proud, dignified, empowered. Meanwhile, Washington\u2019s solo traces a line of flight that seems to transcend everything that is sordid about our moment while promising a bird\u2019s-eye view of a better tomorrow. Against a steady backdrop of lies and deceptions, \u201cTruth\u201d reminds us that the first thing, the most important thing, is to believe. \u2013Philip Sherburne<\/p>\n

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Kendrick Lamar: \u201cXXX.\u201d<\/h2>\n

Kendrick Lamar\u2019s two-part epic \u201cXXX.\u201d is an indictment of the cycles of violence, misrepresentation, and hypocrisy that perpetual black struggle. The explosive intro, punctuated by shouted raps and wailing sirens, explores how vengeance can consume even the most nonviolent person in mourning (\u201cAin\u2019t no black power when your baby killed by a coward\u201d). The song\u2019s mellower, U2-assisted second act calmly explores the methods American institutions use to demonize blacks and Muslims for the same crimes the country was built on: \u201cIt\u2019s nasty when you set us up\/Then roll the dice, then bet us up\/You overnight the big rifles, then tell Fox to be scared of us\/Gang members or terrorists, et cetera, et cetera\/America\u2019s reflections of me, that\u2019s what a mirror does,\u201d he closes. Lamar illustrates the ways this country willfully creates the conditions for the violence it condemns; when he mentions the Trump presidency, it\u2019s as an aside. The entire country is complicit. \u2013SP<\/p>\n

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Lin-Manuel Miranda: \u201cAlmost Like Praying (feat. Artists for Puerto Rico)\u201d<\/h2>\n

Hurricane Maria plunged Puerto Rico backward in time. The electrical grid was decimated; most of the island was without water. As shipping containers with food and supplies languished in ports and the president feuded with the mayor of San Juan, citizens, increasingly desperate, bathed in bathroom sinks, drank water they knew might be contaminated, and waited. But as the American government flailed, the Latin community surged in. Daddy Yankee pledged a million dollars. Fat Joe teamed with TIDAL to send diapers, flashlights, cases of water, and more. And Lin-Manuel Miranda gathered many artists to record \u201cAlmost Like Praying,\u201d a tribute single with proceeds going entirely to relief efforts. With a simple, mournful chorus melody snipped from West Side Story<\/em>\u2019s \u201cMaria\u201d and verses that shouted out every one of the island\u2019s 78 municipalities, \u201cAlmost Like Praying\u201d was as much a defiant act of solidarity as song. \u2013JG<\/p>\n

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Margo Price: \u201cAll American Made\u201d<\/h2>\n

Margo Price, one of the few country singers to come out against Trump, shows why dissent is patriotic on the title track of her excellent new album. In a whisper, not a yell, she wrestles with the feeling of hopelessness that follows her around the country, realizing that the mindset is more commonplace than the pride America once took in our working class. Price replicates the misdirection act honed by our government through clips of presidential speeches, slyly slipping in some Patti Smith chants (from \u201cSpell\u201d) with the barrage of brainwashing. Strumming her acoustic guitar, Price doesn\u2019t offer solutions so much as simply declare, I am a witness to America, and so are you.<\/em> When the going\u2019s this low, that\u2019s all you really need to say. \u2013Jillian Mapes<\/p>\n

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Open Mike Eagle: \u201cHappy Wasteland Day\u201d<\/h2>\n

2017 has often felt like a wasteland, each iota of hope buried by more garbage news. That reality has been weighing on Open Mike Eagle, too. \u201cWhen the king is a garbage person\/I might wanna lay down and die\/Power down all my darkest urges\/Keep my personal crown up high,\u201d he raps on \u201cHappy Wasteland Day,\u201d a song that dares to imagine a reprieve from our new norm of daily political scandals and human rights violations. He knows getting an actual \u201cday without violence\u201d is wishful thinking. That won\u2019t stop him from fighting for one. The song becomes a call to action in its second verse, visualizing a new agenda: finding the faith we lost in others, mobilizing to combat the fascist regime, creating the better world we want to see for ourselves. \u2013SP<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Perfume Genius: \u201cGo Ahead\u201d<\/h2>\n

Perfume Genius\u2019 Mike Hadreas says he often feels like a witch when writing songs, and \u201cGo Ahead\u201d is his boldest incantation, as it transforms the singer into a sauntering deity. Homophobes can sit down; the legitimacy of Hadreas\u2019 beauty and righteousness is not up for debate. Tapping into this kind of confidence is brutally hard, especially when world leaders are ennobling hate speech, and the song acknowledges the difficulty of sustaining that belief. At first, its jittery beat stumbles, knock-kneed. But then it becomes elegant, the chorus sparkled with gold, and even funky as the second verse affects a Princely wiggle. \u201cYou can even say a little prayer for me,\u201d Hadreas offers, arching an eyebrow at the supposedly Christian concerns that can legitimize malicious judgements. He adds, \u201cBaby, I\u2019m already walking in the light,\u201d and \u201cGo Ahead\u201d spirals towards the heavens: one man\u2019s salvation, another\u2019s pure fantasy. \u2013Laura Snapes<\/p>\n

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Priests: \u201cPink White House\u201d<\/h2>\n

When the D.C. punks Priests released \u201cPink White House\u201d just before last November\u2019s election, it was a well-timed send-up of democracy\u2019s sham. \u201cA puppet show in which you\u2019re made to feel like you participate\/Sign a letter, throw your shoe, vote for numbers 1 or 2,\u201d shouts Katie Alice Greer over an increasingly villainous guitar rumbling. At first, Greer\u2019s repetition of the phrases \u201canything\/anyone\/anywhere you want\u201d seemed like a comment on our endless stream of insipid distractions, but in the Year We Survived Trump (Part 1), it spit in the face of the president\u2019s insistence to \u201cGrab \u2019em by the pussy. You can do anything.\u201d \u2014 JM<\/p>\n

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Vince Staples: \u201cBagBak\u201d<\/h2>\n

This antsy track from anti-bullshit extraordinaire Vince Staples churns through issues including police brutality and the prison-industrial complex as it strives toward a kind of black American utopia\u2014a vision potent enough to soundtrack a trailer for the upcoming Black Panther<\/em> movie. \u201cWe need Tamikas and Shaniquas in that Oval Office,\u201d he huffs. \u201cObama ain\u2019t enough for me, we only getting started.\u201d Naturally, our current commander-in-chief gets a mention, too: \u201cTell the president to suck a dick, because we on now.\u201d \u2013RD<\/p>\n

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Listen to selections from this list on our Spotify playlist and our Apple Music playlist.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n

Source URL: https:\/\/pitchfork.com\/features\/lists-and-guides\/the-year-in-protest-music-2017\/<\/p>\n","protected":false},"excerpt":{"rendered":"

Lists & Guides The Year in Protest Music 2017 A list of 20 urgent tracks that spoke truth to power this year By Pitchfork and Stacey Anderson November 20, 2017 Graphic by Jessica Viscius The future that liberals want currently costs $30 and is located behind a ravaged warehouse door in downtown Los Angeles. Here, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[54],"class_list":["post-1255544","post","type-post","status-publish","format-standard","hentry","category-politics","tag-pitchfork-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1255544","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1255544"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1255544\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1255544"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1255544"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1255544"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}