{"id":65886,"date":"2020-11-04T11:30:07","date_gmt":"2020-11-04T11:30:07","guid":{"rendered":"http:\/\/essentiallypop.com\/epop\/?p=65886"},"modified":"2020-11-04T11:30:07","modified_gmt":"2020-11-04T11:30:07","slug":"essentially-pop-gets-to-chat-with-sacha-puttnam-who-is-to-release-spirit-of-cinema-on-november-6th","status":"publish","type":"post","link":"https:\/\/essentiallypop.com\/epop\/2020\/11\/essentially-pop-gets-to-chat-with-sacha-puttnam-who-is-to-release-spirit-of-cinema-on-november-6th\/","title":{"rendered":"Essentially Pop Gets To Chat With Sacha Puttnam Who Is To Release \u2018Spirit Of Cinema\u2019 On November 6th"},"content":{"rendered":"

I\u2019m a self confessed lover of soundtrack music. The first vinyl I ever bought was the soundtrack from \u2018A Fistful of Dollars\u2019 and \u2018For A Few Dollars More\u2019 by Ennio Morricone. That led to \u2018Great Western Film Themes Collection\u2019, and \u2018 The Good, The Bad & The Ugly\u2019, and I was hooked. These days I have over 150 soundtracks on vinyl and a majority of these are Morricone. So, when I got the chance to chat with Sacha Puttnam: classical musician, soundtrack composer and rock keyboard playing son of legendary movie producer Lord David Puttnam, it\u2019s hard to underestimate my excitement. Add to that the fact that he is just about to release a stunning collection of reimagined soundtrack music from some of his father\u2019s greatest films, which unsurprisingly number among some of the greatest films ever, and you may still underestimate.<\/strong><\/h4>\n

Sacha Puttnam is a rare combination. He has pedigree in so many genres of music that it is impossible to define him. Trained at the Moscow Conservatoire in conducting and composition and then at the world famous Berkeley College of Music. Having completed this classical and jazz training he confirmed his rock credentials by going on tour with Bush, playing alongside music heavyweights Muse and Moby. He has brought all this multi genre experience to bear in his music compositions bringing rock \u2019n\u2019 roll sensibility\u2019s to classical orchestral and piano music. His new release celebrates the music of the cinema but he does it with all of this musical background. The results are breath-taking.<\/p>\n

If you are ever in doubt of the importance of music in films, watch your favourite films without music. Imagine \u2018Jaws\u2019 without that relentless pulse of terror provided by the music, imagine the beach run in \u2018Chariots Of Fire\u2019 without the keyboard refrain, imagine anything from director Sergio Leone without the music of Ennio Morricone. Lord Puttnam has never faltered in his belief that the music of a film was of vast importance and his son Sacha, who shares his passion, has produced a record full of incredible music, music so beautifully interpreted that it does something I thought impossible by recreating the excitement I felt when I first heard these pieces.<\/p>\n

I recently had the chance to chat with Sacha about his release, \u2018Spirit Of Cinema\u2019, with his impeccable piano at the heart of The Classic Film Orchestra.<\/p>\n

\"\"<\/p>\n

EP: Sacha, what a pleasure to get to chat with you. I\u2019m a massive fan of soundtrack music, I love Ennio Morricone. He worked on one of your father\u2019s films, The Mission, did you ever get to meet him?<\/strong><\/p>\n

SP: Let me tell you my Morricone story. My Dad is a producer, so it was his job, when he was making a movie, to keep the budget down. That was his thing. When they were doing \u2018The Mission\u2019 and they really wanted to get Morricone to do the score, they went to his agent and the guy said, \u201cIt\u2019s a million dollars!\u201d. My Dad said, \u201cWe\u2019re not paying a million dollars\u201d, and was trying to negotiate but getting nothing. So, long story short, they get Morricone for a million dollars. Morricone is writing the score, and he turns up at the house and sings the music so badly that my Dad was thinking \u201cOh my god! What an earth have I done. We\u2019ve just spent a million dollars on this guy that\u2019s scratching away at this terrible old theme. What are we going to do?” Anyway, the rest is history, the music completely made the movie and went on to sell bucket-loads. In fact, Dad was really smart. He didn\u2019t pay the million dollars, he went over to his friends at Virgin, got them to buy the album which I don\u2019t think they paid a million dollars for, I think they paid maybe half a million or something. Dad offset the cost like that and of course Virgin did really well out of it. It was funny because Morricone had the worst voice ever and he was just singing away at this theme that became the wedding anthem for everybody for the next 20 years. Funnily enough it didn\u2019t win the Oscar, it won the BAFTA and the Golden Globe but not the Oscar. It was great, because Herbie Hancock, he\u2019s a lovely man, won with his music for, I think, the film \u2018Mr Magic\u2019. It\u2019s weird, awards are great, but in the end I bet Herbie would have loved ‘Mr Magic’s score to have done as well as ‘The Mission’. I remember writing to Ennio so many times asking \u201cCan I come and work for you? I\u2019ll do anything\u201d, but no, he would always say, \u201cI work alone\u201d. The tragedy of my life will always be that I didn\u2019t get to work with him.<\/p>\n

EP: Your Dad really understood that music was super integral to the movie making process didn\u2019t he?<\/strong><\/p>\n

SP: He realised, being an early rock \u2019n\u2019 roller, that the stodgy old film business that used to be very North London didn\u2019t really understand young people at all and also didn\u2019t understand rock \u2019n\u2019 roll, so he could go to Ronco and K-Tel records and play them off against each other. So by going to Ronco with the \u2018That\u2019ll Be The Day\u2019 and \u2018Stardust\u2019 soundtracks, they could get an album out of it, and he could get a whole load of advertising for the movie which other people couldn\u2019t get. So I think the figures he used to tell me, was that soundtrack used to be ten percent of the budget so for a film of the size he used to be doing that would be 11 grand, which is still a decent amount of money, especially back then, but the record company would come in with \u00a335000 which was immense. And that\u2019s why \u2018That\u2019ll Be The Day\u2019 and \u2018Stardust\u2019 really hit. The sad truth is that advertising really does speak and I always wish that people were more able to discover and do things on their own but if it\u2019s in front of you and you like it then you\u2019ll get it.<\/p>\n

EP: With \u2018The Spirit Of Cinema\u2019, how on earth did you choose which music to include given the catalogue of great film music open to you?<\/strong><\/p>\n

SP: I had real problems with things like the rock \u2019n\u2019 roll numbers. They just didn\u2019t translate quite so well onto the orchestra, so it was whatever had a really straightforward melody that could be harmonised in a way that would fit on the record. I think there\u2019s only one or two kind of really big tracks on there. Things like \u2018The Midnight Express\u2019 theme have a very definite, what I\u2019d call eighties, melody. Some of them, where the melody wasn\u2019t quite there, like the lovely \u2018The Chase\u2019 (also from ME), I tended to leave alone as they sounded great on a Moog (a synthesiser) but not necessarily for an orchestra. I don\u2019t know if you heard but Anne Dudley did a really nice \u2018The Model\u2019 for orchestra; there are some things the orchestra does really well, some things it doesn\u2019t do that well. Really rhythmic stuff is never gonna beat a Moog and a drummer and a bass player. Just can\u2019t…just absolutely can\u2019t do it. The Bee Gees; all of the tracks of the Bee Gees would have worked but I didn\u2019t want to do the whole album of Bee Gees stuff although I love \u2018First of May\u2019. I really wanted to do the Donovan one as he\u2019s such a lovely guy, so great, and I\u2019ve known him since I was 5 years old. We were all in the film as my Dad would stick us all in because we were cheap extras. The big one I guess was \u2018Chariots of Fire\u2019 because I adore Vangelis and he\u2019s still lovely to me today. And Giorgio Moroder too. I still love him, he\u2019s great.<\/p>\n

EP: With \u2018Midnight Express\u2019, do you think the music is so stunning because against the backdrop of such a harrowing story, it is simply so beautiful?<\/strong><\/p>\n

SP: I\u2019ve been looking at it a lot recently. It\u2019s kind of weird with the tin drums and everything but somehow it works. I\u2019ve got a podcast called \u2018Spirit of Cinema\u2019 which goes along with the release and Alan Parker is good on there because what he keeps saying is that the soundtrack is so much more than the composer; it is all of the people that are putting into the sound of the movie. The people in the background, what\u2019s on the street, what someone\u2019s shouting across the prison so on one level it shouldn\u2019t work but amid all of the other stuff it does. Alan\u2019s point is right, the soundtrack IS so much bigger than the composer…<\/p>\n

EP: With \u2018Istanbul\u2019, you really bring something new, deeper to an already wonderful piece. Was there a conscious effort to give it the feel of a Bond theme?<\/strong><\/p>\n

SP: That\u2019s lovely. There\u2019s a little bit of a nod to James Bond . When you\u2019re looking at getting the rhythms up, you need to look at everything, you need to look at the brass, you need to look at everything that can give you some rhythm. Yes, I wanted to give it some other level. There\u2019s a piece of me that will always love John Barry so I can\u2019t help it coming out. I loved \u2018Out of Africa\u2019, loved Bond, I loved everything that he did. He\u2019s just so great a composer. For me he\u2019s up there with Ennio. Ennio has his own special voice but I love Barry so yes I was channelling a bit of Bond.<\/p>\n

EP: How do you approach an interpretation of such an iconic piece of music as Ennio Morricone\u2019s \u2018The Mission\u2019?<\/strong><\/p>\n

SP: They tried to talk me out of it. They said it\u2019s not going to work on piano. But, what I thought is if I put the piano in to begin with and then go to the oboe, then surely that will work. My favourite piece is \u2018The Fall\u2019, the one Ennio was singing to my Dad. It\u2019s so simple a melody but it\u2019s such an ear worm. I just wanted to put that on so I got this guy, Roy Carter, the original guy who played the oboe on the soundtrack which they recorded at CTS in Wembley. So, I knew I had a couple of aces up my sleeve, but you\u2019re right a lot of people have recorded it, a lot of people have done it pretty well but I think this version stands up.<\/p>\n

EP: it really does, it\u2019s a fantastic version. I think Ennio would have approved. It\u2019s beautiful!<\/strong><\/p>\n

SP: That\u2019s really kind but people really did try to talk me out of it but I love it so much. I thought the album wouldn\u2019t stand up if it wasn\u2019t on there. The only thing I\u2019m a bit sad about is I haven\u2019t done anything from Bugsy Malone. I kept writing to Paul Williams who wrote it; he was the first person I saw jumping onto a piano and playing back in 1974 I think, but he was busy doing his bits and pieces so he didn\u2019t really get back to me. The one I was going to do was \u2018Only A Fool\u2019. At some point I\u2019ll do it.<\/p>\n

The reason the albums taken so long is that I have to do a film score and then put a bit of money aside, and then go and record with all the pals, all the London session players. I wanted to do it in England, wanted to make it a project with all the people I know and all the great session players we\u2019ve got here. I remember when I trained in Russia, the instruments are not as good…. they\u2019ve got a feel here and I wanted to get that feel.<\/p>\n

EP: \u2018Sailing Homeward\u2019 and Donovan\u2019s involvement must have been a huge influence on you. Did that make the interpretation of this piece harder or easier?<\/strong><\/p>\n

SP: The only difficulty with that one is that when Donovan sings it live, he just goes straight into it. What I had to do was give it an intro. So we have an intro and then… jumping slightly, but the same was true with \u2018First Of May\u2019 in that it didn\u2019t have an ending. So with \u2018Sailing Homeward\u2019 there\u2019s kind of bookends, like \u2018The Fall\u2019 in the Morricone version which bookends \u2018Gabriel\u2019s Oboe\u2019, and I think that works coming from somewhere and having a resting ending place. The only bit I had to watch out for was the middle eight and not go too big or too small there. Also it\u2019s got no lyric and the lyric is brilliant. The only killer for me with instrumental music, and I used to find this when I studied in Russia, was that when we did our symphonies and stuff like that the audience would be at half full, which was great, but when singers did their showcase it was packed, literally people falling off the balcony. You get to see quite quickly the difference between lyrics and the song as opposed to instrumental but that\u2019s where I hung my hat, I\u2019m in the instrumental world. But it\u2019s missing a dynamic which is a whole area which is that beautiful lyric. When I\u2019m playing it I hear the lyric in my head because it\u2019s so ingrained and when I\u2019m phrasing a piece on the piano, of course I put the little nuance in that Donovan did because that for me makes it beautiful.<\/p>\n

EP: \u2018First Of May\u2019 must be a hugely emotional piece of music to cover given the subject matter of the movie it comes from, \u2018Melody\u2019? The love story of your parents…<\/strong><\/p>\n

SP: My Mum and Dad, Mum was seventeen. The old shotgun wedding! That was the loveliest one to go and play them. My Mum burst into tears and my Dad was completely over the moon. It\u2019s so lovely to see a couple like that still together after all this time. Had their ups and downs but to have made it…you know from 17 and my Mum\u2019s just turning 75 in a couple of weeks. That\u2019s fantastic. I try to get that emotion in there. There are some lovely other songs like, \u2018Morning of my Life\u2019 it was hard to pick which track from \u2018Melody\u2019. With this album I must have done ten versions of each record before I decided \u2018that\u2019s the one\u2019.<\/p>\n

EP: More than almost every piece of music you have included, \u2018Chariots Of Fire\u2019 must be known to everyone, even if they don\u2019t realise it\u2019s source. How do you approach this music without falling into the trap of impersonation?<\/strong><\/p>\n

SP: That was re-harmonised and when I went out to see Vangelis, I played it for him and he kind of looked at me in a \u201cwhat have you done?\u201d way…because the harmony is pretty straightforward, just 1-4-1-4-1-5 , Beethoven type harmony, and what I did was just re-harmonise the whole piece and plugged into that whole piano concerto thing, with an orchestra, where sometimes the piano just shuts up and let the orchestra play and then sometimes the piano takes the lead. I thought how would Chopin play this melody and I think we got there, fairly close. It\u2019s a romping three minutes really. That\u2019s the other thing; because I\u2019ve got pop sensibility I\u2019m done after three minutes. When you\u2019re writing a cue, if your cue is more than a minute and a half you\u2019re in trouble. Obviously there are exceptions to the rule but basically if you haven\u2019t said what you wanted to say in that time…the only one that had to go longer than a pop song length, because it was just so big, was \u2018Istanbul\u2019. That one just needed landing space…Vangelis definitely gave me a funny look but he was ok with it; he doesn\u2019t usually let many people do it so that was great.<\/p>\n

EP: Do you think the orchestra enhancement is more noticeable on music like \u2018Going Home\u2019? I felt it brought so much more depth.<\/strong><\/p>\n

SP: I don\u2019t know. I had a great violinist and if you bring in a great violinist they\u2019re gonna do it for you. Even if they\u2019re playing \u2018three blind mice\u2019…Magnus Johnson, when he came in and played the melody I could have not played anything and it would have been fine. There\u2019s something about the way Knopfler plays, I love him, but you\u2019re never going to capture that but, the way Magnus played, I really think it worked.<\/p>\n

EP: it\u2019s brilliant that you decided to include \u2018Confessional’, a score you wrote yourself.<\/strong><\/p>\n

SP: This is the real issue, I have a really nice \u2018Abraham Theme\u2019 which was going to go on there but for all sorts of strange reasons it can\u2019t go on until February so because there was a track missing…I thought I\u2019d put in \u2018Confessional\u2019 but a really new version of it. \u2018Confessional\u2019 was tough because that was the first time I saw a score of mine on the big screen. That was the big kick in the arse, seeing my score on a big screen, made me think I\u2019d better check next time I\u2019m writing a score, and I\u2019d say that to anyone doing that, check it before you print it because everything changes. This was a way for me to correct that really, I threw the kitchen sink into this version. The orchestra at Abbey Road were amazing!<\/p>\n

EP: it\u2019s really so much more than a track filler, I love it. So finally, and I appreciate this is a bit like asking you which is your favourite child, do you have a favourite on the album?<\/strong><\/p>\n

SP: When you\u2019re making it, it changes all the time, but I guess, at the moment, my favourite is \u2018Sailing Homeward\u2019. it really came out of the blue. One of those wonderful moments with an orchestra that you put the sheets of paper in front of them and they start and something magic happens. I\u2019m sure that will change though…<\/p>\n

EP: Thank you so much and good luck with \u2018 Spirit Of Cinema\u2019.<\/strong><\/p>\n

Track list:<\/p>\n

Love\u2019s Theme by Giorgio Moroder for his Oscar winning score for Midnight Express (1978)<\/p>\n

Sailing Homeward by Donovan for the Pied Piper (1972)<\/p>\n

Chariots of Fire from Vangelis\u2019 Oscar winning score for Chariots of Fire (1981)<\/p>\n

War of the Buttons Suite from Rachel Portman\u2019s score for the film War of the Buttons (1994)<\/p>\n

First of May by The Bee Gees for the film Melody (1971)<\/p>\n

Gabriel\u2019s Theme (The Falls and Gabriel\u2019s Oboe) by Ennio Morricone for The Mission (1986)<\/p>\n

Abraham\u2019s Theme by Vangelis for Chariots of Fire (1981)<\/p>\n

Londonderry Air, used by George Fenton for the film Memphis Belle (1990)<\/p>\n

Eric\u2019s Theme by Vangelis for Chariots of Fire (1981)<\/p>\n

Theme from Midnight Express (Istanbul) by Giorgio Moroder for Midnight Express (1978)<\/p>\n

The Confessional by Sacha Puttnam for Le Confessional (1995)<\/p>\n

Going Home by Mark Knopfler for Local Hero (1983)<\/p>\n

Boy\u2019s Burial by Mike Oldfield for The Killing Fields (1984)<\/p>\n","protected":false},"excerpt":{"rendered":"

I\u2019m a self confessed lover of soundtrack music. The first vinyl I ever bought was the soundtrack from \u2018A Fistful of Dollars\u2019 and \u2018For A Few Dollars More\u2019 by Ennio Morricone. That led to \u2018Great Western Film Themes Collection\u2019, and \u2018 The Good, The Bad & The Ugly\u2019, and I was hooked. These days I have over 150 soundtracks on vinyl and a majority of these are Morricone. So, when I got the chance to chat with Sacha Puttnam: classical musician, soundtrack composer and rock keyboard playing son of legendary movie producer Lord David Puttnam, it\u2019s hard to underestimate my excitement. Add to that the fact that he is just about to release a stunning collection of reimagined soundtrack music from some of his father\u2019s greatest films, which unsurprisingly number among some of the greatest films ever, and you may still underestimate.<\/p>\n

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Yet its mastermind, Italian legend Ennio Morricone, who passed away at 91 in Rome, didn\u2019t set foot in the United States until 2007. That\u2019s\u2026","rel":"","context":"In "Films"","block_context":{"text":"Films","link":"https:\/\/essentiallypop.com\/epop\/category\/films\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2025\/07\/Ennio-Morricone.jpg?fit=1189%2C665&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2025\/07\/Ennio-Morricone.jpg?fit=1189%2C665&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2025\/07\/Ennio-Morricone.jpg?fit=1189%2C665&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2025\/07\/Ennio-Morricone.jpg?fit=1189%2C665&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2025\/07\/Ennio-Morricone.jpg?fit=1189%2C665&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":76817,"url":"https:\/\/essentiallypop.com\/epop\/2022\/07\/chris-lewington-has-been-making-music-for-a-long-time-and-achieved-critical-acclaim-but-now-he-has-a-solo-project-a-new-ep-and-an-album-on-the-way-he-chatted-with-essentially-pop-recently-about-his\/","url_meta":{"origin":65886,"position":3},"title":"Chris Lewington Has Been Making Music For A Long Time And Achieved Critical Acclaim But Now He Has A Solo Project, A New EP, And An Album On The Way. He Chatted With Essentially Pop Recently About His Music.","author":"Steve Holley","date":"20\/07\/2022","format":false,"excerpt":"Steve Holley speaks with Kent singer songwriter Chris Lewington about his new EP and upcoming album.","rel":"","context":"In "Interviews"","block_context":{"text":"Interviews","link":"https:\/\/essentiallypop.com\/epop\/category\/music\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2022\/07\/Chris-Lewington1.jpg?fit=1200%2C1200&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2022\/07\/Chris-Lewington1.jpg?fit=1200%2C1200&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2022\/07\/Chris-Lewington1.jpg?fit=1200%2C1200&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2022\/07\/Chris-Lewington1.jpg?fit=1200%2C1200&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2022\/07\/Chris-Lewington1.jpg?fit=1200%2C1200&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":71522,"url":"https:\/\/essentiallypop.com\/epop\/2021\/09\/hans-zimmer-proves-that-for-the-bond-soundtrack-genre-this-is-no-time-to-die\/","url_meta":{"origin":65886,"position":4},"title":"Hans Zimmer Proves That For The Bond Soundtrack Genre This Is \u2018No Time To Die\u2019","author":"Steve Holley","date":"27\/09\/2021","format":false,"excerpt":"There are few movie franchises that have created a whole music genre by themselves but this is exactly what the Bond movies have achieved.","rel":"","context":"In "Album Of The Week"","block_context":{"text":"Album Of The Week","link":"https:\/\/essentiallypop.com\/epop\/category\/music\/album-of-the-week\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2021\/09\/No-Time-to-Die-1.jpg?fit=1200%2C1092&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2021\/09\/No-Time-to-Die-1.jpg?fit=1200%2C1092&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2021\/09\/No-Time-to-Die-1.jpg?fit=1200%2C1092&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2021\/09\/No-Time-to-Die-1.jpg?fit=1200%2C1092&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2021\/09\/No-Time-to-Die-1.jpg?fit=1200%2C1092&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":40651,"url":"https:\/\/essentiallypop.com\/epop\/2018\/09\/blair-jollands-releases-7-blood-an-album-offering-escapism-and-brilliance-in-equal-measure\/","url_meta":{"origin":65886,"position":5},"title":"Blair Jollands Releases \u20187 Blood\u2019, An Album Offering Escapism And Brilliance In Equal Measure","author":"Steve Holley","date":"25\/09\/2018","format":false,"excerpt":"Blair Jollands moved to London 20 years ago from Auckland, New Zealand where he learned to master records before taking that skill to an audio post production studio in Soho. Since then he has completed sound design in film and TV with credits that include \u2018Poldark\u2019, \u2018Jekyll & Hyde\u2019 and\u2026","rel":"","context":"In "New Releases"","block_context":{"text":"New Releases","link":"https:\/\/essentiallypop.com\/epop\/category\/music\/new-releases\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2018\/09\/FC764265-668A-4614-9F89-151181B2EEE9.png?fit=1200%2C800&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2018\/09\/FC764265-668A-4614-9F89-151181B2EEE9.png?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2018\/09\/FC764265-668A-4614-9F89-151181B2EEE9.png?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2018\/09\/FC764265-668A-4614-9F89-151181B2EEE9.png?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/essentiallypop.com\/epop\/wp-content\/uploads\/2018\/09\/FC764265-668A-4614-9F89-151181B2EEE9.png?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]}],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/essentiallypop.com\/epop\/wp-json\/wp\/v2\/posts\/65886","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/essentiallypop.com\/epop\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/essentiallypop.com\/epop\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/essentiallypop.com\/epop\/wp-json\/wp\/v2\/users\/34"}],"replies":[{"embeddable":true,"href":"https:\/\/essentiallypop.com\/epop\/wp-json\/wp\/v2\/comments?post=65886"}],"version-history":[{"count":0,"href":"https:\/\/essentiallypop.com\/epop\/wp-json\/wp\/v2\/posts\/65886\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/essentiallypop.com\/epop\/wp-json\/wp\/v2\/media\/65887"}],"wp:attachment":[{"href":"https:\/\/essentiallypop.com\/epop\/wp-json\/wp\/v2\/media?parent=65886"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/essentiallypop.com\/epop\/wp-json\/wp\/v2\/categories?post=65886"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/essentiallypop.com\/epop\/wp-json\/wp\/v2\/tags?post=65886"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}