Queen<\/a> album, Queen II was originally released in 1974 and widely heralded as their first true masterpiece. With Brian May and Roger Taylor as executive producers, the album has been stunningly mixed by the team of Justin Shirley-Smith, Joshua J Macrae and Kris Fredriksson.<\/p>\nThe 5CD+2LP Queen II Collector\u2019s Edition box set features the 2026 mix of the album, plus intimate fly-on-the-wall audio of Queen in the recording studio, previously unheard outtakes and demos, live tracks and radio sessions. \u00a0<\/p>\n
It\u2019s also released as 2xCD Deluxe Edition, Vinyl LP, Vinyl Picture Disc LP, 1xCD and cassette formats, all featuring a brand new 2026 mix.<\/p>\n
The Queen II Collector\u2019s Edition box set also comes with a 112-page book featuring previously unseen photographs, handwritten lyrics, diary entries, and special memorabilia, as well as memories of writing and recording the album from the band members.<\/p>\n
A press release on the official Queen website details this 2026 reissue.<\/p>\n
\u201cMy God, we were such impatient boys\u201d\u00a0\u2013\u00a0Freddie Mercury
\u00a0
“Queen II was a vital step in the long journey to the explosion of marvellousness we eventually became\u201d\u00a0\u2013\u00a0Roger Taylor<\/p>\n
\u201cWe had the desire to create something extraordinary. And we did.\u201d\u00a0\u2013\u00a0Brian May<\/p>\n
\u201cQueen II was the single biggest leap we ever made,\u201d\u00a0says Brian May.\u00a0\u201cThat\u2019s when we really started making music the way we wanted to, rather than the way we were being pushed into recording it.\u201d<\/p>\n
\u201cWith Queen II, I couldn\u2019t believe how much work we put into it,\u201d\u00a0adds Roger Taylor.\u00a0\u201cI think we felt we were evolving our own sound. We were pioneering this sort of multitracking thing. It gave you a tremendous pallet, massive choral effects with just three of us singing.\u201d<\/p>\n
The task of remixing Queen II for this new edition was in the hands of the trusted team of Justin Shirley-Smith, Joshua J Macrae and Kris Fredriksson, who worked on the Queen I reissue as well as several other past releases from the band, with Brian May and Roger Taylor acting as executive producers.\u00a0<\/p>\n
\u201cThe idea was to reveal more of the clarity of the songs,\u201d\u00a0says Justin Shirley-Smith of their approach.\u00a0\u201cRather than add anything, we wanted to reveal more of what was there and get that desired sound.\u201d<\/p>\n
\u201cThe lengths the band went to achieve what they achieved with the technology they had at the time was incredible,\u201d\u00a0says Joshua J Macrae.\u00a0\u201cSome of it is so ahead of its time. Working on this was like entering a room of fabulousness.\u201d\u00a0<\/p>\n
Queen\u2019s self-titled 1973 debut album had established the band as one of the boldest and most unique new voices in music. Even a troubled recording process, which resulted in a sound the band were unhappy with (subsequently rectified on the 2024 reissue), couldn\u2019t mask the brilliance of the songs, nor the ambition of the band behind them.<\/p>\n
For the follow-up, recorded once again at Soho\u2019s Trident Studios with Queen I co-producer Roy Thomas Baker, Queen seized control of their own destiny. They were already incredibly well-drilled before they began, with \u201cFather To Son\u201d and \u201cOgre Battle\u201d having featured in the live shows as far back as September 1973. The result was an album that didn\u2019t so much tear up the blueprint as redraw it on a grand scale.\u00a0<\/p>\n
\u201cI wanted to give it everything \u2013 to be self-indulgent,\u201d\u00a0said Freddie Mercury at the time.\u00a0\u201cBut the whole band in particular, we don’t go in for half-measures and I’m pretty hard with myself. There are no compromises.\u201d<\/p>\n
![\"\"](\"https:\/\/www.newsbeep.com\/us-ny\/wp-content\/uploads\/2026\/02\/Queen_II_album_cover.jpg\")
<\/p>\n
Originally released in the UK on March 8, 1974, Queen II still sounds extraordinary today. Bold, brave and madly ambitious, it\u2019s the work of a band whose self-belief, vision and ability were unmatched. Its songs range from the intricate and complex to the raw and heavy, with vocals stacked to near-operatic levels and Brian May\u2019s fabled \u2018guitar orchestra\u2019 giving the band a sound like no other.<\/p>\n
Like the iconic Mick Rock photo that stares out from the cover \u2013 revisited by the band themselves nearly two years later in the groundbreaking promo video for Bohemian Rhapsody \u2013 Queen II is an album of shadow and light.\u00a0<\/p>\n
Rather than the traditional sides one and two, in characteristically flamboyant Queen fashion the album is divided into Side White and Side Black. The former is dominated by Brian May\u2019s songs, including soaring rocker \u201cFather To Son\u201d and the ethereal, celestial \u201cWhite Queen (As It Began)\u201d, with Roger Taylor\u2019s raucous but bittersweet \u201cThe Loser In The End\u201d capping off the white side.\u00a0<\/p>\n
Side Black is given over to Mercury\u2019s complex musical excursions, from the roaring \u201cOgre Battle\u201d and the filigreed finery of \u201cThe Fairy Feller\u2019s Masterstroke\u201d (inspired by a 19th century painting by maverick artist Richard Dadd) to the quasi-mythical fanfare of \u201cSeven Seas Of Rhye\u201d, which gave the band their very first UK hit single. The centrepiece of Side Black was \u201cThe March Of The Black Queen\u201d, a multi-part mini-epic that, like much of Queen II, pointed towards Queen\u2019s glorious future.<\/p>\n
\u201cThe March Of The Black Queen was definitely a forerunner of Bohemian Rhapsody,\u201d\u00a0says Brian May.\u00a0\u201cFreddie\u2019s mind was just working on a different level, even at that point. Father To Son, The Fairy Feller\u2019s Masterstroke \u2013 you can hear the seeds of what was to come in those songs.\u201d<\/p>\n
Even beyond the brand new 2026 mix, the Queen II Collector\u2019s Edition reframes the album on a much bigger canvas. \u00a0<\/p>\n
CD2: Queen II\u00a0\u2013 Sessions is a treasure trove for Queen fans, presenting a completely different and 100% previously unreleased version of every song from the album in the form of outtakes from the original Trident sessions, complete with false starts, guide vocals, the odd mistake, and some fabulous studio banter between the four band members.<\/p>\n
Individually and taken together, the Sessions CD presents an alternative tracklisting that shows how this most grandiose of albums took shape. Some songs, such as Father To Son and Some Day One Day, feature guide vocals and musical sections that are subtly different to the finished tracks, while others, such as The Fairy Feller\u2019s Master-Stroke and The March Of The Black Queen, find the foursome striving to perfect the music they\u2018d written.\u00a0<\/p>\n
\u201cThose outtakes show how dedicated the band were, and how precise they were,\u201d\u00a0says Joshua J Macrae, who, together with Justin Shirley-Smith and Kris Fredriksson, sifted through dozens of hours of recordings to find the right takes to include.\u00a0<\/p>\n
Most intriguingly, the Sessions CD also includes early versions of two songs: a solo Brian May version of \u201cAs It Began\u201d, aka \u201cWhite Queen\u201d, dating from 1969, plus two solo demo versions of Roger Taylor\u2019s \u201cLoser In The End\u201d which show the song\u2019s evolution towards its final incarnation.<\/p>\n
\u201cThe demos really show you what Brian and Roger were doing with the songs before the rest of the band got involved with them,\u201d\u00a0says Justin Shirley-Smith.\u00a0\u201cIt\u2019s a really fascinating insight into their creative processes.\u201d\u00a0<\/p>\n
Not only do these revelatory tracks lift the lid on the band\u2019s creative process at the time, but the snippets of conversation and studio banter at the beginning and end of these tracks adds a fascinating new dimension not just to Queen II but to the band themselves.\u00a0\u201cThis pop star lark is too much for me,\u201d\u00a0mock-sighs Freddie Mercury at one point.\u00a0\u201cI should go back to doing blue movies.\u201d\u00a0It shows the real-life personal and artistic friendships at the heart of this legendary band.<\/p>\n
\u201cThe fans loved the banter and interaction on the Queen I reissue, and I\u2019d say it\u2019s probably even better here,\u201d\u00a0says Kris Fredriksson.\u00a0\u201cYou get to hear how they relate to each other, and it\u2019s really fascinating to hear.\u201d<\/p>\n
The Sessions CD also features the lilting, evocative \u201cNot For Sale (Polar Bear)\u201d, a song the band worked on during the Queen II sessions but never completed.\u00a0\u201cWe knew that song was there, and that there were different takes, but they had never decided on a master backing track that they would have built on,\u201d\u00a0says Kris Fredriksson.\u00a0\u201cWe have technology now that we didn\u2019t have even a few years ago that meant we could get the best out of what they played and what Freddie sang.\u201d<\/p>\n
CD3: Queen II\u00a0\u2013 Backing Tracks complements both the album itself and the Sessions CD by offering mixes of the songs from the album without lead vocals, highlight the stellar musical performances of the band members.<\/p>\n
\u201cTheir performances are absolutely stunning,\u201d\u00a0says Justin Shirley-Smith.\u00a0\u201cIt\u2019s the sound of a band in total command of everything they\u2019re doing.\u201d<\/p>\n
CD4: Queen II \u2013 At The BBC\u00a0brings together tracks from three separate sessions the band did for BBC Radio 1 DJs and early Queen supporters John Peel and Bob Harris in late 1973 and early 1974.\u00a0<\/p>\n
Two tracks, future b-side \u201cSee What A Fool I\u2019ve Been\u201d and a tantalizing version of \u201cOgre Battle\u201d, were recorded for Harris\u2019 Sounds Of The Seventies programme and John Peel\u2019s show respectively in September and December 1973, predating the release of Queen II by several months and showcasing the huge leap forward they\u2019d made from their debut. Two more tracks, \u201cNevermore\u201d and \u201cWhite Queen (As It Began)\u201d, were recorded for Harris in April 1974 and capture Queen in full flight for the BBC tapes.<\/p>\n
The At The BBC CD is rounded out by the band\u2019s set at the Golders Green Hippodrome on September 13, 1973, a full six months before Queen II was released. Once again, its eight tracks present a band who are ready on to seize the future.<\/p>\n
The Collector\u2019s Edition is completed by CD 5: Queen II Live, a showcase of the album\u2019s songs from concerts at North London\u2019s fabled Rainbow Theatre on March 31, 1974 and Hammersmith Odeon the following December. Highlights include a blistering \u201cFather To Son\u201d, the furiously fantastical \u201cThe Fairy Feller\u2019s Master-Stroke\u201c and the epic yin-yang of \u201cWhite Queen (As It Began)\u201d and \u201cThe March Of The Black Queen\u201d, which show off every facet of the band\u2019s distinctive personality.<\/p>\n
\u201cOur whole set is frantic, we come on, let rip, move around a lot then we\u2019re off, leaving the crowds stunned and wondering what hit them,\u201d\u00a0said Brian May in 1974.<\/p>\n
The incredible story of Queen II is further fleshed out by the 112 page book which is included in the Collector\u2019s Edition. Shining a new light on both the album and the band that made it, it includes a host of previously unseen photographs of the band, including outtakes from Mick Rock\u2019s legendary photo session for the Queen II cover. Queen devotees will be amazed to see Freddie Mercury, Brian May and Roger Taylor\u2019s handwritten lyrics and musical notation for the songs on the album, as well as journal entries, letters to friends and supporters and a trove of memorabilia, including images of vintage adverts and gig posters, turning the Queen II Collector\u2019s Edition into a multi-dimensional experience.<\/p>\n
Fifty-two years after it was originally released, Queen II remains the first great of many great pinnacles of the band\u2019s career, sending out a message to the world:\u00a0\u201cThis is who we are, and this is what we can do.\u201d\u00a0<\/p>\n
\u201cWe were charging down the road of voices and orchestrating and all of that was a dream come true,\u201d\u00a0says Brian May.\u00a0\u201cIt had been in our heads for so long, and finally we were able to make it happen.”<\/p>\n
\u201cI don\u2019t think the album sounds like anyone else,\u201d\u00a0says Roger Taylor.\u00a0\u201cWe gained a mental identity, a group identity and we were just doing what we did.\u201d<\/p>\n
I saw Queen perform three times during the seventies and also interviewed Freddie Mercury twice- Once in Beverly Hills for the now defunct UK music periodical Melody Maker with journalist Justin Pierce at the Beverly Hilton Hotel, and later in summer of 1975 in his publicist\u2019s office in the UK.<\/p>\n
Freddie Mercury regally waltzed into the room, stuck out his hands, and greeted me and fellow journalist Justin Pierce with \u201cHello darlings. What do you think of my black finger nail polish?\u201d\u00a0<\/p>\n
I quickly replied to him, \u201cFreddie, I grew up in Hollywood. I know what kind of finger nail color and polish real Queens wear. So, while in L.A. why don\u2019t you go over to Ball Beauty on Fairfax Ave? My cousin Shelia Kaye and Cher get their makeup supplies at that shop. It\u2019s near Norty\u2019s Music Center. Ask one of the girls in the office at your Elektra Records label on La Cienega Blvd. to drive you there.\u201d\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>\n
Mercury immediately poured a glass of champagne and requested \u201cto please put the tape machine on.\u201d Freddie was a yenta and thoroughly enjoyed trumpeting Queen and discussing the machinations of their mid-seventies career.\u00a0<\/p>\n
We must have spent the first 10 minutes just talking about Liza Minelli and Judy Garland.<\/p>\n
I saw Judy sing in 1963 at her CBS-TV Judy Garland Show taping in Television City with my mother Hilda in a memorable duet with Barbra Streisand. In 1975 I sat next to Liza at a Rolling Stones\u2019 1975 Forum concert. Freddie had seen Minelli at the London Palladium in 1972.\u00a0<\/p>\n
Mercury was very impressed.<\/p>\n
Freddie had an air of confidence and mega-stardom destiny about him. He had a keen sense of the pop music process and being a star on and off the stage.<\/p>\n
It was mid-afternoon in Beverly Hills as Mercury peered over the swimming pool of the Hilton Hotel and reflected on Queen\u2019s latest tour of the States.<\/p>\n
\u201cThe tour has been going just great. The only drawback has been the problems with my voice, which I\u2019ve been over-taxing. But since I\u2019ve been taking care of it and resting more, it\u2019s been fine. The problem is that when you do a tour, you try to schedule the concerts as close as possible.<\/p>\n
\u201cTherefore, it\u2019s like a constant workout. However, at this moment it\u2019s raring to go and at the conclusion of this tour, we\u2019re going to take a rest in Hawaii, which we really deserve. From there it\u2019ll be on to Japan and Australia.\u201d<\/p>\n
The success story of Queen is remarkable when one considers the time in which they\u2019ve become one of the world\u2019s most popular bands. In Japan, they were recently voted one of the top three bands in the world, and that\u2019s without even doing one date in the Orient.<\/p>\n
What does Freddie see as being the key to their phenomenal following? \u201cI can\u2019t pinpoint it, but there\u2019s something about our music that\u2019s different and unlike anybody else\u2019s.<\/p>\n
\u201cI believe that\u2019s our major strong point. But there\u2019s other ingredients. Besides the fact that our timing has helped, there is the fact that we take risks. We\u2019re not one of those groups that go through every stage, for we skipped a few hurdles and we\u2019re willing to take the chances that brought us to our level of acceptance.<\/p>\n
\u201cThis American tour is a perfect example. To undertake this kind of massive tour is not unheard of, but it is a risk. People were constantly telling us about the American economy and how the biggest groups are having trouble filling venues.<\/p>\n
\u201cAnd for us to come on as strong as we are, headlining after only half a previous tour, shows how confident we are, or what you can put across unless you were a headliner.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>\n
\u201cAnd now we\u2019ve proved we can do it. Here we are, the first time in L.A. and we\u2019ve sold out two shows, and it\u2019s simply an amazing feeling.\u201d<\/p>\n
That feeling is bound to be even greater on subsequent tours for Queen who are only now breaking into the American record charts with their single recording of \u201cKiller Queen\u201d from Sheer Heart Attack.<\/p>\n
The gentleness and buoyancy of the tune is in marked contrast to the high level of energy that characterizes their first two albums.<\/p>\n
It is only on the third album that the diversity really became apparent. However, Mercury really doesn\u2019t look at it as a great change: \u201cThe thing I hate is trying to pinpoint everything for everybody.<\/p>\n
\u201cPeople always ask questions like, \u2018Why did you write such and such a lyric and what does it mean? That\u2019s now what it\u2019s all about. The one thing the British press has been trying to do for years is to pinpoint and categorize. It really annoys us.<\/p>\n
\u201cWe came out with \u2018Keep Yourself Alive\u2019 as a single, which is raunchy, and then we decided on \u2018Killer Queen\u2019 for a latter release. The first thing they do is go up to you and ask \u2018What are you up to?\u2019 This is our music and it\u2019s up to the individual to interpret it. It\u2019s not up to us to come out with a product and label it.<\/p>\n
\u201cIt would be boring if everything was laid out and everybody knew what it was all about all the time. I like people to make up their interpretation.<\/p>\n
\u201cThey also want to categorize stage image. I remember back in an interview where I said, \u2018I play on the bi-sexual thing.\u2019 Of course I play on it. It\u2019s simply a matter of wherever my mood takes me. If people want to know and ask me if I\u2019m gay, I tell them it\u2019s up to themselves to find out. I\u2019m just being my flamboyant self and having a good time,\u201d he smiled.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>\n
Even though Mercury prefers not to try and analyze Queen\u2019s music, he discussed their cumulative work in a logical manner: The first LP was very raw and full of freshness.<\/p>\n
\u201cIt was simply a reflection of what we\u2019d been doing for so long and we just wanted to get it out of our system. On the second album we found out that even though we had a formula we didn\u2019t necessarily have to keep it.<\/p>\n
\u201cTherefore, we dabbled at other things. Sheer Heart Attack was something different again. We wanted to make it interesting for ourselves as well as the listener. Hopefully, we succeeded on both counts. When we\u2019re on stage we try to do the same thing.<\/p>\n
\u201cWe\u2019re perfectionists. Although all of us write, it doesn\u2019t necessarily mean that every song composed will appear on an album.<\/p>\n
\u201cHaving all the members write adds to our versatility, and that\u2019s another strong point. On the last album we wanted to create a certain feel, and did. However, there were so many ideas and things that we wanted to do and have yet to carry out.<\/p>\n
\u201cYou simply can\u2019t do everything on one album. Lots of groups eventually burn themselves out due to lack of new ideas. But at this point, there\u2019s no way we\u2019re going to burn out. In fact, presently we\u2019re stronger than ever.<\/p>\n
\u201cWe do rock \u2018n\u2019 roll, and our presentation is just a way of putting across the music. We view albums and concerts as two spheres of work. There\u2019s a different level in the studio as compared to when you\u2019re on stage. But when we\u2019re before an audience, we let loose,\u201d Freddie underscored.<\/p>\n
Mercury was at the end of the US tour. It was interesting to know how he felt the English music market differs from the American.<\/p>\n
\u201cEven though singles may have been more important at one time in Britain, I feel that the stress on the singles and the albums is becoming pretty even. If you play too much on singles you can quite easily become a singles group.<\/p>\n
\u201cAt that point it\u2019s almost impossible to revert back to albums. I feel we\u2019re in a fortunate position for we\u2019ve only released four singles, including our new one. Therefore, we\u2019ve achieved a balance. I think the same thing is true in America, though we\u2019ve had to rely on response to our albums to carry us through. It wasn\u2019t really till \u2018Killer Queen\u2019 that we received mass exposure on a commercial level.<\/p>\n
\u201cBack home, you have to be very careful of what you say or do because you\u2019re in a position of immense responsibility. In fact, it can sometimes get ridiculous.<\/p>\n
\u201cWe have this black-and-white theme that we carry out in England and it\u2019s very strong. It has even got to the point where the audiences dress and look like me to a tee. They\u2019re very faithful and it\u2019s beautiful. On this tour, in Dallas, there was even a fan dressed with black makeup on one side of his face and white on the other, and it was marvelous.\u201d<\/p>\n
As for his own musical tastes Mercury says: \u201cI listen to all kinds of music from Hendrix to Liza Minelli, all the way back to Mae West. I also enjoy Flo & Eddie when I hear them on the radio. They\u2019re simply a riot. I also enjoy Joni Mitchell tremendously, and am constantly awed by her vocal phrasing as well as the amazing things she writes. She\u2019s simply beautiful.\u201d<\/p>\n
Mercury, the former Farrokh Bulsara, as a student at Ealing art college, displayed a photograph of Jimi Hendrix on his bedroom mirror.\u00a0<\/p>\n
In 1970, when he was playing in a pre-Queen band called Smile with May and Taylor, on the evening Jimi died, the boys did a trio of Hendrix songs, \u201cVoodoo Chile,\u201d \u201cPurple Haze\u201d and \u201cFoxy Lady.\u201d\u00a0 Freddie and Brian told me they saw the Jimi Hendrix Experience a handful of times during 1967-1970 in the UK. May was at the January 29, 1967 Saville Theatre when Hendrix and Co. opened for the Who.<\/p>\n
After Justin Pierce and I interviewed Mercury, I mentioned I was planning a summer 1975 trip to London. Freddie promptly suggested, \u201cIf you come to London do call my publicist Tony Brainsby. We must do this again!\u201d And we did, but on my \u201975 visit, Freddie was wearing green finger nail polish. It was delightful to talk about records and performers with him.\u00a0\u00a0\u00a0<\/p>\n
I was subsequently quoted describing Queen\u2019s stage show on www.brianmay.com<\/a>, \u201cAs American journalist Harvey Kubernik put it, \u2018it wasn\u2019t rock \u2018n\u2019 roll, it was Broadway.\u2019\u201d\u00a0<\/p>\nAs Freddie himself once said, \u201cA concert is not a live rendition of our album. It\u2019s a theatrical event.\u201d\u00a0\u00a0<\/p>\n
Queen\u2019s 1976 stage repertoire included an encore of Cy Coleman and Dorothy Fields\u2019 song \u201cBig Spender\u201d first done on stage by Shirley Maclaine in the Broadway musical Sweet Charity.\u00a0 Mercury had heard Shirley Bassey\u2019s 1967 version of the tune on BBC Radio and by Liza Minnelli. \u201cBig Spender\u201d is on Queen Live at Wembley \u201986. \u00a0<\/p>\n
In December 1978 I was invited to see a Queen concert in Southern California at The Forum in Inglewood. On their \u201978 US trek, Queen on occasion included \u201cBig Spender\u201d in their repertoire. After the show there was a reception in Beverly Hills at a Chinese restaurant. Freddie walked across the room and greeted me. \u00a0<\/p>\n
Freddie Mercury\u2019s fascination with Jimi Hendrix continued. There\u2019s a 1989 Queen track. \u201cThe Miracle,\u201d which is on the album of the same name, where lyricist Freddie sings \u201cJimi Hendrix to the Tower of Babel.\u201d<\/p>\n
During 2012 I was interviewed along with Queen guitarist Brian May and drummer Roger Taylor in their 2012 documentary Queen at 40 directed by Matt O\u2019Casey for BBC Television. It was expanded and distributed as Queen: Days Of Our Lives The Definitive Documentary of the World\u2019s Greatest Rock Band as a 2014 DVD and Blu-Ray via Eagle Vision.<\/p>\n","protected":false},"excerpt":{"rendered":"Freddie Mercury and Harvey Kubernik 1975 Interview Over half a century after it set them on the path…\n","protected":false},"author":2,"featured_media":146949,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[37],"tags":[9,24,63,122,124,123],"class_list":["post-146948","post","type-post","status-publish","format-standard","has-post-thumbnail","category-queens","tag-new-york","tag-new-york-city","tag-nyc","tag-queens","tag-queens-headlines","tag-queens-news"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/posts\/146948","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/comments?post=146948"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/posts\/146948\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/media\/146949"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/media?parent=146948"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/categories?post=146948"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ny\/wp-json\/wp\/v2\/tags?post=146948"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}