This is in 4/4 time. To me this does not sound like parallel 5ths between the top 2 voices because there is a 3rd on beat 2 and the 5th is in the up beat before the chord. Can someone share their thoughts on whether or not they see something line this as perfect parallel 5ths or not?
This would be a case of what we’d call Akzentparallele in german or indirect parallel., where we make use of diminuition to mask a parallel. This not an uncommon thing to do. In your cases there are two points to make though:
Notice how all your voices progress downwards. This is usually considered as not being elegant (especially as not only the single notes all move down but the pivotal notes do the same, notice how in your case if you only take the 1 of the measure the second measure would be the same as the first, just shifted down a third, creating something like a parallel fifth between Bass and Soprano as well as a parallel octave between Bass and Alto). Also the movement of soprano into a C while the alto remains on the Bb calls for a strong resolution of the alto into the A. Jumping off into the F sounds a bit unelegant.
So how can we solve this? Progressing into
C F A C is not really an option because the use of 4-6 chords is quite restricted in strict 4-part writing. If we accept all Voices moving into the same direction we can instead resolve to
F C A C. But suppose you let the bass start an octave lower you can use the same resolution to achieve a cross movement.
Yes, as @Lazy says, the anticipation masks the parallel. But it's still there, and is emphasised by the overall parallel motion.
But @armani, you've been asking questions about 'textbook' 4-voice harmony around here for quite a long time now. Is this an actual piece of music? It's time it started to be. We're not in the year 1700 any more. You've got a nice jumpy little tune, why not back it up in the same style? Think 'Manhattan Transfer' rather than - well, whoever Bach's favourite vocal group was :-) Embrace the parallel motion, embrace the syncopated rhythm!