{"id":11155,"date":"2022-08-11T08:18:10","date_gmt":"2022-08-11T07:18:10","guid":{"rendered":"https:\/\/aata.dev\/?p=11155"},"modified":"2022-08-11T08:21:44","modified_gmt":"2022-08-11T07:21:44","slug":"of-stories-and-songs-mcmurtry-made-bits-and-pieces","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2022\/08\/11\/of-stories-and-songs-mcmurtry-made-bits-and-pieces\/","title":{"rendered":"of stories and songs: MCMURTRY MADE + bits and pieces"},"content":{"rendered":"\n

of stories and songs:<\/strong> MCMURTRY MADE <\/strong>+ bits and pieces<\/strong><\/p>\n\n\n\n

Norman Warwick reads Geoffrey Himes to learn more.<\/strong><\/p>\n\n\n\n

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\u201cI\u2019m a fiction writer,\u201d<\/em><\/strong> the younger McMurtry (left)<\/em><\/strong> says over the phone from his home in Lockhart, Texas to Geoffrey Himes, the kindly Curmudgeon of Paste on-line magazine  \u201cI don\u2019t want to write about me. I\u2019d rather make stuff up. I\u2019m not interested in me.\u201d<\/em><\/strong><\/p>\n\n\n\n

\u00b4The son doesn\u2019t write paragraphs for the page the way his dad did\u00b4\u00b4.  Geoffrey Himes tells us, \u00b4Instead, he writes rhyming stanzas to be sung. But the work is the same: You imagine someone saying something interesting in a certain situation, and then you try to figure out who that person is, what that situation looks like, and what happens next. If you\u2019re a novelist, the reader knows that these are fictional characters. If you\u2019re a singer\/songwriter, the listener isn\u2019t always so understanding\u00b4.<\/em><\/p>\n\n\n\n

As I read this, I\u00b4m thinking of Terry and Julie in a glorious Waterloo Sunset, or of John Prine\u00b4s Donald And Lydia which are two of my favourite long novels,..sorry, I mean two perfectly disposable three and half minute songs 1<\/p>\n\n\n\n

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\u00b4Kris Kristofferson (right) was my first model as a writer,\u201d<\/em><\/strong> McMurtry says, \u201cand he was a Rhodes Scholar. He wrote about characters who weren\u2019t him. So did John Prine and Tom Waits. Some of the time it\u2019s hard to tell, because you use the first person, but it\u2019s still a character. If you read a book, you realize very quickly that the character is not the writer. It\u2019s hard to get your head around that in a song, especially if the writer is singing it. Some people cover my songs and even they don\u2019t get that. That\u2019s just human, I guess.\u201d<\/strong><\/em><\/p>\n\n\n\n

On this record, McMurtry sings in the first person as if he were an old man phoning from Canada to an old friend who had briefly been a lover; as if he were a mentally unbalanced man who shoots his best friend for no good reason; as if he were a homeless truck driver living in a series of motels; as if he were a husband with a flat tire, an angry wife and no internet. None of those characters are him, but he\u2019s such a good actor as a singer that it\u2019s easy to believe he is.<\/em><\/p>\n\n\n\n

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That\u2019s the dilemma: He wants to be believable when he puts on a persona like a second-hand suit of clothes, but he also wants the listener to understand that the songwriter doesn\u2019t necessarily agree with everything the narrator is saying. He wants to be able to step into the shoes of a man who would kill an old friend in a spasm of rage without being thought a murderer. If a fiction writer like Wendell Berry (left)<\/strong> can do that in the short story \u201cPray Without Ceasing,\u201d why shouldn\u2019t a songwriter like McMurtry do it in a song like \u201cDecent Man\u201d?<\/em><\/p>\n\n\n\n

In fact, that song is an adaptation of that Berry story. Berry tells the story in the voice of the dead man\u2019s daughter, who\u2019s explaining it all to her grandson. McMurtry tells the story in the voice of the murderer, as if to address the question left unanswered by Berry: Why would someone do such a thing? The songwriter also changes the weapon of choice from a .22 pistol to a .38 to set up this description of the narrator\u2019s haunting guilt after the shooting: \u201cA .38 don\u2019t kick that bad \/ but it kicks right through my bones every second of every day \/ clacking by like cobblestones under broken wheels.\u201d<\/em><\/p>\n\n\n\n

\u201cI\u2019ll do anything to get a song,\u201d<\/em><\/strong> McMurtry explains. \u201cI liked that Wendell Berry story, so I adapted it. I sent him a letter at his farm and asked him if he wanted a songwriting credit. He didn\u2019t. I never would have gotten anywhere near that story without Woody Guthrie writing \u2018Tom Joad.\u2019\u201d<\/em><\/strong><\/p>\n\n\n\n

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Guthrie, of course, had turned John Steinbeck\u2019s epic novel, The Grapes of Wrath (right)<\/strong>, into the story song, \u201cTom Joad,\u201d which begins with its title character getting out of prison \u201cafter four long years on a man-killing charge.\u201d Guthrie distilled the novel from a bushel of apples to a bottle of brandy. When Steinbeck heard the result, he said, \u201cGod, that son of a bitch. He put down in 17 verses what it took me two years to write.\u201d McMurtry does something similar with the Berry story.<\/em><\/p>\n\n\n\n

In Berry\u2019s version, the murderer\u2019s daughter is named is Meg. McMurtry changes her name to Lola and has her visit her father in jail. She still loves her dad, despite the awful thing he\u2019s done, and that bothers the prisoner as much as the crime itself. He had supposed the world to be a place of unrelieved meanness, and her affection shatters that assumption. \u201cI don\u2019t know how she even stands,\u201d McMurtry sings, \u201cto look on her Daddy\u2019s face.\u201d And the kick of the .38 shivers through him once more.<\/em><\/p>\n\n\n\n

The title character of \u201cJackie\u201d is McMurtry\u2019s own invention, the cousin, perhaps, of the woman in his 2008 masterpiece \u201cRuby and Carlos.\u201d Both women raise horses on the brown-grass hills of the Great Plains, trying to pay enough bills to hold onto the ranch, and finding consolation in a man too worn to marry and too sweet to dump. In the new song, the man is named Randy, and she tells him she doesn\u2019t expect him to be faithful when she\u2019s out on the highway driving a Freightliner tractor trailer. She only has two rules: \u201cDon\u2019t lie to me; don\u2019t bring me nothing home.\u201d<\/em><\/p>\n\n\n\n

\u201cJackie is a very similar character to Ruby,\u201d<\/em><\/strong> McMurtry agrees. \u201cI keep trying to kill off the horse woman in my songs, but she\u2019ll probably come back. I\u2019ve known a number of equestrian-minded women, and they can\u2019t quit. A guy will get busted up by a horse and get real careful. A woman will go to the hospital multiple times and keep saddling up. If your body is built for childbirth, you have pretty good resistance to pain.\u201d<\/strong><\/em><\/p>\n\n\n\n

Most of the characters in The Horses and the Hounds are too old and too weathered for the infatuations and heartbreaks of young love. They still want companionship, but they know what they\u2019re getting into. On the album\u2019s opening track, the narrator is driving the \u201cCanola Fields\u201d of southern Alberta, the fields of yellow-green flowers bending in the winds off the Canadian Rockies. The color reminds him of the 1969 Volkswagen Beetle that his best friend Marie drove around San Jose four decades earlier. It was one of those friendships that had a submerged romantic subtext that erupted into the open only when they were too old to expect much of it.<\/em><\/p>\n\n\n\n

\u201cYou can\u2019t be young and have a 30-year-old crush,\u201d<\/em><\/strong> McMurtry points out, \u201cbecause you haven\u2019t lived long enough. When you\u2019re older, you don\u2019t take things quite so seriously. You\u2019ve seen it all before, so everything doesn\u2019t seem like a crisis. Only then can it happen as it should.\u201d<\/strong><\/em><\/p>\n\n\n\n

The album ends with the song \u201cBlackberry Winter,\u201d a Southern term for an unexpected cold snap in May or June, when the blackberry bushes are in bloom. McMurtry assumes the persona of a new boyfriend of an older woman, whose children have all moved away and left her with none of the activities that have always warded off the depression. And when the blues come on strong like a cold snap, she\u2019s tempted to fill her pockets with rocks and walk into the river, like Virginia Woolf. The narrator can only \u201ctell you no and tell you no and tell you no.\u201d He can only offer the good cheer of the song\u2019s bouncy, descending melodic line.<\/em><\/p>\n\n\n\n

\u201cI finished most of these songs a month before we tracked the album in the summer of 2019,\u201d<\/em><\/strong> McMurtry says. \u201cWe had to book the studio time before I had the songs done. Sometimes that\u2019s how it has to work; you have to have a deadline. You have to do your homework on the school bus like I did when I was younger.\u201d<\/strong><\/em><\/p>\n\n\n\n

He recorded most of the album at Jackson Browne\u2019s Groovemasters Studio in Los Angeles with producer Ross Hogarth, who had engineered and mixed McMurtry\u2019s first, second and sixth albums before going on to produce albums for Ziggy Marley, Al Stewart, Lyle Lovett and Flogging Molly. The band was a mixture of L.A. studio pros and McMurtry\u2019s pals from Austin. Hogarth and guitarist David Grissom proved so crucial to the project that they each got a co-writing credit on a different song.<\/em><\/p>\n\n\n\n

\u201cThey were different songs after they changed them,\u201d<\/em><\/strong> McMurtry explains. \u201cI don\u2019t distinguish between songwriting and arranging. If I feel like giving credit, I do. If I don\u2019t, I don\u2019t. Ross probably got the best vocal performances I\u2019ve ever done. He had the best vocal rig I\u2019ve ever encountered; it was like driving a Porsche. He\u2019s very meticulous. I learned a lot about phrasing and arrangement, stuff that I\u2019d known at one time but forgotten.\u201d<\/strong><\/em><\/p>\n\n\n\n

A year before the sessions, McMurtry had had to move out of the house he\u2019d been renting for 20 years in Austin. \u201cThere was no way I could afford to buy it,\u201d<\/strong> he says, \u201cbut I could afford to buy down here in Lockhart. Prices in Austin have just gone through the roof; it\u2019s not the same town it once was. I don\u2019t know how any musicians can afford to stay there. It\u2019s a tourist town now, and we\u2019re the mechanical bears singing on the Splash Mountain at Disney World.\u201d<\/strong><\/em><\/p>\n\n\n\n

Lockhart is a half-hour south of Austin, in the middle of cactus-and-juniper ranch country. Near the Caldwell County courthouse are several of the best barbecue restaurants in America, but the culture is very different from Austin.<\/em><\/p>\n\n\n\n

\u201cWhen I drive around in the country around here,\u201d<\/em><\/strong> McMurtry observes, \u201cI see a lot of Trump signs. It seems the richest people are the angriest. They have these pretty fields full of cows and antelope and a yellow sign saying \u2018Don\u2019t Tread on Me.\u2019 I want to say, \u2018Who\u2019s treading on you? It seems you\u2019re doing really well.\u2019\u201d<\/em><\/strong><\/p>\n\n\n\n

The most political song on the new album is \u201cOperation Never Mind,\u201d a description of all the desert wars of the past three decades. It\u2019s not so much an anti-war song as a pro-working-class song. \u201cWe got an operation going on,\u201d McMurtry sings. \u201cIt don\u2019t have to trouble me and you \/ The country boys will do the fighting now that fighting\u2019s all a country boy can do.\u201d The private contractors for corporations like KBR run the show and get the perks, while the infantryman digs trenches and eat MREs (Meals Ready to Eat).<\/em><\/p>\n\n\n\n

\u201cI had a friend who was in the army for over 20 years,\u201d McMurtry says. \u201cHe went in in the \u201980s because he was broke. He loved it. This KRB contractor was harassing one of his soldiers, and when he confronted the guy, his commanding officer told him to stop. My friend told the officer, \u2018You just lost me. This is not the army I loved.\u2019<\/strong><\/em><\/p>\n\n\n\n

\u201cMy aim is not to change anything,\u201d <\/em><\/strong>McMurtry adds, \u201cbut to illuminate. That song is not an anti-war song, because it\u2019s hard to know whether the war itself is right or wrong. And for the people who are making money off war, that\u2019s the way they like it. We don\u2019t have Cronkite as a voice of the center anymore; we don\u2019t have the scroll of names on the six o\u2019clock news. I\u2019m just trying to shine a light on it on what\u2019s going on.\u201d<\/em><\/strong><\/p>\n\n\n\n

He says he wrote \u201cIf It Don\u2019t Bleed\u201d for the new album \u201cat the wheel of a van, one verse at a time.\u201d He has to stay on the road playing live gigs to pay the bills, so he has to grab song lines wherever and whenever they occur to him. He repeats them to himself over and over so he will still remember them when he gets to the next hotel and can write them down. The result of this process is a mountain of legal pads with the newer ideas on top and the older ideas at the bottom, waiting for an archaeology dig.<\/em><\/p>\n\n\n\n

\u201cI\u2019ve got a skinny little desk in my office,\u201d<\/em><\/strong> he reveals, \u201cwhere I can tape lyrics on the wall: verses on the left, choruses in the middle, bridges on the right. I don\u2019t write down the melody because that stays in my head. The chords are intuitive once I have the melody.\u201d<\/strong><\/em><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

As he tries to assemble different lines into stanzas, and stanzas into satisfying wholes, he\u2019s labouring in the family business. He\u2019s trying to get the dialogue right, the visual descriptions right, much as his father Larry (left) did in novels such as Horseman, Pass By, The Last Picture Show and Terms of Endearment. He is most famous, of course, for Lonesome Dove, the frontier novel that was serialised as a tv Western.The form is different, but the work is the same: linking word to word to tell a story.<\/em><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

\u201cI haven\u2019t written a poem since college,\u201d<\/em><\/strong> he says, <\/em>\u201cand prose fiction is a chore for me. Every once in a while, I get a page, but I don\u2019t care enough to do all the work. With songwriting, the successful-result-per-attempt ratio is good enough to keep me doing it.\u201d<\/em><\/strong><\/p>\n\n\n\n

Although he doesn\u2019t write poetry anymore, he admits that his training in it helps his song-writing. When he went to boarding school at the Woodberry Forest School near Orange, Virginia, his English teacher was a poet named Patrick Bassett.<\/p>\n\n\n\n

\u201cHis main thing was implied meaning,\u201d<\/em><\/strong> McMurtry recalls. <\/em><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

\u00b4Patrick Bassett (left) also taught us different kinds of verse, rhyme schemes and meter schemes. I like end-line rhymes, alliteration, whatever gives it a kick. We don\u2019t teach verse in school anymore like I was taught verse. Knowledge of poetry helps in song; it\u2019s not the same thing, but it\u2019s related. The main difference is that songs have to be sung, while poetry can be read. You don\u2019t want to get tongue-tied, you don\u2019t want to slow down the music, so you learn which consonants roll off the tongue and that makes you pick different words.\u201d<\/strong><\/em><\/p>\n\n\n\n

When live music, McMurtry\u2019s main source of income, dried up during the pandemic, he paid the mortgage by selling some of his songwriting legal pads to the Witliff Collection at Texas State University in San Marcos. The collection, which also contains papers from Larry McMurtry, Cormac McCarthy, Sam Shepard, Jerry Jeff Walker and Willie Nelson, is named after author and photographer Bill Witliff, a longtime friend of both McMurtrys. Witliff wrote the screenplays for three Nelson movies: Honeysuckle Rose, Barbarosa and Red Headed Stranger, as well as the TV mini-series based on Larry McMurtry\u2019s Lonesome Dove. Witliff died from a heart attack on June 9, 2019, at age 79.<\/em><\/p>\n\n\n\n

\u201cI don\u2019t usually write songs about specific people,\u201d<\/em><\/strong> McMurtry confesses,<\/em> \u201cbut when I got a text that Bill had passed, I just started writing and the song came to me. A lot of the lines in the song are from Bill\u2019s book of photos: Vaquero: Genesis of a Texas Cowboy. I spent nine months on the set of Lonesome Dove, so I was around Bill a lot.\u201d<\/em><\/strong><\/p>\n\n\n\n

The then 27-year-old James McMurtry even had a role as Jimmy Rainey.<\/em><\/p>\n\n\n\n

\u201cBill was both the screenwriter and the producer, so he had artistic control. That\u2019s why the cattle drives are still in there. The first cut was all close-ups of Anjelica Huston. And Bill said, \u2018No, we need to put the cattle back in there.\u2019\u201d<\/em><\/strong><\/p>\n\n\n\n

The younger McMurtry seems determined to put the cattle, with all their rank smells and economic consequences, back into an increasingly genteel Americana. \u201cSo pour out the coffee and piss on the fire,\u201d he sings on \u201cVaquero,\u201d the song for Witliff. \u201cI hear hounds in the distance, it\u2019s down to the wire \/ Make for the cow camp, we might have a chance.\u201d<\/em><\/p>\n\n\n\n

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On air sign background<\/figcaption><\/figure><\/div>\n\n\n\n

Two radio station outlets Sidetracks And Detours have association with are enjoying rapidly rising listening figures. We preview Steve Bewick\u00b4s programme every Monday and his choice of jazz and Hot Biscuits has been announced in the top ten of a mix cloud chart.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

We now also preview The Perfect Storm on Monster Radio on 99.9 fm whenever AJ the DJ can get the information to us on time, ahead of her Monday evening show. Broadcasting out of Tias all across Europe AJ has an amazing ability to get former sixties stars from excellent groups like Prelude and later eras such as UB40. She gently interviews them live for a couple of hours from 5 to 7 pm. She recently spoke with accordionist Sharon Shannon and we spoke earlier this week on these pages of her recent interview with a microbiologist living on the island. She also even  interviewed me recently and if you missed it, (and if so how dare you?) you can still read it in full in our archives under the title of The Perfect Storm<\/p>\n\n\n\n

Now we can recommend another excellent show on the same station every Sunday when Mr. B (right)<\/em><\/strong> delivers the best in country music from 1.00 pm top 3.00 pm. You can catch it on 99.9 fm or via\u00a0 the Radio Garden AppTo find out Simply search for Monster radio, Tias, Lanzarote. .<\/p>\n\n\n\n

www.monsterradio.es  <\/p>\n\n\n\n

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The prime source for this article was a piece by Geoffrey Himes in Paste on line magazine. Check out the magazine on line for scores of similar thought-provoking work.<\/em><\/strong><\/p>\n\n\n\n

In our occasional re-postings Sidetracks And Detours are confident that we are not only sharing with our readers excellent articles written by experts but that we are also pointing to informed and informative sites readers will re-visit time and again. Of course, we feel sure our readers will also return to our daily not-for-profit blog knowing that we seek to provide core original material whilst sometimes spotlighting the best pieces from elsewhere, as we engage with new genres and practitioners along all the sidetracks & detours we take.<\/em><\/strong><\/p>\n\n\n\n

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<\/em><\/strong>This article was collated by Norman Warwick, a weekly columnist with Lanzarote Information and owner and editor of this daily blog at Sidetracks And Detours.<\/em><\/strong><\/p>\n\n\n\n

Norman has also been a long serving broadcaster, co-presenting the weekly all across the arts programme on Crescent Community Radio for many years with Steve Bewick, and his own show on Sherwood Community Radio. He has been a regular guest on BBC Radio Manchester, BBC Radio Lancashire, BBC Radio Merseyside and BBC Radio Four.<\/em><\/strong><\/p>\n\n\n\n

As a published author and poet Norman was a founder member of Lendanear Music, with Colin Lever and Just Poets with Pam McKee, Touchstones Creative Writing Group (for which he was creative writing facilitator for a number of years) with Val Chadwick and all across the arts with Robin Parker.<\/em><\/strong><\/p>\n\n\n\n

From Monday to Friday,<\/em><\/strong> you will find a daily post here at Sidetracks And Detours and, should you be looking for good reading, over the weekend you can visit our massive but easy to navigate archives of over 500 articles.<\/em><\/strong><\/p>\n\n\n\n

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e mail logo The purpose of this daily not-for-profit blog is to deliver news, previews, interviews and reviews from all across the arts to die-hard fans and non- traditional audiences around the world. We are therefore always delighted to receive your own articles here at Sidetracks And Detours. So if you have a favourite artist, event, or venue that you would like to tell us more about just drop a Word document attachment to me at <\/em><\/strong>normanwarwick55@gmail.com<\/em><\/strong><\/a> with a couple of appropriate photographs in a zip folder if you wish. Being a not-for-profit organisation we unfortunately cannot pay you but we will always fully attribute any pieces we publish. You therefore might also. like to include a brief autobiography and photograph of yourself<\/em><\/strong> in your submission.<\/em><\/strong><\/p>\n\n\n\n

We look forward to hearing from you.<\/em><\/strong><\/p>\n\n\n\n

Sidetracks And Detours is seeking to join the synergy of organisations that support the arts of whatever genre. We are therefore grateful to all those share information to reach as wide and diverse an audience as possible.<\/em><\/strong><\/p>\n\n\n\n

correspondents                                Michael Higgins<\/p>\n\n\n\n

                                                            Steve Bewick<\/p>\n\n\n\n

                                                            Gary Heywood Everett<\/p>\n\n\n\n

                                                            Steve Cooke<\/p>\n\n\n\n

                                                            Jeff Sleeman<\/p>\n\n\n\n

                                                            Susana Fondon<\/p>\n\n\n\n

                                                            Graham Marshall<\/p>\n\n\n\n

                                                            Peter Pearson<\/p>\n\n\n\n

                                                            Catherine Smith<\/p>\n\n\n\n

                                                            Aj The Dj Hendry<\/p>\n\n\n\n

Hot Biscuits Jazz Radio                      www.fc-radio.co.uk<\/a><\/p>\n\n\n\n

AllMusic  <\/strong><\/a>                                          <\/strong>https:\/\/www.allmusic.com<\/p>\n\n\n\n

feedspot                                              https:\/\/www.feedspot.com\/?_src=folder<\/p>\n\n\n\n

Jazz In Reading                                  https:\/\/www.jazzinreading.com<\/a><\/p>\n\n\n\n

Jazziz                                                 https:\/\/www.jazziz.com
<\/a>Ribble Valley Jazz & Blues                https:\/\/rvjazzandblues.co.uk<\/a><\/p>\n\n\n\n

Rob Adams                                         Music That\u00b4s Going Places<\/p>\n\n\n\n

Lanzarote Information                        https:\/\/lanzaroteinformation.co.uk<\/p>\n\n\n\n

all across the arts                                 www.allacrossthearts.co.uk<\/p>\n\n\n\n

Rochdale Music Society                     rochdalemusicsociety.org<\/p>\n\n\n\n

Lendanear                                           www.lendanearmusic<\/a><\/p>\n\n\n\n

Agenda Cultura Lanzarote<\/p>\n\n\n\n

Larry Yaskiel \u2013 writer<\/p>\n\n\n\n

The Lanzarote Art Gallery                  https:\/\/lanzaroteartgallery.com<\/p>\n\n\n\n

Goodreads                                        https:\/\/www.goodreads<\/a>.<\/p>\n\n\n\n

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songfacts                                           en.wikipedia.org\/wiki\/SongFacts<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cI\u2019ve got a skinny little desk in my office,\u201d he reveals, \u201cwhere I can tape lyrics on the wall: verses on the left, choruses in the middle, bridges on the right. I don\u2019t write down the melody because that stays in my head. The chords are intuitive once I have the melody.\u201d<\/p>\n","protected":false},"author":2,"featured_media":11172,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13,45],"tags":[],"class_list":["post-11155","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-literary","category-music"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/11155","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=11155"}],"version-history":[{"count":3,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/11155\/revisions"}],"predecessor-version":[{"id":11176,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/11155\/revisions\/11176"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/11172"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=11155"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=11155"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=11155"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}