{"id":8780,"date":"2022-07-27T14:54:44","date_gmt":"2022-07-27T19:54:44","guid":{"rendered":"https:\/\/www.thefest.com\/?p=8780"},"modified":"2022-07-27T14:54:44","modified_gmt":"2022-07-27T19:54:44","slug":"rubber-soul-deep-dive-part-14-run-for-your-life","status":"publish","type":"post","link":"https:\/\/www.thefest.com\/rubber-soul-deep-dive-part-14-run-for-your-life\/","title":{"rendered":"Rubber Soul Deep Dive Part 14: Run For Your Life"},"content":{"rendered":"

Side Two, Track Last<\/strong><\/p>\n

\u201cRun for Your Life,\u201d The \u201cExcellent\u201d Potboiler Closer<\/p>\n

 <\/p>\n

by Jude Southerland Kessler and Jim Berkenstadt<\/p>\n

 <\/p>\n

For the last 18 months, the Fest for Beatles Fans blog has explored the intricacies of The Beatles\u2019 remarkable 1965 LP, <\/em>Rubber Soul. This month the Rock and Roll Detective, Jim Berkenstadt<\/strong>, author of <\/em>Black Market Beatles, Nevermind Nirvana, The Beatle Who Vanished, and his recent best-seller, <\/em>Mysteries in the Music: Case Closed, joins Jude Southerland Kessler, author of The John Lennon Series<\/strong>, for a fresh, new look at the raucous early-Beatles-sounding final track of this creative LP. Jim \u2013 who served as the official historian for the Harrison family in the making of George\u2019s biopic film, \u201cLiving in the Material World\u201d \u2013 has been the Featured Author at Beatles at the Ridge and is a long-time Guest Speaker the Fest for Beatles Fans. We\u2019re honored to have him with us.<\/em><\/p>\n

 <\/p>\n

What\u2019s Standard:<\/strong><\/p>\n

 <\/p>\n

Date Recorded:<\/em><\/strong> 12 October 1965 (the first day of recording for <\/em>Rubber Soul)<\/em><\/p>\n

Time Recorded:<\/em><\/strong> 2:30 \u2013 7:00 p.m. (In his Complete Beatles Chronicle, Mark Lewisohn says this was the time frame spent on \u201cRun for Your Life.\u201d The session continued until 11:30 p.m., but the rest of the time was spent on John\u2019s \u201cThis Bird Has Flown.\u201d)<\/em><\/p>\n

Studio:<\/em><\/strong> EMI Studios, Studio 2<\/em><\/p>\n

\u00a0<\/em><\/p>\n

Tech Team<\/em><\/strong><\/p>\n

Producer:<\/em><\/strong> George Martin<\/em><\/p>\n

Engineer: <\/em><\/strong>Norman Smith<\/em><\/p>\n

Second Engineer: <\/em><\/strong>Ken Scott and Phil McDonald<\/em><\/p>\n

Stats:<\/em><\/strong> Recorded in 5 takes<\/em><\/p>\n

\u00a0<\/em><\/p>\n

Instrumentation and Musicians:<\/em><\/strong><\/p>\n

 <\/p>\n

John Lennon, the composer,<\/em><\/strong> sings double-tracked lead vocals and plays his 1964 Gibson J-160E acoustic guitar. At the outset of the EMI tapes for the day, you can hear John talking to Paul about his \u201cJumbo Gibson.\u201d <\/em><\/p>\n

 <\/p>\n

Paul McCartney<\/em><\/strong>, sings accompanying double-tracked vocal harmony, plays bass on his 1963 Hofner 500\/\/1 Violin Bass, and according to Hammack, tambourine. (Hammack refers to the tambourine work as \u201ca dominant part of the backing track,\u201d p. 61)<\/em><\/p>\n

 <\/p>\n

George Harrison<\/em><\/strong> sings double-tracked backing vocal harmony and plays either his 1963 Gretsch G6119 Chet Atkins Tennessean electric with Gretsch Bigsby vibrato (more preferred) or his 1961 Fender Stratocaster electric with synchronized tremolo.<\/em><\/p>\n

 <\/p>\n

Ringo Starr<\/em><\/strong> plays one of his Ludwig Oyster Black Pearl Super Classic drum sets and according to some experts, tambourine.**<\/em><\/p>\n

 <\/p>\n

**This information is from Jerry Hammack\u2019s <\/em>The Beatles Recording Reference Manual, Vol. 2, p. 61.<\/em><\/p>\n

\u00a0<\/em><\/p>\n

Sources:<\/em><\/strong> The Beatles, <\/em>The Anthology, 193-199, Lewisohn, <\/em>The Complete Beatles Chronicle, 202, Lewisohn, <\/em>The Recording Sessions, 63, Kruth<\/em>, This Bird Has Flown: The Enduring Beauty of Rubber Soul, Fifty Years On, 64-68, Womack, <\/em>The Beatles Encyclopedia, Vol. 2, 796-797, Margotin and Guesdon, <\/em>All the Songs, 308-309, Winn, <\/em>Way Beyond Compare, 362-363, Hammack, <\/em>The Beatles Recording Reference Manual, 61-62, Miles, <\/em>The Beatles Diary, Vol. 1, 216-218, Turner, <\/em>A Hard Day\u2019s Write, 98, MacDonald, <\/em>Revolution in the Head, 129, Riley, <\/em>Tell Me Why, 170-171, Womack, Long and Winding Roads, 125, and Harry, <\/em>The Ultimate Beatles Encyclopedia, 570.\u00a0 \u00a0<\/em><\/p>\n

\u00a0<\/em><\/p>\n

What\u2019s Changed:<\/strong><\/p>\n

 <\/p>\n

    \n
  1. Unpolished Performance<\/strong> \u2013 In his book, Revolution in the Head: The Beatles\u2019 Recordings and the Sixties,<\/em> Ian MacDonald says of \u201cRun for Your Life\u201d: \u201cThe performance is slapdash, Lennon muffing the words and \u201c popping\u201d the microphone several times by getting too near to it. The guitar-work, some of which is badly out of tune, is similarly rough\u2026\u201d Likewise, in Way Beyond Compare<\/em>, John C. Winn notes that \u201c\u2026a thumping sound [is present] during the guitar solo.\u201d (p. 362)<\/li>\n<\/ol>\n

     <\/p>\n

    Whilst one might assume that The Beatles were getting \u201csloppy\u201d in their artistry, we must remember that these are characteristics of the Please Please Me<\/em> LP, which was designed to sound like a raw, unpolished Cavern Club performance. On the \u201cPlease Please Me\u201d single, for example, \u00a0we recall that Paul and John sang completely different lyrics on the \u201cLast night I said these words to my girl\u201d follow-up, and the bobble was kept intact, despite the fact that many \u201chelpful\u201d fans wrote the boys to alert them of their \u201cerror.\u201d (Smile.) The glitch, according to Martin, added charm.<\/p>\n

     <\/p>\n

    It is true that in the autumn of 1965, the boys were under tremendous pressure to get Rubber Soul<\/em> recorded and polished quickly. Barry Miles in The Beatles Diary, Vol. 1<\/em> comments: \u201cThe Beatles were trapped on a deadline-powered treadmill.\u201d (p. 216) They hadn\u2019t paused once all year from the making of their United Artists film \u201cHelp!\u201d and its accompanying LP to their European Tour to the July movie premieres and a live Blackpool show for the ever-demanding BBC to the 1965 North American Tour and the impending 1965 UK Tour. So, time was a commodity of which The Beatles had precious little.<\/p>\n

     <\/p>\n

    But that did not stop Rubber Soul<\/em> from being one of their most artistic, incredible LPs. In fact, John Lennon commented, \u201cWe were\u2026getting better, technically and musically\u2026we finally took over the studio. On Rubber Soul<\/em>, we were sort of more precise about making the album\u2026\u201d (p. 21) Thus, the glitches in \u201cRun for Your Life\u201d seem to have been left in the song intentionally. They gave the track an early Beatles flavor. On an album replete with new outlooks, new instruments, and new sounds, here at last, fans could find \u201cthe lads from Liverpool.\u201d For many, it was a refreshing, \u201cahhhhhh!\u201d moment.<\/p>\n

     <\/p>\n

      \n
    1. John Lennon (instead of Paul McCartney) \u201cdoes Elvis\u201d<\/strong> \u2013 One wonderful feature of The Beatles\u2019 Cavern Club shows was Paul\u2019s talented homage to Elvis in songs such as \u201cThat\u2019s All Right, Mama.\u201d Able to closely imitate the American star to a \u201cT,\u201d McCartney always brought down the house with his Presley renditions. Here, it was John Lennon\u2019s turn to pay tribute to the icon. Indeed, John wrote this entire song based on two lines from one of Elvis\u2019s classic rockabilly tracks (\u201cBaby, Let\u2019s Play House,\u201d composed by Arthur Gunter): \u201cI\u2019d rather see you dead, little girl\/ than to be with another man.\u201d<\/li>\n<\/ol>\n

       <\/p>\n

      Then, employing a jagged, halting vocal style, John performs \u201cRun For Your Life\u201d a la E! In fact, in All the Songs<\/em>, Margotin and Guesdon tell us that \u201cIn the first take, John\u2019s voice was wrapped in a slap-back echo, which [gave] a rockabilly feel to the piece.\u201d (p. 308-309) And to make the sound even more authentic, the song was laced with George Harrison\u2019s \u201cchord slides,\u201d to enhance that 1950s Elvis sound. Having met and talked with Presley in his Los Angeles mansion only a few weeks earlier, John offers this Rubber Soul<\/em> nod to his hero, of whom he had often quipped, \u201cBefore Elvis, there was nothing.\u201d<\/p>\n

       <\/p>\n

        \n
      1. A Glimpse Back at The Early Beatles<\/strong> \u2013 As we\u2019ve observed in songs such as \u201cDrive My Car,\u201d \u201cNorwegian Wood,\u201d \u201cGirl,\u201d \u201cWhat Goes On,\u201d \u201cYou Won\u2019t See Me,\u201d and even \u201cMichelle\u201d (who doesn\u2019t even know the adoring male exists), the women of Rubber Soul<\/em> are not <\/em>the up-on-a-pedestal, helpless women in \u201cAsk Me Why,\u201d or \u201cDo You Want to Know a Secret\u201d or \u201cI Need You.\u201d Rubber Soul<\/em>\u2019s women are strong, independent, and many times, unemotional. And their romantic relationships are quite complicated. In \u201cRun for Your Life,\u201d for example, the female is suspected of infidelity.<\/li>\n<\/ol>\n

         <\/p>\n

        John\u2019s reaction to her unfaithfulness, however, isn\u2019t as open-minded or \u201cas 1965\u201d as the other songs on Rubber Soul<\/em> seem to be. Lennon reacts like John of old: John of the Casbah, John of the Cavern boards, John of gritty Hamburg. He reveals himself as the jealous \u201cNorthern man\u201d that he\u2019s always been. His attitude is inappropriately edgy, as are his threats, founded in wounded machismo. And in later years, John regretted and apologized for these lyrics.<\/p>\n

         <\/p>\n

        But the \u201cantiquated attitude\u201d John expressed was not intended as an anti-feminist statement. As Tim Riley points out in Tell Me Why<\/em>, this is merely Lennon \u201clet[ting] off steam.\u201d (p. 170) According to John, \u201c\u2018Run for Your Life\u2019\u2026was just a song I knocked off\u201d (Kruth, p. 66), \u201cjust a sort of throwaway song of mine that I never thought much of.\u201d (Riley, 170). It\u2019s merely a hard-charging, angst-filled rock anthem that gets the blood pumping. \u00a0On an LP featuring sitars, melodies that hint at a droning tabla <\/em>sound, exotic French lyrics, baroque orchestration, and elevated themes embracing the agape<\/em> love of mankind, \u201cRun for Your Life\u201d sweeps the listener back to an earlier era. (Arthur Gunter wrote \u201cBaby, Let\u2019s Play House\u201d in 1954, and Presley released it in 1955.) Here, in this final track of an extremely metamorphic LP, we encounter our band of old: The Beatles. As Jerry Hammack so aptly observed in his Beatles Recording Reference Manual, Vol. 2,<\/em> \u201c \u2018Run for Your Life\u2019 might have been a warning shot across the bow of expectation that these were still the same lovable mop tops that had burst upon the scene just three years earlier.\u201d The past was still a part of them all \u2013 and of John, in particular.<\/p>\n

         <\/p>\n

        A Fresh New Look: <\/strong><\/p>\n

         <\/p>\n

        Recently, John Lennon expert Jude Southerland Kessler sat down with the Rock and Roll Detective, best-selling author Jim Berkenstadt, to talk about this LP-closing rocker. Accustomed to routing out rock\u2019n\u2019roll\u2019s greatest mysteries in books such as <\/em>Black Market Beatles, consulting to the late George Harrison and The Beatles Apple Corps Ltd, and his latest release, Mysteries in the Music: Case Closed<\/strong>, Jim agreed to give us his unique perspective on \u201cRun for Your Life.\u201d<\/em><\/p>\n

        \u00a0<\/em>\u00a0<\/em><\/p>\n

        Jude Southerland Kessler: Jim, thank you for taking time out from the making of the new movie based on your book <\/em><\/strong>The Beatle Who Vanished to talk with our Fest Family about \u201cRun for Your Life.\u201d You know, in John Kruth\u2019s book <\/em>This Bird Has Flown, The Enduring Beauty of Rubber Soul, Fifty Years On, he tells us that if one listens to the EMI tapes for 12 October 1965, one can hear John \u2013 preparing the band to record \u201cRun for Your Life\u201d \u2013 directing the others to \u201cmake it heavy!\u201d (p. 63) \u00a0Kruth says this was \u201cyears before anyone had heard the term <\/em>heavy metal, or used the term heavy instead of <\/em>profound.\u201d (p. 63) So, what is John Lennon after here, Jim? And how do The Beatles accomplish that \u201cheavy\u201d goal?<\/em><\/strong><\/p>\n

        \u00a0<\/em><\/strong><\/p>\n

        Jim Berkenstadt: <\/em><\/strong>Thanks, Jude.<\/p>\n

         <\/p>\n

        Even though many have described this track over the years as a toss away or album filler, I loved this song the first time I heard it, which was Christmas Day, 1965. I will never forget get it.<\/p>\n

         <\/p>\n

        The musical and vocal elements are what make the song \u201cheavy\u201d. I don\u2019t think Lennon meant heavy in the sense of the future genre \u201cheavy metal.\u201d I think he meant that suggestion as a way to get the entire band to play it as a hard rocker. Clearly, his recent visit with Elvis in LA, and John\u2019s love of early Elvis recordings was on his mind when he began to write the song. It is interesting that The Beatles recorded the song exactly 10 years after Elvis released his song, \u201cBaby Let\u2019s Play House.\u201d<\/p>\n

         <\/p>\n

        I believe John wanted a tougher rock sound to match the macho, edgy vocals and jealous lyrics he was writing. Even the acoustic strumming at the start sets the driving pace, as the loud opening lead guitar riff kicks in, pulling the listener in to pay attention to Lennon\u2019s opening and threatening lyrics. At the same time, we hear a very hard 2 and 4 backbeat from Ringo on drums and Paul overdubbing the driving tambourine. I think the double-tracked backing vocals and harmonies in the chorus are very strident, crisp and aggressive too. At the same time, they are beautiful and precise in their execution. The guitar slides that accompany the tough lead guitar solo by George are amazing. All of these elements combine to push the listener to pay attention. The song achieves its \u201cheavy\u201d goal with its driving passion and sound. Musically it is very hooky and catchy. You cannot get the song out of your head after only one listen.<\/p>\n

        \u00a0<\/em><\/strong><\/p>\n

        Kessler: Kruth also says that \u201cRun for Your Life\u201d was \u201ctacked on at the end of the record, stashed behind a second Harrison number (on the U.K. version).\u201d (p. 66) But traditionally, George Martin had always given special attention and consideration to the closing \u201cpot-boiler\u201d on each of The Beatles\u2019 LPs. Tell us about some of the other exceptional closing songs, please, Jim. And do you think \u201cRun for Your Life\u201d measures up?<\/em><\/strong><\/p>\n

        \u00a0<\/em><\/strong><\/p>\n

        Berkenstadt: <\/em><\/strong><\/p>\n

        The Sgt. Pepper<\/em> LP featured \u201cSgt Pepper\u2019s Lonely Heart\u2019s Club Band (Reprise),\u201d which has a similar hard-charging feel that provides us with another closing \u201cPot Boiler\u201d like \u201cRun for your Life.\u201d And my favorite LP-ending song by The Beatles will always be \u201cThe End,\u201d from Abbey Road<\/em>, with the group trading solos in a rousing farewell to their fans. But, it is important to recall that The Beatles matured and changed with each album they created. I think Rubber Soul<\/em> was a transitionary album that drew a bit from the old days and also shared a more mature future musical direction as well. For that reason, comparing closing numbers is a bit of \u201capples and oranges.\u201d However, I think \u201cRun For Your Life\u201d really holds up as a great album closer 27 years on.<\/p>\n

        \u00a0<\/em><\/strong><\/p>\n

        Kessler: Okay, the elephant in the room! Our friend Ken Womack, in Vol. 2 of his <\/em><\/strong>Beatles Encyclopedia informs us that in 1992, Ottawa\u2019s radio station CFRA banned \u201cRun for Your Life\u201d for its misogynistic lyrics. When Beatles fans wrote in to inform the station that the offensive line was a direct quote from Elvis\u2019s \u201cBaby Let\u2019s Play House,\u201d that song was then banned as well. But CFRA did not ban Jimi Hendrix\u2019s \u201cHey Joe\u201d or Nancy Sinatra\u2019s version of \u201cRun for Your Life\u201d in which she sings \u201cI\u2019d rather see you dead little boy than to be with another woman.\u201d They did not ban Johnny Cash\u2019s \u201cCocaine Blues\u201d or the Rolling Stones\u2019 \u201cUnder My Thumb\u201d or Dylan\u2019s \u201cJust Like a Woman.\u201d For that matter, they didn\u2019t ban female rockers performing songs such as the Crystals\u2019 \u201cHe Hit Me (And It Felt Like a Kiss)\u201d or Joanie Summers performing \u201cJohnny Get Angry.\u201d So, what\u2019s really at play here, Jim? Does John Lennon\u2019s penchant for being constantly censured figure into the mix?<\/em><\/strong><\/p>\n

        \u00a0<\/em><\/strong><\/p>\n

        Berkenstadt: <\/em><\/strong><\/p>\n

        Censorship of music has always been a slippery slope. In my new book, Mysteries in the Music: Case Closed<\/em><\/strong>, I reviewed 100s of pages of de-classified FBI investigation documents into whether the song \u201cLouie Louie\u201d by The Kingsmen was in fact obscene. In that case, the FBI and the Governor of Indiana (who basically banned the record from radio in violation of the First Amendment) were pre-disposed to find something wrong with the song. I detailed their sloppy investigations which were an embarrassment. The 3-year FBI witch-hunt cost taxpayers around $62 million dollars in today\u2019s money, and never found any evidence of obscenity. The details I revealed in the book demonstrated what they failed to find and what they should have discovered. Readers will enjoy this fresh new deep-dive on the topic of music censorship.<\/p>\n

         <\/p>\n

        The censorship of John Lennon\u2019s song doesn\u2019t necessarily indicate that they were picking on Lennon per se. Censorship really is a totally subjective process. Perhaps the station chose Lennon for a public relations reason? Admittedly, Lennon and The Beatles were bigger than all of the other artists they could have picked on. By selecting him, perhaps they thought they might gain more listeners from the controversial publicity? Or maybe someone didn\u2019t like The Beatles at that station? We may never know the motive behind this action. I think the only way to truly answer this question would be to locate all of the decision makers at the station in 1992, and ask them about their motives in the censorship of Lennon\u2019s song and try to determine why they chose the Lennon\/ Beatles song and not the others.<\/p>\n

         <\/p>\n

        Ironically, the biggest pop song of last year was not<\/em> investigated by the FBI for obscenity. It was a Cardi B hit called, \u201cWAP.\u201d I will let your readers look up what that stands for. LOL.<\/p>\n

        \u00a0<\/em><\/strong><\/p>\n

        Kessler: Jim, so many Beatles experts link this 1965 song to earlier Lennon \u201cinsecurity\u201d tracks such as \u201cNo Reply\u201d and \u201cYou Can\u2019t Do That.\u201d Others see \u201cRun for Your Life\u201d as a precursor\u00a0 to \u201cJealous Guy,\u201d \u201cI\u2019m Losing You,\u201d and \u201cCrippled Inside.\u201d There is an obvious common denominator in John\u2019s life story\u2026the story he tells us over and over and over throughout his career. Talk a little about that, please, Jim, and what other songs do you see as part of this \u201cLennon Litany of Loss\u201d? \u00a0<\/em><\/strong><\/p>\n

        \u00a0<\/em><\/strong><\/p>\n

        Berkenstadt:<\/em><\/strong><\/p>\n

        Sadly, as many Beatles fans know, John lost his mother two times. The first time was after his parents broke up and John went to live with his Aunt Mimi. This alone would have been traumatic enough for a young boy to see his mom get together with another man and start a new family without him in the home. But then, as he was starting to spend more time in his teens with his mom, and she was teaching him guitar chords and giving him his first guitar, she was sadly killed by an off-duty drunken officer who hit her with his car. The loss of family at a young age can create a lifelong trauma, not easily remedied. I think John\u2019s trauma did lead to many songs of loss, sadly.\u00a0 Perhaps the most poignant song he ever wrote was \u201cMother.\u201d Who can forget the grief-filled and chilling lines of John\u2019s Plastic Ono Band song:<\/p>\n

        \u00a0<\/em><\/strong><\/p>\n

        Mother, you had me but I never had you,
        \nI wanted you,
        \nYou didn\u2019t want me
        \nSo I, I just got to tell you
        \nGoodbye goodbye.
        \nFather, you left me but I never left you,
        \nI needed you,
        \nYou didn’t need me
        \nSo I, I just got to tell you
        \nGoodbye goodbye.<\/p>\n

        This is such a broken-hearted song. It is my belief that John did benefit from putting his grief and feelings of loss into his music. In a way, it was a healthy form of therapy. And it probably served to help others who had similar childhood traumas to relate to Lennon\u2019s honest and brave \u201cLitany of Loss\u201d songs.<\/p>\n

        \u00a0<\/em><\/strong><\/p>\n

        Kessler: Jim, thank you so much for your insights into this controversial but (as Margotin and Guesdon observed) \u201cexcellent song.\u201d (p. 309) I\u2019m enjoying your intriguing <\/em><\/strong>Mysteries in the Music: Case Closed book so much! And I can\u2019t wait to see you in Chicago in just a few weeks for the Fest!<\/em><\/strong><\/p>\n

        \u00a0<\/em><\/strong><\/p>\n

        For more information on the Rock and Roll Detective Jim Berkendstadt, go to:<\/em><\/strong><\/p>\n

         <\/p>\n

        Mysteries in the Music: Case Closed<\/em><\/a> (free excerpt download and signed copies)<\/p>\n

        The Beatle Who Vanished<\/em><\/a> (free excerpt download and signed copies)<\/p>\n

         <\/p>\n

        HEAD HERE to learn more about all of Jim\u2019s projects<\/a>\u00a0\u00a0<\/em><\/strong><\/p>\n

        \u00a0<\/em><\/strong><\/p>\n

        You can meet Jim in person at the Chicago Fest for Beatles Fans, Aug. 12-14 at the Hyatt Regency O\u2019Hare where he\u2019ll be discussing and signing his most recent book, <\/em><\/strong>Mysteries in the Music, Case Closed.<\/em><\/strong><\/p>\n

        \u00a0<\/em><\/strong><\/p>\n

        To purchase Jim\u2019s books, go to:<\/em><\/strong> Amazon.com: Jim Berkenstadt: Books, Biography, Blog, Audiobooks, Kindle<\/a> and www.thefest.com<\/a><\/p>\n

         <\/p>\n

        Follow Jim on Facebook here<\/a>\u00a0<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

        Side Two, Track Last \u201cRun for Your Life,\u201d The \u201cExcellent\u201d Potboiler Closer   by Jude Southerland Kessler and Jim Berkenstadt   For the last 18 months, the Fest for Beatles Fans blog has explored the intricacies of The Beatles\u2019 remarkable […]<\/p>\n","protected":false},"author":8,"featured_media":8781,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[8,89,144,117],"class_list":["post-8780","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-john-lennon","tag-rubber-soul","tag-run-for-your-life","tag-the-beatles"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/posts\/8780","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fcomments&post=8780"}],"version-history":[{"count":1,"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/posts\/8780\/revisions"}],"predecessor-version":[{"id":8782,"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/posts\/8780\/revisions\/8782"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/media\/8781"}],"wp:attachment":[{"href":"https:\/\/www.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8780"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fcategories&post=8780"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=%2Fwp%2Fv2%2Ftags&post=8780"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}