{"id":9259,"date":"2024-01-09T15:42:26","date_gmt":"2024-01-09T20:42:26","guid":{"rendered":"https:\/\/www.thefest.com\/?p=9259"},"modified":"2024-01-09T15:42:26","modified_gmt":"2024-01-09T20:42:26","slug":"revolver-deep-dive-part-8-good-day-sunshine","status":"publish","type":"post","link":"https:\/\/www.thefest.com\/revolver-deep-dive-part-8-good-day-sunshine\/","title":{"rendered":"Revolver Deep Dive Part 8: Good Day Sunshine"},"content":{"rendered":"

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

Good Day, Great Song!<\/p>\n

by Jude Southerland Kessler with Special Guest, Ivor Davis<\/em><\/p>\n

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

The Fest for Beatles Fans<\/em><\/strong> kicks off the exciting 60th<\/sup> Anniversary of 1964 \u2013 that landmark year in which many significant Beatles events (including The Beatles\u2019 first trip to America and the release of the film \u201cA Hard Day\u2019s Night\u201d with its remarkable soundtrack LP) took place! Simultaneously, The Fest will celebrate its 50th<\/sup> Anniversary \u2013 by gathering at the TWA Hotel in New York on Feb. 9-11. (Yes, the very date that The Beatles were first featured on \u201cThe Ed Sullivan Show\u201d!) <\/strong><\/em>I\u2019ll be there, and I hope you will be, too!<\/p>\n

 <\/p>\n

This month, our Fest Blog will add to the festivities by continuing our in-depth study of <\/em>Revolver. We\u2019re flipping the LP onto Side Two to enjoy Track One, the appropriately jubilant song, \u201cGood Day Sunshine\u201d!<\/em><\/p>\n

 <\/p>\n

Joining us this month to explore McCartney\u2019s upbeat classic is the most upbeat of authors, the former Foreign Correspondent for the <\/em>Daily Express \u2013 the man who toured with The Beatles in 1964 and went with them to meet Elvis in 1965, Ivor Davis<\/strong>. Ivor has been a guest at many Fests and is one of our favorite people in the vast Beatles family. We\u2019re hoping he returns to the Chicago Fest in August as he releases the extended, enhanced version of his detailed work, <\/em>The Beatles and Me on Tour<\/strong>. Let\u2019s see what this respected British journalist, noted author, and Fest friend has to say about \u201cGood Day Sunshine\u201d as he gives it a \u201cfresh, new look.\u201d<\/em><\/p>\n

But first, please join me for the \u201csong stats\u201d\u2026<\/em><\/p>\n

– Jude<\/em><\/p>\n

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

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

 <\/p>\n

Date Recorded: 8 June 1966 \u2013 <\/em><\/strong>The Beatles rehearsed \u201cA Good Day\u2019s Sunshine\u201d (the original title) for quite a while, eventually recording three takes that comprised the rhythm track: bass guitar, drums, and piano. \u201cTake One\u201d was selected as \u201cbest.\u201d (Lewisohn, <\/em>The Beatles Recording Sessions, 82) Then, according to many sources, the tape was rewound, and Paul recorded a lead vocal with backing vocals by John and George on a second track. This was accomplished using frequency control (or \u201cvarispeed\u201d) at a slightly slower than normal speed. When played at regular tempo, the vocals would be pitched a semitone higher. (Hammack, 148) <\/em><\/p>\n

Time recorded:<\/em><\/strong> 2.30 p.m. \u2013 2.30 a.m. (The rehearsals took up most of this time frame, with the actual recording of the three takes only consuming about an hour.)<\/em><\/p>\n

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

Technical Team:<\/em><\/strong><\/p>\n

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

Sound Engineer:<\/em><\/strong> Geoff Emerick<\/em><\/p>\n

Second Engineer:<\/em><\/strong> Richard Lush<\/em><\/p>\n

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

9 June 1966 \u2013 <\/em><\/strong>Onto \u201cTake One,\u201d Ringo added another bass drum, snare drum, and cymbals on a third track. (Winn, 24) Then, on a fourth track (Winn, 24) George Martin added what Mark Lewisohn in <\/em>The Beatles Recording Sessions (p. 82) refers to as \u201ca honky-tonk piano solo for the song\u2019s middle eight.\u201d This unusual sound was also achieved via the use, once again, of varispeed. The solo was taped at 56 cycles per second so that when played at normal tempo, it would sound brighter. Handclaps were also added along with extra harmonies by John and George. <\/em><\/p>\n

Location for both sessions: <\/em><\/strong>EMI, Studio Two<\/em><\/p>\n

Time recorded:<\/em><\/strong> 2.30 p.m. \u2013 8.30 p.m.<\/em><\/p>\n

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

Technical Team:<\/em><\/strong><\/p>\n

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

Sound Engineer:<\/em><\/strong> Geoff Emerick<\/em><\/p>\n

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

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

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

Paul McCartney, the composer, <\/em><\/strong>played Studio Two\u2019s Steinway \u201cMusic Room\u201d Model \u201cB\u201d grand piano and sang lead vocals.<\/em><\/p>\n

 <\/p>\n

John Lennon<\/em><\/strong>, sang backing vocals. (Bruce Spizer in <\/em>The Beatles Rubber Soul to Revolver, p. 219, notes that you can hear John echo \u201cShe feels good\u201d at 1.27 in the song.) Some sources (for example, Margotin and Guesdon\u2019s <\/em>All the Songs, p. 228) have John playing rhythm guitar. However, Riley in <\/em>Tell Me Why says, \u201cWith piano double-tracked on both channels, there\u2019s no need for guitar.\u201d (p. 191) And Hammack (see below) has John possibly manning the bass guitar.<\/em><\/p>\n

 <\/p>\n

George Harrison, <\/em><\/strong>sang backing vocals. In <\/em>The Beatles Recording Reference Manual, Vol. 2, Hammack states that it was \u201ceither Lennon or Harrison on bass (it was not documented, nor is it discernible from the available audio which Beatle played bass).\u201d (p. 148) Because both Harrison and Lennon were right-handed, the bass used on this song was not one of Paul\u2019s but a 1964 Burns Nu-Sonic. (Hammack, 148)<\/em><\/p>\n

 <\/p>\n

Ringo Starr, <\/em><\/strong>played drums on his 1964 Ludwig Oyster \u201cBlack Pearl\u201d Super Classic drum set as well as tambourine. <\/em><\/p>\n

 <\/p>\n

George Martin, <\/em><\/strong>played an original \u201chonky-tonk\u201d piano solo for the middle eight.<\/em><\/p>\n

 <\/p>\n

*Most information above is found in Hammack\u2019s <\/em>The Beatles Recording Reference Manual, Vol. 2 and supplemented as noted above. <\/em><\/p>\n

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

Sources:<\/em><\/strong> Lewisohn, <\/em>The Beatles Recording Sessions, 82, Lewisohn, <\/em>The Complete Beatles Chronicle, 224, Winn, <\/em>That Magic Feeling, 24-25, McCartney, <\/em>The Lyrics, 232, Spizer, <\/em>The Beatles for Sale on Parlophone Records, 215, Spizer,<\/em> The Beatles Rubber Soul to Revolver, 219, Turner, <\/em>Beatles \u201966, 203-204, Turner, <\/em>A Hard Day\u2019s Write, 111-112, <\/em>\u00a0Miles<\/em>, The Beatles Diary, Vol. 1, 239, Margotin and Guesdon, 228-229, Davies, <\/em>The Beatles Lyrics, 166-169, Spignesi and Lewis, 275-276, Riley,<\/em> Tell Me Why, 191, MacDonald, <\/em>Revolution in the Head, 167, Womack, <\/em>Long and Winding Roads (2007 edition), 143, Hammack, <\/em>The Beatles Recording Reference Manual, Vol. 2, 148-150, and Mellers, <\/em>Twilight of the Gods, 77.<\/em><\/p>\n

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

For more information on comedians and musicians in the British Music Hall tradition, go to: <\/em>https:\/\/en.wikipedia.org\/wiki\/List_of_British_music_hall_performers#British_Music_Hall_entertainers<\/em><\/a><\/p>\n

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

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

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

    \n
  1. Incorporation of musical influences from myriad sources \u2013 <\/strong>Some of these include:<\/li>\n
  2. the colorful sounds of the old British music hall with which all of The Beatles would have been quite familiar. The Empire Theatre in City Center and the Philharmonic Hall on Hope Street (to name just a few) hosted these vibrant, vaudeville variety shows featuring comedians such as Liverpool\u2019s George Formby and Ken Dodd, as well as gifted musicians from all genres. In The Lyrics<\/em>, Paul recalls, \u201cBoth John and I grew up while the music hall tradition was still very vibrant, so it was always in the back of our minds.\u201d And here in \u201cGood Day Sunshine,\u201d the warm variety show vibe is woven throughout, transporting the listener back to those happy music hall days. Indeed, Riley points out that, \u201c[t]he ragtime piano solo\u2026is round with Joplinesque pleasure\u2026\u201d and \u201c\u2026if it weren\u2019t for the vibrant colors of the harmonies in the refrain, [the song] would be positively old-fashioned.\u201d (Tell Me Why<\/em>, 191) Some suggest that this song is a precursor to \u201cWhen I\u2019m 64\u201d and later, \u201cHoney Pie.\u201d<\/li>\n
  3. the Folk Rock trend which was topping the charts in America. Paul has acknowledged that \u201cGood Day Sunshine\u201d was specifically influenced by the Lovin\u2019 Spoonful\u2019s laid-back \u201cwalk in the sun\u201d hit song, \u201cDaydream,\u201d which had been released in February 1966. Indeed, John and Paul had recently seen the Lovin\u2019 Spoonful in concert at London\u2019s Soho district Marquee Club. (Turner, Beatles \u201966<\/em>, 204 and Turner, A Hard Day\u2019s Write<\/em>, 112) Some sources list the Kinks\u2019 hit, \u201cSunny Afternoon\u201d as a source of inspiration, but The Beatles recorded \u201cGood Day Sunshine\u201d in early June and \u201cSunny Afternoon\u201d didn\u2019t hit the charts until 6 July 1966.<\/li>\n
  4. the Tamla Motown beat. This influence reaches \u201cGood Day Sunshine\u201d in a rather meandering fashion. Of course, The Beatles had always loved the sounds of Motown, but in \u201cGood Day Sunshine,\u201d the \u201cchoppy guitar beat\u201d and pounding piano that introduces the song was heavily influenced by a similar sound at the beginning of the Lovin\u2019 Spoonful\u2019s \u201cDaydream.\u201d When asked about their unusual \u201cDaydream\u201d intro, John Sebastian (lead singer for the Spoonful) said he borrowed it from two Supremes songs, \u201cWhere Did Our Love Go?\u201d and \u201cBaby Love.\u201d So, in a circuitous way, these two Motown hits also impacted \u201cGood Day Sunshine.\u201d<\/li>\n<\/ol>\n

     <\/p>\n

      \n
    1. Harmonic Shifts and a Raised Ending for the Song<\/strong> \u2013 In the song\u2019s final chorus, The Beatles employ a clever harmonic shift, and in the concluding, cascading chants of \u201cGood Day Sunshine,\u201d they raise the key half a tone. These subtle but effective techniques not only supply optimism about the song\u2019s tender love affair but also leave the listener with a sense of well-being about the world in general\u2026particularly on this lovely, sunny day. (Miles, 239 and Margotin and Guesdon, 338-339)<\/li>\n<\/ol>\n

      Note:<\/strong> This raised-ending technique had only been employed by The Beatles once before: in the concluding lines of \u201cAnd I Love Her.\u201d<\/p>\n

       <\/p>\n

        \n
      1. A Joyful Song for Jane Asher<\/strong> \u2013 The majority of the songs that Paul had previously created for his love \u2013 the talented actress Jane Asher \u2013 focused on the couple\u2019s struggle to maintain a long-distance relationship and two successful careers. But on Revolver<\/em>, Paul penned two optimistic and contented love songs, \u201cHere, There, and Everywhere\u201d and \u201cGood Day Sunshine.\u201d In Long and Winding Roads<\/em>, Womack notes that \u201cGood Day Sunshine\u201d is about \u201cblissfully functional romantic love.\u201d (p. 143) And in Twilight of the Gods<\/em>, Mellers says, \u201cThe tune is a yodel equating the love experience with a sunny day.\u201d After the stormy angst of \u201cI\u2019m Looking Through You,\u201d \u201cWe Can Work It Out,\u201d \u201cYou Won\u2019t See Me,\u201d and \u201cFor No One,\u201d this is a happy change of pace.<\/li>\n<\/ol>\n

         <\/p>\n

          \n
        1. Two potential \u201cnudge-nudge, wink-winks\u201d\u2026and a third that is not!<\/strong> \u2013 From time to time, The Beatles enjoyed amusing themselves with covert lyrical references that were slightly naughty (Think the \u201ctit-tit-tit-tit\u201d chant in Rubber Soul<\/em>\u2019s song \u201cGirl\u201d). And some believe that \u201cGood Day Sunshine\u201d features a few nudge-nudge, wink-winks of its own.<\/li>\n<\/ol>\n

           <\/p>\n

          For example, by 1965, some British politicians and the press had begun criticizing The Beatles for their Scouse expressions and accents. So, Paul \u2013 more than any of the others \u2013 strove to use \u201cThe Queen\u2019s English.\u201d But when recording \u201cGood Day Sunshine,\u201d Davies notes, \u201c[O]n the word \u2018laugh\u2019 in the third line, I can detect Paul doing a short, flat Northern \u2018ah\u2019 just to amuse himself.\u201d (p. 166) It\u2019s a brief rebellion, but satisfying nonetheless.<\/p>\n

           <\/p>\n

          Then, in the third verse, when Paul sings, \u201cI love her and she\u2019s loving me,\u201d Spignesi and Lewis suggest that this unusual wording might have been a tactful hint that the beloved is, in fact, making love to him. (p. 275) Was this intended? Only Paul knows for sure.<\/p>\n

           <\/p>\n

          However, one thing that Paul clearly expressed unequivocally was the fact that there was no hidden drug allusion<\/em> in \u201cGood Day Sunshine.\u201d McCartney has readily admitted that he was referring to marijuana use in the lyrics of \u201cGot to Get You Into My Life.\u201d But repeatedly, Paul told reporters and critics alike that \u201cGood Day Sunshine\u201d is simply \u201ca very happy song.\u201d End of story.<\/p>\n

           <\/p>\n

           <\/p>\n

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

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

          As the only journalist to tour with The Beatles from \u201cDay One to Day End\u201d of the 1964 North American Tour whilst simultaneously serving as ghost writer for George Harrison\u2019s \u201cdiary\u201d in the <\/em>Daily Express, Ivor Davis knew The Beatles quite well\u2026as a friend and companion. He also lived the exciting days of 1964 and 1965 along with them, serving as an official commentator for soccer\u2019s World Cup tournament in 1965. Ivor\u2019s \u201cinsider\u201d role gives him a unique vantage point as we discuss the Summer of 1966 and the events surrounding \u201cGood Day Sunshine.\u201d\u00a0 <\/em><\/p>\n

           <\/p>\n

          Jude Southerland Kessler:<\/em><\/strong> Ivor, in Hunter Davies\u2019s book\u00a0<\/em>Beatles Lyrics, he acknowledges the influence of American folk-rock (specifically The Lovin\u2019 Spoonful\u2019s hit \u201cDaydream\u201d) on \u201cGood Day Sunshine.\u201d But Davies goes on to say that within the song, he \u201ccan hear echoes of old British Music Hall tunes, the kind [Paul\u2019s] father probably played for the whole family to sing along at Xmas.\u201d (p. 166) Having been reared in London, what echoes and sounds of the music hall do you detect in this number?<\/em><\/p>\n

           <\/p>\n

          Ivor Davis:<\/strong> YES, ABSOLUTELY. So much. It\u2019s a joyful song \u2013 heralding better days to come. Don\u2019t forget Jim McCartney was a bandleader \u2013 who had relished and reveled in all that Thirties Big Band music hall stuff \u2013 which according to Angie and Ruth McCartney \u2013 not surprisingly spilled over to Paul, and without a doubt, inspired this particular piece of music.<\/p>\n

           <\/p>\n

          A quick history lesson, if I may. Back in the late Forties and Fifties, major British port cities, like London \u2013 my hometown \u2013 and of course Liverpool,\u00a0were still emerging from a grim war that had flattened and left the landscape in shambles.\u00a0That was a period when because of huge food shortages, Paul and the other lads were fed on such \u201cdelicacies\u201d as atrocious egg powder \u2013 for breakfast. The powder was artificial eggs that were simply too horrible to eat. And we were all given ration books \u2013 resulting in many a hard years\u2019 nights!\u00a0And the Boys were fed cod-liver oil daily. So, times were not easy.<\/p>\n

           <\/p>\n

          However, our local\u00a0\u00a0music halls were the perfect pick-me-ups, where mere working-class mortals could pay a few shillings and escape into the bosom of singers like, \u201cTwo Ton\u201d Tessie O\u2019Shea \u2013 (dubbed thus because she was an amply endowed performer \u2013 who in today\u2019s world would never have been labeled in that somewhat demeaning way). Tessie,\u00a0\u00a0by pure coincidence, shared star billing with The Beatles when they first appeared on \u201cThe Ed Sullivan Show\u201d in February l964. Music halls and of course, popular radio comedy shows like The Goon Show, were comedic balm to help soothe all our World War II wounds.\u00a0 Our happy \u201cescape hatch.\u201d<\/p>\n

           <\/p>\n

          Kessler:<\/em><\/strong> The Beatles\u00a0<\/em>Revolver\u00a0LP was released in August of 1966, and several Beatles music experts point out that \u201cGood Day Sunshine\u201d very aptly captured the mood of that magical summer in the UK. In fact, Spignesi and Lewis say that the song\u2019s lyrics \u201cfit the mood, fit the sound, and fit the times.\u201d What events do you recall in the Summer of \u201966 that might have inspired this bright and euphoric song?<\/em><\/p>\n

           <\/p>\n

          Davis: <\/strong>In the Summer of 1966, I was invited to the Beverly Hills home of actor singer Anthony Newley and his songwriting partner Leslie Bricusse where along with film director Sir Richard Attenborough\u00a0\u00a0(Dickie to us\u2014back then) and legendary celebrity photographer Terry O\u2019Neill, we watched England win the World Cup \u2013 beating arch rivals, the Germans. Joy was everywhere, we were all euphoric!\u00a0We were 6,000 miles from England, but our joy spilled over as Britain\u00a0 celebrated revenge on those Huns \u2013 and the mood in Britain was pure ecstasy.<\/p>\n

           <\/p>\n

          Kessler:<\/strong> Ivor, as a young teen, I remember listening to\u00a0Revolver\u00a0<\/em>and being hard-pressed to find a song that I could \u201clike\u201d on this strange and innovative record. I usually loved anything Lennon, but John\u2019s \u201cShe Said She Said\u201d and \u201cTomorrow Never Knows\u201d were \u201ca bridge too far\u201d for a small-town Southern girl. \u201cGood Day Sunshine\u201d seemed safer and more palatable. As a British foreign correspondent living in L.A. in 1966, what was your reaction to the songs on\u00a0Revolver<\/em>\u00a0and to \u201cGood Day Sunshine\u201d in particular?<\/p>\n

           <\/p>\n

          Davis:<\/strong> \u201cGood Day Sunshine\u201d was indeed so very palatable and uplifting.\u00a0\u00a0Who amongst us, growing up in the chilly and cold climes of the British winters,\u00a0 would not welcome the warm sun to begin our day?!\u00a0\u00a0I remember that creative Beach Boys boss Brian Wilson, who was in L.A., said that the joyous song inspired him beyond belief. It was, he said, his tonic, because Brian suffered from long running severe depression, and he was quick to acknowledge that after hearing \u201cSunshine,\u201d he was uplifted and inspired \u2013 and immediately sat down to write more joyous music \u2013 such as his huge hit, \u201cGood Vibrations.\u201d And, of course, I can understand why \u201cSunshine\u201d was so much more palatable to a small-town Southern girl like you, Jude!\u00a0Only recently I learned that \u201cGood Day Sunshine\u201d was the song that was automatically played every morning for isolated residents and astronauts\u00a0living in U.S. Space Stations \u2013 high in the heavens of outer space!<\/p>\n

           <\/p>\n

          Kessler:<\/strong> Now, Ivor, you\u2019re getting ready to re-release your book, The Beatles and Me on Tour<\/em><\/strong>, which covers your time with the lads in 1964 and 1965\u2026and several episodes in later years as well. I know you\u2019ve added some new material to the book and many new photos. Since we have you with us, can you give us some hints of what this new material might include? A sneak peek for your Fest Family?<\/p>\n

           <\/p>\n

          Davis:<\/strong> Glad you brought that up! My 60th<\/sup>\u00a0anniversary edition of The Beatles and Me on Tour<\/em><\/strong> contains what I think to be a wonderful potpourri of information \u2013 along with some new fabulous photographs from some of the world\u2019s leading Beatles cameramen including Henry Diltz, Harry Benson, Paul Harris, and the late Ron Joy and Curt Gunther. They captured The Beatles in ways no one else did!<\/p>\n

           <\/p>\n

          Here are a few titbits:\u00a0Paul McCartney and wife Nancy have bought a new \u201chouse\u201d in Malibu \u2013 for a cool $5 million plus \u2013 but you would never guess where it is located! I\u2019ll just say it\u2019s walking distance from Barbra Streisand and Bob Dylan\u2019s Malibu palaces.<\/p>\n

           <\/p>\n

          And would you believe how I literally stumbled on this info? I speak to a bunch of world-famous celebrity entertainers, including Sting, and they told me how they were all so heavily\u00a0influenced to become stars\u2014by, of course, our very own Fab Four.<\/p>\n

           <\/p>\n

          Then, there\u2019s a wonderful story about the world-famous folk singer who admits she became a \u201cBeatle groupie\u201d \u2014with her eye on John, even though her world-famous boyfriend told The Beatles to keep their hands off her! You\u2019ll enjoy that story, Jude.<\/p>\n

           <\/p>\n

          Kessler:<\/strong> That sounds intriguing! So, tons of new info and photos headed our way in the new book\u2026AND we\u2019re hoping you\u2019ll be at the Chicago Fest to sign copies for each and every one of us, Ivor! Fingers crossed! Until then\u2026thank you very, very much for being with us for the \u201cGood Day Sunshine\u201d blog, and from your Fest family, sincere congratulations on your new release!<\/p>\n

           <\/p>\n

          For more information on Ivor Davis and the upcoming release of his expanded version of The Beatles and Me On Tour<\/em>, HEAD HERE<\/strong><\/a><\/p>\n

          Follow Ivor on <\/strong>Facebook<\/a>
          \nFollow Ivor on           Instagram<\/a>
          \nFollow Ivor on           X<\/a>
          \nFollow Ivor on <\/strong>          LinkedIn<\/strong><\/a>
          \n<\/strong><\/p>\n

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

          For more information on Jude Southerland Kessler or The John Lennon Series, HEAD HERE<\/strong><\/a><\/p>\n

          \u00a0<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

          Side Two, Track One Good Day, Great Song! by Jude Southerland Kessler with Special Guest, Ivor Davis \u00a0 The Fest for Beatles Fans kicks off the exciting 60th Anniversary of 1964 \u2013 that landmark year in which many significant Beatles […]<\/p>\n","protected":false},"author":8,"featured_media":9261,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28],"tags":[59,111,117],"class_list":["post-9259","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-beatles","tag-beatles","tag-revolver","tag-the-beatles"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/posts\/9259","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=9259"}],"version-history":[{"count":1,"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/posts\/9259\/revisions"}],"predecessor-version":[{"id":9260,"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/posts\/9259\/revisions\/9260"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/media\/9261"}],"wp:attachment":[{"href":"https:\/\/www.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9259"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fcategories&post=9259"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=%2Fwp%2Fv2%2Ftags&post=9259"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}