{"id":9374,"date":"2024-05-24T09:25:19","date_gmt":"2024-05-24T14:25:19","guid":{"rendered":"https:\/\/www.thefest.com\/?p=9374"},"modified":"2024-05-24T09:25:19","modified_gmt":"2024-05-24T14:25:19","slug":"revolver-deep-dive-part-11-doctor-robert","status":"publish","type":"post","link":"https:\/\/www.thefest.com\/revolver-deep-dive-part-11-doctor-robert\/","title":{"rendered":"Revolver Deep Dive Part 11: Doctor Robert"},"content":{"rendered":"

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

Calling \u2018Dr. Robert\u2019<\/strong><\/p>\n

by Jude Southerland Kessler and Steve Matteo<\/em><\/p>\n

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

This month, the Fest for Beatles Fans Blog enjoys a closer look at <\/em>Revolver\u2019s \u201cDr. Robert.\u201d\u00a0 Jude Southerland Kessler<\/strong>, our Fest Blogger and author of The John Lennon Series<\/strong> works hand-in-hand with Steve Matteo<\/strong>, author of <\/em>Act Naturally: The Beatles on Film <\/strong>(2023),<\/em> Let It Be, <\/strong>and<\/em> Dylan<\/strong> to examine a Lennon song that has frequently been brushed aside as \u201ca minor creation.\u201d As Jude and Steve dig into the music and lyrics of this tongue-in-cheek creation, here\u2019s hoping we all uncover some new insights into the story behind the song, the composition, and the recording techniques. <\/em><\/p>\n

 <\/p>\n

And we can\u2019t wait to see each and every one of you at the <\/em>Hyatt Regency O\u2019Hare<\/strong> for the Chicago Fest for Beatles Fans<\/strong>, August 9-11! The lineup is too good to miss! Get your tickets and get ready for the time of your life! <\/a><\/em><\/p>\n

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

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

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

Date Recorded:<\/strong> 17 April 1966<\/p>\n

Place Recorded:<\/strong> Studio Two<\/p>\n

Time Recorded:<\/strong> 2.30 p.m. \u2013 10.30 p.m.<\/p>\n

 <\/p>\n

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

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

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

Second Engineer:<\/strong> Phil McDonald (Lewisohn, The Beatles Recording Sessions<\/em>, 74)<\/p>\n

 <\/p>\n

On this day:<\/strong> The Beatles recorded their backing track with John on his 1961 Fender Stratocaster electric guitar with synchronized tremolo (or possibly his Epiphone ES-230TD Casino electric guitar), Paul on his 1964 Rickenbacker 4001S bass (which he was using more and more frequently in studio, when he could sit down), George on maracas, and Ringo on his 1964 Ludwig Oyster Black Pearl \u201cSuper Classic\u201d drums. As per their \u201cnow standard\u201d method of recording, they first performed several rehearsal takes (not numbered) and then recorded seven actual takes, proclaiming seven as \u201cbest.\u201d<\/p>\n

 <\/p>\n

Then, onto take 7, the boys made several superimpositions: John on the Mannborg harmonium (the studio\u2019s), George on guitar,* and Paul on the studio\u2019s Steinway \u201cMusic Room\u201d Model \u201cB\u201d Grand Piano. (Hammack, The Beatles Recording Reference Manual<\/em>, Vol. 2,<\/em> 123)<\/p>\n

 <\/p>\n

*I wrote to Jerry Hammack to ascertain which guitar George was using, and he graciously answered me: \u201cGeorge was working with a 1961 Fender Stratocaster with synchronized tremolo, 1964 Gibson SG Standard with Gibson Maestro Vibrola vibrato, or a 1965 Epiphone ES-230TD, Casino with Selmer Bigsby B7 vibrato during this period, and could have used any of these on his work. With this album and\u00a0Pepper<\/em>, the Casinos were certainly getting most of the attention.\u201d<\/p>\n

 <\/p>\n

Hammack also tells us that at this point, \u201cDr. Robert\u201d \u201c\u2026clocked in at 2:56\u201d but \u201cwould be edited to 2:13 during remixing.\u201d Sincere thanks to Jerry for helping with the Fest blog each month!<\/p>\n

 <\/p>\n

Second Date Recorded:<\/strong> 19 April 1966<\/p>\n

Place Recorded:<\/strong> Studio Two<\/p>\n

Time Recorded:<\/strong> 2.30 p.m. \u2013 12.00 a.m.<\/p>\n

 <\/p>\n

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

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

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

Second Engineer:<\/strong> Phil McDonald (Lewisohn, The Beatles Recording Sessions<\/em>, 74)<\/p>\n

 <\/p>\n

On this day:<\/strong> Since most of the work on \u201cDr. Robert\u201d had been completed on the 17th<\/sup>, all that was left to do was capture the vocals from John and Paul\u2026which they did. Later that same evening, a remix was done to thicken both those vocals and George\u2019s guitar work.<\/p>\n

 <\/p>\n

Sources:<\/strong><\/p>\n

Lewisohn, <\/em>The Beatles Recording Sessions, 75, Lewisohn, <\/em>The Complete Beatles Chronicle, 218, The Beatles, <\/em>The Beatles Anthology, 209, Rodriguez, <\/em>Revolver: How The Beatles Reimagined Rock\u2019n\u2019Roll, 121-123, Womack, <\/em>Sound Pictures, The Life of Beatles Producer George Martin, 57, Harry, <\/em>The Ultimate Beatles Encyclopedia, 209, Winn, <\/em>That Magic Feeling, 12, Gould, <\/em>Can\u2019t Buy Me Love, 361-362, Spizer, <\/em>The Beatles for Sale on Parlophone Records, 215,<\/em> Turner, <\/em>Beatles \u201966, 157-159, Turner, <\/em>A Hard Day\u2019s Write, 114, <\/em>\u00a0Margotin and Guesdon, <\/em>All the Songs, 344-345, Davies, <\/em>The Beatles Lyrics, 173-174, Spignesi and Lewis, <\/em>100 Best Beatles Songs, 227-228, Riley,<\/em> Tell Me Why, 194-196, MacDonald, <\/em>Revolution in the Head, 158-159, O\u2019Toole, <\/em>Songs We Were Singing, 113-115, Womack, <\/em>The Beatles Encyclopedia, 231, Hammack, <\/em>The Beatles Recording Reference Manual, Vol. 2, 122-124, Spizer, <\/em>The Beatles From Rubber Soul to Revolver, 221, Miles, <\/em>The Beatles Diary, Vol. 1, 239,\u00a0 Shotton, <\/em>John Lennon In My Life, 122, and Sheff, <\/em>The Playboy Interviews (1981 edition), 152-153.<\/em><\/p>\n

 <\/p>\n

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

 <\/p>\n

    \n
  1. A Thinly-Veiled Reference to Drugs<\/strong> \u2013 For years, Brian had sternly admonished The Beatles to remain \u201cpalatable to the mothers and fathers of teens everywhere.\u201d And as such, the boys had not felt free to express opinions on anything<\/em>, especially when it came to politics or the Vietnam War. Furthermore, Brian had asked the boys to present \u201ca wholesome image,\u201d eschewing cigarettes at press conferences or photo shoots. And through most of 1963-1964, John, Paul, George, and Ringo had reluctantly complied.<\/li>\n<\/ol>\n

     <\/p>\n

    However, by the 1965 North American Tour, those old prohibitions were slip-sliding away. Indeed, the songs of late 1965\u2019s Rubber Soul<\/em> spoke frankly about difficult topics. They addressed marital infidelity (\u201cNorwegian Wood\u201d), a possible liaison with a rising film star (\u201cDrive My Car\u201d), the dissolution of John\u2019s marriage (\u201cIt\u2019s Only Love\u201d), and the complications inherent in adult relationships (\u201cYou Won\u2019t See Me\u201d and \u201cI\u2019m Looking Through You\u201d). Even The Beatles\u2019 jaunty single, \u201cWe Can Work It Out\/ Day Tripper\u201d spoke frankly about love affairs that didn\u2019t go smoothly or finish well.<\/p>\n

     <\/p>\n

    Now, in the spring of 1966, John penned \u201cDr. Robert,\u201d a light-hearted ditty about a doctor whom you could ring for drugs\u2026and not cough syrup or any ordinary prescription. And the \u201crush\u201d that John felt in penning a song like this was the knowledge that to \u201cthe Establishment\u201d (Brian included) harmonizing about illegal drug usage was still very much taboo! In his book John Lennon In My Life<\/em>, John\u2019s lifelong friend Pete Shotton wrote, \u201cWhen John played me the acetate of \u2018Dr. Robert,\u2019 he seemed beside himself with glee over the prospect of millions of record buyers innocently singing along.\u201d (p. 122) Much like singing the \u201ctit-tit-tit-tit-tit\u201d backing chorus to \u201cGirl,\u201d the theme of \u201cDr. Robert\u201d and his little black bag intrigued John and the lads because it felt quite naughty.<\/p>\n

     <\/p>\n

    I was a tad surprised to find that in 100 Best Beatles Songs<\/em>, Spignesi and Lewis rated \u201cDr. Robert\u201d as #73. However, their explanation soon set me straight. They wrote, \u201cPrior to Revolver<\/em>\u2026The Beatles\u2026wrote about romance and relationships\u2026Suddenly, with one album, their focus changed. Confiscatory taxes, the alienated and the lonely, laziness, consciousness, the afterlife, and lest we forget, yellow submarines were all topics on Revolver<\/em>. And then, on this same album, came \u2018Dr. Robert,\u2019 which was about (blimey!) recreational drug use. The message was clear: \u2018We\u2019ve changed. Either get on board or get out of the way.\u2019 And most of us went along happily for the ride.\u201d (p. 227) Yes, indeed, in 1966 the times they were a-changing for The Beatles\u2026and for us. And as we changed, they changed (or vice versa). The Beatles constantly evolved, and \u201cDr. Robert\u201d is evidence of that.<\/p>\n

     <\/p>\n

      \n
    1. A Slathering of Humor<\/strong> \u2013 Though most listeners never comprehended it, in \u201cDr. Robert,\u201d John Lennon was happily \u201ctakin\u2019 the mickey\u201d out of us all. He applied Lennonesque humor so subtly and with such finesse, that few realized that the heavy sound of the harmonium on the \u201cWell, well, well, you\u2019re feeling fine\u201d bridge \u2013 backing those comforting words spoken by the goodly Dr. Robert \u2013 washed the words of the healer in a saintly soundtrack. When Dr. Robert spoke, it sounded exactly like a hymn offering salvation!<\/li>\n<\/ol>\n

       <\/p>\n

      And why not? The healer was, John told us, the sort of doctor who \u201cday or night will be there any time at all.\u201d He\u2019s the kind of physician who \u201cwill do everything he can \u2013 Dr. Robert!\u201d From Dr. R\u2019s \u201cspecial cup\u201d to his meds that would \u201cpick you up,\u201d the incomparable Dr. R had a unique way to \u201cwell, well, well make you.\u201d You can almost see The Beatles cutting their eyes at one another and snickering.<\/p>\n

       <\/p>\n

      Clearly, the boys were in on the joke. But actually, so were we, albeit unwittingly. In Tell Me Why<\/em>, Tim Riley refers to the track as\u00a0 a \u201cpenetrating satire,\u201d and he says that John\u2019s biting humor \u201cimplicates not only the doctor and his \u2018patients\u2019 but the listener who gets seduced by the song\u2019s tease as well.\u201d (p. 123) This clever \u201cnudge, nudge, wink, wink\u201d creation casts us all under the spell of the sympathetic and edgy Dr. Robert.<\/p>\n

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

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

       <\/p>\n

      This month we\u2019re privileged to have journalist and author Steve Matteo<\/strong> join us for the \u201cFresh New Look\u201d segment of our Fest Blog. Steve was part of the 2023 Chicago Fest for Beatles Fans and the 2024 New York Fest at the TWA Hotel. He is the author of <\/em>Let It Be<\/strong> and <\/em>Dylan<\/strong> and his 2023 release, <\/em>Act Naturally: The Beatles on Film<\/strong>. Steve has also written for <\/em>The New York Times, <\/em>The Los Angeles Times, <\/em>Rolling Stone, <\/em>Spin, Elle, and <\/em>Salon. We\u2019re looking forward to having Steve and his wife, Jayne, join us again for the Chicago Fest 2024<\/strong> and we\u2019re excited to hear his reactions to \u201cDr. Robert,\u201d the fun \u201cnudge, nudge, wink, wink\u201d creation by John Lennon and the boys.<\/em><\/p>\n

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

      Jude Southerland Kessler:<\/em><\/strong> Steve, welcome to the Fest Blog and thank you very much for taking time out of your busy schedule to share your expertise with us. Steve, in the spring\/early summer of 1966, The Beatles and George Martin (now an independent producer) returned to EMI Studios not merely as musicians but as artists and innovative technicians. Using \u201cevery trick in the book\u201d (as Lou Christie would sing years later) they employed unique instruments, recording techniques, and even outside musicians to create precisely the effects they sought. Although it\u2019s not as obvious with this song as with others, \u201cDr. Robert\u201d is layered with intentional sounds and stylings that afford the listener samples of a stressed life eased by Dr. Robert and his medicine show. How does John Lennon utilize his guitar, the vocals, and George Martin\/Geoff Emerick\u2019s recording techniques to achieve this aural imagery?<\/em><\/p>\n

       <\/p>\n

      Steve Matteo:<\/em><\/strong> \u201cDr. Robert,\u201d released at a significant time in the history of the recordings of the Beatles, is a song often discussed because of its lyrical story. The group\u2019s previous album was Rubber Soul<\/em>, the first album that throughout showed off the new sounds and textures they were exploring in the studio. The album broadened the canvas of the recording studio and introduced new colors and shadings that made the group\u2019s already extraordinary songs even more vivid. After Rubber Soul<\/em> and just before they began recording Revolver<\/em>, they recorded the single \u201cPaperback Writer\u201d and the B-side \u201cRain.\u201d While lyrically \u201cPaperback Writer\u201d was a poppy story of a writer of dime-store novels, it had guitar and vocal effects that were quite new. \u201cRain\u201d was even more musically adventurous. On what may be the group\u2019s best B-side, the interplay between McCartney\u2019s bass and Starr\u2019s drums is some of the most exciting playing of any track from the group and illustrates the cosmic musical relationship the group\u2019s rhythm section created.<\/p>\n

       <\/p>\n

      The vocals, however, are primarily what make \u201cDr. Robert\u201d so musically memorable. The vocals on the track utilize ADT (Automatic Double Tracking) technology more than the other tracks on this album that is filled with it. Also, some of the vocal harmonies when the group sings \u201cWell, well, well, you’re feeling fine\u201d sound like a Greek chorus. It is here where the druggy theme of the song is most pronounced, but also shows how the group is clearly having fun with the subject matter. Adding to the decadent debauchery of the song\u2019s milieu<\/em> is some spacey Mannborg harmonium keyboard work by John Lennon, the main writer of the song and lead vocalist. Musically the song is very simple and playful, belying its subject matter.<\/p>\n

       <\/p>\n

      While the theme of the song, particularly the doctor in question, has been debated and speculated upon since its release, another potentially key influence on the songwriting may have been overlooked. It’s hard to tell the exact spark that influenced Lennon to write the song, but one possibility is intriguing and highly plausible. The Rolling Stones had recorded a song called \u201cMother\u2019s Little Helper,\u201d which was the lead track on the group\u2019s Aftermath <\/em>album, released on April 15,<\/sup> 1966.<\/p>\n

       <\/p>\n

      The recording of \u201cDr. Robert\u201d began on April 14. There\u2019s certainly a good chance Lennon heard the album long before its official U.K. release. There is a much-viewed photo of McCartney in the recording studio closely examining the back cover of Aftermath<\/em>, with his reading glasses on and holding onto his Rickenbacker bass guitar. With \u201cMother\u2019s Little Helper,\u201d rather than reflecting the burgeoning drug culture of the youth of the day, Jagger was writing about someone with parental and adult responsibilities dealing with the stress by taking pills.<\/p>\n

       <\/p>\n

      \u201cDr. Robert,\u201d Lennon\u2019s first song to address the theme of drugs, rather than glorifying them, tells of a doctor available to the pampered and well-connected denizens of the demi-monde of the day. Unlike \u201cMother\u2019s Little Helper,\u201d the song doesn\u2019t, for the most part, have a dreamy or spacey quality. While \u201cMother\u2019s Little Helper\u201d has a terse, almost gritty rock\u2019n\u2019roll edge, \u201cDr. Robert\u201d is a jaunty little tune. It is a whimsical tale with the kind of light touch that appeared on the surface of Lewis Carroll\u2019s \u201cAlice\u201d books, which were filled with drug references – literature Lennon was all too familiar with and fond of since he was a child.<\/p>\n

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

      Kessler: <\/em><\/strong>Steve, Beatles music experts and biographers have bandied about the identity of the infamous Dr. Robert. Some, like Hunter Davies, point to dentist John Riley who, without permission, gave George and John LSD in their coffee in the spring of 1965. Some point to London\u2019s Robert Fraser. Most aver that Dr. Robert is New York\u2019s famed Robert Freymann (Freeman or Frieman in other sources) who served as \u201chealer\u201d for the stars; some go so far as to claim that John was one of his clients. However, for those like you who know The Beatles\u2019 harried schedule during those few days in which The Beatles were in New York during February of 1964, late August of 1964, mid-September of 1964, and mid-August of 1965 when they returned to play another \u201cEd Sullivan Show,\u201d perform in Shea Stadium, and host celebrities in their suite the following day, there was absolutely zero time for John (and\/or The Beatles) to trek over to see this supposed Dr. Robert. And there is no record of his presence in their suite, though myriad others are catalogued. Paul states that they have merely heard about the doctor and are writing this song based on that knowledge. In <\/em>The Beatles Anthology and later in his <\/em>Playboy Interviews, John Lennon stated that he consistently carried and administered the drugs for the band and \u2013\u00a0 like almost all of his other songs \u2013 this song was written about him; he was Dr. Robert. What say you?<\/em><\/p>\n

       <\/p>\n

      Matteo: <\/em><\/strong>It would appear the doctor in question initially was based on a doctor in New York who indeed did administer \u201cvitamin\u201d injections for his curious clientele. A more sinister reality of the situation may have been the doctor giving amphetamine shots to wealthy socialites, the famous and the infamous. Various doctors have been named as the subject of Lennon\u2019s song, even though Lennon himself may not have been aware of exactly who the doctor was and just what he was doing. Many sources, as Jude pointed out in the \u201cWhat\u2019s New\u201d segment, claim the real-life doctor in question was Dr. Robert Freymann, a German-born doctor who, at the time of the writing and recording of the song, was 60 years old and whose office was located at 78th<\/sup> Street, in Manhattan, on the tony upper east side. Interestingly, in the film Ciao Manhattan<\/em>, produced by Andy Warhol, there is a character named Dr. Charles Robert, who was likely based on the real Dr. Freymann, or even on Lennon\u2019s song, since the film came out in 1972. In 1972, the real Dr. Freymann was still practicing medicine and was eventually expelled from the New York State Medical Society for malpractice in 1975.<\/p>\n

       <\/p>\n

      What makes things even more confusing is that in Manhattan in the mid- to late-60s and early-70s there were many so-called \u201cDr. Roberts\u201d offering a seamlessly endless cornucopia of potions to cure whatever ailed one. This doctor is the dark and destructive side of the drug culture, not those experimenting with marijuana or LSD who were seeking a more spiritual enlightening, although LSD and amphetamines could be equally lethal with enough use. It\u2019s easy to read many other meanings (and doctors, real and imagined) into the song and on any given day, Lennon may have offered his own varying answers to what it was all about. It is, of course, not the only song on the album that has drug references, just the first he had written.<\/p>\n

       <\/p>\n

      Prior to Revolver<\/em>, \u201cRain\u201d may have been influenced by drug use, but didn\u2019t directly address drugs in the song\u2019s lyrics. The other songs on the album about drugs, directly or indirectly, are \u201cI\u2019m Only Sleeping,\u201d \u201cShe Said She Said\u201d and \u201cTomorrow Never Knows.\u201d Paul\u2019s songs that had direct or indirect drug references are \u201cYellow Submarine\u201d and \u201cGot to Get You Into My life.\u201d All of them share an obliqueness when addressing drugs, but all have drugs as a key component, whether musically or lyrically or both. There is also the question of whether the songs were simply influenced by the drug culture, or written under the influence.<\/p>\n

       <\/p>\n

      Lennon was always a fan of double-entendres, as were The Beatles, especially the naughty schoolboys that still lurked in the four. \u201cDr. Robert\u201d doesn\u2019t so much have double-entendres as it includes lyrics that don\u2019t specifically spell out the story of the song\u2019s title character. It\u2019s a song for those in the know, who get the wink-wink wordplay. The lyrics that most spell out who \u201cDr. Robert\u201d is and what his function was and how Lennon slyly laid it out are: \u201cIf you’re down, he’ll pick you up\/Doctor Robert\/Take a drink from his special cup.\u201d<\/p>\n

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

      Kessler: <\/em><\/strong>Steve, as I mentioned in the \u201cWhat\u2019s Changed\u201d segment of the blog, in Spignesi and Lewis\u2019s book, <\/em>100 Best Beatles Songs, \u201cDr. Robert\u201d is rated at #73 , above such songs as \u201cCan\u2019t Buy Me Love,\u201d \u201cGet Back,\u201d and \u201cMichelle.\u201d How do you feel about the song\u2019s ranking and the song itself?<\/em><\/p>\n

       <\/p>\n

      Matteo:<\/em><\/strong> It’s difficult to rate \u201cDr. Robert.\u201d In the context of Revolver<\/em>, arguably the group\u2019s best album, it may not be considered one of the group\u2019s best songs or recordings. Among their entire catalog, it probably fares better. As is always the case, individual tracks from The Beatles that may not be considered among their best would probably rank pretty high against those from many other artists and certainly better than what passes for hits on the charts these days.<\/p>\n

       <\/p>\n

      For more information on Steve Matteo, HEAD HERE<\/strong><\/a><\/p>\n

      Follow Steve on Facebook<\/a>, Instagram<\/a>, LinkedIn<\/a>, and Twitter<\/a><\/strong><\/p>\n

      For my review of Steve Matteo\u2019s book, Act Naturally: The Beatles on Film<\/em>, HEAD HERE<\/strong><\/a><\/p>\n

      Join Steve and Jude at the Fest for Beatles Fans, Aug. 9-11 at the Hyatt Regency O\u2019Hare!!<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

      Side Two, Track Four Calling \u2018Dr. Robert\u2019 by Jude Southerland Kessler and Steve Matteo \u00a0 This month, the Fest for Beatles Fans Blog enjoys a closer look at Revolver\u2019s \u201cDr. Robert.\u201d\u00a0 Jude Southerland Kessler, our Fest Blogger and author of […]<\/p>\n","protected":false},"author":8,"featured_media":9378,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[59,149,111,117],"class_list":["post-9374","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-beatles","tag-doctor-robert","tag-revolver","tag-the-beatles"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/posts\/9374","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=9374"}],"version-history":[{"count":3,"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/posts\/9374\/revisions"}],"predecessor-version":[{"id":9377,"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/posts\/9374\/revisions\/9377"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/media\/9378"}],"wp:attachment":[{"href":"https:\/\/www.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9374"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fcategories&post=9374"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=%2Fwp%2Fv2%2Ftags&post=9374"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}