{"id":8678,"date":"2022-03-28T16:05:39","date_gmt":"2022-03-28T21:05:39","guid":{"rendered":"https:\/\/thefest.com\/kdstaging2\/?p=8678"},"modified":"2022-03-28T16:05:39","modified_gmt":"2022-03-28T21:05:39","slug":"rubber-soul-deep-dive-part-12-wait","status":"publish","type":"post","link":"https:\/\/staging.thefest.com\/rubber-soul-deep-dive-part-12-wait\/","title":{"rendered":"Rubber Soul Deep Dive Part 12: Wait"},"content":{"rendered":"<p><strong>Side Two, Track 5<\/strong><\/p>\n<p>\u201cWait\u201d\u2026and They Did!<\/p>\n<p>&nbsp;<\/p>\n<p>by Jude Southerland Kessler and Piers Hemmingsen<\/p>\n<p>&nbsp;<\/p>\n<p><em>Through 2021 and the first few months of 2022, the Fest for Beatles Fans blog has been walking through The Beatles\u2019 artistic and pivotal 1965 LP, <\/em>Rubber Soul<em>. This month, <strong>Piers Hemmingsen<\/strong>, author of <\/em>The Beatles in Canada: The Origins of Beatlemania! <em>(known<\/em> as \u201cThe Red Book\u201d)<em> joins Jude Southerland Kessler, author of <strong>The John Lennon Series<\/strong>, for a fresh, new look at the only song on the LP \u201cleft over\u201d from the <\/em>Help!<em> soundtrack recordings. Piers, who is busy completing the second volume of his series (\u201cThe Blue Book\u201d) will be attending the April 1-3 <strong>New York Metro Fest for Beatles Fans<\/strong>. Please come by and chat with him when you\u2019re there. But for now, let\u2019s discover why The Beatles made the decision to wait on \u201cWait.\u201d Read on\u2026<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><strong>What\u2019s Standard:<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>Date Recorded:<\/em><\/strong><em> 17 June 1965 (and 11 November 1965) <\/em><\/p>\n<p><strong><em>Studio:<\/em><\/strong><em> EMI Studios, Studio 2<\/em><\/p>\n<p><em>\u00a0<\/em><\/p>\n<p><strong><em>Tech Team<\/em><\/strong><\/p>\n<p><strong><em>Producer:<\/em><\/strong><em> George Martin<\/em><\/p>\n<p><strong><em>Engineer: <\/em><\/strong><em>Norman Smith and Ron Pender<\/em><\/p>\n<p><strong><em>Second Engineer: <\/em><\/strong><em>Phil McDonald and Ken Scott<\/em><\/p>\n<p><strong><em>Stats:<\/em><\/strong><em> Recorded initially for the <\/em>Help!<em> LP in 4 takes. <\/em><\/p>\n<p><em>\u00a0<\/em><\/p>\n<p><strong><em>Instrumentation and Musicians: ***<\/em><\/strong><\/p>\n<p><strong><em>John Lennon,<\/em><\/strong><em> co-composer, sings lead \u2013 except for the middle eight \u2013 and plays his 1965 Rickenbacker 325 Capri electric guitar.<\/em><\/p>\n<p><strong><em>Paul McCartney<\/em><\/strong><em>, co-composer, sings lead vocal on the middle eight and plays bass on his 1962-63 Hofner 500\/1.<\/em><\/p>\n<p><strong><em>George Harrison<\/em><\/strong><em> plays lead guitar on his 1963 Gretsch G6119 Chet Atkins Tennessean electric guitar. He is using a Gretsch Bigsby vibrato (and tone pedal).<\/em><\/p>\n<p><strong><em>Ringo Starr<\/em><\/strong><em> plays one of his Ludwig Oyster Black Pearl Super Classic drum sets. He also plays tambourine and maracas.<\/em><\/p>\n<p><strong><em>***<\/em><\/strong><em>from Hammack\u2019s <\/em>The Beatles Recording Reference Manual, Vol. 2,<em> 57. <\/em><\/p>\n<p><em>\u00a0<\/em><\/p>\n<p><strong><em>Sources:<\/em><\/strong><em> Lewisohn, <\/em>The Complete Beatles Chronicle<em>, 196, Lewisohn, <\/em>The Recording Sessions<em>, 60, Harry, <\/em>The Ultimate Beatles Encyclopedia,<em> 682, Davies, <\/em>The Beatles Lyrics,<em> 133, Margotin and Guesdon, <\/em>All the Songs<em>, 394-395, Winn, <\/em>Way Beyond Compare<em>, 363, Hammack, <\/em>The Beatles Recording Reference Manual, Vol. 2, <em>57-58, Turner, <\/em>A Hard Day\u2019s Write<em>, 99, Riley, <\/em>Tell Me Why<em>, 168-169, Miles, <\/em>Paul McCartney, Many Years From Now, <em>278, Womack, <\/em>The Beatles Encyclopedia, Vol. 2,<em> 969, and MacDonald, <\/em>Revolution in the Head,<em> 128.<\/em><\/p>\n<p><em>\u00a0<\/em><\/p>\n<p><strong>What\u2019s Changed:<\/strong><\/p>\n<p>&nbsp;<\/p>\n<ul>\n<li><strong>Debated Composership, Again<\/strong> \u2013 As with \u201cIn My Life,\u201d \u201cWait\u201d has been claimed by both John and Paul. In later life, Paul recalled young American actor Brandon de Wilde watching Paul create the song in the Bahamas. Paul stated, \u201cI seem to remember writing \u2018Wait\u2019 in front of him, and him being interested [in seeing] it being written.\u201d However, many experts (including Tim Riley in <em>Tell Me Why,<\/em> 168) state that \u201cLennon wrote the verses and the refrain and relied upon Paul for the bridge.\u201d \u201cWait\u201d appears to be a collaboration, and Bill Harry says it was, \u201cjointly written by John and Paul.\u201d (<em>The Ultimate Beatles Encyclopedia,<\/em> 682) In <em>Revolution in the Head<\/em>, MacDonald calls it \u201cthe first fifty-fifty Lennon-McCartney collaboration.\u201d (More to follow on this topic in our \u201cFresh, New Look\u201d segment.)<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<ul>\n<li><strong>Debated Dedication<\/strong> &#8211; If one assumes that Paul wrote the song, \u201cWait\u201d becomes a song directed to Jane Asher, as Margotin and Guesdon assert in <em>All the Songs<\/em>. If one assumes that John penned it, then it\u2019s dedicated to Cynthia, waiting back at home. And if you accept the song as a collaboration, then it is <em>both<\/em>.<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p>It\u2019s interesting to observe that people often cite this song as evidence of John\u2019s infidelity, when in fact Paul sings the line, \u201cI\u2019ve been good\u2026as good as I can be.\u201d Listeners can easily discern that Paul sings (and therefore, has written) the more optimistic lines in \u201cWe Can Work It Out,\u201d and John (sings and therefore, has written) the more pessimistic view of \u201cLife is very short and there\u2019s no time for fussing and fighting, my friend\u201d in that same song. But in \u201cWait,\u201d some seem confused about the fact that John is singing (and therefore, wrote) the lines about longing for his wife, while Paul is singing (and therefore, penned) the lines hinting at a bit of mischief. Perhaps \u201cWait\u201d deserves another listen.<\/p>\n<p>&nbsp;<\/p>\n<ul>\n<li><strong>Percussive innovation<\/strong> \u2013 Of all the songs on <em>Rubber Soul<\/em>, \u201cWait\u201d is one of the least innovative. You find The Beatles playing their customary instruments and performing their customary tasks. As Hunter Davies comments, the boys are \u201chead-to-head, as they used to do in the old days.\u201d (<em>The Beatles Lyrics<\/em>, 133) Compared to the sitar-trimmed \u201cNorwegian Wood\u201d or the elegant harmonium-embellished \u201cIn My Life,\u201d \u201cWait,\u201d hearkens back to a simpler time in the band\u2019s history.<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p>However, the song is <em>not <\/em>without innovation. For example, the \u201csilvery sound\u201d that permeates \u201cWait\u201d is supplied by Ringo\u2019s generous use of tambourine which rises into a shiver of maracas and then, into drums. And when John (almost desperately) cries, \u201cWait!\u201d that plea is punctuated a second later by a heavily-struck guitar chord, for emphasis. Finally, just before the chorus, Tim Riley tells us, \u201cRingo hits the crash cymbal <em>before <\/em>his roll on the tom-toms (a backward fill).\u201d (<em>Tell Me Why,<\/em> 168) Furthermore, George\u2019s implementation of his tone pedal adds to the richness of sound. This is achieved by John manually turning the volume knob on George\u2019s guitar, just as he did on \u201cI Need You.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p>Even on a song that many experts deem a mere \u201calbum filler,\u201d The Beatles\u2019 careful attention to detail make the work unique. Beatles fans are accustomed to an extremely high bar and expect much from the Fab Four. But \u201cWait\u201d is certainly as good as some of the songs on the 1965 <em>Billboard Top 100<\/em>, including Dino, Desi, and Billy\u2019s \u201cI\u2019m A Fool,\u201d Bobby Goldsboro\u2019s \u201cThe Little Things,\u201d or Brenda Lee\u2019s \u201cToo Many Rivers.\u201d By any other band, \u201cWait\u201d would have been applauded.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>A Fresh New Look: <\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><em>Recently, Jude Southerland Kessler sat down with noted Beatles expert Piers Hemmingsen, the author of <\/em><strong>The Beatles in Canada: The Origins of Beatlemania!<\/strong><em> to talk about this song. Piers grew up in England and moved to Canada in August 1963, with as he says \u201cour <\/em><em>Beatles records (the Parlophone<\/em> Please Please Me <em>LP and the<\/em> From Me To You <em>45) in tow.\u201d<\/em><em> It is so interesting to hear his perspective, honed in two different corners of the world!<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Piers, the last <em>Rubber Soul<\/em> track that we examined in our Fest Blog, \u201cIn My Life,\u201d was a highly-contested creation. John claimed to have written both the lyrics and the melody. Paul said he created the melody. However, this next track, \u201cWait,\u201d is as Jerry Hammack states in <em>The Beatles Recording Reference Manual<\/em>, \u201cas clear a demonstration of the duo\u2019s songwriting partnership as one could ask for.\u201d Who did what on this song?<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>Listening to \u201cWait\u201d with a critical ear takes me back to early 1966 when I first got the \u201clatest\u201d Beatles album from the Capitol Record Club\u2026<em>Rubber Soul<\/em>. I had heard it at my neighbour\u2019s house next door because he bought it straight away. My first impression was that it defined \u201ccool\u201d\u2026a huge leap forward from my beloved <em>Help!<\/em> album, and I had to have my own copy and right away. Starting with <em>Help!<\/em> a few months before, we listened to an entire album to take us somewhere very different for a half hour or more. When listening to <em>Help!<\/em> or <em>Rubber Soul<\/em> then, we weren\u2019t listening so much for which Beatle wrote which part of a particular song. But here goes my best try for \u201cWait,\u201d all these years later:<\/p>\n<p>&nbsp;<\/p>\n<p>Well, the opening is a vocal by John, almost more spoken than sung, so I can only assume that is John\u2019s own introduction. Like his other \u201cinsecure\u201d songs from 1965, like \u201cHelp!\u201d or \u201cDay Tripper,\u201d I think John liked opening his inwardly-looking songs straight way with his own vocal. John\u2019s vocal on \u201cWait\u201d is very clear and direct. There\u2019s no voice other than his. He\u2019s speaking directly about his fidelity with his partner\u2026in this case the \u201cwaiting at home\u201d Cynthia.<\/p>\n<p>&nbsp;<\/p>\n<p>Issues of fidelity and trust from the singer\u2019s absence is affecting the couple\u2019s relationship. Word fragments such as \u201cforget the tears we cried,\u201d \u201cturn me away,\u201d and \u201coh, how I\u2019ve been alone,\u201d are very personal word signatures in John\u2019s first two verses.<\/p>\n<p>&nbsp;<\/p>\n<p>But when the first chorus of \u201cI feel as though\u2026\u201d rolls around, it sure sounds a lot more upbeat and positive. And it\u2019s Paul singing it and so it just has to be his contribution to what I can only assume is a song that John brought to Paul with two verses waiting for a good chorus. John sings the verses. Paul adds vocals to his bridges.<\/p>\n<p>&nbsp;<\/p>\n<p>As noted in Jerry Hammack\u2019s <em>Recording Reference Manual<\/em>, George Harrison adds new sounds with his guitar, and Ringo adds unique percussive elements. (More detail is provided in the answer to Question 2.) When I think of how The Beatles evolved in 1965, one important thing that stands out in The Beatles\u2019 recordings is the pioneering new sounds coming straight from George\u2019s guitar &#8230; that all really started at the end of 1964 with his opening of \u201cI Feel Fine.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p><strong>You know, Piers, few of the tracks on <em>Rubber Soul<\/em> are \u201csilly love songs.\u201d And the relationship on which \u201cWait\u201d is based is clearly anxiety-ridden. In fact, Tim Riley in his book <em>Tell Me Why<\/em> says, \u201c\u2018Wait\u2019 is doubtful, anxious, uncertain.\u201d How is this angst-ridden love affair reflected in the music of the song (as opposed to just the lyrics)?<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>On \u201cWait,\u201d the vocals by John and Paul are sung in a direct and intended way to get the message of angst across to the listener. On <em>Rubber Soul,<\/em> \u201cWait\u201d is an upbeat track that has almost military-march timing. The ringing guitars, tambourine, and drum rolls carry the vocals along. How so? Well, as noted earlier in the blog, that really effective ringing guitar sound was accented by George\u2019s volume pedal, whereas, Ringo enhances the track with his maracas and tambourine.<\/p>\n<p>&nbsp;<\/p>\n<p>The sound they get was crafted together at the eleventh hour, but it has all the new sound elements that made <em>Rubber Soul<\/em> a big step forward from <em>Help!<\/em> \u201cWait\u201d is hardly the best song on <em>Rubber Soul,<\/em> yet it fits in because it was made in the <em>Rubber Soul<\/em> sound factory, if that makes any sense. There was definitely osmosis from the other <em>Rubber Soul<\/em> songs leaking into \u201cWait.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p>To this fan \u2013 who took the <em>Rubber Soul<\/em> song trips in early 1966 \u2013 The Beatles had managed to release a 1966-sounding album in late 1965&#8230;a few months ahead of everyone else. It is likely why <em>Rubber Soul<\/em> pulled in the college crowd who had ignored the mania of the group in 1964 and 1965.<\/p>\n<p><strong><em>\u00a0<\/em><\/strong><\/p>\n<p><strong><em>Piers, John Lennon tackled this exact theme in his infectious, popular LP opener to <\/em><\/strong><strong>With The Beatles<em>, \u201cIt Won\u2019t Be Long.\u201d But somehow, neither The Beatles nor George Martin had much faith in \u201cWait.\u201d They rejected it for the Help! LP and only added it to Rubber Soul as a last-minute album-filler. What is missing in \u201cWait\u201d that made \u201cIt Won\u2019t Be Long\u201d so appealing?<\/em><\/strong><\/p>\n<p><strong><em>\u00a0<\/em><\/strong><\/p>\n<p>\u201cWait\u201d had been a leftover track from earlier in 1965 as you suggest. As the <em>Rubber Soul<\/em> Christmas LP deadline loomed, and the group was short a track or two, it has been suggested that they went back to the earlier take of \u201cWait\u201d from the <em>Help!<\/em> sessions to see if they could somehow re-use it to pad out <em>Rubber Soul<\/em>. If that were the case, then it was pure and simple \u201cBeatles work\u201d to make this older track fit in with the rest of <em>Soul.<\/em> The track was literally recorded within three weeks of the album\u2019s U.K. release date. But new Beatles work in late 1965 was quite different from the new Beatles work earlier in 1965 on <em>Help!<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>Perhaps what is missing in \u201cWait\u201d was the call-and-answer technique that was used in \u201cIt Won\u2019t Be Long\u201d in 1963. That song-writing technique was lifted from early Motown songs like \u201cPlease Mister Postman.\u201d In the case of \u201cWait,\u201d the lyrics are all sung in first person, and there is no response from the person who has had to \u201cWait\u201d while their lover\/partner has been away. It is all sung from one person\u2019s point of view, and maybe here on \u201cWait\u201d it was the wrong point of view. The LOVE expressed by two people in this song is missing altogether. The other element that is missing is the LONGING. The longing that comes from waiting for a love letter to arrive in the post-box (mail box) seems more effective in song composition than the longing of waiting, waiting for someone who is returning from a concert tour where there has been so much temptation to cheat on their lover.<\/p>\n<p>&nbsp;<\/p>\n<p>\u201c<strong>Wait\u201d was written in the winter of 1965 when The Beatles were in The Bahamas making the film \u201cHelp!\u201d In November of 1965, \u201cWait\u201d is (only out of necessity) added to <em>Rubber Soul<\/em>. What events had changed The Beatles so dramatically in those nine months that made \u201cWait\u201d almost an immature offering for them? What had matured them so rapidly?<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>Well, for starters, The Beatles had completed another bout of touring which meant that \u201cmarried Beatles,\u201d like John who was married in August 1962 and Ringo who got married in February 1965, were both now facing marital pressure to be faithful while they were away on tour.<\/p>\n<p>&nbsp;<\/p>\n<p>A small point is that when The Beatles were on tour in 1965, the two married Beatles John and Ringo usually shared a room. Paul and George shared a room as they were \u201csingle Beatles.\u201d George would not get married until January 1966. Paul would not get married until March 1969.<\/p>\n<p>&nbsp;<\/p>\n<p>In addition to the marriage fidelity issue, John and George had taken their first LSD trip in April 1965. Drugs were something new to the mix when recording <em>Rubber Soul<\/em>\u2026and it is the big difference from <em>Help!<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>Then, just a month later \u2013 in May 1965 \u2013 The Beatles had seen Bob Dylan in concert at the Royal Albert Hall. Dylan\u2019s songwriting was another major influence on <em>Rubber Soul.<\/em> In comparison to the new Dylan songs on <em>Highway 61 Revisited<\/em>, \u201cWait\u201d appears simple, both in its construction and message.<\/p>\n<p>&nbsp;<\/p>\n<p>\u201cThink For Yourself,\u201d \u201cIn My Life,\u201d \u201cNorwegian Wood,\u201d \u201cIf I Needed Someone,\u201d and \u201cThe Word\u201d reflect more adventurous song writing styles of The Beatles. \u201cWait\u201d doesn\u2019t really do that but somehow it is not out of place on <em>Rubber Soul<\/em>.<\/p>\n<p>&nbsp;<\/p>\n<p>So, marriage and fidelity were song topics for John\u2019s \u201cWait.\u201d Drugs and Dylan did not impact \u201cWait\u201d as much as they did for the other, \u201cbetter\u201d songs on <em>Rubber Soul<\/em>.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Where does \u201cWait\u201d fit in the greater catalogue of Beatles songs?<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>\u201cWait\u201d is clearly not the BEST song on <em>Rubber Soul<\/em>. But, looking back to November 1965, it is one background component of what was a Beatles master work. Removing it would be like removing a brush stroke from a Van Gogh painting. Each component is necessary to make a whole. \u201cWhat Goes On\u201d from <em>Rubber Soul<\/em> also shares something with \u201cWait,\u201d in that it also generally falls short of its objective. Both tracks are \u201calmost\u201d great. However, they each lack something that holds them back from being great Beatles tracks.<\/p>\n<p>&nbsp;<\/p>\n<p>But if we want to pigeonhole \u201cWait\u201d in The Beatles\u2019 catalogue, then it is in good company with The Beatles\u2019 less stellar pre-1966 album filler tracks like \u201cEverybody\u2019s Trying To Be My Baby,\u201d \u201cTell Me Why,\u201d \u201cYes It Is,\u201d \u201cAny Time At All,\u201d \u201cWhen I Get Home,\u201d and \u201cI\u2018m Happy Just To Dance With You.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p>And in the end, \u201cWait\u201d is at least an integral component of the finished <em>Rubber Soul<\/em> album, and so it rates a better class of filler than earlier Beatles \u201calbum filler\u201d tracks.<\/p>\n<p><strong>For more information on Piers Hemmingsen and <em>The Beatles in Canada<\/em> <a href=\"https:\/\/twitter.com\/beatlesincanada\">HEAD HERE <\/a><\/strong>and <a href=\"http:\/\/www.thebeatlesincanada.com\/?msclkid=3485dc59ab3411ec9b851471ae1e530d\"><strong>HERE<\/strong><\/a><\/p>\n<p>Meet Piers in person at the <strong>New York Metro Fest for Beatles Fans<\/strong>, April 1-3, at the Hyatt Regency, Jersey City, New Jersey. And to learn more about <strong>The Fest and the Special Guests<\/strong> who will be there, <a href=\"https:\/\/thefest.com\/kdstaging2\/2022-fests\/new-york-metro-april-1-2-3-2022\"><strong>HEAD HERE<\/strong><\/a><\/p>\n<p>For more information on <strong>The John Lennon Series<\/strong>, <a href=\"https:\/\/www.johnlennonseries.com\/?msclkid=b5f6f0a6abfd11ec915e0bb7ec0077b7\"><strong>HEAD HERE<\/strong><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Side Two, Track 5 \u201cWait\u201d\u2026and They Did! &nbsp; by Jude Southerland Kessler and Piers Hemmingsen &nbsp; Through 2021 and the first few months of 2022, the Fest for Beatles Fans blog has been walking through The Beatles\u2019 artistic and pivotal [&hellip;]<\/p>\n","protected":false},"author":8,"featured_media":8681,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28],"tags":[89,117],"class_list":["post-8678","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-beatles","tag-rubber-soul","tag-the-beatles"],"acf":[],"_links":{"self":[{"href":"https:\/\/staging.thefest.com\/?rest_route=\/wp\/v2\/posts\/8678","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/staging.thefest.com\/?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/staging.thefest.com\/?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/staging.thefest.com\/?rest_route=\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/staging.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fcomments&post=8678"}],"version-history":[{"count":1,"href":"https:\/\/staging.thefest.com\/?rest_route=\/wp\/v2\/posts\/8678\/revisions"}],"predecessor-version":[{"id":8680,"href":"https:\/\/staging.thefest.com\/?rest_route=\/wp\/v2\/posts\/8678\/revisions\/8680"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/staging.thefest.com\/?rest_route=\/wp\/v2\/media\/8681"}],"wp:attachment":[{"href":"https:\/\/staging.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8678"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/staging.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fcategories&post=8678"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/staging.thefest.com\/?rest_route=%2Fwp%2Fv2%2Ftags&post=8678"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}