{"id":261,"date":"2013-07-02T03:38:24","date_gmt":"2013-07-02T03:38:24","guid":{"rendered":"http:\/\/smegmamusic.com\/site\/?p=261"},"modified":"2013-07-02T03:38:24","modified_gmt":"2013-07-02T03:38:24","slug":"essay-free-ears-part-1","status":"publish","type":"post","link":"http:\/\/smegmamusic.com\/site\/?p=261","title":{"rendered":"Essay – Free Ears Part 1"},"content":{"rendered":"

Free Ears<\/h1>\n
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Free Ears Part 1<\/div>\n
A History of the Los Angeles Free Music Society<\/div>\n
by Rick Potts<\/div>\n
It just grew. It was fun, sometimes, mostly and pleasant, like spinning in
\nplace. It can be fun but sometimes it makes you feel ill.Once, in 1975, after a Le Forte Four vs. Doodooettes freak-out
\nimprovisation, we drove away from the studios at 35 South Raymond in
\nPasadena\u2019s pre \u201cOld Town\u201d crusty downtown porn-pawn-junk
\nstore-hippie-art-trash skid neighborhood and I had an epiphany. Something
\nmagical almost mystical goddam it happened, occasionally, where the frenetic
\nchaos of each individual unmusician\u2019s sound would suddenly become one and
\nfor 10 seconds we were transcendent. Then, when we realized it we would roll
\nout of control like my first solo bike ride and end up skinning my knee.
\nThere were those surprising ecstatic moments but they would collapse and it
\nwas a bit maddening.Occasionally Time would be missing. Out the window. Later on Time came
\nback and we rewound the tape. Pretty soon I got hooked. On the way home that
\nnight we were driving past the Castle Green Hotel back when it was at it\u2019s
\nmost Haunted Mansion-y and I thought \u2018someday everyone\u2019s gonna be doing
\nthis\u2019. Then, I said out loud \u201csomeday everyone\u2019s gonna be doing this\u201d and
\nDennis Duck said \u2018What are you talking about Rick?\u201d \u201cWell,\u201d I said \u201c like
\nya know how we like make noise and tape it and stuff and sometimes it\u2019s like
\n, ya know kinda good\u2026well not too, bad?\u201d Well ya know\u201d I continued \u201c
\nlike\u2026 ah, never mind.\u201d I wasn\u2019t very articulate back then. Nor now.
\nMy memory is probably faulty, too. Well at the very least it\u2019s personal.
\nI\u2019ve discovered we all have our own personal memories and sometimes the
\nemulsion flakes off the backing. When we compare notes thirty or so years
\nlater we find out some of the notes are different or in different places.
\nThis is the way I remember it, though. <\/p>\n

On my first day of High School in the fall of 1973 in 3rd period
\n\u201cBeginning Instruments\u201d class in the Music Building, the toupee topped
\nteacher had each student announce what instrument we planned on playing. I
\nhad been fed up taking piano lessons from Alhambra\u2019s premier lounge organist
\nBob Abbey and said marimba was what I would like to play. I quickly was
\ntalked into tenor sax after being offered glockenspiel in lieu of the school
\nnot having a marimba. We finally got around to the two longhaired senior
\nstudents in the back of the class and I heard a voice answer \u201celectronic
\nmusic synthesizer\u201d. What the hell was this guy talking about? I\u2019d never
\nheard of such a thing. We all laughed, but by the end of that school year
\nmy new best friend Chip Chapman had gotten the school to purchase an Arp
\nOdyssey synthesizer, an Echoplex. an amp and a hot instructor to teach after
\nschool Electronic Music class. Meanwhile, Chip got accepted into Cal Arts
\nElectronic Music Program by borrowing gear and recording in Pasadena City
\nCollege\u2019s basement Moog-in-a-closet studio to make a demo reel to send with
\nhis application. He had also organized a day of free improv freak outs in
\nthe auditorium where I had to breath into a paper bag because I was
\nhyperventilating (again!) after some over-the-top saxophone blowing with
\nfellow sax honker Steve Nash. The summer before starting at Cal Arts Chip
\nand Joe Potts assembled a \u201ccamp cover band\u201d at YMCA Camp Tatapotchin and
\nattempted a collaboration with \u2018Patients\u2019 Dan Weiss & mystery drummer Jay
\nRoss. Together with myself on sax and Susan Farthing on (rhythm) flute we
\nplayed an ill-fated show at a nearby Temple youth night. Our serious attempt
\nat rock music was hilariously embarrassing. Hilarembarrassing.<\/p>\n

As I recall the show came about when Dan & Jay\u2019s band, \u201cPatients\u201d were
\nasked to play a Teen Night show at their local Temple Beth Torah. Chip and
\nJoe (fresh from their camp band success) and I were asked to help out the
\nfledgling act. We sacrilegiously called the place of worship \u201cEthel\u2019s
\nTempura\u201d. Patients pretty much knew one song, \u201cTuna Fish\u201d, which repeated
\none line \u201cI hate it , I hate it, I hate it tuna fish!\u201d over and over. Just
\none part repeated ad nauseam (or until nausea). We quickly tried to help
\nthem fill out their set. We could barely play our instruments and didn\u2019t
\nreally know any songs but that didn\u2019t stop us. After each of us practicing
\nto Zappa\u2019s \u201cWeasals Ripped my Flesh\u201d on our own, a bickering rehearsal
\nensued when we tried to play \u201cMy Guitar wants to Kill your Mama\u201d as a group.
\nThings were not meshing and soon arguments got heated and stupid. An edited
\nrecording of this debaucle ended up being sent to an electronic music tape
\nin Norway and put on Bikini Tennis Shoes and several other LAFMS releases.
\nIt is appropriatly titled \u201cThey are Asleep\u201d. As the date of the show loomed
\nahead I remember trying to lure other more professional musicians into the
\nact. One arrogant drummer dude showed up, retuned Jay\u2019s drumkit (while Jay
\nwaited outside), and rocked out leaving us in the dust. I don\u2019t know if we
\nwere more annoyed by his self-righteous \u2018tude or he was more miffed by
\nwasting time with us.<\/p>\n

On the afternoon of the show, Chip brought in some cool gear rented from<\/p>\n<\/div>\n

Hollywood and we set up to rehearse before the show. Joe had switched to<\/div>\n
rhythm guitar using an open tuning and learned some Stones songs. The
\npotential vocalists who said they\u2019d show up didn\u2019t. We were beyond help
\nanyway but we managed to convince Mystery Drummer Jay to unplug the kick
\ndrum pedal activated switch that lit up the inside of his kick drum with a
\ncolored light and also made a loud POP through all the amps.<\/div>\n
At dusk, we decorated the stage with a big box of Goodwill doll heads and
\ndonned our rock costumes. Joe wore a torn up dress over his t-shirt and
\njeans and a sideways Matador hat with a jockstrap over the bulge and a
\ncelary stalk shoved in it. I wondered why I smeared racoon mascara around my
\neyes and had a premonition that this was going to be the most embarrassing
\nnight of my life. (In retrospect, it made the top three). I tried not to
\nhyperventilate.We dawdled on stage as party goers arrived and someone asked us if we were
\nplaying any Alice Cooper. It must have been the mascara. Joe said \u201cNope,
\nonly Zappa\u201d. We \u201ctuned up\u201d and stumbled through our first tune, \u201cBoris the
\nSpider\u201d. Our version sounded like a demented polka and as we played the
\nsound hit the back wall and came galumphing back across the auditorium only
\nto crash head on with the outgoing din. We played \u201cMy Guitar Wants to Kill
\nYour Mama\u201d and \u201cTuna Fish which left us with \u201cSmoke on the Water\u201d and the
\nStones songs Joe learned. Chip asked me if I wanted to do vocals and I has
\naghast. I told him \u201cYou\u2019re the one who took choir\u201d. I finally decided to try
\n\u201cLittle Queenie\u201d and with the undecipherable lyrics scrawled on a piece of
\npaper in my hand I shyly mumbled the words rather than giving it the gutsy
\ngrowly R&B wail the song asked for. The party had long left the building and
\nmingled in the parking lot while we finished up without me singing \u201cSmoke on
\nthe Water\u201d. We quickly packed up our gear and got the hell outta there.
\nLuckily, the money in the cash box pretty much covered the rented gear.Chip always has big, fun ideas. He\u2019s smart and gets ideas and he goes
\nahead and does\u2019em. He has a way of making things happen that you didn\u2019t
\nrealize you could do. When he\u2019d started at Cal Arts and after Joe and I had
\nrecorded tapes with him a bunch of times, at our
\nSunday-night-give-Chip-a-ride-back-to-Valencia sessions, he told us he\u2019d
\ncome up with a name for our \u2018group\u2019. We had just dragged our gear into
\nB-303. This probably included ; a three string japanese guitar with custom
\nscraped off failed epoxy resin finish, an empty 55 gallon cyanide drum, <\/p>\n<\/div>\n
giant homemade (bamboo and weather stripping) \u201cKing Kong\u201d mallet, the
\nUnivox, Dad\u2019s duck call, a little plastic toy violin and my Pedrini Music
\ntenor sax. We were standing outside an open closet filled with mike stands
\nand recording gear in a narrow passage in the Cal Arts music department
\nmaze. I didn\u2019t know we were a group.I was just having fun making sounds. Sure he had sent that tape to that
\nelectronic tape festival in Norway as \u201cThe East Los Angeles Free Music
\nSociety\u201d but that was a joke, right? The name was supposed to get them to
\ntake us seriously and it worked\u2026temporarily. At first we were accepted<\/div>\n
into the festival, but when Chip wrote asking for a copy of our master tape
\nHal Clark, after hearing \u201cThey are Asleep\u201d which was an edit of us arguing
\nduring a rehearsal for the rock gone wrong Temple show and the ludicrous
\nKa-Bella-Binsky-Bungo, sent our tape back with a letter that stated \u201cFree
\nears and minds are one thing, but what about aesthetics?\u201dChip tells us the new name of our group is Le Forte Four but I don\u2019t quite
\nget it. Lay Fort-tay Four. Forte means loud or the thing someone does best,
\nlike, \u201chis forte is piano\u201d or \u201cpiano forte\u201d. It has the fancy French \u2018le\u2019
\nwhich is silly and also is mock pretentious. It also sounds like 44 (a film
\nnoir or western gun reference?). I decide it\u2019s a great name but I didn\u2019t\u2019t
\nknow what to think.
\nI wondered about what having a name meant. It seemed too serious. I was
\nhoping we could still have fun \u2018experimenting\u2019 and it wouldn\u2019t turn out like
\nthe Temple Beth Torah show. It seems that I didn\u2019t need to worry about Le
\nForte Four being too serious.Back in B 303, Chip played us tapes of what he\u2019d been working on that
\nweek as we set up our shit. This was the most decked out of the three or so
\nBuchla laden electronic music studios. It was set up for Hi-Fi Quad as per
\n1973 audiophile specs. Two Ampeg half inch four tracks, a couple Revox half
\ntracks, a pair of stereo Marantz amps and a JBL Studio Monitor sitting on
\na bright orange and chrome moderne Eames chair in each of the four corners.
\nOn a table in the center was a four foot by four foot curved wall of knobs,
\nlights, jacks and joysticks often festooned with a literal tangle of
\nbrightly colored patch cords by the end of the night. Don Buchla\u2019s model
\n300 Electronic Music Box was the deluxe version, I repeat, it has joysticks
\nand pans sounds and signals around. This room set up with curved corners a
\ndark red curtain on far wall and all this cool gear set up in the middle
\nmade me feel like I was behind the famous curtain from \u201cThe Wizard of Oz\u201d. <\/p>\n

Cal Arts held a certain magic for me. The place was filled with the most
\nmodern creative tools invented and amazing people to help teach you to use
\nthem. I always wished I\u2019d have been a student there. I wondered around the
\nAnimation, Film , Video (they had a Nam June Paik designed Video<\/p>\n<\/div>\n

Synthesizer) Music, Art and Dance Departments and my mind would boggle at
\nall the possi-tunities. When I visited the animation studios I\u2019d hear the
\ndreamy sounds of the Gamelan orchestra rehearsing nearby. I was often there
\nat nights or weekends when there weren\u2019t\u2019t many people around. The Main
\nBuilding is a big confusing labyrinth of classrooms lobbies, studios,
\ngalleries, ,stairwells, long ass hallways and performance spaces. You felt
\nreally isolated by the time you wound your way around and I never knew
\nwhere I was. It\u2019s the kind of place you can get lost on a trip to the Men\u2019s
\nRoom.The few people we would run into would be smart, talented and funny.<\/div>\n
We\u2019d bump into Roland Kato or Carl Stone, Chas Smith, maybe bassoonist
\nSteve Braunstein or tabla player David Johnson who sat in with us a few
\ntimes. Most people had long hair and a magical gleam in their eyes. Peter
\nCohen was an Elf who lived next door to Chip in the Dorm. He burnt off his
\neyebrows when he grinned at the wrong time while doing a fire breathing
\nstunt. He wore a bell and giggled. You\u2019d hear him down around some corner
\njingling and tee-heeing as you tried to find your way through the maze. You
\nfelt like you were in another world. Once, Woody Allen was revived out of
\ncryostasis into a future world when \u2018Sleeper\u2019 was filmed there.
\nBesides, the place had lot\u2019s of really cool girls, nude dorm pool, beer
\nand Thai sticks via the Percussion Dept. My visits there pretty much ruined
\nhigh school for me. I just wanted to draw and make films and music after
\nthat.That entire school year we recorded on most Sunday nights. My oldest
\nbrother, Tom Potts, began recording with us and friends sometimes
\nparticipated. Most evenings would start with an hour\u2019s drive in the green
\nFord Raunch Wagon After dragging our stuff in from the parking lot Chip
\nwould play us recordings he had done that week and then he would get out the
\npatch cords and start connecting modules on the Buchla. In most cases it
\ninvolved processing our instruments and microphones and sometimes turntables
\nand projectors. One week he played us a composite of a silly vocal improv we
\nhad done the week before spliced and diced with some equally bombastic synth
\nmovements. It\u2019s the song Bikini Tennis Shoes and I was pretty startled and
\namused by what Chip had done. For the first time I felt we had really done
\nsomething good.That summer Chip & I cleaned out a backyard tool shed to possibly use as
\na studio. Chip showed me a new copy of the neo-dada magazine FILE (it was
\nformatted to look like LIFE magazine) and in amongst the pictures of the
\nperson in the Mr. Peanut costume and articles about Ant Farm\u2019s \u2018Media Burn\u2019
\nperformance there was a full page ad with a flexi-disc single attached. The
\nResidents debut album \u2018Meet the Residents\u2019 could be bought by sending 2
\ndollars to an address in San Francisco. Back at my house we played the
\nflexi-disc. The odd music had a strange homemade feel to it. It was
\ndefinitely different and Chip told me \u201cThese guys aren\u2019t signed to a record
\nlabel. I bet they just made it themselves!\u201d At the time it was unheard and
\nunthought-of of. Chip might have already had the idea in mind but I assumed
\nonly record companies put out records and that\u2019s it. Chip got out the Yellow
\nPages, called a couple places in Hollywood and started cutting up our tapes. <\/p>\n

Most of Bikini Tennis Shoes was recorded at Cal Arts in 1974. It \u2018s got an
\nedit of an echoplex freak-out solo \u2018Song of the Electric Drill\u2019 (one of
\nChip\u2019s pre Cal Arts recordings) and home recorded fragments of his little
\nbrother Tim\u2019s kiddy comedy one liners. He put his Buchla projects up against
\nour modulated mock lounge trio playing to a thrift store bongo record. The
\nPope bumping into a cheerful Jack-in the-Box jingle with sped up tape. It\u2019s
\nStockhausen meets Zappa arguing with Esquivel over hamburgers with Clutch
\nCargo refereeing. There\u2019s a section of our rock debacle and a song Chip sang
\nthat\u2019s based on a dream he had about our pal Steve Nash. Filtered noise ala
\nColumbia Princeton Electronic Music Center leaning against a nose solo and
\nan educational Tom Bosley quip<\/p>\n

Chip took the finished master tapes to famous Gold Star Studios at Vine &
\nSanta Monica Blvd. in Hollywood to get the masters made. He dropped them off<\/p>\n<\/div>\n

and pretty soon we got a call from Ed the mastering engineer. He told Chip
\n\u201cYou brought the wrong tape. This one has a loud hum and cursing on it\u201d.
\nChip said \u201cNo, that\u2019s the right one, that\u2019s part of it\u201d. Ed told Chip we
\nbetter come back down and be there for the mastering.
\nBefore long we were taking the mother discs across the street to Alco to
\nget our run of 200 records made. When the test pressings showed up it was
\nvery odd to hear our music on vinyl.
\nIt was a great feeling but still hard to believe that Le Forte Four was
\nputting out a record. We still have hundreds of labels for Bikini Tennis
\nShows somewhere because the smallest run they would do was 1000.
\nNext we had to come up with a cover and liner notes. The notes were a
\ncollaborative thing with us shouting out lines in the Potts\u2019 family living
\nroom. Tom Potts edited & compiled our rantings and together he and I<\/div>\n
\u2018transcribed\u2019 the Popes speech. This amounted to listening to the Pope and
\nphonetically rendering his Latin sacrilegiously into English. \u201cThank you for
\ncarrying me across to the sensuous intensely orphans immensely. The scallops
\nof She-She on the sockets all omnibus. Peculiarly small malt poured the tuna
\nthe dent to. Duke University toured our morbid Christianity. Spirituality
\nboosts the restaurant, he\u2019s sick Chris at the saw rays. No sermon of the
\nsewer is beyond avocado.\u201d
\nThe next formidable task was to paint the front of a printing shop. That\u2019s
\nwhat we did in exchange for type setting and printing our notes and covers
\nfor Bikini Tennis Shoes. Chip\u2019s job at Cunningham Press had the perk of
\nscrounging reams of off register partial runs of postcards for the esteemed
\nHuntington Library. With only two or three of the five colors off register
\nthe stodgy images of Blue Boy and Pinky (famous 19th century portraits) had
\na dada psychedelic look. After they printed our name and album title on them
\nwe snuck into they\u2019re bookbinding shop signed all the liner notes and hand
\nglued the covers onto blank jackets with bookbinders glue. Once the two
\nhundred and something records got shrink-wrapped we had a record.
\nWhen Bikini Tennis Shoes came out we literally couldn\u2019t give the damn
\nthings away. On several occasions friends and family members gave the record
\nback to us saying \u201c I thought that you could give it to someone else who
\nmight be able to \u2018appreciate it more\u2019. Finally Joe came up with the idea of
\ninstructing recipients to \u2018pass it on to a friend\u2019 if they didn\u2019t\u2019t like
\nit. That way they would eventually find a home. Wise-asses would recite
\n\u201cnumber nine, number nine, number nine\u201d because referencing \u2018Revolution
\nNumber 9 \u2018 off the Beatles \u2018 White Album \u2018 was the only way they could get
\na handle on it. We figured if anyone could appreciate it the guys at Poobah
\nRecords would dig it or at least put a few copies in their store.
\nPoobah Record Shop was born in 1971, Jay Green was the den mother of this
\nperennially bohemian establishment. In it\u2019s basement lair in the 100 block
\nof N. Fair Oaks in rundown old Pasadena. LAFMS founding member, Juan Gomez,
\nremembers the indian bedspreads hung around, jazz playing and everyone
\nsporting beards.
\nI only went to the underground location a couple times but I do remember
\nmeeting Tom Recchion.
\nI has tagging along with my brother Joe and we had driven across town
\nfrom the County Strip. A stretch of unincorporated LA County suburbia
\nensnared by a cluster of post war boomed hamlets, namely Alhambra, Arcadia,
\nTemple City, South Pasadena, Rosemead, San Marino and our mailing address
\ncity of San Gabriel. San Gabriel (city with a mission ) got started before
\nLos Angeles by Father Junipero Serra who enslaved the local Indians and
\nbuilt a series of Missions from Mexico to the Bay Area. Joe called it \u201cthe
\ncity with emissions\u201d and back then the first stage smog alerts chain-smoked
\nthrough the summer. Joe started his \u201857 Ford Fairmont by opening the hood
\nand using a big screwdriver to arc from his battery to his starter as he
\ntugged on his gas cable. We drove through snooty squaresville San Marino in
\nthe finned, Grey and White two tone number with the \u201cBeautify America, Shoot
\na Redneck\u201d bumper on the inside drivers door, and into downtown tenderloin
\nPasadena.
\nOld, Old Town Pasadena, by all accounts, was a funky place in the early
\n70\u2019s. About 8 square blocks of seedy urban grit set in a field of mixed
\nsuburbia. It probably doubled for Times Square in Starsky and Hutch, Baretta
\nand Mannix episodes. There were dank pawn shops, smelly dive bars, greasy
\nMexican restaurants, the Free Press Bookstore and the Free Clinic, sleazy
\nAdult Entertainment Center\u2019s, and junky junk stores, mixed in with a few
\npatchouli stinking Hippie head\/boutique\/record\/import\/clothing stores. Lots
\nof unused abandoned office spaces and warehouses. In my mind it\u2019s like 70\u2019s
\nNoir, where there could be a Cassavetes film crew around the corner or I
\ncould imagine seeing Barnaby Jones on the job. The funky scene was populated
\nwith bums, drunks, junkies, tramps, hoods, pimps, whores, creeps, poor and
\nhomeless, ghetto kids, artists and eccentrics. There were lots\u2019o\u2019 crusty
\nold men and scary old hags, plus a smattering of hip suburban teenagers
\nlooking for cool shit to buy cheap. Slumming it.<\/div>\n
At Poobah\u2019s you had a very hip scene thriving at it\u2019s new street level
\nlocation. From the latest Prog imports and jazz classics to all kinds of
\nrock and the bins of used stuff labeled $1.00 & under, 50 cents, 25 cents,
\nFREE. The Seventies was the vinyl decade and they had it all. Tom Recchion
\nworked at Poobah\u2019s and was always enthusiastically pointing out his favorite
\nrecent arrivals. \u201cHave you heard the new Henry Cow record?\u201d He turned us on
\nto some great records and we figured he was someone who might appreciate our
\nnew baby.
\nTom got Bikini Tennis Shoes. He GOT it. Soon, The Los Angeles Free Music
\nSociety started germinating in Tom\u2019s head. Why not create a society to go
\nwith the factitious name? Unbeknownst to Le Forte Four, Poobah\u2019s was also
\nthe a vortex of musical experimentation by members of Tom\u2019s group
\nDoodooettes and also Smegma and Ace & Duce as well as a whole bunch of other
\npals. There was a whole underground scene rattling around. There was a
\nbackroom where after-hours jam sessions ensued without the neighbors
\nfreaking and three or four blocks away, in the derelict Raymond Building,
\nTom had an abandoned office that he used as a music studio.
\nFor us it was a refreshing surprise to meet like minded folks,
\nexperimenters, who had none of the elitist, \u2018What about esthetics?\u2019 attitude
\nthat sneered at us up at Cal Arts where our new album was received with
\nmixed annoyance by the other composers. I\u2019m not sure LAFMS ever \u2018formed\u2019.
\nIt was never a solid. It pooled and oozed and that made it more flexible. We
\nliked Tom\u2019s concept for joining together as the Los Angeles Free Music
\nSociety and his idea for a show in a abandoned ballroom over Poobah\u2019s.
\nLater referred to as the Spaghetti Works Show (named after the restaurant at
\nthe front of the building) it took place on Chinese New Year in January of
\n1975 and featured Ace & Duce, Doodooettes and Le Forte Four. It\u2019s the
\nbirth day of the LAFMS.<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Free Ears Free Ears Part 1 A History of the Los Angeles Free Music Society by Rick Potts It just grew. It was fun, sometimes, mostly and pleasant, like spinning in place. It can be fun but sometimes it makes you feel ill.Once, in 1975, after a Le Forte Four vs. Doodooettes freak-out improvisation, we […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[43],"tags":[],"_links":{"self":[{"href":"http:\/\/smegmamusic.com\/site\/index.php?rest_route=\/wp\/v2\/posts\/261"}],"collection":[{"href":"http:\/\/smegmamusic.com\/site\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/smegmamusic.com\/site\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/smegmamusic.com\/site\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/smegmamusic.com\/site\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=261"}],"version-history":[{"count":2,"href":"http:\/\/smegmamusic.com\/site\/index.php?rest_route=\/wp\/v2\/posts\/261\/revisions"}],"predecessor-version":[{"id":263,"href":"http:\/\/smegmamusic.com\/site\/index.php?rest_route=\/wp\/v2\/posts\/261\/revisions\/263"}],"wp:attachment":[{"href":"http:\/\/smegmamusic.com\/site\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=261"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/smegmamusic.com\/site\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=261"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/smegmamusic.com\/site\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=261"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}