(Music: \u201cNo One Is Perfect\u201d by HoliznaCC0)<\/p>\n
Anne Brice (intro): This is Berkeley Talks, a UC Berkeley News podcast from Strategic Communications at Berkeley. You can follow Berkeley Talks wherever you listen to your podcasts. We\u2019re also on YouTube @BerkeleyNews. New episodes come out every other Friday. You can find all of our podcast episodes, with transcripts and photos, on UC Berkeley News at news.berkeley.edu\/podcasts.<\/p>\n
(Music fades out)<\/p>\n
Chloe Veltman: Hello. Thanks for coming early. Hi everyone. Well, this person needs no introduction. This is Lara Downs. This is her night. My name is Chloe Veltman. I\u2019m a staff correspondent on NPR\u2019s Culture Desk. Happened to be based here in San Francisco. I\u2019ve been here for a long time.<\/p>\n
Lara, you have been traveling all over the place working on this amazing initiative called The Declaration Project. It has many aspects to it. And it also has a connection to tonight. I\u2019m wondering if you can explain to us what the project is and how it relates to what we\u2019re going to be experiencing this evening.<\/p>\n
Lara Downes: Sure. So what happened was I was working with Lincoln Center in New York on a project and they came and asked if I had any thoughts about what I might want to do for the 250th. And that was a long process and it ended up in a commissioning project with Lincoln Center.<\/p>\n
So they\u2019ve commissioned three new works, which I\u2019ll premiere there on July 1. They are titled \u201cLife,\u201d \u201cLiberty\u201d and \u201cPursuit of Happiness,\u201d three new works for piano and orchestra. And so in building that project, I like stories and I started thinking about the story that I wanted to tell and I started doing very deep dive into all of the important voices and all of the important moments going back 250 years, which is very quickly, very overwhelming.<\/p>\n
And then I realized, especially in light of what this time is in America, that maybe I didn\u2019t want to focus so much on the past and maybe I really wanted to focus on the future. So I\u2019m lucky in that my job takes me to many places and I meet many people all the time.<\/p>\n
And so I started infusing into what I normally do some very basic questions like, what do life, liberty and the pursuit of happiness mean to you? What does it mean to you to be an American? What do you envision for the American future? So I\u2019ve been having conversations all over America for the last two years building that project and this project and so many things that I\u2019m doing that are really just sort of reflecting on past, present, future continuum and the power, the immense power, really the immense power of American music in this story.<\/p>\n
(Music: Paul Simon\u2019s \u201cAmerica\u201d performed by Lara Downes)<\/p>\n
Chloe Veltman: And can you share a little bit about how all of this kind of feeds into tonight?<\/p>\n
Lara Downes: Well, it\u2019s music that goes way back. I mean, there are pieces on here that originate long before the founding of this nation, African American spirituals. I think we are marking points in the history, but I think really what I\u2019ve tried to do is to create a very broad landscape of American music. Everyone on this stage is coming from different spaces in that landscape, folk music, Americana, jazz, roots, classical, gospel, and finding all the points of connection, which is just a beautiful thing. We\u2019ve had such an amazing time in our rehearsals, just finding all the places where everything connects.<\/p>\n
(Music: Tank and the Bangas\u2019 \u201cMr. Bluebell\u201d performed by Tank \u201cTarriona\u201d Ball and Invoke)<\/p>\n
Chloe Veltman: Now, I know you\u2019re very interested in thinking about the context of how we think about music and what it means to be a country that\u2019s 250 years old, but where are we at now? So how does music reflect the challenges that this country is facing today?<\/p>\n
Lara Downes: So going back to 2016, we had a presidential election and the next morning I woke up here in California and I had to fly to Louisville, Kentucky to play a concert. I don\u2019t know if y\u2019all remember that day, but it was a very weird day to be anywhere, but especially in airports and airplanes and traveling to a very different state with very different situation.<\/p>\n
I played a concert that night that I will never forget because I was playing American music from an album that had just come out and again, having interaction, conversation with the people who were there. And I think I just learned in that moment how much all of the emotions that we feel about being American, the affection and the nostalgia and the confusion and the sadness and the angers, all of it, all of it really is expressed in the music.<\/p>\n
And so by using the music as a pathway to conversation and reflection, dialogue, it\u2019s become an incredibly powerful tool and I think I see that it\u2019s not just for me. I mean, I think we\u2019re seeing that in the culture. There\u2019s so many musicians who are really coming forward right now with new songs and just new forms of expression and trying to, I think, pull people together in some sort of common space about how we are all living this moment.<\/p>\n
(Music: Willie Nelson\u2019s Changing Skies performed by Lara Downes)<\/p>\n
Chloe Veltman: Yeah. I mean, do you sort of think that music that is kind of protest-driven is the best kind of music for now or are there more subtle ways to present an idea of what it means to be American through music today?<\/p>\n
Lara Downes: Yeah. I mean, I think both things are possible. I did a project around \u201cRhapsody in Blue\u201d and it turned out that in 1924 when Gershwin wrote that piece, which he intentionally described as his vision of the musical kaleidoscope of America and the melting pot, that was the same year that the Johnson-Reed Act was passed and Ellis Island was shut down and there was really this closing of our doors and he was a first generation American.<\/p>\n
And so we can think of \u201cRhapsody in Blue\u201d as protest music if we want to, but I think that music throughout history in all times and places can be music of overt protest, but it can also be music that expresses hope when hope itself is protest. I mean, for me, that\u2019s what we find in the old Negro spirituals, hope was a form of protest for people who were enslaved.<\/p>\n
Chloe Veltman: Yeah. I also been thinking a lot about the musicians who had to leave this country because of things that were very, very difficult throughout history, people who were exiled as well as those who came here.<\/p>\n
I mean, when you think about the people who have fled different countries and come here and created music here, maybe like Arnold Schoenberg, for example, the folks are escaping Europe during the war and then they\u2019re kind of opposite to that, the people who fled this country and went, I don\u2019t know, to places like Paris because racism was so intolerable here, people like Nina Simone, right?<\/p>\n
Do you feel that their musics are somehow similar, that there are points of connection or do you hear a very different kind of sound between these different, the ways in which migration, should we say an exile expresses itself inside and outside America by Americans or others who come here?<\/p>\n
Lara Downes: I think that music of exile, it always has two sides to it, right? It\u2019s what you\u2019re bringing from home and infusing into the new place and it\u2019s also what you\u2019re hearing in the new place and sort of your attempt to belong to that new place. I think that\u2019s really clear.<\/p>\n
I mean, when you talk about Schoenberg, not so much in his specific case, but in that time, all of those musicians who were immigrated during Hitler\u2019s reign in Europe who came here, they were bringing this music that was so precious to them that was representative of this long lineage from which they had also been exiled, but where they put it so often, I mean, the sound of the movies comes from that whole generation who came here.<\/p>\n
So what do you do with that European lush symphonic sound, here\u2019s a new place where it belongs and then that spreads and informs what happens next in American music. So I feel like it\u2019s always just these, what, like branches somehow intertwining.<\/p>\n
Chloe Veltman: Yeah. I\u2019m also curious to hear your thoughts about what the American sound is. Is there a way to identify music as specifically American? Does it have characteristics? I mean, you\u2019ve made such a study your whole career of this American music and it\u2019s so diverse and yet are there things that anchor it and make people think, \u201cAh, that is unmistakably American.\u201d<\/p>\n
Lara Downes: I mean, what do you all think? Don\u2019t you kind of recognize American music when you hear it? I think it\u2019s quite hard to describe it in words, but I think it is just very recognizable. I mean, there are some things, right? I think what we identify as American does have its roots in African origins, those rhythms, those came into our music really early on.<\/p>\n
Lara Downes: So there\u2019s that, but also it is just something about this blended sound. Where else do you hear African and Irish and just all these sounds coming together and we\u2019re so used to it because it happened so early on as soon as people started coming here, their music started connecting.<\/p>\n
(Music: Invoke\u2019s \u201cSun Walker\u201d performed by Invoke)<\/p>\n
You would think after all these years I would have a perfect definition of what American music sounds like and I don\u2019t. It\u2019s just like, \u201cYou know, you know.\u201d (Laughs)<\/p>\n
Chloe Veltman: Is there anything that you gravitate towards specifically? Are there things, I don\u2019t know, harmonic progressions, kinds of rhythms, things that really kind of make you feel like, \u201cOoh, yeah. I\u2019m proud to be an American because of this harmonic progression.\u201d<\/p>\n
Lara Downes: I mean, I do love me some blue notes, yes. In fact, I\u2019m part of this project. We play a group of pianists who play all the Philip Glass piano agent and the producer of that project, well, what she loves about it, we all have very different takes on Glass, but she\u2019s like, \u201cHere comes Lara with her Gershwin Glass,\u201d because whenever I hear, he\u2019s got some, in the particular etudes that I play, there are some blue notes and I\u2019m just kind of digging into them.<\/p>\n
Chloe Veltman: Well, I just can\u2019t even imagine that, Glass.<\/p>\n
Lara Downes: I think that project is coming here actually next season.<\/p>\n
Chloe Veltman: So hang on, these blues notes that you\u2019re putting in though, that\u2019s your own invention or it\u2019s in the music?<\/p>\n
Lara Downes: No, no, the notes are in there. It\u2019s just what I do with them. So my study of music did not begin with American music, it hardly ever does in the world of classical conservatories. So I was probably past my teens when I really started investigating American music.<\/p>\n
So before that I was quite contentedly living in the 18th and 19th centuries in Europe. And when I found this music, all I know is that it resonated. It touched something really deep and instinctive and it\u2019s kept me really busy ever since then.<\/p>\n
Chloe Veltman: Can you identify what it is at the root that grabs you so much or that, after you came out of this period of dutifully studying your Beethoven or whatever you were doing? Yeah.<\/p>\n
Lara Downes: Well, I think there are many aspects to that. And again, the specific ingredients, there are so many, but I think it\u2019s probably a question of belonging. It\u2019s a question of just feeling a belonging. And so for me musically in terms of identity, just connecting with a lineage that was more close to my lived experience as an American person, as a person of color, to find music that had, again, its origins in something that was closer to mine than bearded men who lived on another continent a few centuries ago. So that was nice.<\/p>\n
But I think that\u2019s probably the thing that we all feel when we hear this music. And again, I think because it is coming from so many places, everyone in this room has some point of connection to some piece of that origin. And so I think we do feel this kind of belonging.<\/p>\n
(Music: Stephen Foster\u2019s Hard Times Come Again No More performed by Invoke)<\/p>\n
Chloe Veltman: It\u2019s funny, I\u2019ve been thinking a little bit about what it is that has made me feel like I belong here or felt like I wanted to come here. I\u2019m from England. I\u2019ve been here a long time. I came as a student, but it actually was a song that made me want to move here and it was a song about San Francisco, which my mother, who\u2019s French, used to play for me. Maybe some of you are familiar with it. It\u2019s a song by this French singer-songwriter called Maxime Le Forestier. It\u2019s called \u201cSan Francisco.\u201d Does anyone know \u201cSan Francisco\u201d?<\/p>\n
Lara Downes: I don\u2019t actually. No.<\/p>\n
Chloe Veltman sings lyrics from \u201cSan Francisco\u201d: C\u2019est une maison bleue, Adoss\u00e9e \u00e0 la colline, On y vient \u00e0 pied \u2026 no?<\/p>\n
Lara Downes: No. Fantastic.<\/p>\n
Chloe Veltman: Oh. Yeah, there\u2019s a maison bleu in San Francisco. It\u2019s still there. Actually, when I used to work for KQED, they had me do a podcast. I guess someone was asking about it, so I ended up producing a whole Bay Curious podcast on this thing. Go listen if you are curious about doing \u2026<\/p>\n
But this song when I was a little girl, this idea of San Francisco and by extraction, the United States, it seemed so mythical, so powerful to me because you\u2019ve got this French singer who came here in 1972, was equally taken with this city, with this country as well, wrote this amazing song and this little girl in England\u2019s like, \u201cOh my gosh, this is amazing.\u201d<\/p>\n
Lara Downes: That\u2019s amazing.<\/p>\n
Chloe Veltman: And I end up living here. And I just sort of think a lot about how music can inspire us in that way, even when we don\u2019t even realize that it\u2019s doing that.<\/p>\n
Lara Downes: I\u2019ll tell you a story. A few weeks ago, I was in Brooklyn and I was doing some work in a middle school and I thought they were going to have a piano in the classroom and I had a whole plan. I was going to play for the kids. We were going to talk about things and I got there and there was no piano.<\/p>\n
So instead they had been working with a teaching artist who visits that school on a regular basis and what they were talking about was the question of whether music can change the world. And the kids said, \u201cNo, that\u2019s dumb.\u201d And roundabout thing, but I ended up showing them this video of Nina Simone live in Montreal in I think 1972 and she\u2019s singing the song, \u201cI Wish I Knew How It Would Feel to Be Free.\u201d And it is an epic performance.<\/p>\n
It is so full of every emotion that you can imagine and the kids were pretty mesmerized. And afterwards I asked them, \u201cOK, so 1972 was a time when the country was very divided. There were people who really wanted things to change and there were people who did not want things to change. So there\u2019s probably lots of people who are arguing with each other. So do you think that your mind could more easily have been changed by having an argument with somebody who had a different point of view or do you think your mind would have been changed by hearing this woman sing this song?\u201d<\/p>\n
And they all saw that because right there is that magic equation of emotion and message and meaning and just like this powerful thing that music can do that words cannot do. So by the time I left the classroom, not only did they think that music could change the world, but they thought that they could.<\/p>\n
Chloe Veltman: That\u2019s amazing. Bravo.<\/p>\n
(Audience applause)<\/p>\n
(Music: Sam Cooke\u2019s A Change is Gonna Come performed by Lara Downes)<\/p>\n
And actually I do want to touch on this instrument a little bit, your instrument because the first instrument when you think about, when you think about American music isn\u2019t necessarily the piano, right? We tend to think more perhaps about the banjo, other kinds of instruments, but also this is when you start to think a bit more, it is a quintessentially American instrument. When you think about honky-tonk, you think about, well, Nina Simone, Tom Waits, Stevie Wonder.<\/p>\n
Lara Downes: Ray Charles.<\/p>\n
Chloe Veltman: Yeah. I mean, so many. So I\u2019d just love to hear your thoughts about this particular instrument as a mode of expression for American music.<\/p>\n
Lara Downes: I think it\u2019s a good example, I mean, it\u2019s not true anymore, American houses don\u2019t really have pianos in them anymore, but they used to, I mean, I think the piano used to be a very powerful symbol of aspiration and upward mobility.<\/p>\n
Chloe Veltman: Right. Every middle class household have one?<\/p>\n
Lara Downes: I forget how many piano manufacturers there were in this country before the Second World War. So many. So Scott Joplin, who\u2019s born in 1880, I forget what, in Texarkana and somehow finds \u2026 Oh, I know, he would play the pianos in the houses that his mother cleaned. And then at the same time in Texarkana, because of our stories of migration, there was this German Jewish tutor of a wealthy lumberman\u2019s family and he heard this little boy playing the piano and so he taught him music. He taught him classical music.<\/p>\n
So Scott Joplin always wanted to be a classical composer, which didn\u2019t work out for obvious reasons. But then when he does become the king of ragtime, the reason that ragtime became so popular is because the music publishing was such a thriving business because everybody had a piano in the parlor.<\/p>\n
And so I love this idea of ragtime so quickly getting handed off from these Black musicians, traveling itinerant musicians, who are playing in bars and brothels and everywhere else into these parlors of these proper ladies who are probably playing the music very badly, but just that\u2019s how quickly music can shift, can change hands in American culture.<\/p>\n
Lara Downes: I forget what your question was. So piano, the piano.<\/p>\n
Chloe Veltman: Yeah. I\u2019m just curious about your thoughts about the piano and it\u2019s how it serves American music, I suppose.<\/p>\n
Lara Downes: Yeah. I mean, it\u2019s a big question. I do think that when we\u2019re talking about a change in culture and what the current generation has access to, I do feel like that presence of a piano in that household was a big part of that. It wasn\u2019t necessarily only what happens in schools and whether people can access concert halls, but just having that instrument in the house.<\/p>\n
(Music: Kian Ravaei\u2019s Variations on This Land is Your Land\u00a0performed by Lara Downes)<\/p>\n
But what\u2019s interesting to me is that a different school a couple of weeks ago, a composition class and there are these kids who are writing symphonic scores with just a laptop. So the world moves on. Change is good.<\/p>\n
Chloe Veltman: Yeah, the world moves on 250 years of this country, a lot of us are in a panic about many things and one of those things is AI and AI music, right? And yeah, I mean, where does that fit into the whole picture of how we celebrate the 250th anniversary of this country musically? Does AI have a place in any of this?<\/p>\n
Lara Downes: Probably. I don\u2019t know. But what I do know is that the human beings who are on this stage tonight, it\u2019s always to me magic every time. All these people fly in yesterday and meet for the first time on this stage and just the interchange and the listening and the inspiration that happens. I don\u2019t know. It\u2019s a beautiful thing. Let\u2019s not talk about AI. (Laughs)<\/p>\n
Chloe Veltman: (Laughs)<\/p>\n
Lara Downes: I wanted to set up a little bit these people who are going to be part of the concert who aren\u2019t actually physically here. That\u2019s tech.<\/p>\n
Chloe Veltman: Sure.<\/p>\n
Lara Downes: So I mentioned that I\u2019ve been traveling a lot and talking to a lot of people and what The Declaration Project has been doing is collecting the responses to the questions that I mentioned. So throughout the concert, you\u2019re going to be meeting some of those people who\u2019ve come into my world along the way and you asked what is present in American music and I think all the things are present.<\/p>\n
Lara Downes: It expresses really through at any particular moment in history, whatever\u2019s going on, because there\u2019s always something bad going on and there\u2019s always some movement going on because we move forward all the time. But by sharing this music, by inviting people to know this music, what\u2019s come back my way gives me so much hope and I think that you will find that as well, just what people have been expressing to me.<\/p>\n
I mean, we\u2019re here in the Bay Area and I think it is a bubble and we know that and sometimes we don\u2019t know what\u2019s happening elsewhere, but I\u2019ve been everywhere from Tuskegee, Alabama to Brattleboro, Vermont and Knoxville, Tennessee. And I\u2019ve really tried to move myself outside of the traditional concert hall and really just find the people where they are. And I will tell you that this feeling of belonging and togetherness, it\u2019s a very powerful thing and you\u2019ll hear that tonight in what\u2019s expressed<\/p>\n
(Music: Andre J Thomas\u2019 I Dream A World\u00a0performed by Lara Downes and the Oakland Interfaith Gospel Choir)<\/p>\n
And it\u2019s not through rose-colored glasses. There\u2019s certainly an awareness of all the challenges that are facing us, but I think that there is a desire across sectors to really pull together and to have purpose and to serve community and just for things to be better. So that\u2019s the good news.<\/p>\n
Chloe Veltman: Yeah, I\u2019ll take that. That\u2019s excellent news. I love it. I want to hear a bit more about these three works that you\u2019ve commissioned, was it \u201cLife,\u201d \u201cLiberty,\u201d and the \u201cPursuit of Happiness\u201d? There are some delightful online videos actually where I could only watch two of them. There are three, I only saw two.<\/p>\n
Yeah. So yeah, where we see Lara collaborating, being in this space with these wonderful composers and talking about two of these three pieces, what can you share about how these three commissions came about and how the different composers expressed these ideas? I mean, there\u2019s such massive and seemingly esoteric ideas, I suppose. It\u2019s hard to wrap our heads around life, liberty, and the pursuit of happiness. What does that even mean?<\/p>\n
Lara Downes: Yeah. I mean, what\u2019s been interesting too is when I have been offering these as prompts, it\u2019s not in the context of what did they mean in the Declaration of Independence. It\u2019s really just reflect on these big ideas through a very personal lens and that\u2019s what I invited the composers to do as well.<\/p>\n
So the piece called \u201cLife\u201d is by Valerie Coleman who is, she\u2019s based in New York now. I think she\u2019s composed her in resonance with \u2026 Is she still with Boston? She had a resonance with Boston, who comes from an African American heritage place and her music reflects that sort of some Black Southern influences, but I think she really took the idea in a very intimate and primal sense, just life as being.<\/p>\n
\u201cLiberty,\u201d I asked Arturo O\u2019Farrill to write that piece. He\u2019s a jazz pianist, Mexican jazz pianist, and Arturo\u2019s perspective on music is fully global.<\/p>\n
It\u2019s really just about all of the origin places that all the music comes from. So it doesn\u2019t stop until it goes all the way back to birthplace of everything. I think it\u2019s about the freedom that music has to move around the world and to create new things and new sounds. And then \u201cPursuit of Happiness\u201d is by Christopher Tin, who\u2019s based in L.A. He writes a lot of film scores and it\u2019s a very optimistic piece because the idea is that it\u2019s not the attainment, it\u2019s the pursuit of happiness and also the pursuit of happiness in a collective sense, not just a personal sense.<\/p>\n
So it\u2019s a really great, what do we call it, curtain closer? It\u2019s a happy piece. And yeah, I think it\u2019s going to be a wonderful concert. We have some young people joining the orchestra. It\u2019s a concert that\u2019s very much about also the future in all the ways.<\/p>\n
Chloe Veltman: And this is July 1, right?<\/p>\n
Lara Downes: July 1, yeah.<\/p>\n
Chloe Veltman: In where are you doing it?<\/p>\n
Lara Downes: At Lincoln Center.<\/p>\n
Chloe Veltman: At Lincoln Center, right. So it\u2019s happening right exactly when the whole country more or less is going to be the week that everyone\u2019s going to be really celebrating this 250th anniversary. Yeah.<\/p>\n
So I guess I\u2019m just curious to ask you a little bit about as you\u2019ve traveled around the country and you\u2019ve talked to all these people and you\u2019ve gotten more of a sense of where things stand for people now, especially with regards to music. What are your big takeaways for how we can use music to kind of carry us forward for the next 250 years, hopefully in a way that\u2019s kind and positive?<\/p>\n
Lara Downes: I just think music is going to continue to do the job it\u2019s always done and there are such clear reasons why. I mean, as a person who\u2019s trained in the classical tradition, so my first interface with music when I was a very little girl was music that was 300 years old. I think time has a different meaning for me a little bit.<\/p>\n
Centuries don\u2019t matter so much, but I think that the reason that we keep listening to this music that is centuries old is because it\u2019s human voice, it\u2019s the voice of people who lived on this planet who aren\u2019t here anymore and it\u2019s a window into their world, into their life, into their heart and soul. That\u2019s what lasts. And I think that music certainly in times of trouble has a space of soothing and comfort and also encouragement. So I don\u2019t think that\u2019s going to stop AI or no AI.<\/p>\n
It\u2019s just, I think you know that according to people who know about these things, that there was music before there was speech. It\u2019s a very basic need that we have of expression.<\/p>\n
Chloe Veltman: All right. I think we\u2019ll leave it there. Thank you, Lara. Thanks everyone for listening.<\/p>\n
Lara Downes: Thanks for being here. I hope you liked the show.<\/p>\n
Chloe Veltman: I hope you enjoy the wonderful evening ahead.<\/p>\n
Lara Downes: Thank you.<\/p>\n
(Applause)<\/p>\n
(Music comes up: \u201cThis Little Light of Mine\u201d (traditional) performed by all musicians at the event \u2014\u00a0Judy Collins, Tank \u201cTarriona\u201d Ball, Invoke and the Oakland Interfaith Gospel Choir \u2014 and the audience)<\/p>\n","protected":false},"excerpt":{"rendered":"(Music: \u201cNo One Is Perfect\u201d by HoliznaCC0) Anne Brice (intro): This is Berkeley Talks, a UC Berkeley News…\n","protected":false},"author":2,"featured_media":318068,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[34],"tags":[78153,143,145,144,2239],"class_list":["post-318067","post","type-post","status-publish","format-standard","has-post-thumbnail","category-oakland","tag-events-at-berkeley","tag-oakland","tag-oakland-headlines","tag-oakland-news","tag-performing-arts"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/posts\/318067","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/comments?post=318067"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/posts\/318067\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/media\/318068"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/media?parent=318067"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/categories?post=318067"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/tags?post=318067"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}