{"id":9315,"date":"2019-06-05T07:12:39","date_gmt":"2019-06-05T11:12:39","guid":{"rendered":"http:\/\/wayneandwax.com\/?page_id=9315"},"modified":"2024-10-13T13:51:51","modified_gmt":"2024-10-13T17:51:51","slug":"american-clave","status":"publish","type":"page","link":"https:\/\/wayneandwax.com\/?page_id=9315","title":{"rendered":"American Clave \/ Ragtime Country"},"content":{"rendered":"<p>This page hosts audio &#038; visual media to accompany my June 2020 article, \u201c<a href=\"https:\/\/online.ucpress.edu\/jpms\/article\/32\/2\/50\/110768\/Ragtime-CountryRhythmically-Recovering-Country-s\">Ragtime Country: Rhythmically Recovering Country\u2019s Black Heritage<\/a>\u201d (<a href=\"https:\/\/wayneandwax.com\/academic\/JPMS3202_05_Marshall.pdf\">PDF<\/a>). The essay and\u00a0mega-mix are my contribution to &#8220;<a href=\"https:\/\/online.ucpress.edu\/jpms\/issue\/32\/2\">Uncharted Country<\/a>,&#8221; a special issue of the <em>Journal of Popular Music Studies<\/em> that seeks to respond to this remarkable moment of flux and play in the world of country music and, in the words of editors Nadine Hubbs and Francesca Royster, &#8220;to amplify its generative potential.&#8221; Their call for submissions inspired me to bring into public shape what I believe is a profound story about rhythm and race, one that has drawn me far more deeply into the history of country than I could have imagined. I&#8217;d like to thank Dean and Francesca for their support and feedback, Esther Morgan-Ellis for shepherding things to publication, and all the friends and colleagues I&#8217;ve consulted along the way. It&#8217;s a privilege to be a part of this special issue and to finally share this story.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/wayneandwax.com\/wp\/images\/figure-brazilian-2-3-clave.png\" alt=\"\"  width=\"850\"\/><\/p>\n<p>First things first: the mega-mix! <\/p>\n<p>You can stream (right here, or via <a href=\"https:\/\/www.mixcloud.com\/wayneandwax\/american-clave\/\">Mixcloud<\/a> or <a href=\"https:\/\/soundcloud.com\/wayneandwax\/american-clave-megamix\">Soundcloud<\/a>) or <strong><a href=\"http:\/\/www.wayneandwax.com\/music\/American-Clave-Megamix.mp3\">download [MP3]<\/a><\/strong> the mix in audio form &#8212;  <\/p>\n<!--[if lt IE 9]><script>document.createElement('audio');<\/script><![endif]-->\n<audio class=\"wp-audio-shortcode\" id=\"audio-9315-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"http:\/\/wayneandwax.com\/music\/American-Clave-Megamix.mp3?_=1\" \/><a href=\"http:\/\/wayneandwax.com\/music\/American-Clave-Megamix.mp3\">http:\/\/wayneandwax.com\/music\/American-Clave-Megamix.mp3<\/a><\/audio>\n<p><p> &#8212; or watch along via video to track the transitions as well as artist names, titles, and dates while you listen. (<a href=\"https:\/\/www.youtube.com\/watch?v=yHHAD7yr4RA\">YouTube link<\/a>)<\/p>\n<p><strong>American Clave Mega-Mix<\/strong><br \/>\n<iframe loading=\"lazy\" src=\"https:\/\/drive.google.com\/file\/d\/1LV177F0CTZGurJgswEOTURaUlxATigMy\/preview\" width=\"640\" height=\"480\"><\/iframe><\/p>\n<p>While the full mix crossfades &#8212; more or less in strict chronology &#8212; from ragtime to old time, jump blues to bluegrass, Nashville pop to Detroit techno, some readers\/listeners may prefer to focus on particular lineages &#8212; e.g., hearing the rhythm jump from ragtime string bands to Western swing bands, country-ragtime guitarists to rockabilly soloists, and into the C&#038;W mainstream and nods from rock bands, without the synchronic (but perhaps distracting) presence of jazz, blues, R&#038;B, and so forth. Although I recommend the holistic approach, I have created a couple &#8220;breakout&#8221; versions of the mix &#8212; mini-mega-mixes, I suppose &#8212; to highlight specific stylistic threads: one to plumb the\u00a0country line; another to trace the rhythm&#8217;s presence in rap.\u00a0(I&#8217;m tempted to cook up a disco version too.) <\/p>\n<p>I&#8217;m happy to report that the videos are embedded in the article itself. I appreciate the <a href=\"https:\/\/online.ucpress.edu\/jpms\">UC Press<\/a> supporting this approach to scholarship since corporate platforms are so vulnerable to the enclosures of copyright. On this page, I have embedded those videos via Google Drive or YouTube when permissible. See below for the &#8220;Country Twang&#8221; mix as well as the &#8220;Rap Attack&#8221; version, ft. Run DMC, 50 Cent, Eminem, Kendrick Lamar, and Cardi B (with a little help from Scott Joplin, Louis Armstrong, and Duke Ellington).<\/p>\n<p><strong>Country Twang Mini-Mix<\/strong><br \/>\n<iframe loading=\"lazy\" src=\"https:\/\/drive.google.com\/file\/d\/1ia2fQ7e6lFUCa9XYSX32YQuUapVeB7Tw\/preview\" width=\"640\" height=\"480\"><\/iframe><\/p>\n<p><strong>Rap Attack Mini-Mix<\/strong><br \/>\n<iframe loading=\"lazy\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/H5jXU1pmSV4\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>Below I will offer extended thoughts on the mega-mix as representational practice, as well as further rhythmic disambiguation for those who want to get into the weeds. For now, I will leave you with the abstract and a mashup that helps to frame the central tension of this story.<\/p>\n<blockquote><p>In 1955, Elvis Presley and Ray Charles each stormed the pop charts with songs employing the same propulsive rhythm. Both would soon be hailed as rock\u2019n\u2019roll stars, but today the two songs would likely be described as quintessential examples, respectively, of rockabilly and soul. While seeming by the mid-50s to issue from different cultural universes mapping neatly onto Jim Crow apartheid, their parallel polyrhythms point to a revealing common root: ragtime. Coming to prominence via <em>Maple Leaf Rag<\/em> (1899) and other ragtime best-sellers, the rhythm in question is exceedingly rare in the Caribbean compared to variations on its triple-duple cousins, such as the Cuban clave. Instead, it offers a distinctive, U.S.-based instantiation of Afrodiasporic aesthetics &#8212; one which, for all its remarkable presence across myriad music scenes and eras, has received little attention as an African-American \u201crhythmic key\u201d that has proven utterly key to the history of American popular music, not least for the sound and story of country. Tracing this particular rhythm reveals how musical figures once clearly heard and marketed as African-American inventions have been absorbed by, foregrounded in, and whitened by country music while they persist in myriad forms of black music in the century since ragtime reigned.<\/p><\/blockquote>\n<p><iframe loading=\"lazy\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/vpXffKvgtvg\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>Read the rest, with embedded examples, <a href=\"https:\/\/online.ucpress.edu\/jpms\/article\/32\/2\/50\/110768\/Ragtime-CountryRhythmically-Recovering-Country-s\">at JPMS<\/a>. (Or, if you do not have institutional access, you can find the <a href=\"http:\/\/wayneandwax.com\/academic\/JPMS3202_05_Marshall-Ragtime-Country.pdf\">PDF here<\/a>, sans examples.)\u00a0<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/wayneandwax.com\/wp\/images\/figure-brazilian-2-3-clave.png\" alt=\"\"  width=\"850\"\/><\/p>\n<p><strong>How We Do: Mega-Mix as Form<\/strong><\/p>\n<p>When planning this mix, I faced the quandary of how to illuminate particular lines of influence (i.e., diachronic relationships) while also highlighting synchronic simultaneity and shared reference points. I wanted neither to redraw American color lines nor to obscure how ideas about racial difference\u00a0have informed musical aesthetics and meanings. If Ray Charles and Elvis Presley were both using these rhythms in the same year &#8212; and both were heard as rock\u2019n\u2019roll &#8212; then of course we should listen to them together; on the other hand, while Charles&#8217;s points of reference for the arrangement of \u201cI Got a Woman\u201d were big band swing and small band rhythm &#038; blues, Scotty Moore\u2019s guitar picking points back to Merle Travis and forward to the likes of the Beatles. Communicating all of this in a medium of sequential horizontality &#8212; i.e., a continuous mix that unfolds in time and allows only a certain amount of verticality, or overlap &#8212; is no easy task.<\/p>\n<p>The mega-mix allows for moments of direct juxtaposition as well as sequential development, and I&#8217;ve tried to enlist those aesthetic affordances carefully. I want to acknowledge my debt to all the great DJs who have collectively labored to make the mega-mix the rich vehicle that it is: from such 1980s architects of the form as <a href=\"https:\/\/ddski.com\/double-dee-making-the-lessons\">Double Dee and Steinski<\/a> or <a href=\"https:\/\/medium.com\/cuepoint\/how-the-latin-rascals-mastered-the-megamix-9c81b3e951c8\">the Latin Rascals<\/a>, to blog-era efforts like the thematic mixes of my fellows in the <a href=\"http:\/\/www.weareie.com\/2008\/04\/blogariddims-top-40.html\">Blogariddims<\/a> crew back in 2006-08, to the likes of Nguzunguzu&#8217;s\u00a0inspiring &#8220;<a href=\"https:\/\/soundcloud.com\/nguzunguzu\/moments-in-mixtape\">Moments in Love<\/a>&#8221; mixtape \/ Soundcloud drop &#8212; a mix focused on a single song \/ sample-source and its\u00a0ongoing, transmuting social life &#8212; which I continue to use as a model in my technomusicology classes. Drawing audible lines from track to track offers a powerful way to tell stories about musical histories and relationships, and while I&#8217;ve made <a href=\"http:\/\/wayneandwax.com\/?page_id=2\">many a mega-mix<\/a> over the years (including to <a href=\"http:\/\/wayneandwax.com\/?p=7658\">support<\/a> <a href=\"http:\/\/wayneandwax.com\/?p=7021\">scholarship<\/a>), this is the most mega by far, combining over 170\u00a0recordings dating between 1891 and 2020. (Full tracklist below.)<\/p>\n<p>While I&#8217;ve borrowed lots of tricks from other DJs and mega-mix makers, in a departure from my previous mixes and from mixtape practice more generally, I&#8217;ve taken the poetic license to add some 808 percussion in a follow-the-bouncing-ball (or synth-cowbell!) fashion. I hope this doesn&#8217;t distract or detract, or creates too &#8220;pedagogical&#8221; a vibe, but I want to help some listeners hear the rhythm pop through the texture. Despite the risks (and occasional anachronisms), I quite like the way the 808s provide some sonic glue from old to new, and I couldn&#8217;t resist enlisting regular help from similarly sync&#8217;d drum breaks and 50 Cent&#8217;s iconic American clave chant: &#8220;\/ This \/ Is \/ How \/ We \/ Do &#8221;\t<\/p>\n<p>My selection process has been fairly unscientific on the one hand and somewhat systematic on the other. While I have made attempts to listen carefully for the American clave across various genres and eras for this project, I have collected the majority of my 200+ examples through coincidental, if studious, encounter, especially in the course of prepping and teaching \u201cMusic of the African Diaspora in the United States\u201d at Berklee College of Music each semester for the past five years. It was in that context, and while privately trying to learn <em>Maple Leaf Rag<\/em> on piano, that I began noticing this unnamed rhythm. As the examples mounted, as well as their significance (Elvis and Charles, Joplin and G-Unit, Muddy Waters and Kendrick Lamar, \u201cSing Sing Sing\u201d and \u201cIt Don\u2019t Mean a Thing\u201d!), I began keeping a list &#8212; and then a <a href=\"https:\/\/open.spotify.com\/playlist\/0j5OTV8UQ2bE6KrgTbaFY4?si=bw2Nn0e6TEKiCQdmvjeiZw\">Spotify playlist<\/a> &#8212; for it seemed a remarkable yet widely unremarked musical thread. While my list is no doubt incomplete, it gestures to the breadth and depth of this rhythm\u2019s presence in American popular music. It may also reflect certain biases in my listening: e.g., the surprising number of disco examples may say less about disco&#8217;s special predilection\u00a0for American clave and more about the amount of disco I listen to. But that remains to be seen (and heard). I hope to enlist others in helping round out the picture. The point of this mega-mix is not to \u201cdrop the mic\u201d on this subject and story but, rather, to invite people to listen along and add to the feedback loop that any DJ worth their salt aims to cultivate. <\/p>\n<p><img decoding=\"async\" src=\"https:\/\/wayneandwax.com\/wp\/images\/figure-brazilian-2-3-clave.png\" alt=\"\"  width=\"850\"\/><\/p>\n<p><strong>Further Rhythmic Disambiguation<\/strong><\/p>\n<p>I&#8217;d like to take some space here to say a little more about what makes this rhythm at once so distinctive and so deeply related to kindred rhythms. While American clave resembles several widespread rhythms that combine groups of 3s and 2s in order to produce a polyrhythmic effect, it is not nearly as widely distributed across the Americas, the African diaspora, and musical history as, say, what in Cuba would be called the <em>tresillo<\/em>:<\/p>\n<p>Figure: Tresillo (&#8230;follow the bouncing cowbell&#8230;)<br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-9315-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/wav\" src=\"http:\/\/wayneandwax.com\/wp\/audio\/tresillo.wav?_=2\" \/><a href=\"http:\/\/wayneandwax.com\/wp\/audio\/tresillo.wav\">http:\/\/wayneandwax.com\/wp\/audio\/tresillo.wav<\/a><\/audio><br \/>\n<img decoding=\"async\" src=\"https:\/\/wayneandwax.com\/wp\/images\/figure-tresillo.png\" alt=\"\" width=\"850\"\/><\/p>\n<p>The tresillo is a crucial cell in Cuban music. When combined with a steady 4\/4 accent, it becomes the widely influential <em>habanera<\/em> (which many know today as <em>dembow<\/em>), and one could hear the Cuban clave, which we&#8217;ll come to in a moment, as containing the tresillo at two architectural levels (or degrees of subdivision).\u00a0<\/p>\n<p>But the tresillo is, of course, far more widespread than that. This 3+3+2 rhythm has been the prevailing beat of dancehall reggae since the 1990s (and far older Jamaican folk music), and it can be found in nearly all Caribbean popular and traditional music. Among the Ewe people of Southern Ghana, the rhythm has long been associated with dance and is known as <em>gahu<\/em>. Not surprisingly, the rhythm has been a part of African-American music since the beginning: it underpins the <a href=\"https:\/\/www.youtube.com\/watch?v=r3gr1ghQExs&#038;list=PLOgPOlLEHDDd1h96GRSH6hqf5akESJXj2&#038;index=2\">ring shouts of the Gullah Geechee communities<\/a> of Georgia and South Carolina; some would call it the <em>Charleston<\/em> after <a href=\"https:\/\/www.youtube.com\/watch?v=Hv-EGeLEnko\">James P. Johnson\u2019s 1923 hit<\/a>; the rhythm appears in many of Joplin&#8217;s rags, often contrasted with American clave sections;\u00a0and Ernest Hogan&#8217;s first published composition, \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=fvu_7l52LF4\">La Pas Ma La<\/a>\u201d (1895),\u00a0features a clear habanera-style tresillo, though in that case it may be as much a product of the growing international vogue for Cuban music as a nod to more local roots.\u00a0<\/p>\n<p>By adding a couple accents, or double-hits, it becomes a rhythm synonymous with the late 19th century cakewalk and, by extension, ragtime:<\/p>\n<p>Figure: Cakewalk variation<br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-9315-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/wav\" src=\"http:\/\/wayneandwax.com\/wp\/audio\/cakewalk-variation.wav?_=3\" \/><a href=\"http:\/\/wayneandwax.com\/wp\/audio\/cakewalk-variation.wav\">http:\/\/wayneandwax.com\/wp\/audio\/cakewalk-variation.wav<\/a><\/audio><br \/>\n<img decoding=\"async\" src=\"https:\/\/wayneandwax.com\/wp\/images\/figure-cakewalk.png\" alt=\"\" width=\"850\"\/><\/p>\n<p>This variation on the tresillo defines such paradigmatic ragtime compositions as Kerry Mills\u2019s \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=AT7-J4Yt-oE\">At a Georgia Camp Meeting<\/a>\u201d (1897), one of the genre\u2019s first published hits (which notably invokes the black sacred tradition). The rhythm clearly enjoyed popularity in earlier music of the 19th century, at once animating spirituals such as \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=o20IsHu4-ac\">Been in the Storm So Long<\/a>\u201d or minstrel show mainstays like &#8220;Zip Coon&#8221; (aka &#8220;Turkey in the Straw&#8221;), \u201cOld Dan Tucker&#8221; (&#8220;<a href=\"https:\/\/vimeo.com\/230357870\">Get Out the Way<\/a>&#8220;!), or \u201cCotton-Eyed Joe\u201d &#8212; some of which survive as \u201cold time\u201d tunes in the bluegrass and fiddle repertory, or as the stuff of country line-dances. Tellingly, although distinct from American clave, the \u201ccakewalk\u201d variation of tresillo is also often present in early country music as a vestige of ragtime\u2019s broad early twentieth century resonance: hear it, e.g., in Jimmie Rodgers\u2019s occasional turnaround flourishes on this 1936 rendition of \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=DYG9Q2oO_3Q\">Blue Yodel #1 (T for Texas)<\/a>.\u201d <\/p>\n<p>It&#8217;s safe to say that the use of tresillo rhythms in U.S.\u00a0music outnumbers American clave instances by a factor of scale. (Additionally, as noted in the article, I have yet to find a clear example of American clave in any pre-ragtime U.S. repertory.) American clave is, moreover, not nearly so widespread as Cuban clave. This is certainly true in the wider world, but is even the case in the United States where, among other\u00a0instantiations, the Cuban clave has also been known as the &#8220;Bo Diddley beat&#8221; since the mid-50s\u2014and as such can be heard in everything from garage rock to Brill Building pop to hip-hop.<\/p>\n<p>Figure: Cuban 3-2 clave (aka the Bo Diddley beat)<br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-9315-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/wav\" src=\"http:\/\/wayneandwax.com\/wp\/audio\/cuban-3-2-clave.wav?_=4\" \/><a href=\"http:\/\/wayneandwax.com\/wp\/audio\/cuban-3-2-clave.wav\">http:\/\/wayneandwax.com\/wp\/audio\/cuban-3-2-clave.wav<\/a><\/audio><br \/>\n<img decoding=\"async\" src=\"https:\/\/wayneandwax.com\/wp\/images\/figure-cuban-3-2-clave.png\" alt=\"\"  width=\"850\"\/><\/p>\n<p>Another important difference between the Cuban clave and what I am calling American clave is that, at least in its \u201c3-2\u201d form, the Cuban clave begins its groups of 3s against 2s on the downbeat. As I learned when consulting Ghanaian master drummer Emmanuel Attah Poku at Tufts (as I recount in the article), traditionalists might argue that starting to play 3s against 2s\u00a0<em>on the downbeat<\/em> is the &#8220;right&#8221; way, as also heard in the &#8220;double tresillo&#8221; here, another common pattern in African and Afrodiasporic music:<\/p>\n<p>Figure: Double tresillo, starting &#8220;in the right place&#8221;<br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-9315-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/wav\" src=\"http:\/\/wayneandwax.com\/wp\/audio\/double-tresillo.wav?_=5\" \/><a href=\"http:\/\/wayneandwax.com\/wp\/audio\/double-tresillo.wav\">http:\/\/wayneandwax.com\/wp\/audio\/double-tresillo.wav<\/a><\/audio><br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/wayneandwax.com\/wp\/wp-content\/uploads\/2020\/02\/figure-2-double-tresillo-300x47.png\" alt=\"\" width=\"300\" height=\"47\" class=\"alignnone size-medium wp-image-9509\" srcset=\"https:\/\/wayneandwax.com\/wp\/wp-content\/uploads\/2020\/02\/figure-2-double-tresillo-300x47.png 300w, https:\/\/wayneandwax.com\/wp\/wp-content\/uploads\/2020\/02\/figure-2-double-tresillo-1024x159.png 1024w, https:\/\/wayneandwax.com\/wp\/wp-content\/uploads\/2020\/02\/figure-2-double-tresillo-768x119.png 768w, https:\/\/wayneandwax.com\/wp\/wp-content\/uploads\/2020\/02\/figure-2-double-tresillo-1536x239.png 1536w, https:\/\/wayneandwax.com\/wp\/wp-content\/uploads\/2020\/02\/figure-2-double-tresillo.png 1544w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/p>\n<p>Instead, we might describe American clave as a double tresillo displaced by an eighth note, and it&#8217;s that crucial &#8220;offbeat&#8221; displacement that suggests we might be right to hear this particular polyrhythmic variant as a distinctively U.S. (or, forgive me, &#8220;American&#8221;) approach.<\/p>\n<p>Figure: American clave, aka a displaced double tresillo<br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-9315-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/wav\" src=\"http:\/\/wayneandwax.com\/wp\/audio\/american-clave-full.wav?_=6\" \/><a href=\"http:\/\/wayneandwax.com\/wp\/audio\/american-clave-full.wav\">http:\/\/wayneandwax.com\/wp\/audio\/american-clave-full.wav<\/a><\/audio><br \/>\n<img decoding=\"async\" src=\"https:\/\/wayneandwax.com\/wp\/images\/figure-brazilian-2-3-clave.png\" alt=\"\"  width=\"850\"\/><\/p>\n<p>That said, in its 2-3 form, the Cuban clave also starts on the first offbeat just after the downbeat (i.e., displaced by an eighth note), and differs from the American version by a single, simple, but profound difference: the second accent arrives a sixteenth-note earlier. This difference results in a sense that the rhythm has two parts,\u00a0a \u201c2 side\u201d and a \u201c3 side\u201d &#8212; asymmetrical complements crucial to Cuban clave\u2019s underlying sense of push-and-pull or call-and-response, rather than the steady rolling character created by the more evenly-spaced accents of American clave.<\/p>\n<p>Figure: Cuban 2-3 clave<br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-9315-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/wav\" src=\"http:\/\/wayneandwax.com\/wp\/audio\/cuban-2-3-clave.wav?_=7\" \/><a href=\"http:\/\/wayneandwax.com\/wp\/audio\/cuban-2-3-clave.wav\">http:\/\/wayneandwax.com\/wp\/audio\/cuban-2-3-clave.wav<\/a><\/audio><br \/>\n<img decoding=\"async\" src=\"https:\/\/wayneandwax.com\/wp\/images\/figure-cuban-2-3-clave.png\" alt=\"\" width=\"850\"\/><\/p>\n<p>Though the two rhythms differ by a mere but meaningful sixteenth note, it seems remarkable that the American clave is exceedingly rare if not wholly absent in Cuba while, say, the Cuban clave has enjoyed great presence in the music of the United States. <\/p>\n<p>Another big difference between the Cuban clave and the so-called American clave, as some aficionados might argue, is that in Cuban music the clave is a true rhythmic key around which everything is strictly fit and arranged, rather than simply a \u201cbeat.\u201d (Of course, by that reasoning most uses of the &#8220;Bo Diddley beat&#8221; are also loose adaptations of this musical principle.) As I note in the article, this attitude of looseness or liberty seems to mark a particularly African-American approach to diasporic rhythm, especially in the post-ragtime era.<\/p>\n<p>At this point, some perceptive reader-listeners and experienced drummers will have realized that what I&#8217;m calling American clave is the very same rhythm that some would call the Brazilian 2-3 clave. (This\u00a0is not common terminology in Brazil, however, but among <a href=\"https:\/\/www.youtube.com\/watch?v=gI9H5k_XghI\">percussion pedagogues<\/a>.) The so-called &#8220;Brazilian clave&#8221; in its 3-2 form, like the American clave, differs from the Cuban clave by a single but crucial sixteenth-note:<\/p>\n<p>Figure: Brazilian 3-2 clave<br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-9315-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/wav\" src=\"http:\/\/wayneandwax.com\/wp\/audio\/brazilian-3-2-clave.wav?_=8\" \/><a href=\"http:\/\/wayneandwax.com\/wp\/audio\/brazilian-3-2-clave.wav\">http:\/\/wayneandwax.com\/wp\/audio\/brazilian-3-2-clave.wav<\/a><\/audio><br \/>\n<img decoding=\"async\" src=\"https:\/\/wayneandwax.com\/wp\/images\/figure-brazilian-3-2-clave.png\" alt=\"\"  width=\"850\"\/><\/p>\n<p>Its &#8220;displaced&#8221; or 2-3 variant, which you may have heard played on a rimshot in many a bossa nova, is &#8212; on paper &#8212; indistinguishable from American clave (and, indeed, perhaps inextricable): <\/p>\n<p>Figure: Brazilian 2-3 clave (and\/or American clave)<br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-9315-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/wav\" src=\"http:\/\/wayneandwax.com\/wp\/audio\/american-clave-full.wav?_=9\" \/><a href=\"http:\/\/wayneandwax.com\/wp\/audio\/american-clave-full.wav\">http:\/\/wayneandwax.com\/wp\/audio\/american-clave-full.wav<\/a><\/audio><br \/>\n<img decoding=\"async\" src=\"https:\/\/wayneandwax.com\/wp\/images\/figure-brazilian-2-3-clave.png\" alt=\"\"  width=\"850\"\/><\/p>\n<p>Far as I can tell, Brazil thus offers the rare exception of a site outside the US where this particular rhythm is somewhat commonplace. But\u00a0this rhythm&#8217;s popularity in Brazil may itself be a product of the transnational circulation of ragtime and jazz. As in the case of the United States, I have yet to find pre-ragtime examples of this rhythm in Brazil, though I would welcome\u00a0knowing more about the local genealogy of this rhythm in places like Rio de Janeiro.<\/p>\n<p>One final note (for now): in producing my list of examples and this mega-mix, I have insisted on a relatively rigorous musical definition of the figure in question in order to disambiguate from related but more common patterns: I have included only examples that feature at least 3, and usually 4 (if not 5 or more), &#8220;hits&#8221; beginning on the first off-beat of the measure. I.e.,\u00a0<\/p>\n<p>Figure: 3-count\u00a0American clave<br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-9315-10\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/wav\" src=\"http:\/\/wayneandwax.com\/wp\/audio\/american-clave-3-count.wav?_=10\" \/><a href=\"http:\/\/wayneandwax.com\/wp\/audio\/american-clave-3-count.wav\">http:\/\/wayneandwax.com\/wp\/audio\/american-clave-3-count.wav<\/a><\/audio><br \/>\n<img decoding=\"async\" src=\"https:\/\/wayneandwax.com\/wp\/images\/figure-american-clave-3count.png\" alt=\"\"  width=\"850\"\/><\/p>\n<p>Figure: 4-count American clave<br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-9315-11\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/wav\" src=\"http:\/\/wayneandwax.com\/wp\/audio\/american-clave-4-count.wav?_=11\" \/><a href=\"http:\/\/wayneandwax.com\/wp\/audio\/american-clave-4-count.wav\">http:\/\/wayneandwax.com\/wp\/audio\/american-clave-4-count.wav<\/a><\/audio><br \/>\n<img decoding=\"async\" src=\"https:\/\/wayneandwax.com\/wp\/images\/figure-american-clave-4count.png\" alt=\"\" width=\"850\"\/><\/p>\n<p>This leaves out the large number of recordings, from country to jazz, that use a looping 2+3+3 beat or what we might call an \u201cinverse tresillo\u201d &#8212; as heard in, say, Merle Travis\u2019s \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=CT2K_JbpR64\">Guitar Rag<\/a>\u201d and many other country songs, or in Lee Morgan\u2019s \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=qJi03NqXfk8\">Sidewinder<\/a>&#8221; and its hard-bop ilk.<\/p>\n<p>Figure: Inverse tresillo<br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-9315-12\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/wav\" src=\"http:\/\/wayneandwax.com\/wp\/audio\/inverse-tresillo.wav?_=12\" \/><a href=\"http:\/\/wayneandwax.com\/wp\/audio\/inverse-tresillo.wav\">http:\/\/wayneandwax.com\/wp\/audio\/inverse-tresillo.wav<\/a><\/audio><br \/>\n<img decoding=\"async\" src=\"https:\/\/wayneandwax.com\/wp\/images\/figure-inverted-tresillo.png\" alt=\"\" width=\"850\"\/><\/p>\n<p><strong>Conclusion<\/strong><\/p>\n<p>Despite all this disambiguation and my attempts to frame American clave as distinctive in important ways, I want to close by stressing that this project aims to aid the audibility of a broader unity, not to support nationalist or racialist interpretations.\u00a0As heard at various points in the mix, American clave enjoys remarkable co-presence with Cuban clave and tresillo rhythms of all sorts, sometimes in the same songs (a combination that, again, one mainly finds in the U.S.). This overlap is significant, showing how such rhythms co-mingle\u00a0in the diasporic imagination and enable an audible cultural politics of polyrhythmic affinity. So, let&#8217;s listen along to all these historical actors and their shared offbeat accents. As 50 Cent reminds us, <em>this is how we do<\/em>.\u00a0I&#8217;ve said enough about the <em>this<\/em>, whatever we want to call it.\u00a0I hope these mixes help to reveal the <em>we<\/em> and the <em>how<\/em>. <\/p>\n<p><img decoding=\"async\" src=\"https:\/\/wayneandwax.com\/wp\/images\/figure-brazilian-2-3-clave.png\" alt=\"\"  width=\"850\"\/><\/p>\n<p><strong>American Clave Mega-Mix Tracklist<\/strong><\/p>\n<p>Charles Asbury, <em>Keep in de Middle ob de Road<\/em> (1891)<br \/>\nErnest Hogan, <em>All Coons Look Alike to Me<\/em> (1896)<br \/>\nScott Joplin, <em>Maple Leaf Rag<\/em> (1899)<br \/>\nScott Joplin, <em>Elite Syncopations<\/em> (1902)<br \/>\nW.C. Handy, <em>Memphis Blues<\/em> (composed 1912)<br \/>\nEurope\u2019s Society Orchestra, <em>Down Home Rag<\/em> (1913)<br \/>\nJim Europe\u2019s 369th Infantry \u201cHellfighters\u201d Band,\u00a0<em>Russian Rag<\/em> (1919)<br \/>\nMamie Smith &#038; Her Jazz Hounds, <em>Baby, You Made Me Fall for You<\/em> (1921)<br \/>\nDick Hyman, <em>Nickel in the Slot<\/em> (composed 1923)<br \/>\nJelly Roll Morton, <em>Mamanita<\/em> (1924)<br \/>\nJelly Roll Morton, <em>The Pearls<\/em> (1924)<br \/>\nBen Selvin and His Orchestra, <em>Spanish Shawl<\/em> (1925)<br \/>\nFletcher Henderson, <em>Sugar Foot Stomp<\/em> (1925)<br \/>\nFletcher Henderson, <em>Alabamy Bound<\/em> (1925)<br \/>\nSouth Street Trio, <em>Cold Morning Shout<\/em> (1926)<br \/>\nBennie Moten and his Kansas City Orchestra, <em>Kansas City Shuffle<\/em> (1926)<br \/>\nJelly Roll Morton, <em>Beale Street Blues<\/em> (1927)<br \/>\nDallas String Band, <em>Dallas Rag<\/em> (1927)<br \/>\nBlind Blake, <em>Southern Rag<\/em> (1927)<br \/>\nBlind Blake, <em>Come On Boys Let\u2019s Do That Messin\u2019 Around<\/em> (1927)\u00a0<br \/>\nCannon\u2019s Jug Stompers (Gus Cannon &#038; Blind Blake), <em>Madison Street Rag<\/em> (1928)<br \/>\nMississippi John Hurt, <em>Ain\u2019t No Tellin\u2019<\/em> (1928)<br \/>\nPrater and Hayes, <em>Somethin\u2019 Doin\u2019<\/em> (1928)<br \/>\nLouis Armstrong &#038; His Hot Five, <em>Struttin\u2019 with Some Barbecue<\/em> (1928)<br \/>\nLouis Armstrong &#038; His Savoy Ballroom Five, <em>Mahogany Hall Stomp<\/em> (1929)<br \/>\nJelly Roll Morton, <em>Freakish<\/em> (1929)<br \/>\nRoane County Ramblers, <em>Everybody Two Step<\/em> (1929)<br \/>\nFletcher Henderson, <em>Hot and Anxious<\/em> (1931)<br \/>\nFletcher Henderson, <em>New King Porter Stomp<\/em> (1931)<br \/>\nDuke Ellington, <em>It Don\u2019t Mean a Thing (If It Ain&#8217;t Got That Swing)<\/em> (1932)<br \/>\nFletcher Henderson, <em>Yeah Man!<\/em> (1933)<br \/>\nLouie Bluie, <em>State Street Rag<\/em> (1934)<br \/>\nWillie \u201cThe Lion\u201d Smith and His Cubs, <em>There\u2019s Gonna Be the Devil to Pay<\/em> (1935)<br \/>\nBob Wills &#038; His Texas Playboys, <em>Steel Guitar Rag<\/em> (1936)<br \/>\nBenny Goodman, <em>Sing Sing Sing<\/em> (1938)<br \/>\nGlenn Miller, <em>In the Mood<\/em> (1939)<br \/>\nBlind Boy Fuller, <em>Step It Up and Go<\/em> (1940)<br \/>\nArthur \u201cBig Boy\u201d Crudup, <em>That\u2019s All Right (78 version)<\/em> (1946)<br \/>\nBob Wills &#038; His Texas Playboys, <em>Red Hot Gal of Mine<\/em> (1947)<br \/>\nBill Monroe and His Blue Grass Boys, <em>Blue Grass Special<\/em> (1947)<br \/>\nMuddy Waters, <em>Rollin\u2019 Stone<\/em> (1950)<br \/>\nFlatt &#038; Scruggs, <em>Foggy Mountain Special<\/em> (1954)<br \/>\nThelonious Monk, <em>Locomotive<\/em> (1954)<br \/>\nRay Charles, <em>I Got a Woman<\/em> (1954)<br \/>\nElvis Presley, <em>That\u2019s All Right<\/em> (recorded 1954)<br \/>\nElvis Presley, <em>Mystery Train<\/em> (1955)<br \/>\nChuck Berry, <em>Rockin\u2019 at the Philharmonic<\/em> (1958)<br \/>\nMerle Travis, <em>Cannon Ball Stomp<\/em> (1960)<br \/>\nFats Domino, <em>Let the Four Winds Blow<\/em> (1961)<br \/>\nNina Simone, <em>The House of the Rising Sun<\/em> (1962)<br \/>\nReverend Gary Davis, <em>Twelve Sticks<\/em> (1962)<br \/>\nJohn Fahey, <em>Spanish Dance<\/em> (1963)<br \/>\nJohn Fahey, <em>The Last Steam Engine Train<\/em> (1964)<br \/>\nSam Cooke, <em>Ain\u2019t That Good News<\/em> (1964)<br \/>\nThe Valentinos, <em>It\u2019s All Over Now<\/em> (1964)<br \/>\nJames Brown, <em>Out of Sight<\/em> (1964)<br \/>\nRolling Stones, <em>I Just Want to Make Love to You<\/em> (1964)<br \/>\nThe Who, <em>Out in the Street<\/em> (1965)<br \/>\nThe Beatles, <em>What Goes On<\/em> (1965)<br \/>\nMarty Robbins, <em>Ribbon of Darkness<\/em> (1965)<br \/>\nWillie Bobo, <em>Boogaloo in Room 802<\/em> (1965)<br \/>\nWillie Bobo, <em>Shotgun \/ Blind Man<\/em> (1965)<br \/>\nCannonball Adderley Quintet, <em>Games<\/em> (1966)<br \/>\nElvis Presley, <em>Paradise, Hawaiian Style<\/em> (1966)<br \/>\nDoc Watson, <em>Victory Rag<\/em> (1966)<br \/>\nDoc Watson, <em>Dill Pickle Rag<\/em> (1966)<br \/>\nMax Ochs, <em>Raga \u2013 Pt. 1<\/em> (1967)<br \/>\nThe Doors, <em>Love Me Two Times<\/em> (1967)<br \/>\nMerle Travis, <em>Cannonball Rag<\/em> (1968)<br \/>\nMerle Haggard, <em>Mama Tried<\/em> (1968)<br \/>\nThe Beatles, <em>I Will<\/em> (1968)<br \/>\nDr. John, <em>Danse Fambeaux<\/em> (1968)<br \/>\nSteppenwolf, <em>Magic Carpet Ride<\/em> (1968)<br \/>\nThe Flying Burrito Brothers, <em>My Uncle<\/em> (1969)<br \/>\nLeo Kottke, <em>The Driving of the Year Nail<\/em> (1969)<br \/>\nLeo Kottke, <em>Busted Bicycle<\/em> (1969)<br \/>\nChicago, <em>I\u2019m a Man<\/em> (1969)<br \/>\nKool &#038; the Gang, <em>Give It Up<\/em> (1970)<br \/>\nCredence Clearwater Revival, <em>Lookin\u2019 Out My Back Door<\/em> (1970)<br \/>\nIke Everly (on theJohnny Cash Show), <em>Cannonball Rag<\/em> (1970?)<br \/>\nChet Atkins and Jerry Reed, <em>Cannonball Rag<\/em> (1970)<br \/>\nBilly Garner, <em>I Got Some Pt 1<\/em> (1971)<br \/>\nBooker T. &#038; the MGs, <em>Melting Pot<\/em> (1971)<br \/>\nStevie Wonder, <em>Superstition<\/em> (1972)<br \/>\nThe Trammps, <em>Zing! Went the Strings of My Heart<\/em> (1972)<br \/>\nBarrab\u00e1s, <em>Woman<\/em> (1972)<br \/>\nDr. John, <em>Mess Around<\/em> (1972)<br \/>\nGram Parsons, <em>Ooh Las Vegas<\/em> (1973)<br \/>\nThe Spinners, <em>Sitting on Top of the World<\/em> (1974)<br \/>\nGwen McCrae, <em>Move Me Baby<\/em> (1974)<br \/>\nKeith Jarrett, <em>The K\u00f6ln Concert, Part I<\/em> (1975)<br \/>\nThe Flying Burrito Brothers, <em>Cannonball Rag<\/em> (1975)<br \/>\nBlack Sabbath, <em>Megalomania<\/em> (1975)<br \/>\nRonnie Laws, <em>Always There<\/em> (1975)<br \/>\nDouble Exposure, <em>Ten Percent<\/em> (1976)<br \/>\nStevie Wonder, <em>I Wish<\/em> (1976)<br \/>\nMarvin Gaye, <em>I Want You<\/em> (1976)<br \/>\nAverage White Band, <em>Cut the Cake<\/em> (1976)<br \/>\nHerbie Hancock, <em>Doin\u2019 It<\/em> (1976)<br \/>\nGeorge Benson, <em>Nature Boy<\/em> (1977)<br \/>\nBee Gees, <em>Night Fever<\/em> (1977)<br \/>\nGloria Gaynor, <em>I Will Survive<\/em> (1977)<br \/>\nSylvester, <em>You Make Me Feel (Mighty Real)<\/em> (1978)<br \/>\nJackie Moore, <em>This Time Baby<\/em> (1979)<br \/>\nCandido, <em>Thousand Finger Man<\/em> (1979)<br \/>\nThe Whispers, <em>And the Beat Goes On<\/em> (1979)<br \/>\nPat Metheny, <em>New Chautauqua<\/em> (1979)<br \/>\nInstant Funk, <em>Slap, Slap, Lickedy Lap<\/em> (1979)<br \/>\nLoleatta Holloway, <em>Love Sensation<\/em> (1980)<br \/>\nRichie Havens, <em>Going Back to My Roots<\/em> (1980)<br \/>\nDolly Parton, <em>9 To 5<\/em> (1980)<br \/>\nRick James, <em>Give It to Me Baby<\/em> (1981)<br \/>\nMorley Loon, <em>Amendo Na Nooch<\/em> (1981)<br \/>\nRicky Skaggs, <em>Highway 40 Blues<\/em> (1982)<br \/>\nYes, <em>Changes<\/em> (1983)<br \/>\nCulture Club, <em>Miss Me Blind<\/em> (1983)<br \/>\nVan Halen, <em>Jump<\/em> (1983)<br \/>\nDeniece Williams, <em>Let\u2019s Hear It for the Boy<\/em> (1984)<br \/>\nStrafe, <em>Set It Off<\/em> (1984)<br \/>\nRun DMC, <em>Sucker MC\u2019s<\/em> (1984)<br \/>\nFarley Jackmaster Funk, <em>Aw Shucks (Let\u2019s Go)<\/em> (1985)<br \/>\nTony Rice, <em>When You Are Lonely<\/em> (1985)<br \/>\nGeorge Michael, <em>I Want Your Sex<\/em> (1987)<br \/>\nGeorge Michael, <em>Faith<\/em> (1987)<br \/>\nRhythim Is Rhythim, <em>Strings of Life<\/em> (1987)<br \/>\nSix Brown Brothers, <em>Battery Acid<\/em> (1988)<br \/>\nChaka Khan, <em>Life Is a Dance<\/em> and <em>This Is My Night<\/em> (1989)<br \/>\nNusrat Fateh Ali Khan, <em>Ali Da Malang<\/em> (1991)<br \/>\nSecond Phase, <em>Mentasm<\/em> (1991)<br \/>\nMoby, <em>Go<\/em> (1991)<br \/>\nMarky Mark &#038; the Funky Bunch, <em>Good Vibrations<\/em> (1991)<br \/>\nEric B &#038; Rakim, <em>Don\u2019t Sweat the Technique<\/em> (1992)<br \/>\nDaft Punk, <em>Da Funk<\/em> (1995)<br \/>\nChet Atkins, <em>Jam Man<\/em> (1997)<br \/>\nDon Rigsby, <em>Wings of Angels<\/em> (1998)<br \/>\nMos Def, <em>Fear Not of Man<\/em> (1999)<br \/>\nGrandmaster Flash (+First Choice + party in the back), <em>Salsoul Jam 2000<\/em> (2000)<br \/>\nJagged Edge (feat.Nelly), <em>Where the Party At<\/em> (2001)<br \/>\nKelis, <em>Perfect Day<\/em> (2001)<br \/>\nDaft Punk, <em>Something About Us<\/em> (2001)<br \/>\nDaft Punk, <em>Short Circuit<\/em> (2001)<br \/>\nThe Game (feat. 50Cent), <em>How We Do<\/em> (2005)<br \/>\nJack Rose (and Glenn Jones), <em>Linden Ave Stomp<\/em> (2008)<br \/>\nTony Trischka, <em>John Cohen\u2019s Blues<\/em> and <em>Rainbow Yoshi<\/em> (2008)<br \/>\nGlenn Jones, <em>Barbecue Bob in Fishtown<\/em> (2009)<br \/>\nThe St. Regis String Band, <em>Sally in the Chicken Coop<\/em> (2009)<br \/>\nBuge Cage &#038; Willie B. Thomas, <em>Bugle Call Blues<\/em> (2011)<br \/>\nDaft Punk, <em>Get Lucky<\/em> (2013)<br \/>\nDaft Punk, <em>Touch<\/em> (2013)<br \/>\nShakey Graves, <em>Tomorrow<\/em> (2013)<br \/>\nKenny Sasaki &#038; the Tiki Boys, <em>Hulabilly Baby<\/em> (2014)<br \/>\nChris Stapleton, <em>Traveller<\/em> (2015)<br \/>\nColdplay, <em>Adventure of a Lifetime<\/em> (2015)<br \/>\nKendrick Lamar, <em>Alright<\/em> (2015)<br \/>\nThe Weeknd, <em>Can\u2019t Feel My Face<\/em> (2015)<br \/>\nWilliam Tyler, <em>Kingdom of Jones<\/em> (2016)<br \/>\nCalvin Harris (feat.Future, Khalid), <em>Rollin<\/em> (2017)<br \/>\nBeck, <em>Colors<\/em> (2017)<br \/>\nBlondie, <em>Fun<\/em> (2017)<br \/>\nJanelle Monae, <em>Screwed<\/em> (2018)<br \/>\nMarshmello, <em>Happier<\/em> (2018)<br \/>\nDisclosure (feat. Fatoumata Diawara), <em>Ultimatum<\/em> (2018)<br \/>\nMakaya McCraven, <em>A Queen\u2019s Intro<\/em> (2018)<br \/>\nSteve Gunn, <em>New Moon<\/em> (2018)<br \/>\nChance the Rapper (feat. John Legend), <em>All Day Long<\/em> (2019)<br \/>\nCommon, <em>My Fancy Free Future Love<\/em> (Tom Misch Remix) (2019)<br \/>\nMac Miller, <em>Blue World<\/em> (2020)<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/wayneandwax.com\/wp\/images\/figure-brazilian-2-3-clave.png\" alt=\"\"  width=\"850\"\/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>This page hosts audio &#038; visual media to accompany my June 2020 article, \u201cRagtime Country: Rhythmically Recovering Country\u2019s Black Heritage\u201d (PDF). The essay and\u00a0mega-mix are my contribution to &#8220;Uncharted Country,&#8221; a special issue of the Journal of Popular Music Studies that seeks to respond to this remarkable moment of flux and play in the world [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-9315","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/pages\/9315","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=9315"}],"version-history":[{"count":58,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/pages\/9315\/revisions"}],"predecessor-version":[{"id":9681,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/pages\/9315\/revisions\/9681"}],"wp:attachment":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9315"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}