{"id":2997,"date":"2010-01-31T16:32:14","date_gmt":"2010-01-31T21:32:14","guid":{"rendered":"http:\/\/wayneandwax.com\/?p=2997"},"modified":"2015-01-07T13:53:29","modified_gmt":"2015-01-07T17:53:29","slug":"global-hip-hop","status":"publish","type":"post","link":"https:\/\/wayneandwax.com\/?p=2997","title":{"rendered":"Global Hip-hop"},"content":{"rendered":"

Since I’m in a syllabus sharing<\/a> mood, I figured I should finally get around to posting the one I put together in Spring 2008 for a course on “Global Hip-hop.” A series of case studies examining how hip-hop travels outside the US, what it carries with it, and how people adapt its forms to their own ends, it was a hugely fun class to teach, and I was thrilled by the response at Brandeis. (At 150 students — which is where we finally capped enrollment — it was easily the biggest class I’ve taught, as well as the largest that Music or AAAS had hosted in years.) I’m sorry that I can’t include here all the audio and video that we reviewed (never mind pdfs), but poke around the webz and you’ll find lots of the examples referenced in the readings, as well as many of the articles themselves. <\/p>\n

I’ve posted other syllabi<\/a> here, fyi.<\/p>\n

<\/p>\n

AAAS 135b:
\nGLOBAL HIP-HOP
\n<\/strong><\/p>\n

Spring 2008
\nBrandeis University<\/p>\n

Wayne Marshall
\nFlorence Levy Kay Fellow
\nMusic \/ African and Afro-American Studies<\/p>\n

COURSE DESCRIPTION<\/strong> <\/p>\n

Over the past several years, hip-hop has been heralded as a global phenomenon and an American export par excellence. Although a flurry of books, articles, and college classes have begun to examine the cultural, social, and political significance of hip-hop’s worldwide resonance, studies of the genre rarely focus on the specific ways that hip-hop travels, how it is engaged, represented, reproduced, and changed in various locales around the world, and how it animates local cultural politics despite carrying such strong, and sometimes contradictory, connotations of what it means to be American and African-American. This course considers hip-hop as itself constituted by international movements and exchanges and as a product that circulates globally in complex ways, cast variously as American, African-American, and\/or black, and recast through the cultural logics of the new spaces it enters, the new soundscapes it permeates. <\/p>\n

A host of questions arise in considering the scope and significance of global hip-hop: What does the genre, in its various forms (audio, video, sartorial, etc.), carry with it outside the US? What do people bring to it in new local contexts? How are American ideologies of race and nation mediated by hip-hop’s global reach? Why do some global (which is to say, local) hip-hop scenes fasten onto the genre’s politics of place and community, of struggle and opposition to the status quo, while others appear more enamored with hip-hop’s portrayal of personal gain, hustler archetypes, and conspicuous consumption? How do hip-hop scenes differ from North to South America, North to South Africa, Europe to Asia? What threads unite them? <\/p>\n

In pursuit of such questions, we will read across the emerging literature on global hip-hop as we also explore the growing resources available via the internet, where websites and blogs, MySpace and YouTube and the like, appear to be facilitating a further florescence of international (and peer-to-peer) exchanges around hip-hop. We will consider a number of case studies of hip-hop scenes around the world as well as closely related (and sometimes antagonistic) musical\/stylistic offshoots and hybrids, including: Puerto Rico (reggaeton), Brazil (funk carioca), England (grime), South Africa (kwaito), Tanzania (bongo flava), Jamaica (dancehall), Germany, Japan, Kenya, Cuba, Morocco\/France, and Australia. We will also examine the international roots of hip-hop in multicultural New York and how American hip-hop figures the foreign (as in “orientalist” gestures and other sonic representations of otherness). Larger themes to be explored include postcolonialism and globalization, mass media and migration, race and nation. <\/p>\n

MAIN SOURCES<\/strong><\/p>\n

Basu, Dipannita and Sidney J. Lemelle, eds. The Vinyl Ain\u2019t Final: Hip Hop and the Globalization of Black Popular Culture<\/em>. London; Ann Arbor, MI: Pluto Press, 2006.<\/p>\n

Chang, Jeff. Can\u2019t Stop Won\u2019t Stop: A History of the Hip-hop Generation<\/em>. New York: St. Martin\u2019s Press, 2005.<\/p>\n

Condry, Ian. Hip-hop Japan: Rap and the Paths of Cultural Globalization<\/em>. Durham, NC: Duke University Press, 2006. <\/p>\n

Forman, Murray and Mark Anthony Neal, eds. That’s the Joint!: The Hip-Hop Studies Reader<\/em>. New York: Routledge, 2004. <\/p>\n

Mitchell, Tony, ed. Global Noise: Rap and Hip-Hop Outside the USA<\/em>. Middletown, CT: Wesleyan University Press, 2001.\n<\/p><\/blockquote>\n

COURSE REQUIREMENTS<\/strong> <\/p>\n

20%\t– Class Attendance and Participation<\/strong>: all students are expected to attend all class meetings and to participate in discussions, especially in Thursday sections<\/p>\n

40%\t– Weekly Wikipedia Edits<\/strong>: each week students will make a small but substantive edit or addition to a Wikipedia article related to course materials. Students will also post a brief note to an open thread on LATTE explaining what they have done and why. <\/p>\n

40%\t– Final Paper<\/strong>: a 10-15 page essay investigating a hip-hop scene outside the US: what representations exist and\/or frame the scene’s narrative, how does the global\/local dynamic play out, how does it compare to other places, etc. <\/p>\n

CLASS CALENDAR<\/strong> <\/p>\n

Week 1:<\/strong> Introduction & a Brief History of Hip-hop’s Roots in Multicultural New York <\/p>\n

\nKelley, Robin D.G. \u201cForeward.\u201d In The Vinyl Ain\u2019t Final: Hip Hop and the Globalization of Black Popular Culture<\/em>, ed. By Dipannita Basu and Sidney J. Lemelle, xi-xvii. London; Ann Arbor, MI: Pluto Press, 2006.<\/p>\n

Mitchell, Tony. “Introduction: Another Root\u2014Hip-hop Outside the USA.” In Global Noise: Rap and Hip-Hop Outside the USA<\/em>, 1- 38. Middletown: Wesleyan University Press, 2001. <\/p>\n

Chang, Jeff. \u201cInventos Hip-Hop: An Interview with Eli Jacobs-Fantauzzi.\u201d In Total Chaos: The Art and Aesthetics of Hip-Hop<\/em>, ed. Jeff Chang, 255-261. New York: BasicCivitas \/ Perseus Books, 2006.<\/p>\n

_______. Can’t Stop Won’t Stop: A History of the Hip-hop Generation<\/em>. New York: St. Martins Press, 2005. (Chapters 1-4.) <\/p>\n

Flores, Juan. “Puerto Rocks: Rap, Roots, and Amnesia.” In That’s the Joint!: The Hip-hop Studies Reader<\/em>, 69-86. New York; London: Routledge, 2004. <\/p>\n

Hebdige, Dick. “Rap and Hip-hop: The New York Connection.” In That’s the Joint!: The Hip-hop Studies Reader<\/em>, 223-232. New York; London: Routledge, 2004. <\/p>\n

Marshall, Wayne. “Hearing Hip-hop’s Jamaican Accent.” Institute for Studies in American Music Newsletter<\/em> 34, no. 2 (2005): 8-9, 14-15.
\nhttp:\/\/depthome.brooklyn.cuny.edu\/isam\/NewsletS05\/Marshall.htm<\/a> <\/p><\/blockquote>\n

Week 2:<\/strong> Hip-hop in Jamaica, Jamaica in Hip-hop <\/p>\n

Patterson, Orlando. “Ecumenical America: Global Culture and the American Cosmos.” World Policy Journal<\/em> 11(2): 103-17 (1994). <\/p>\n

Thomas, Deborah. “Modern Blackness; or, Theoretical ‘Tripping’ on Black Vernacular Culture.” In Modern Blackness: Nationalism, Globalization, and the Politics of Culture in Jamaica<\/em>, 230-62. Durham, N.C.: Duke University Press, 2004. <\/p>\n

Kenner, Rob. “Dancehall,” In The Vibe History of Hip-hop<\/em>, ed. Alan Light, 350-7. New York: Three Rivers Press, 1999. <\/p>\n

Marshall, Wayne. “Bling-bling for Rastafari: How Jamaicans Deal with Hip-hop.” Social and Economic Studies<\/em> 55: 1 & 2 (2006): 49- 74.<\/p>\n

_______. “Follow Me Now: The Zigzagging Zunguzung Meme” .\n<\/p><\/blockquote>\n

Week 3:<\/strong> Hip-hop, Reggae, and Reggaeton in Puerto Rico <\/p>\n

Negr\u00f3n-Muntaner, Frances and Raquel Z. Rivera, “Reggaeton Nation.” NACLA News<\/em>. 17 December 2007. <\/p>\n

Santos, Mayra. 1996. “Puerto Rican Underground.” Centro<\/em> 8, no. 1 & 2: 219-231. <\/p>\n

Flores, Juan. 2004. “Creolit\u00e9 in the ‘Hood: Diaspora as Source and Challenge.” Centro<\/em> 16, no. 2 (Fall): 283-289. <\/p>\n

Giovannetti, Jorge L. “Popular Music and Culture in Puerto Rico: Jamaican and Rap Music as Cross-Cultural Symbols.” In Musical Migrations: Transnationalism and Cultural Hybridity in the Americas<\/em>, ed. Frances R. Aparicio and C\u00e1ndida F. J\u00e1quez, 81-98. New York: Palgrave, 2003. <\/p>\n

Marshall, Wayne. “From M\u00fasica Negra to Reggaeton Latino.” In Reading Reggaeton<\/em> (forthcoming, Duke University Press). <\/p><\/blockquote>\n

Week 4:<\/strong> Hip-hop vs. Reggaeton in Cuba <\/p>\n

\nPacini-Hern\u00e1ndez, Deborah and Reebee Garofalo. “Hip Hop in Havana: Rap, Race and National Identity in Contemporary Cuba.” Journal for Popular Music Studies<\/em>, 2000: 1-41. <\/p>\n

Baker, Geoffrey. 2005. “\u00a1Hip hop, Revoluci\u00f3n! Nationalizing Rap in Cuba.” Ethnomusicology<\/em> 49, no. 3: 368-402. <\/p>\n

_______. 2006. “La Habana que no conoces: Cuban rap and the social construction of urban space.” Ethnomusicology Forum<\/em> 15, no. 2: 215-46. <\/p>\n

_______. 2008. “The Politics of Dancing.” In Reading Reggaeton<\/em> (forthcoming, Duke University Press). <\/p>\n

Fairley, Jan. 2008. “How To Make Love With Your Clothes On: Dancing Regeton, Gender and Sexuality in Cuba.” In Reading Reggaeton<\/em> (forthcoming, Duke University Press). <\/p>\n

Wunderlich, Annelise. \u201cCuban Hip-hop: Making Space for New Voices of Dissent.\u201d In The Vinyl Ain\u2019t Final: Hip Hop and the Globalization of Black Popular Culture<\/em>, ed. By Dipannita Basu and Sidney J. Lemelle, 167-79. London; Ann Arbor, MI: Pluto Press, 2006.<\/p>\n

Jacobs-Fantauzzi, Eli. Inventos: Hip Hop Cubano<\/em>. DVD. (2003)<\/p><\/blockquote>\n

Week 5:<\/strong> Hip-hop vs. Funk in Brazil <\/p>\n

\nBehague, Gerard. “Rap, Reggae, Rock, or Samba: The Local and the Global in Brazilian Popular Music (1985-95).” Latin American Music Review<\/em> 27, no. 1 (Spring\/Summer 2006): 79-90. <\/p>\n

Sansone, Livio. “The Localization of Global Funk in Bahia and Rio.” In Brazilian Popular Music & Globalization<\/em>, 135-60. London: Routledge, 2002. <\/p>\n

Y\u00fadice, George. “The Funkification of Rio.” In Microphone Fiends<\/em>, 193-220. London: Routledge, 1994. <\/p>\n

Cumming, Andy. “Who Let the Yobs Out?” (Stylus<\/em>) <\/p>\n

_______. \u201cInterview with DJ Marlboro.\u201d (Hyperdub<\/em>)
\nhttp:\/\/web.archive.org\/web\/20040422141408\/http:\/\/www.hyperdub.com\/ softwar\/marlboro.cfm<\/a><\/p>\n

Scruggs, Greg. \u201cStirring the Pot.\u201d Beat Diaspora<\/em>, 17 December 2007.
\n\thttp:\/\/beatdiaspora.blogspot.com\/2007\/12\/stirring-pot.html<\/a>\n<\/p><\/blockquote>\n

Week 6:<\/strong> Hip-hop meets House in South Africa <\/p>\n

Robinson, Simon. “That’s Kwaito Style.” (Time<\/em>)
\nhttp:\/\/www.time.com\/time\/europe\/html\/040419\/kwaito.html
\n<\/a>
\nClark, Grant. “Kwaito: The Voice of Youth.” (BBC World Service)
\nhttp:\/\/www.bbc.co.uk\/worldservice\/africa\/features\/rhythms\/south africa.shtml<\/a><\/p>\n

Steingo, Gavin. \u201cSouth African Music After Apartheid: Kwaito, the “Party Politic,” and the Appropriation of Gold as a Sign of Success.\u201d Popular Music and Society<\/em>, July 2005.
\nhttp:\/\/findarticles.com\/p\/articles\/mi_m2822\/is_3_28\/ai_n15648564<\/a><\/p>\n

Stanley-Niaah, Sonjah. “Mapping of Black Atlantic Performance Geographies: From Slave Ship to Ghetto.” In Black Geographies and the Politics of Place<\/em>, ed. by Katherine McKittrick and Clyde Woods, 193-217. Cambridge, MA: South End Press, 2007. <\/p>\n

Magubane, Zine. \u201cGlobalization and Gangster Rap: Hip Hop in the Post-Apartheid City.\u201d In The Vinyl Ain\u2019t Final: Hip Hop and the Globalization of Black Popular Culture<\/em>, ed. By Dipannita Basu and Sidney J. Lemelle, 208-29. London; Ann Arbor, MI: Pluto Press, 2006.<\/p>\n

Ariefdien, Shaheen and Nazli Abrahams. \u201cCape Flats Academy: Hip-Hop Arts in South Africa.\u201d In Total Chaos: The Art and Aesthetics of Hip-Hop<\/em>, ed. Jeff Chang, 262-70. New York: BasicCivitas \/ Perseus Books, 2006.<\/p>\n

Salkind, Micah. \u201cKwaito Culture as Nonpolitics In A Black Atlantic Creative Context.\u201d Kwaito Genealogy<\/em>, 13 Dec 2008. http:\/\/kwaitogeneology.wordpress.com\/2008\/12\/13\/kwaito<\/a>\n<\/p><\/blockquote>\n

Week 7:<\/strong> Hip-hop in Kenya, Bongo Flava in Tanzania <\/p>\n

\nLemelle, Sidney J. \u201c\u2018Ni wapi Tunakwenda\u2019: Hip Hop Culture and the Children of Arusha.\u201d In The Vinyl Ain\u2019t Final: Hip Hop and the Globalization of Black Popular Culture<\/em>, ed. By Dipannita Basu and Sidney J. Lemelle, 230-54. London; Ann Arbor, MI: Pluto Press, 2006.<\/p>\n

Rebensdorf, Alicia. \u201c\u2018Representing the Real\u2019: Exploring Appropriations of Hip-hop Culture in the Internet and Nairobi.\u201d Senior Thesis, Lewis & Clark.
\nhttp:\/\/lclark.edu\/~soan\/alicia\/rebensdorf.101.html<\/a><\/p>\n

Ferguson, James. “Of Mimicry and Membership: Africans and the ‘New World Society.'” Cultural Anthropology<\/em> 17, no. 4 (2002): 551-569.<\/p>\n

Martin, Lydia. “Bongo Flava: Swahili Rap from Tanzania (CD review).” (Afropop<\/em>)
\nhttp:\/\/www.afropop.org\/explore\/album_review\/ID\/2604\/ Bongo+Flava:+Swahili+Rap+from+Tanzania<\/a><\/p>\n

Mueller, Gavin. “Bongoflava: The Primer.” (Stylus<\/em>)
\nhttp:\/\/www.stylusmagazine.com\/articles\/pop_playground\/bongoflava-the-primer.htm<\/a><\/p>\n

Wanguhu, Michael. Hip Hop Colony: The Hip Hop Explosion in Africa<\/em>. DVD. (2005)<\/p><\/blockquote>\n

Week 8:<\/strong> Postcolonial UK Soundclash: Hip-hop, Reggae, Grime, and Bhangra <\/p>\n

\nGilroy, Paul. “It’s a Family Affair.” In That’s the Joint!: The Hip- hop Studies Reader<\/em>, 87-94. New York; London: Routledge, 2004. <\/p>\n

Hesmondhalgh, David and Caspar Melville. “Urban Breakbeat Culture: Repercussions of Hip-Hop in the United Kingdom.” In Global Noise: Rap and Hip-Hop Outside the USA<\/em>, 86-110. Middletown: Wesleyan University Press, 2001. <\/p>\n

Frere-Jones, Sasha. “True Grime.” (New Yorker<\/em>)
\nhttp:\/\/www.newyorker.com\/archive\/2005\/03\/21\/050321crmu_music<\/a><\/p>\n

Chang, Jeff. \u201cFuture Shock.\u201d Village Voice<\/em>, 19 January 2004.
\nhttp:\/\/www.villagevoice.com\/music\/0403,chang,50366,22.html<\/a><\/p>\n

Sharma, Sanjay. “Noisy Asians or ‘Asian Noise’?” In Disorienting Rhythms: The Politics of the New Asian Dance Music<\/em>, ed. Sanjay Sharma, John Hutnyk, and Ashwani Sharma, 32-57. London: Zed Books, 1996.<\/p><\/blockquote>\n

Week 9:<\/strong> Hip-hop and Ra\u00ef in France \/ North Africa <\/p>\n

Gross, Joan, David McMurray, and Ted Swedenburg. “Arab Noise and Ramadan Nights: Rai, Rap, and Franco-Maghrebi Identities.” Diaspora<\/em> 3:1 (1994): 3- 39. [Reprinted in The Anthropology of Globalization: A Reader<\/em>, ed. by Jonathan Xavier and Renato Rosaldo, 198-230. Oxford: Blackwell Publishers, 2002.] <\/p>\n

Swedenburg, Ted. “Islamic Hip-hop vs. Islamophobia.” In Global Noise: Rap and Hip-Hop Outside the USA<\/em>, 57-85. Middletown: Wesleyan University Press, 2001. <\/p>\n

Rosen, Jody. \u201cDavid Brooks, Playa Hater.\u201d Slate<\/em>, 10 November 2005.
\nhttp:\/\/www.slate.com\/id\/2130120<\/a><\/p>\n

Prevos, Andre J. M. “Postcolonial Popular Music in France: Rap Music and Hip-Hop Culture in the 1980s and 1990s.” In Global Noise: Rap and Hip-Hop Outside the USA<\/em>, 39-56. Middletown: Wesleyan University Press, 2001. <\/p>\n

Helenon, Veronique. \u201cAfrica on Their Mind: Rap, Blackness, and Citizenship in France.\u201d In The Vinyl Ain\u2019t Final: Hip Hop and the Globalization of Black Popular Culture<\/em>, ed. By Dipannita Basu and Sidney J. Lemelle, 151-66. London; Ann Arbor, MI: Pluto Press, 2006.<\/p>\n

Meghelli, Samir. \u201cInterview with Youcef (Intik).\u201d In Tha Global Cipha: Hip Hop Culture and Consciousness<\/em>, ed. by James G. Spady, H. Samy Alim, and Samir Meghelli. 656-67. Philadelphia: Black History Museum Publishers, 2006.\n<\/p><\/blockquote>\n

Week 10: <\/strong>Hip-hop in Germany <\/p>\n

Bennett, Andy. “Hip-Hop am Main, Rappin’ on the Tyne: Hip-hop Culture as a Local Construct in Two European Cities.” In That’s the Joint!: The Hip-hop Studies Reader<\/em>, 177-200. New York; London: Routledge, 2004. <\/p>\n

Pennay, Mark. “Rap in Germany: The Birth of a Genre.” In Global Noise: Rap and Hip-Hop Outside the USA<\/em>, 111-134. Middletown: Wesleyan University Press, 2001.<\/p>\n

Brown, Timothy S. \u201c\u2018Keeping it Real\u2019 in a Different \u2018Hood: (African-) Americanization and Hip-hop in Germany.\u201d In The Vinyl Ain\u2019t Final: Hip Hop and the Globalization of Black Popular Culture<\/em>, ed. By Dipannita Basu and Sidney J. Lemelle, 137-50. London; Ann Arbor, MI: Pluto Press, 2006.<\/p><\/blockquote>\n

Week 11:<\/strong> Hip-hop in Japan <\/p>\n

Condry, Ian. Hip-hop Japan: Rap and the Paths of Cultural Globalization<\/em>. Durham, NC: Duke University Press, 2006. <\/p>\n

Wood, Joe. “The Yellow Negro.” Transition<\/em> 73 (“The White Issue”): 40-67.\n<\/p><\/blockquote>\n

Week 12:<\/strong> Hip-hop in Australia and the Pacific <\/p>\n

Maxwell, Ian. “Sydney Stylee: Hip-Hop Down Under Comin’ Up.” In Global Noise: Rap and Hip-Hop Outside the USA<\/em>, ed. Tony Mitchell, 259-79. Middletown: Wesleyan University Press, 2001. <\/p>\n

Mitchell, Tony. “Kia Kaha! (Be Strong!): Maori and Pacific Islander Hip-hop in Aotearoa-New Zealand.” In Global Noise: Rap and Hip-Hop Outside the USA<\/em>, ed. Tony Mitchell, 280-305. Middletown: Wesleyan University Press, 2001. <\/p>\n

Henderson, April K. \u201cDancing Between Islands: Hip Hop and the Samoan Diaspora.\u201d In The Vinyl Ain\u2019t Final: Hip Hop and the Globalization of Black Popular Culture<\/em>, ed. By Dipannita Basu and Sidney J. Lemelle, 180-199. London; Ann Arbor, MI: Pluto Press, 2006.\n<\/p><\/blockquote>\n

Week 13:<\/strong> Conclusions: Brave New World Music? <\/p>\n

\nChristgau, Robert. “Planet Rock: The World’s Most Local Pop Goes International.” Village Voice<\/em>, 2 May 2002. http:\/\/www.villagevoice.com\/music\/0219,christgau,34334,22.html<\/a><\/p>\n

Schwartz, Mark. “Planet Rock: Hip Hop Supa National.” In The Vibe History of Hip-hop<\/em>, ed. Alan Light, 361-72. New York: Three Rivers Press, 1999. <\/p>\n

Chang, Jeff. \u201cIt\u2019s a Hip-hop World.\u201d Foreign Policy<\/em> 163, Nov\/Dec 2007, 58-65.<\/p>\n

Host, Vivian (and contributors). “The New World Music.” XLR8R<\/em> 109 (Aug 2007): 64-73. <\/p>\n

Marshall, Wayne. “Global Ghettotech vs. Indie Rock: The Contempo Cartography of Hip”
\nhttp:\/\/wayneandwax.com\/?p=205
\n<\/a><\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

Since I’m in a syllabus sharing mood, I figured I should finally get around to posting the one I put together in Spring 2008 for a course on “Global Hip-hop.” A series of case studies examining how hip-hop travels outside the US, what it carries with it, and how people adapt its forms to their […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[400,31,164,414,76,406,191,291,85,227,184,178,404,402,415,145,140,135,417,257,408,405,66,301,163,75],"class_list":["post-2997","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-academic","tag-bhangra","tag-bongoflava","tag-brazil","tag-cuba","tag-dance","tag-ethno","tag-france","tag-funkcarioca","tag-global","tag-globalghettotech","tag-grime","tag-hip-hop","tag-jamaica","tag-kwaito","tag-newyork","tag-orientalism","tag-poco","tag-puertorico","tag-rai","tag-reggae","tag-reggaeton","tag-southafrica","tag-syllabus","tag-tanzania","tag-uk"],"_links":{"self":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts\/2997","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"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=2997"}],"version-history":[{"count":18,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts\/2997\/revisions"}],"predecessor-version":[{"id":8305,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts\/2997\/revisions\/8305"}],"wp:attachment":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2997"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2997"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2997"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}