{"id":56504,"date":"2015-03-01T10:21:42","date_gmt":"2015-03-01T18:21:42","guid":{"rendered":"https:\/\/juicemagazine.com\/home\/?p=56504"},"modified":"2016-03-09T14:20:42","modified_gmt":"2016-03-09T22:20:42","slug":"clem-burke-of-blondie","status":"publish","type":"post","link":"https:\/\/juicemagazine.com\/home\/clem-burke-of-blondie\/","title":{"rendered":"Clem Burke of Blondie"},"content":{"rendered":"

CLEM BURKE<\/strong>
\n INTERVIEW by STEVE OLSON<\/strong><\/p>\n

A-Rip-Bam-Scram,<\/em><\/strong>
\n Pounding like no other. When you\u2019re pro,<\/em><\/strong>
\n so it goes,<\/em><\/strong>
\n from here to eternity.<\/em><\/strong>
\n Back Beat Boogie\u2026<\/em><\/strong>
\n Understatement…<\/em><\/strong>
\n In the pocket, all his own. It’s business, baby.<\/em><\/strong><\/p>\n

Hi, Clem. How are you doing?<\/strong>
\nI\u2019m great. I couldn\u2019t be better.<\/p>\n

Tell me about the Empty Hearts.<\/strong>
\nThe band is great. I think we\u2019re a rare breed. I don\u2019t really think there are many bands out there that are as good as our band. We\u2019re a classic rock n\u2019 roll band in the best sense of the term. We\u2019re four friends that got together who know how to play really well, and threw around a little bit of Chuck Berry poetry and a couple of really classic guitar riffs and made some really exciting music. I\u2019m really happy and excited and proud of the Empty Hearts album. The more people listen to it, the more they seem to get into it. We got together, maybe a half dozen times in a room and jammed on songs and threw out some lyrics and some grooves and let the music evolve naturally. We were lucky we got Ed Stasium to co-produce the album with us. He\u2019s great. He worked with the Ramones for a long time, and the Smithereens, Talking Heads and Living Colour. He did the \u201cCult of Personality\u201d song. He\u2019s like the fifth member of the band. He\u2019s a big help and a really instinctual producer. His first mandate was no click tracks. He thinks, if you know how to play, you should just go into the studio and do it.<\/p>\n

Excellent. Who\u2019s in the band?<\/strong>
\nAndy Babiuk from the Chesterfield Kings is the bass player. The Chesterfield Kings are forerunners of the whole garage rock movement. Andy is also a writer and an author. He did that Beatles Gear coffee table book and the Rolling Stones Gear book. Wally Palmar of the Romantics is the lead singer, harmonica player and rhythm guitar player. He and I worked together, on and off, for about ten years. I was in the Romantics in the \u201890s, so he and I have a history. Elliot Easton from The Cars is an amazing guitar player, and he and I were trying to put a band together with the late Doug Fieger about ten years ago. Elliot and I always planned on doing something together. We\u2019re all products of the \u201860s British Invasion and Chuck Berry, Little Richard and Gene Vincent. Then there\u2019s the whole glam rock, Small Faces, prior to glam rock thing, so Ian McLagan [R.I.P.] played keyboards on the album. We did the record with a total punk rock attitude of do it yourself. No record company or anything.<\/p>\n

How long did it take to record?<\/strong>
\nIt was ten days with the mixing. The chemistry was there from the first time that we got in the studio. The caliber of the musicianship and the roots of the music, the exuberance and energy we\u2019re giving off\u2026 It\u2019s rock n\u2019 roll. It\u2019s a rock n\u2019 roll record based on the music of the \u201850s, \u201860s and \u201870s.<\/p>\n

Where did you draw your influences to become such a good drummer?<\/strong>
\nEarl Palmer and Hal Blaine, it all really starts there. Earl Palmer played on all the great Little Richard records, like \u201cGood Golly Miss Molly\u201d and Fats Domino. He was the drummer on Eddie Cochran\u2019s \u201cSomethin\u2019 Else\u201d and he was the drummer on \u201cLa Bamba\u201d and \u201cRiver Deep Mountain High\u201d. The last ten years of his life, he was a pretty good friend of mine, and I used to go see him play quite a bit. He was a role model for me. Unbeknownst to me, Hal and Earl were my major influences because they played on every hit record out of L.A. in the \u201860s. I didn\u2019t know their names when I was a kid. Hal did all the Spector stuff. They were my main inspiration. Then there\u2019s Dino Danelli from the Rascals and Jerry Nolan of the New York Dolls and Woody Woodmansey from Spiders From Mars and, obviously, Ringo Starr, Charlie Watts and Keith Moon and people like that.<\/p>\n

What about Krupa?<\/strong>
\nGene Krupa was before my time, but I liked that movement. Sal Mineo was a big influence on me. There was Buddy Rich and Gene Krupa. For me, it really starts with music from the \u201850s, the real roots of rock n\u2019 roll. That\u2019s where it all began, with D.J. Fontana, Elvis\u2019 drummer, and people like that.<\/p>\n

How did you get into rock n\u2019 roll? Did you hear it on the radio or from an older brother or was it just the energy?<\/strong>
\nMost of my generation got into rock n\u2019 roll from the Beatles and the Stones. They re-introduced the world to American blues and soul music and things that were a bit neglected. That led me to a deeper understanding of the basics of where rock n\u2019 roll came from. It\u2019s hard for kids now to believe how important rock n\u2019 roll music was to generations before. Now rock n\u2019 roll has to be like what jazz was like to our generation when rock n\u2019 roll took over. There\u2019s an avid fanatical fan base for it, but it\u2019s not pop music. I wouldn\u2019t call rock n\u2019 roll pop music at all. It\u2019s more like jazz. It\u2019s an American art form, and it\u2019s not really that popular. It\u2019s interesting.<\/p>\n

It\u2019s interesting and also bizarre to me.<\/strong>
\nI think it can still be dangerous. We just played with Robert Plant, with Blondie, and after the show, he came up to me and told me what I did was dangerous, so I took that as a compliment from Robert Plant. [Laughs]<\/p>\n

[Laughs] Right. How did you come up with the name the Empty Hearts?<\/strong>
\nWell, Steven Van Zandt has been a friend for quite some time. I had a band with Steve Jones, from the Sex Pistols, in the \u201880s, called Chequered Past and we did a six-week tour with Little Steven and the Disciples of Soul, which was Steve Van Zandt\u2019s band after he left Bruce Springsteen\u2019s band.<\/p>\n

Was this when he was playing that \u201cSun City\u201d song?<\/strong>
\nThis was before \u201cSun City.\u201d This was when Voice of America was the album. He did an album called Men Without Women and then he did the album, Voice of America, which had songs like, \u201cI Am a Patriot.\u201d That was his political album before \u201cSun City.\u201d I go back with Steve from the \u201880s. When we were doing the Blondie album, Eat To The Beat, the Springsteen band was in the studio next door at the Record Plant doing The River album. We\u2019re both from Jersey, and Steve is good friends with Andy Babiuk, our bass player. Andy was one of the music consultants on the David Chase movie, Not Fade Away. Have you seen that?<\/p>\n

No.<\/strong>
\nDavid Chase, the director of The Sopranos, had a budget to do whatever he wanted to do. He could have done the Godfather IV and taken it to the limit and made gangster movies forever. Instead, he chose to do a movie about growing up in Jersey in the \u201860s, and being in a rock band. The movie is great. James Gandolfini is in it. I went to the NY Film Festival to see it and found it really inspiring. Andy worked with Steven Van Zandt and David Chase on that film. He was the one who made sure all the \u201860s gear in the film was authentic. He had to make sure the right Fender logo was on the guitar and the right mount was on the bass drum and the cymbals and amps were correct. A lot times, in films, the details are a little bit askew. It\u2019s like when you see people try to dress like Marlon Brando and they wear a pair of Levi\u2019s rolled up but, if you don\u2019t see the selvedge denim line on the jeans, it\u2019s just not what it\u2019s supposed to be. \u2018The devil is in the details.\u2019 That\u2019s probably one of my favorite sayings of all time. If you look at signing a classic music business contract, obviously, the devil is in the details there. When people say these things, they really have a lot of meaning, even though they have become trite. It\u2019s like a lot of the things that Oscar Wilde said. \u201cThere is only one thing in life worse than being talked about, and that is not being talked about.\u201d It\u2019s things like that. \u201cWe\u2019re all in the gutter, but some of us are looking at the stars.\u201d That stuff is great. It\u2019s poetry. It\u2019s beautiful. Getting back to Steven Van Zandt, I did an album with the Romantics called 61\/49 and I played on a few tracks that came out when Steven was starting up his Sirius radio program, Little Steven\u2019s Underground Garage. I went to the party for the debut of the station in New York and I pitched the Romantics album to Steven, which is a really great record, and Steven began an association with the Romantics and Wally Palmer, based on that. He has this secret list of band names and he let us take a look at it. The list was great and the name the Empty Hearts didn\u2019t seem to be being used. We all like the Stones song, \u201cEmpty Heart\u201d and then on the Empty Hearts album, we have a song \u201cFill An Empty Heart\u201d so it all lined up. We had the song and Steven had the band name, and it worked. It\u2019s a bit dark, but it\u2019s always good to have a bit of negativity thrown into the mix.<\/p>\n

Without the yin and the yang, you don\u2019t got shit. Do the songs have the same basic structure of a rock n\u2019 roll song?<\/strong>
\nYeah. It\u2019s a rock n\u2019 roll record. There\u2019s no other way to describe it. It\u2019s interesting, with the Internet and the feedback we\u2019re getting, people seem to really be liking it. Of course, that could all be an illusion. People that take the time to comment on the internet, what else are they doing in their lives? I don\u2019t know. I don\u2019t comment on the internet. I like to tweet. I think tweets are the best way. It\u2019s a limited medium and it\u2019s instant. I never did Facebook. I set up a music page on MySpace when it first started out, but I never went on Facebook. I know a lot of people that have gone through trials and tribulations because of Facebook. People didn\u2019t realize when it started that so-and-so was going to see something that so-and-so said and it was all gonna backfire. I never got into Facebook. It\u2019s such an oxymoron, for me, because there\u2019s no privacy being on stage. Of course, if you\u2019re standing on a stage, you\u2019re not trying to be private are you? With the internet, it\u2019s extended beyond the confines of the room and the performance, therefore, there is no privacy on stage anymore. If you say something on stage that might be said in the heat of the moment, it\u2019s not just for that room anymore. It\u2019s going to go out there and there\u2019s no way to prevent it. There\u2019s no way to stop people from bringing their phones into shows. It just isn\u2019t going to happen.<\/p>\n

How do you feel about music on the Internet as an artist and a performer?<\/strong>
\nI feel like the more accessible the better. The Internet has been a tremendous tool for Blondie because it allows younger generations to see what the band was about in the old days. We did a TV show in Sweden in 1978 and we never thought we\u2019d see it again. Now you just press a button and there it is. I think that\u2019s a help in promoting. I think if people really like something, they\u2019ll go above and beyond to get it. I think the business model of the Grateful Dead is the modern day business plan in the music business. The CD is just the promotional part of the whole entity. It\u2019s the promotion for the t-shirt, the gig and music licensing. The music has to be accessible for people to be able to hear it. For young artists, it\u2019s hard to make a living in the old school way. You have to develop your fan base. That\u2019s what\u2019s going to give you an income. It\u2019s not about whether your song is on the Internet for free or not. I think the more accessible the better because that\u2019s the day and age we live in. The Empty Hearts album was posted on YouTube, and I looked at a couple of comments that were like, \u201cThis is great. I\u2019m going to go buy it.\u201d The Grateful Dead had a separate area for people to come in with tape recorders to tape the shows. They never had a major hit record, but every concert was sold out.<\/p>\n

Right. Where did you grow up in Jersey?<\/strong>
\nI grew up in North Jersey, around Hoboken. Manhattan is just on the other side of the river, so I was exposed to the culture of New York City at a very early age. I used to go in and walk around Greenwich Village and look at the hippies when I was a kid, and go to the Fillmore East. Max\u2019s Kansas City and CBGB\u2019s was where I hung out as a late teenager. I moved to Manhattan when I was 18 and lived in a storefront on the Lower East Side.<\/p>\n

How did you get into playing rock n\u2019 roll?<\/strong>
\nIt\u2019s really all I ever wanted to do. I put in my 10,000 hours and I really devoted myself to it. I was in bands when I was in school. It was my whole social life. I never did sports. I never cared about school. Somehow I wound up in college, but it wasn\u2019t my goal to be in college. I was always in bands from the time I was a teenager.<\/p>\n

Why did you pick drums?<\/strong>
\nOne of the reasons was because I\u2019m left-handed. I picked up the guitar left-handed and it was difficult for people to show me how to play. I can play a bit now. With drums, I sat down at a right-handed kit, so I started playing drums, traditionally, although I still tend to lead with my left hand. Ringo Starr is left-handed and Dino Danelli from the Rascals is left-handed, but both play on a traditional right-handed kit. It makes it a little bit different with my style of playing. I\u2019ve been told by other drummers that some of the things that I do are hard to replicate. I think it has to do with me being left-handed and other people being right-handed and trying to do some of the fills that I do. I started playing drums and got together with other musicians and started playing at high school dances, bar mitzvahs and one thing lead to another. I\u2019ve just always done music.<\/p>\n

How did you get into Blondie?<\/strong>
\nThat came out of the streets. We used to all hang out at Club 82 on 82 East 4th Street in Manhattan, which was a gay disco that had rock n\u2019 roll one night a week. The New York Dolls would play there, and a guy called Wayne County had a band called Queen Elizabeth, which became Wayne County & the Electric Chairs. Lenny Kaye, (the guitarist for Patti Smith), Tommy Ramone, Chris Stein, Debbie Harry and David Bowie would hang out at Club 82. That\u2019s where the New York glam rock scene was going on at the time. We all met in that scene. I remember one day, Jerry Nolan, the drummer for the New York Dolls, showed up with a rockabilly haircut, and that was it. He was the first person to cut his hair in that scene. Up until then, everyone looked very rock n\u2019 roll with shag haircuts and things like that. Then I remember Tommy Ramone cut his hair really short and everyone started cutting their hair really short and dressing in black and becoming beatniks. The whole New York music scene in the \u201870s was based on bohemia and the Beat Generation. It was Patti Smith and the influence of William Burroughs and people like that. It wasn\u2019t a \u201cpunk rock\u201d scene. It was a beatnik scene. Everything was very minimal. Blondie, the Ramones, Television and Patti Smith all came out of that aesthetic. That\u2019s where we all met and then we all started playing at CBGB\u2019s. I always compared that to an actor\u2019s workshop where you could go and make your mistakes in public and no one really cared. There was only a handful of people there. Places like that don\u2019t exist today. People say, \u201cOh, if we had a place like CBGB\u2019s today, we would capture it and broadcast it on the internet immediately.\u201d With Blondie, we started playing when we could barely play and then we progressed. We started writing songs and doing it all in public. There were so many people that would stay in their bedrooms and practice all day long and not ever get out in public and play. I thought that was counterproductive. I\u2019m all about the performance and the spontaneity. I think rock n\u2019 roll is like jazz as far as the live performance goes. There\u2019s a lot of room for improvisation. That\u2019s how I look at it when I get on stage.<\/p>\n

Do you love to be on stage?<\/strong>
\nYeah. We just came off this Blondie tour and we played with Jeff Lynne who has reformed the band, E.L.O. We opened for him in front of 50,000 people in Hyde Park in London. The Blondie tour was very interesting. We played with everyone from Justin Timberlake to Thurston Moore\u2019s new band. The Strypes opened up for us in Ireland and we did a show with Gary Clark Jr., the blues guitarist from Austin, who I like a lot. I like touring. We did the iTunes Festival at the Roundhouse in London and Chrissie Hynde opened up for us. That was really fun because we did a tour with The Pretenders in Australia a few years back. I really appreciate the fact that the band, Blondie, that I founded when I was 18 years old, along with Chris and Debbie, is still going. It enables me to do a lot of things. Chris Stein has a new photography book, Negative: Me, Blondie, and the Advent of Punk, and Debbie is always doing acting bits, but we always get back together and do Blondie, so it\u2019s the best of both worlds.<\/p>\n

Excellent. The guys in the Empty Hearts don\u2019t all live in the same city, so take me through how that works.<\/strong>
\nTo get the album together, Wally and Andy, came to L.A. where Elliot and I live and we rehearsed here in L.A. We did the recording in Rochester, NY, where Andy has a recording studio. We all flew to Rochester and woodshedded and then recorded for about ten days.<\/p>\n

It sounds like you still get excited to do new projects.<\/strong>
\nI do. I\u2019m really proud of the Empty Hearts record, and it\u2019s fun to see it build. We created new music that we\u2019re really happy with and the fact that we had a great time doing it made the whole thing worthwhile. Now we want to go out and play that music for people and spread the rock n\u2019 roll. Some people think rock n\u2019 roll is an outmoded cliche form of music. I think it\u2019s a really high-energy, exciting, positive art form.<\/p>\n

I agree.<\/strong>
\nWe\u2019re out to show people what a real rock n\u2019 roll band is like.<\/p>\n

I love rock n\u2019 roll.<\/strong>
\nYou and Joan Jett both. [Laughs]<\/p>\n

Exactly. Why do you think that rock n\u2019 roll has become like a jazz form?<\/strong>
\nWell, for one reason, it\u2019s beyond middle-aged. I was born around the time that Alan Freed coined the phrase \u2018rock n\u2019 roll.\u2019 That\u2019s when rock n\u2019 roll was new. It was young. It\u2019s no longer young. Rock n\u2019 roll is more than 50 years old now. Plenty of the people that play rock n\u2019 roll are older than 50 years old, so it has evolved. As it evolves, it becomes not necessarily a part of youth culture. Pop culture is modern day culture. People are more interested in crappy reality TV shows than they are a Picasso painting. Rock n\u2019 roll is somewhere in the middle. Dance music and computer-generated music is modern pop music. Lady Gaga and Katy Perry and Pharrell is modern music. None of that music is rock n\u2019 roll, to me, and none of those people are rock stars. Little Richard is a rock star. Chuck Berry is a rock n\u2019 roll star. Mick Jagger is a rock n\u2019 roll star. Pharrell is not a rock n\u2019 roll star. He\u2019s a pop star and he\u2019s dominating popular culture. That\u2019s the dichotomy that exists. There\u2019s plenty of young kids that love rock n\u2019 roll music, but it\u2019s not the dominant popular culture force. How many young kids are interested in the Rolling Stones? To you and I, the Rolling Stones are probably the ultimate rock n\u2019 roll band, but lots of people don\u2019t really care. It\u2019s just of another time. It\u2019s the same reason I went to see Elvin Jones play to 50 people, at the Village Vanguard, when he should have been playing to 50,000 people. It\u2019s like Miles Davis. It\u2019s the same thing. Earl Palmer played every Tuesday at this little jazz club, and I would go and see him and he was so inspiring. He played on tons of hit records and he just evolved and continued. He did it all. He played with Frank Sinatra and he played to 50 people. If you consider yourself to be a working musician, which is what I consider myself to be, you play to five people or 5,000 people or 50,000 people. It doesn\u2019t matter. It\u2019s what I do.<\/p>\n

You\u2019ve been doing it for how long?<\/strong>
\nI started my first band when I was 12 years old. There\u2019s been a lot of ups and downs. The funny thing with Blondie is that the appeal is pretty broad and international. We had so much success with Blondie that it has allowed us to have a life and a career. I hate to think, if we were a cult band, what kind of shape we\u2019d all be in. People always go for the obvious, when we all sit down for an interview. They\u2019re throwing out comparisons to Lady Gaga or Madonna to Debbie. I always point out that Debbie is much more like Mick Jagger or David Bowie. She\u2019s not a song and dance person. She\u2019d be the first person to say that. Blondie is a traditional rock n\u2019 roll band. We just happen to have a woman as our front person. When we play, we do our thing for two hours and people go nuts and we make everybody happy and it\u2019s a rock n\u2019 roll experience.<\/p>\n

Talking about Blondie, how was it to go from playing CBGB\u2019s to becoming this huge phenomenon?<\/strong>
\nWell, you don\u2019t get a handbook with the success, and I think there were a lot of mistakes made in the first go-round. The fact that we\u2019ve been together longer this time around really says something. I guess we\u2019re older and wiser. The success was just always building. We did a lot of touring to promote the band when we first started, but, at the height of our success, we never really played. Between 1980 and 1982, which was the peak of Blondie, we never performed live. We did an album and a couple of videos.<\/p>\n

Why?<\/strong>
\nPeople were just caught up in their own things at the time because of the phenomenal success. It wasn\u2019t like we needed to tour to earn money, which is the opposite today. You have to tour to earn money now. You\u2019re not going to earn money just putting out records, which is why we\u2019re always on tour. Early on, we had phenomenal success that enabled us to have a career and not necessarily need to go out on tour. A lot of people got burnt out on touring, although we did some great tours. We toured with David Bowie, Iggy Pop and the Kinks. Then we went to England and toured with great bands like the Buzzcocks.<\/p>\n

How was it opening for the Kinks or Bowie and guys that influenced you as a kid?<\/strong>
\nI have a distinct memory of playing Max\u2019s Kansas City, two shows a night for two nights and getting into an RV after the second show at about 2 am. There was one bed in the RV, and the five of us slept in the bed together, all of Blondie, driving through the night to Canada. We had no idea who was driving, but we wound up in Toronto the next morning. We got to Massey Hall and crashed out in the dressing room before the show and, the next thing I know, the door opens and Iggy Pop and David Bowie walk in. It was very much like a dream sequence. Iggy and I had the same shoes on, these Anello and Davide boots. It was the company that made the shoes for the Beatles. They used to have a shop on Oxford Street. At the time, there was a Polyphonic synthesizer that had just come out and our keyboard player, Jimmy, had one and David was interested in that, so they hit it off. They also had other recreational things in common behind closed doors. It was great. To watch Iggy Pop and David Bowie perform every night, along with the Sales brothers, when I was 18 years old, it was amazing to see. Those friendships have carried on. Those guys were the main influences for us. David Bowie and Spiders from Mars changed my life. I was just hanging out with Woody Woodmansey in London. He and Tony Visconti have a band called Holy Holy and they were doing some gigs where they do The Man Who Sold the World album. Tony produced Bowie\u2019s last album, The Next Day and The Slider. He produced Marc Bolan and Morrissey too. He produced The Man Who Sold the World and he also played bass on that album. That album was never done in its entirety, so there is a collection of musicians in London doing it now. The Institute of Contemporary Arts in London was sponsoring these Bowie events and I did a lecture there last summer. I\u2019m in the middle of trying to write a book as well. I started to go back in time in my mind and I\u2019ve been writing short stories about little incidents. If I put it in that context, it\u2019s good. It\u2019s a work in progress. I have an editor. Chris Charlesworth, who runs Omnibus Press in the U.K. and who ran Melody Maker magazine back in the day. He\u2019s been helping me. He\u2019s an interesting guy. He\u2019s seen and done it all. He toured with the Who and chronicled the rock scene of the \u201870s. He was one of the first people to write about Blondie back in the day.<\/p>\n

FOR THE REST OF THE STORY, ORDER ISSUE #73 AT THE JUICE SHOP\u2026<\/strong><\/a><\/p>\n

\"Clem<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

CLEM BURKE INTERVIEW by STEVE OLSON A-Rip-Bam-Scram, Pounding like no other. When you\u2019re pro, so it goes, from here to eternity. Back Beat Boogie\u2026 Understatement… In the pocket, all his own. It’s business, baby. Hi, Clem. How are you doing? I\u2019m great. I couldn\u2019t be better. Tell me about the Empty Hearts. The band is […]<\/p>\n","protected":false},"author":2,"featured_media":56505,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4027,4028,4034],"tags":[],"class_list":["post-56504","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-featured","category-interviews","category-music-2"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/juicemagazine.com\/home\/wp-content\/uploads\/2015\/12\/CLEMBURKE.jpg","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/posts\/56504","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/comments?post=56504"}],"version-history":[{"count":2,"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/posts\/56504\/revisions"}],"predecessor-version":[{"id":56606,"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/posts\/56504\/revisions\/56606"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/media\/56505"}],"wp:attachment":[{"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/media?parent=56504"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/categories?post=56504"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/tags?post=56504"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}