{"id":2788,"date":"2011-04-29T01:42:11","date_gmt":"2011-04-29T05:42:11","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=2788"},"modified":"2011-04-29T01:43:18","modified_gmt":"2011-04-29T05:43:18","slug":"andrew-burashko","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=2788","title":{"rendered":"ANDREW BURASHKO"},"content":{"rendered":"

Return to<\/strong>: <\/em>Home <\/em><\/a>\/ <\/em>Exclusive Interviews & Profiles<\/em><\/a> \/<\/em> Misc<\/em>ellaneous<\/em><\/a><\/p>\n

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Preamble & Play Review<\/strong><\/p>\n

2011 marks the 100th centenary of Bernard Herrmann\u2019s birthday, and Toronto\u2019s\u00a0Art of Time Ensemble<\/a> recently mounted a live performance of Orson Welles\u2019 1938 radio broadcast version of H.G. Wells\u2019\u00a0The War of the Worlds<\/strong>.<\/p>\n

That alone sounds like a handful, because it would have to include a live band, live foley artist, and contemporary actors recreating the original cast as they performed Howard Koch\u2019s script for eager audiences \u2013 some of whom knew the drama was mockumentary of Martians invading Earth, plus a small minority who believed little green men were in fact landing in the United States\u00a0for real<\/em>.<\/p>\n

Of the select hysterical masses, some members apparently believed the Martian sightings were actually Nazis infiltrating America (it was 1938, after all). That frankly makes those paranoid people look even more silly, because somehow in their little brains existed a short circuited, quick witted judgment call: that little green men in crashed metal saucers were actually Nazis, dressed in some new type of aircraft suits; and that the saucers were super-deadly weapons of mass destruction capable of shooting death rays.<\/p>\n

When Welles was informed by CBS bigwigs that a few noodle-heads were convinced the Earth was being invaded by aliens, he chose to continue without any station identification \/ special caveat announcement for listeners until the play\u2019s concluding soliloquy – a move one could argue was Welles being an artistic prima donna, desiring to maintain the integrity of his theatrical troupe; or a crafty mind who felt a little infamy wasn\u2019t bad for ratings, for juicy P.R., and his own ego.<\/p>\n

What better etching to have on one\u2019s tombstone than \u2018He made people believe in Martians<\/em>\u2019 ?<\/p>\n

Certainly the reams of\u00a0news reports<\/a> that followed made Welles a national \/ international star, paving his way to glide on to Hollywood.<\/p>\n

The original broadcast was in fact recorded on a\u00a0transcription disc<\/a> (like\u00a0this one<\/a>), and over the years has been a available on every kind of media format, although I\u2019ve always felt the original discs needed some speed adjustments, as everything seemed to sound a wee bit too fast.<\/p>\n

The estate of Howard Koch still owns the original script, and every so often someone remounts a live version of what may be the most famous radio show in history. That alone makes that 72 year old production a perfect intro into the world of dramatic radio, where the brain does part of the work in convincing the listener what the actors look like, where the scenes are occurring, and whether Martians are in fact real.<\/p>\n

Unique to the Art of Time Ensemble\u2019s production is the way it was mounted: you, the audience member are merely a fly on the wall of the very same CBS recording studio where Welles and his\u00a0Mercury Theatre<\/a> troupe arrive for another shift, slowly getting ready for another\u2019s day\u2019s work.<\/p>\n

To recreate the events on stage, the stage rear was allotted to the live band, whereas up front to the left rested the foley artist and his array of odd metal objects that would create a farmer\u2019s field, and sweeten \u2018live news feeds\u2019 from within an observatory, buildings in NYC where the rest of the invading aliens are swarming down, and a farmhouse where one man opines on Mankind\u2019s future.<\/p>\n

To the right was step-like Art Deco stage, upon which the actors could perform into the microphones. A large gap in the center stage allowed the actors to converge and vocalize an army on the march, an irritated general barking orders to his troop, and hysterical locals transfixed by the crashed Martian ship.<\/p>\n

A clock was suspended from the ceiling, and would begin to tick from 8pm \u2013 9pm, the same time slot during which the drama was performed; and a red \u2018On the Air\u2019 sign would glow, letting us know we had an hour of fun.<\/p>\n

Nicholas Campbell (Da Vinci\u2019s Inquest<\/strong>) represented the veteran radio actors that populated air waves as well as feature films, often performing narration like Paul Frees, who acted in the 1953 film version of\u00a0War of the Worlds<\/strong> and provided that film\u2019s narration with his magnificent voice. Campbell was the first person to enter the scene, picking up a fallen newspaper, checking the time, and reading a folded paper while occasionally taking sips from a pocket booze tin.<\/p>\n

Once the show begins, Campbell\u2019s actor removes his rumpled, folded mess of script pages, and at one point adjusts his fly because the job is simply that mundane. Don McKellar (Last Night<\/strong>) ostensibly plays Welles, the director and coordinator of the show, making sure everyone meets their cues, follows a few suggested tweaks.<\/p>\n

\u2018Welles\u2019 also maintains a close eye and ear on the musicians, making sure they start and cut out on time \u2013 the latter quite important, since the period songs are supposed to suggest a live ballroom that\u2019s switched over to increasingly dire news briefs from Grover\u2019s Hill, where the first Martian craft has crashed into the earth.<\/p>\n

The play\u2019s first half is faithful to the original drama, and the only major change has Campbell\u2019s dramatic soliloquy being supported by actual score \u2013 absent in the original radio drama.<\/p>\n

The musicians, which switch from chamber orchestra to period jazz band, performed wonderful arrangements of Herrmann\u2019s music from \u201cThe Lonely,\u201d a sad episode from the\u00a0Twilight Zone<\/strong>where a stranded astronaut starts to fall in love with a female robotic companion he initially despised. The music is a statement on solitude and of an uncertain future, and Dan Paar\u2019s arrangements (with beautiful bass clarinet) capture the emptiness Campbell\u2019s actor feels as a lone survivor of humanity who contemplates his future, and soon finds he\u2019s not completely alone.<\/p>\n

McKellar\u2019s Welles is more of a hint of the stentorian, mischievous icon, so that the actor can concentrate on being a ringleader among diverse creative fields in the \u2018live\u2019 studio. His best moments are the subtle exchanges among actors and the foley artist, but the audience never hears their words: it\u2019s all pantomime to maintain the illusion of witnessing a moment in pop culture history.<\/p>\n

John Gzowski<\/a> performed his foley work live, and his character\u2019s intro is actually quite clever. In addition to inspecting his own gallery of \u2018instruments\u2019 he also knocks over a hollowed shell casing, which is later used to evoke the sound of the trap door falling off the Martian craft onto the ground prior to the aliens\u2019 appearance.<\/p>\n

A Slinky toy, suspended and stretched between two poles, formed the alien death ray; a small electrical fan was a military fighter plane losing engine power as it tries to attack an alien craft; and a hung metal sheet was useful for generic crashes, booms, and bangs. There was also a phonograph, from which canned sound effects were spun.<\/p>\n

It\u2019s worth contrasting Burashko\u2019s dramatic recreation with the partial attempt done for \u201cThe Night America Trembled,\u201d a 1957 episode of\u00a0Studio One<\/strong> that focuses on the mass-hysteria among select gullible listeners. Like the 2011 play, the 1957 teleplay has the actors gathering in the studio, and a Wellesian figure coordinating the musicians, actors, and foley artist – the latter also spinning canned effects between original sound effects.<\/p>\n

And it\u2019s also worth noting how many of the performers smoked like chimneys; in Burashko\u2019s production, cigarettes were lit and smoked occasionally, and the grey residue gave the studio\u2019s a \u2018misty\u2019 atmosphere.<\/p>\n

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The Curtain Rise: A Tapestry of Bernard Herrmann\u2019s Film Music<\/strong><\/p>\n

As noted in the programme materials, prior to the arrival of the actors and the play\u2019s proper commencement, the audience was treated to a roughly 30 minute suite of Herrmann themes taken from approximately 20 separate works.<\/p>\n

In his intro to the audience, Burashko explained the curtain rise music was a salute to Herrmann\u2019s birthday, and the music was sync\u2019d to a video mash-up of scenes and dissolves of more or less corresponding images, either from the films, or stock images suggesting the original sources.<\/p>\n

Dan Paar\u2019s musical mash-up had themes being played in whole or part, wafting back into another theme for a few bars, and the swirling suite was performed by an excellent orchestra.<\/p>\n

Part of the fun was seeing Herrmann\u2019s music performed live \u2013 a rare treat for any Herrmann aficionado \u2013 and hearing Paar\u2019s clever arrangements of themes for new instrumental groupings.Psycho<\/strong>, for example, was played with\u00a0brass<\/em>, piano and xylophone, whereas\u00a0Twisted Nerve<\/strong> was performed with a lead whistle (even though the sustained, extreme high notes proved a bit challenging for the musician).<\/p>\n

For the Herrmannites out there, the order of themes went sort of like this:<\/p>\n

Citizen Kane \/ Taxi Driver \/ Garden of Evil \/ Naked and the Dead \/ Day the Earth Stood Still \/ Man Who Knew Too Much \/ Mysterious Island \/ Twilight Zone: \u201cWhere is Everybody?\u201d \/ Vertigo \/\u00a0North by Northwest<\/a> \/ Psycho \/ Cape Fear \/ On Dangerous Ground \/ Twilight Zone theme \/ Sisters \/ Day the Earth Stood Still \/ Vertigo \/ Fahrenheit 451 \/ Vertigo \/ Sisters \/ Twisted Nerve \/ Vertigo \/ North by Northwest \/ Citizen Kane.<\/strong><\/p>\n

The themes from\u00a0North by Northwest<\/strong> and\u00a0Vertigo<\/strong> were a bit overused and extended the suite perhaps 5-10 mins. longer than necessary, but Paar\u2019s arrangements were tremendously fun, and he deserves extra credit for showcasing a few Herrmann scores often overlooked by critics.<\/p>\n

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An Interview with Director Andrew Burashko<\/strong><\/p>\n

On stage, Andrew Burashko functioned as emcee, director, and conductor of the orchestra, taking on the role of Herrmann himself, conducting the orchestra through period ballroom tunes and score material, and on Friday April 1st (you know, April Fool\u2019s Day) the cast stayed after the show for a Q&A session with the audience.<\/p>\n

To compensate for being unable to attend that specific performance, what follows is a Q&A with Burashko, who details some of the aspects in mounting a play that enjoyed sell-out performances during most of the play\u2019s performances between March 31 \u2013 April 3, 2011.<\/p>\n

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Mark R. Hasan<\/strong>: In your introduction to the audience, you mentioned the idea for mounting\u00a0War of the Worlds<\/strong> stemmed from Dan Paar\u2019s insistence that something ought to be done to celebrate the centenary of Bernard Herrmann\u2019s birthday.<\/em><\/p>\n

Andrew Burashko<\/strong>: It wasn\u2019t even that emphatic. He\u2019s a Bernard Herrmann fan.<\/p>\n

MRH<\/strong>: Were you a fan of the composer, in addition to Orson Welles?<\/em><\/p>\n

AB<\/strong>: Oh, absolutely. I\u2019ve never presented anything that I didn\u2019t feel passionate about or had a real connection to. The key to out success, I think, is everything comes from a very genuine place.<\/p>\n

MRH<\/strong>: Had you heard a lot of Herrmann\u2019s music, and for that matter, even a number of Welles\u2019 live radio broadcasts?<\/em><\/p>\n

AB<\/strong>: Regarding Bernard Herrmann\u2019s music, absolutely… I didn\u2019t hear [the Welles] broadcast until the idea came to me to do\u00a0War of the Worlds<\/strong> [WOW].<\/p>\n

When I discovered how little music there was in it, I considered doing maybe other radio plays full of underscoring – the soundtrack is a very big part of every other play that they did – but there was just something about that play, and all the myths surrounding it.<\/p>\n

MRH<\/strong>: Much has been written about the original broadcast and Welles himself, and there have been dramatizations of that night, including a 1957 teleplay (The Night America Trembled<\/a><\/strong>) and a 1975 TV movie (The Night That Panicked America<\/strong>), but their focus was on the mass hysteria caused by the broadcast. Welles & his cast & crew were only seen in vignettes.<\/em><\/p>\n

I liked the way you essentially recreated the 1938 recording environment for the audience. It was a very different concept that I thought worked, and perhaps you can elaborate on where it emanated, and whether it was difficult to organize.<\/em><\/p>\n

AB<\/strong>: It wasn\u2019t difficult. This is the first time I\u2019ve directed anything, [but] I know a bunch of people in the theatre world, and I\u2019ve worked directly with set design and lighting design.<\/p>\n

It was all somehow organic. I wanted to create that environment of the studio and to find that fine line in terms of how it looks: between it looking very realistic so that the audience felt like they were voyeurs, and at the same time (especially towards the end of the play), to transform it into something completely different.<\/p>\n

MRH<\/strong>: You background is originally a composer and musician?<\/em><\/p>\n

AB<\/strong>: As a\u00a0concert pianist<\/a>, actually. That\u2019s what I did for about 14 years.<\/p>\n

MRH<\/strong>: For the directing itself, did you rely on any associates for pointers or tips or suggestions?<\/em><\/p>\n

AB<\/strong>: Absolutely. On all the actors, I had a really great guy named\u00a0Christopher Stanton<\/a> assisting me. He was an invaluable help. It was [also] my first time conducting, and I\u2019d worked with all the musicians\u00a0as a musician<\/em>, [so] I felt comfortable with all of them. I didn\u2019t have anything to prove to them… Every guy in that band gave me direction about what works, what doesn\u2019t work, what\u2019s helpful, what\u2019s not helpful. It was a huge learning experience for me.<\/p>\n

MRH<\/strong>: There\u2019s one aspect of the cast that I really enjoyed, and that\u2019s right at the play’s beginning, where the actors were playing their historical counterparts arriving for what\u2019s essentially another day on the job.<\/em><\/p>\n

AB<\/strong>: Totally.<\/p>\n

MRH<\/strong>: And then just mimicking the camaraderie, and what everybody goes through in their normal morning routine.<\/em><\/p>\n

AB<\/strong>: That was again part of the vision in the beginning. Basically, all the broad strokes were mine \u2013 how it was to look, the fact that it would begin that way, the fact that we would be waiting for Orson.<\/p>\n

I didn\u2019t expect anybody to get it, but when he did this radio broadcast [in 1938], he was hustling like crazy to try to keep his theatre company afloat, so he would be doing 3 or 4 radio shows a day and then rushing back to and from rehearsals at the theatre to these radio gigs, and he actually used to rent an ambulance; there was no law to prohibit the use of an ambulance for brevity or whatever.<\/p>\n

[So] the waiting for Orson was there, and the archetypes of the characters were there, and the fact that the foley would be a major part of the theatre was there. All those moments got filled out by the actors, and it was just a question of keeping the gems and directing them if something wasn\u2019t working.<\/p>\n

MRH<\/strong>: I\u2019m curious if you had an extensive rehearsal time, because the performances were like musicians in a jazz band – glancing over and seeing if the other actor was ready, how they would enter a scene, and when to let someone take over in a fluid action.<\/em><\/p>\n

AB<\/strong>: Do mean like a jazz band in the sense that it was kind of improvised as we went along?<\/p>\n

MRH<\/strong>: I guess maybe behaviorally improvised, where everyone was waiting not just for timing, but entering and exiting a scene in spite of occasionally adding a few touches if it felt right, or to compliment an actor\u2019s prior bit of business. The Orson Welles character at one point walks over to the foley artist and makes suggestions, such as playing the Martian death ray beam a little harder to give listeners a good shock.<\/em><\/p>\n

AB<\/strong>: Absolutely… There are many moments where it needed to feel like they were looking for cues or for timing, or at each other. I mean, they\u00a0were<\/em> pre-determined, but it was different each time. They were such a great cast in terms of their spontaneity, and kind of playing in the moment.<\/p>\n

MRH<\/strong>: I particularly liked the way they stayed in character. Don McKellar basically played a busy-minded, obsessive workaholic; Marc Bendavid was a vain matinee idol, and Nicholas Campbell was my favourite because he played this salty veteran who arrives first into the studio but didn\u2019t remember to pull up his fly until the broadcast was already underway.<\/em><\/p>\n

AB<\/strong>: The Orson Welles character was really directing and controlling everything; he was the one with the vision; he was the one who knew how he wanted it to sound, and the timing and the rhythm of it\u2026. Marc was supposed to be kind of the eager-beaver ing\u00e9nue.<\/p>\n

MRH<\/strong>: For the original radio broadcast audiences, they were used to listening to a few sounds and visualizing the drama in their minds, regardless of the setting or type of drama, but for contemporary audiences, we\u2019re used to having a visual component which we seem to need because without it, a radio drama may seem sort of boring.<\/em><\/p>\n

As an audience member, your whole production seemed cinematic because not only was it a glimpse through a historical window, but there were specific stage elements which, as an audience member, you could focus on whenever you wanted while \u2018the film\u2019 was going on.<\/em><\/p>\n

You could follow an actor and a small gesture, and then glance over to the musicians who were having their own wry chatter when not playing any music, and to the left see the foley artist prepping his audio props and making sure the wiring was tight and nothing was tangled. The fact everyone stayed in character and simulated small behavioral gestures made it easier for modern audiences to watch the recreation of a live radio drama.<\/em><\/p>\n

AB<\/strong>: I\u2019m glad. I would be lying if I said that was calculated, but we were all kind of there to deliver this play. [The characters on stage were] busy because they were all focused on what was going on, and I knew that people would get a kick out of the foley… It was very deliberate to put him right down stage so that everybody could see how he was making those sounds.<\/p>\n

MRH<\/strong>: For myself, the foley was the final hook that drew me into the play because when I read the description, I though \u2018Oh! They\u2019re actually going to have a foley artist and a live band\u2019 When you see his paraphernalia, it\u2019s just amazing.<\/em><\/p>\n

AB<\/strong>: John Gzowski\u2019s job would have been infinitely easier if I wasn\u2019t so obsessed by everything at least looking like it was from 1938. In the end we had to cheat in many ways, but that tied his hands a little bit, you know what I mean? But it also made it more interesting, like the\u00a0Slinky<\/a> thing [which] I don\u2019t think was invented until World War II.<\/p>\n

MRH<\/strong>: Most of the writing in Welles\u2019 productions was very prosaic, and I wonder if it was tough for the actors?<\/em><\/p>\n

AB<\/strong>: Most of the writing in WOW is not Welles. Welles weighed in for sure, but it was mostly\u00a0Howard Koch<\/a>. The thing that gave me confidence to direct this was that all the characters were essentially two-dimensional – they were all pretend.<\/p>\n

We\u2019re trying to make people believe that the Martians have landed, and it\u2019s all about characters, right? The character of the Captain, the character of the Professor – [it] was more about capturing a voice than a full, complex character, so in that sense the text was not difficult, or it wasn\u2019t intimidating in any way.<\/p>\n

MRH<\/strong>: The actors must have gotten a kick out of it, because while it was essentially a handful of people on stage, they were responsible for creating all these different characters which were men of differing ages and dialects, a group undergoing collective mass hysteria, or a foot-stomping army troupe.<\/em><\/p>\n

AB<\/strong>: I hope so. It looked like it.<\/p>\n

MRH<\/strong>: For Bernard Herrmann\u2019s music, I noticed score elements were applied in the play\u2019s second half, and being a Herrmann nut myself, I couldn\u2019t help picking out pieces of music. I\u2019m pretty sure it was \u201cThe Lonely\u201d suite from\u00a0The Twilight Zone<\/strong> that you adapted for the second half.<\/em><\/p>\n

AB<\/strong>: Yeah, that was all Dan Paar\u2019s doing, and also something the pianist also pointed out. You know, my attention during rehearsal was going in a million directions, and I don\u2019t know if you remember, but the first 3 notes of the underscoring on the bass clarinet \u2013 again, it\u2019s like a testament to Dan\u2019s cleverness – but they were from the Holst suite\u00a0The Planets<\/a><\/strong>, from the movement \u201cMars<\/a>\u201d which he snuck.<\/p>\n

MRH<\/strong>: The curtain rise suite was more of a mash-up of Herrmann motifs with themes carefully woven together, and every so often going back and quoting or riffing something heard earlier.<\/em><\/p>\n

AB<\/strong>: Exactly, and superimposing and using themes from one movie, or sneaking them back in once we\u2019ve already gone on to another movie. That was all Dan\u2019s doing.<\/p>\n

MRH<\/strong>: He also focused on a number of scores that aren\u2019t well known. I liked the fact\u00a0The Naked and the Dead<\/strong> (1958) was woven in there, and the pilot episode of\u00a0The Twilight Zone<\/strong>, \u201cWhere is Everybody?\u201d (1959).<\/em><\/p>\n

That particular episode is emblematic of the simple writing Herrmann used to convey some really eerie moods, and moments of human vulnerability, particularly the sense of a character slowly discovering something horrible, and reacting in gradual stages.<\/p>\n

Last question<\/em>: For the production itself, most of the shows were pretty much sold out. Was WOW a difficult production to mount, and do you have eyes on another production in the near future?<\/p>\n

AB<\/strong>: Yeah, it was the biggest thing we had ever attempted until that point, just in terms of scope and money. It was a milestone of sorts for us, but we do 6 or 7 projects a year. Next season is already planned, and we\u2019re going to do another big theatrical thing which is completely different, [and] that Daniel Brooks is going to direct.<\/p>\n

It\u2019s a very beautiful piece. It\u2019s going to be done at CanStage. There\u2019s a book of correspondences between\u00a0John Berger<\/a> (who\u2019s one of my favourite writers) and John Christie, whom I hadn\u2019t heard of before [but] was a British filmmaker and painter, and was a close friend of Berger.<\/p>\n

[Their exchanges] are remarkably poetic. They\u2019re almost love letters between two guys who really admire each other and want to impress each other or move each other, and they\u2019re all meditations on colour, in terms of literature and music and nature.<\/p>\n

The BBC did a radio show, and they took 15 of those letters and had Gavin Bryars, a British composer, underscore them, so we\u2019re going to stage that with a live band and two actors, and animation and colour, and I\u2019m sort of in the midst of figuring that one out now.<\/p>\n

Editor\u2019s note: the music from Bryars\u2019 2002 production, \u201cI send you this cadmium red<\/a>,\u201d is available on\u00a0CD<\/a>, as is Berger\u2019s\u00a0book<\/a><\/em>.<\/p>\n

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KQEK.com would like to thank Andrew Burashko for his generous time.<\/em><\/p>\n

For more information on The Art of Time Ensemble, visit their\u00a0website<\/a>.<\/em><\/p>\n

All images remain the property of their copyright holders.<\/em><\/p>\n

This interview \u00a9 2011 by Mark R. Hasan<\/em><\/p>\n

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Return to<\/em><\/strong>: <\/em>Home <\/em><\/a>\/ <\/em>Exclusive Interviews & Profiles<\/em><\/a> \/ Misc<\/em>ellaneous<\/em><\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Return to: Home \/ Exclusive Interviews & Profiles \/ Miscellaneous . Preamble & Play Review 2011 marks the 100th centenary of Bernard Herrmann\u2019s birthday, and Toronto\u2019s\u00a0Art of Time Ensemble recently mounted a live performance of Orson Welles\u2019 1938 radio broadcast version of H.G. Wells\u2019\u00a0The War of the Worlds. That alone sounds like a handful, because […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[11],"tags":[434,97,435,436],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-IY","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/2788"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2788"}],"version-history":[{"count":5,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/2788\/revisions"}],"predecessor-version":[{"id":2793,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/2788\/revisions\/2793"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2788"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2788"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2788"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}