{"id":145410,"date":"2024-09-15T06:00:00","date_gmt":"2024-09-15T13:00:00","guid":{"rendered":"https:\/\/acousticguitar.com\/?p=145410"},"modified":"2024-09-13T09:41:20","modified_gmt":"2024-09-13T16:41:20","slug":"margaret-glaspy-connects-with-her-younger-self-and-an-old-gibson-l-00-on-the-sun-doesnt-think","status":"publish","type":"post","link":"https:\/\/acousticguitar.com\/margaret-glaspy-connects-with-her-younger-self-and-an-old-gibson-l-00-on-the-sun-doesnt-think\/","title":{"rendered":"Margaret Glaspy Connects with Her Younger Self\u2014and an Old Gibson L-00\u2014on \u2018The Sun Doesn\u2019t Think\u2019"},"content":{"rendered":"\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Take a Guitar Lesson with Margaret Glaspy\" width=\"1290\" height=\"726\" src=\"https:\/\/www.youtube.com\/embed\/rqdtNkS1gII?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Near the beginning of the video to her recent song \u201cAct Natural,\u201d singer and songwriter Margaret Glaspy appears to pull off the impossible feat of changing instruments as often as every beat, cycling through a Danocaster, Rickenbacker, Teisco, National, and others in dizzying sequence. It feels like a celebration of the electric guitar, and, come to think of it, so too does Glaspy\u2019s work in general. Many of her tunes put the instrument in the foreground, with finely crafted riffs that feel spontaneous and transgressive\u2014all at the service of the song.&nbsp;<\/p>\n\n\n\n<p>At the same time, Glaspy has a deep and authentic connection to the acoustic world. The Northern California native, now 35, grew up playing the fiddle and performing regularly in the National Oldtime Fiddlers\u2019 Contest and Festival before switching to guitar and songwriting. Many of the rock band and synth-driven songs on her three captivating solo albums\u2014<em><a href=\"https:\/\/amzn.to\/4c68aij\">Emotions and Math <\/a><\/em>(2016), <em><a href=\"https:\/\/amzn.to\/4drYDU5\">Devotion<\/a><\/em> (2020), and <em><a href=\"https:\/\/amzn.to\/3ymSA4a\">Echo the Diamond<\/a> (2023)\u2014<\/em>originated on the acoustic guitar. And Glaspy has hinted at her acoustic side in recent years, whether playing a cover of Sade\u2019s \u201cBy Your Side\u201d on her Collings OM1A JL in a pandemic video from home, or her song \u201cTurn the Engine\u201d on her Waterloo WL-14 in an informal performance she filmed for <em>Fretboard Journal.<\/em><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Margaret Glaspy - The Sun Doesn&#039;t Think (Official Audio)\" width=\"1290\" height=\"726\" src=\"https:\/\/www.youtube.com\/embed\/ue3frTsOzHA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>But it wasn\u2019t until a recent solo acoustic tour that Glaspy played for a public audience with just her steel-string guitar for the first time in her professional life, a format she found freeing both literally and metaphorically. And while touring, she wrote a fresh set of songs, which she recorded in an informal solo acoustic setting with a minimum of takes for her most recent EP, <em><a href=\"https:\/\/amzn.to\/3Xt8DWy\">The Sun Doesn\u2019t Think.<\/a><\/em><\/p>\n\n\n\n<p>I chatted with Glaspy via Zoom from her home in New York. Among other things, she discussed her recent experiences in going unplugged; what it was like to connect with her younger self in writing new songs; taking over a prized vintage Gibson scored by her husband, jazz guitarist and composer Julian Lage; and more.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"681\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/20240416_ATORecords_MargaretGlaspy_EbruYildiz_457_WEB.jpg?resize=1024%2C681&#038;ssl=1\" alt=\"20240416_ATORecords_MargaretGlaspy_EbruYildiz_457_WEB\" class=\"wp-image-145415\" srcset=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/20240416_ATORecords_MargaretGlaspy_EbruYildiz_457_WEB.jpg?resize=1024%2C681&amp;ssl=1 1024w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/20240416_ATORecords_MargaretGlaspy_EbruYildiz_457_WEB.jpg?resize=500%2C333&amp;ssl=1 500w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/20240416_ATORecords_MargaretGlaspy_EbruYildiz_457_WEB.jpg?resize=768%2C511&amp;ssl=1 768w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/20240416_ATORecords_MargaretGlaspy_EbruYildiz_457_WEB.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/20240416_ATORecords_MargaretGlaspy_EbruYildiz_457_WEB.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Photo: Ebru Yildiz<\/figcaption><\/figure>\n\n\n\n<p><strong>It\u2019s been wonderful to hear you in acoustic settings recently. After years of performing and recording with bands, why did you decide to do a solo tour and EP?<\/strong><\/p>\n\n\n\n<p>There was a necessity on my end. I often play acoustic guitar at home; that is the kind of environment that I find synonymous with the acoustic guitar. Because I\u2019m often traveling with gear and schlepping things around, I also find acoustic guitar to be synonymous with this feeling of unfettered ease: You walk in with your case, walk out, and that\u2019s it. I really craved to be able to do that.&nbsp;<\/p>\n\n\n\n<p>Having an offering that felt substantial was a challenge. I just wanted to know that I could play music and have it be an utterly simple transaction. Not to say that my electric show isn\u2019t simple\u2014it\u2019s one of the most pared-down bands, a trio\u2014and there are very little effects. Just to walk in and put the songs in the forefront [in an acoustic show] was really fun. It matched my expectations of feeling this kind of catharsis in being able to do something simple but very meaningful.&nbsp;<\/p>\n\n\n\n<p><strong>While you\u2019ve recorded most of your songs with an electric band, they\u2019re durable and lend themselves naturally to other settings. This was especially evident when I saw you performing earlier this year at SFJazz with Rude Ruth\u2014for that particular show, an improvising band with Julian Lage on guitar. Is that an intentional part of your songwriting process?<\/strong><\/p>\n\n\n\n<p>Thank you\u2014that\u2019s a really cool compliment. Julian calls me a completist in that to get one thing done, I have to get a lot of other things done. That\u2019s all part of my process to feel like I am giving something robust, an emotional as well as musical offering. It would be a total success to me if the songs can thrive in a lot of different environments. And I think that comes from all my musical mentors\u2014whether my friends, my husband, or the musicians I\u2019ve grown up with, it feels like it\u2019s all in my DNA now.<\/p>\n\n\n\n<p><strong>What have you taken from the acoustic world, and what\u2019s it been like to reconnect with it?<\/strong><\/p>\n\n\n\n<p>I grew up in the acoustic world\u2014I was a fiddle player when I was young\u2014and it taught me that you can make music here and now, unfettered and unplugged, and it can be very complete. When I play an electric show, it\u2019s loud and boisterous in its own way. It feels extreme, because the ground and the ceiling might be different for me than the next singer-songwriter. For me, acoustic music is the floor, and anything up from there is intense and exploratory.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" width=\"1024\" height=\"1024\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Margaret-Glaspy-The-Sun-Doesnt-Think.jpg?resize=1024%2C1024&#038;ssl=1\" alt=\"Margaret Glaspy, The Sun Doesn't Think\" class=\"wp-image-145416\" srcset=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Margaret-Glaspy-The-Sun-Doesnt-Think.jpg?resize=1024%2C1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Margaret-Glaspy-The-Sun-Doesnt-Think.jpg?resize=500%2C500&amp;ssl=1 500w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Margaret-Glaspy-The-Sun-Doesnt-Think.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Margaret-Glaspy-The-Sun-Doesnt-Think.jpg?resize=768%2C768&amp;ssl=1 768w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Margaret-Glaspy-The-Sun-Doesnt-Think.jpg?resize=300%2C300&amp;ssl=1 300w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Margaret-Glaspy-The-Sun-Doesnt-Think.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Margaret Glaspy, <em>The Sun Doesn&#8217;t Think<\/em><\/figcaption><\/figure>\n\n\n\n<p>In returning to the acoustic guitar, there\u2019s a feeling of pushing my own boundaries. And in exploring the acoustic guitar onstage, there\u2019s a reminder of how acoustic functions apart from electric. You would think that electric would be the most volatile instrument you could find. But really, acoustic guitar has all these wild and woolly aspects that are challenging and fun to play with. There\u2019s an intensity to it that I find arresting.&nbsp;<\/p>\n\n\n\n<p><strong>You mentioned your husband as a mentor. How does his influence show up in your music? And what\u2019s it been like to witness and support each other\u2019s musical development for many years now?<\/strong><\/p>\n\n\n\n<p>We\u2019ve been there for one another, making music together on the sidelines of one another\u2019s projects for a really long time, so it\u2019s second nature. There\u2019s no doubt that Julian has such a big influence on my music. He\u2019s not a lyrics-first kind of musician, and so when he does hear lyrics, it\u2019s an interesting barometer. If a lyrical concept that I\u2019ve written captures his attention, then I consider it to be unique, because that\u2019s not always his first takeaway.&nbsp;<\/p>\n\n\n\n<p>In musical collaborations with your partner, there can be too much pressure on that person to be honest with you, but it\u2019s really cool to have such an open dialogue. Nothing goes untouched by one another\u2019s ears and eyes and sense of what could be interesting. It\u2019s a total collaboration. We just dive headfirst into it, and that\u2019s how we roll. There\u2019s a sense of trust with one another, and an understanding that we\u2019re artists, and this is what we do.<\/p>\n\n\n\n<p><strong>On social media you posted that writing \u201cThe Sun Doesn\u2019t Think\u201d involved \u201ca lot of tears and time spent courting pain and sunshine all at once.\u201d Is that true of the EP on the whole?<\/strong><\/p>\n\n\n\n<p>Not really. There are aspects that are character-driven. A song like \u201cWould You Be My Man?\u201d feels like it was written on behalf of someone else in some way, shape, or form\u2014as opposed to \u201cThe Sun Doesn\u2019t Think,\u201d which feels very much like my story. I\u2019m starting to dabble in more narrative stuff. There are some songs on that EP that are right out of my heart, and others feel like they\u2019re out of someone else\u2019s life that has dropped in lately. So it\u2019s a mix.<\/p>\n\n\n\n<p><strong>You also wrote that working on the project was an attempt to explore your childhood beliefs. What made you want to do that?<\/strong><\/p>\n\n\n\n<p>It was just kind of time of life. I\u2019m 35 years old, metabolizing where I\u2019m at and seeing that if you\u2019re still experiencing life through the eyes of the child as an adult, then no wonder it feels a little wonky. I\u2019m starting to see that I still feel very endeared to mentalities about love and how to get it, life and how to live it\u2014all through the eyes of a five-year-old child. I\u2019ve never really updated the software. But I also feel really liberated in being an adult. I\u2019ve become the most myself, rather than losing myself somehow. That has been a really cool thing for me to lean into as an artist.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/20240416_ATORecords_MargaretGlaspy_EbruYildiz_280_300DPI.jpg?resize=1024%2C683&#038;ssl=1\" alt=\"Margaret Glaspy\" class=\"wp-image-145417\" srcset=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/20240416_ATORecords_MargaretGlaspy_EbruYildiz_280_300DPI.jpg?resize=1024%2C683&amp;ssl=1 1024w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/20240416_ATORecords_MargaretGlaspy_EbruYildiz_280_300DPI.jpg?resize=500%2C333&amp;ssl=1 500w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/20240416_ATORecords_MargaretGlaspy_EbruYildiz_280_300DPI.jpg?resize=768%2C512&amp;ssl=1 768w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/20240416_ATORecords_MargaretGlaspy_EbruYildiz_280_300DPI.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/20240416_ATORecords_MargaretGlaspy_EbruYildiz_280_300DPI.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Photo: Ebru Yildiz<\/figcaption><\/figure>\n\n\n\n<p><strong>The guitar parts on the EP are interesting in that many are deceptively straightforward. The right-hand patterns might seem familiar, but a song like \u201cWould You Be My Man?\u201d [Example 1], for instance, has some unpredictable rhythms in the bottom register. Are those sorts of manipulations deliberate on your part, or just how you feel and hear things?<\/strong><\/p>\n\n\n\n<p>I think it\u2019s a little bit of both. One is that because I\u2019m often playing and writing by myself, things will come out that I think feel normal and are just kind of within my own wheelhouse. And then in playing them with someone else, I notice things I didn\u2019t realize I had done\u2014things that came about by letting the lyrics lead and accommodating them. So, some of the parts are a little wonky in their own way because that\u2019s how I heard them, and other times they start out more normal, and then in editing them, things get changed.&nbsp;<\/p>\n\n\n\n<p><strong>Your songs tend to have efficient harmonic movement. In writing parts like the intro to \u201c24\/7\u201d [Example 2] or \u201cBathtub\u201d [Example 3], are you consciously thinking about smooth voice leading and maintaining common tones between chords?<\/strong><\/p>\n\n\n\n<p>There\u2019s an effort to make things feel like they\u2019re always very close to one another. I feel a little bit allergic to having large jumps\u2014I want it to creep. I wouldn\u2019t ever seek chordal information up the neck if I\u2019m already playing down at the bottom.&nbsp;<\/p>\n\n\n\n<p>I remember being fascinated with Bach chorales, studying voice leading and basic contrapuntal movement, and getting that in my blood to see how I could employ that on the guitar. I think about it a lot, not when I\u2019m writing the songs, but after they are written when I finesse things a bit. It\u2019s not totally by happenstance, in terms of the actual voice leading. I like that work, for sure; I like to get in there and fiddle with the bits.<\/p>\n\n\n\n<p><strong>And it shows\u2026 The guitar on the EP has a warm and detailed sound. What were you playing?&nbsp;<\/strong><\/p>\n\n\n\n<p>It\u2019s a 1932 Gibson L-00. Julian got it, and then I totally took it over. I love it very much. Between Gibson and Martin, I lean to the Gibson side, which feels a little warmer, darker, and rounder, while the Martin side is more precise. With a Gibson, it feels like there\u2019s a little sheen or filter on it\u2014like you have another guitarist playing with you\u2014that I appreciate, especially for solo playing. It has a character of its own, has something to offer, and it\u2019s going to stand its ground. I love that Gibson because it feels there\u2019s like a relationship and a chemistry between me and the guitar. <\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"759\" height=\"1024\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/AG348-MARGARET-GLASPY-EX-1-3.png?resize=759%2C1024&#038;ssl=1\" alt=\"margaret glaspy guitar music notation examples\" class=\"wp-image-145413\" srcset=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/AG348-MARGARET-GLASPY-EX-1-3.png?resize=759%2C1024&amp;ssl=1 759w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/AG348-MARGARET-GLASPY-EX-1-3.png?resize=371%2C500&amp;ssl=1 371w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/AG348-MARGARET-GLASPY-EX-1-3.png?resize=768%2C1036&amp;ssl=1 768w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/AG348-MARGARET-GLASPY-EX-1-3.png?resize=222%2C300&amp;ssl=1 222w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/AG348-MARGARET-GLASPY-EX-1-3.png?w=1083&amp;ssl=1 1083w\" sizes=\"(max-width: 759px) 100vw, 759px\" \/><\/figure>\n\n\n\n<div>\n<a href=\"https:\/\/store.acousticguitar.com\/products\/no-348-sep-oct-2024\" name=\"magazine\"><img data-recalc-dims=\"1\" decoding=\"async\" style=\"width: 150px; height: 198px; margin: 0px 20px 10px 0px;\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/001_348_Cover-150px.jpg?w=1290&#038;ssl=1\" alt=\"Acoustic Guitar magazine cover for issue 348\"><\/a>\n<p style=\"font-family: sans-serif; margin: 0px 0px 15px 0px;\">This article originally appeared in the <a href=\"https:\/\/store.acousticguitar.com\/products\/no-348-sep-oct-2024\">September\/October 2024<\/a> issue of <em>Acoustic Guitar<\/em> magazine.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>It wasn\u2019t until a recent solo acoustic tour that Glaspy played for a public audience with just her steel-string guitar for the first time in her professional life, a format she found freeing both literally and metaphorically. <\/p>\n","protected":false},"author":24,"featured_media":145412,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"It wasn\u2019t until a recent solo acoustic tour that Glaspy played for a public audience with just her steel-string guitar for the first time in her professional life, a format she found freeing both literally and metaphorically. ","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[1693],"tags":[1951],"ppma_author":[1541],"class_list":["post-145410","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-songwriters","tag-september-october-2024"],"blocksy_meta":[],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/Margaret-Glaspy_EbruYildiz_140-Edit_300DPI.jpg?fit=1200%2C879&ssl=1","authors":[{"term_id":1541,"user_id":24,"is_guest":0,"slug":"adam-perlmutterstringletter-com","display_name":"Adam Perlmutter","avatar_url":{"url":"https:\/\/acousticguitar.com\/wp-content\/uploads\/2015\/11\/Adam-Perlmutter.jpg","url2x":"https:\/\/acousticguitar.com\/wp-content\/uploads\/2015\/11\/Adam-Perlmutter.jpg"},"user_url":"","last_name":"Perlmutter","first_name":"Adam","job_title":"","description":"Adam Perlmutter holds a bachelor of music degree from the University of North Carolina-Greensboro and a master's degree in Contemporary Improvisation from the New England Conservatory. He is the editor of <i>Acoustic Guitar<\/i>."}],"_links":{"self":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/145410","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/users\/24"}],"replies":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/comments?post=145410"}],"version-history":[{"count":4,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/145410\/revisions"}],"predecessor-version":[{"id":145937,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/145410\/revisions\/145937"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/media\/145412"}],"wp:attachment":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/media?parent=145410"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/categories?post=145410"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/tags?post=145410"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/ppma_author?post=145410"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}