{"id":12007,"date":"2016-05-12T21:15:07","date_gmt":"2016-05-12T20:15:07","guid":{"rendered":"https:\/\/www.gfdesign.co.uk\/culture\/i-believe-in-the-common-man-an-interview-with-fred-voss\/"},"modified":"2016-05-12T21:15:07","modified_gmt":"2016-05-12T20:15:07","slug":"i-believe-in-the-common-man-an-interview-with-fred-voss","status":"publish","type":"post","link":"http:\/\/www.gfdesign.co.uk\/culture\/i-believe-in-the-common-man-an-interview-with-fred-voss\/","title":{"rendered":"I believe in the common man: an interview with Fred Voss"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\" size-full wp-image-12006\" src=\"http:\/\/www.gfdesign.co.uk\/culture\/wp-content\/uploads\/2016\/05\/1793b77e8cc214ab53e8b6ee5ded7d34.jpg\" alt=\"\" width=\"685\" height=\"1024\" srcset=\"http:\/\/www.gfdesign.co.uk\/culture\/wp-content\/uploads\/2016\/05\/1793b77e8cc214ab53e8b6ee5ded7d34.jpg 685w, http:\/\/www.gfdesign.co.uk\/culture\/wp-content\/uploads\/2016\/05\/1793b77e8cc214ab53e8b6ee5ded7d34-600x897.jpg 600w, http:\/\/www.gfdesign.co.uk\/culture\/wp-content\/uploads\/2016\/05\/1793b77e8cc214ab53e8b6ee5ded7d34-201x300.jpg 201w, http:\/\/www.gfdesign.co.uk\/culture\/wp-content\/uploads\/2016\/05\/1793b77e8cc214ab53e8b6ee5ded7d34-295x441.jpg 295w, http:\/\/www.gfdesign.co.uk\/culture\/wp-content\/uploads\/2016\/05\/1793b77e8cc214ab53e8b6ee5ded7d34-1x1.jpg 1w, http:\/\/www.gfdesign.co.uk\/culture\/wp-content\/uploads\/2016\/05\/1793b77e8cc214ab53e8b6ee5ded7d34-7x10.jpg 7w\" sizes=\"auto, (max-width: 685px) 100vw, 685px\" \/><\/p>\n<div data-configid=\"31362342\/54116599\" style=\"width:525px; height:403px;\" class=\"issuuembed\"><\/div>\n<p><script type=\"text\/javascript\" src=\"\/\/e.issuu.com\/embed.js\" async=\"true\"><\/script><\/p>\n<p><em>When I asked Fred Voss if we could do an interview by email, little did I know what would happen. In response to my prosaic questions, he sent back a stream of prosepoetry, an inspired, Whitmanesque outpouring of creative thinking and feeling.<\/em><\/p>\n<p><em>&#8216;How did you do that?&#8217; I asked him afterwards, amazed at what I&#8217;d read. &#8216;It was your questions, they sparked something in me&#8217; he said, modestly. But as you will see, there was nothing special about my questions, they are the usual ones all writers get asked. The answers, though, are anything but usual.<\/em><\/p>\n<p><em>However it happened, I feel privileged to have sparked this torrent of imaginative prose, and am very proud to present it to you here on Culture Matters. I hope you feel something of the surprise and joy I felt when I opened his messages. And I hope you agree that if ever proof was needed that culture mattered, then surely this is it.<\/em><\/p>\n<p><strong>Q. Can you tell us what it&#8217;s like to live in Long Beach?<\/strong><\/p>\n<p>I have lived in Long Beach for 40 years, and I love it.\u00a0It is Los Angeles County\u2019s second largest city, located 20 miles south of L.A. on the Pacific Ocean, and its port of Long Beach\/San Pedro is the largest in the U.S.<\/p>\n<p>It has a long history. It was a navy town for many decades, had one of the most famous amusement parks and roller coasters (The Pike on the beach) in the U.S., and was home to Douglas Aircraft Company, builder of aircraft for the U.S. WW2 war effort and of airplanes for the world after the war.<\/p>\n<p>Star Kist was one of many tuna canneries on the waterfront, there was a ferry from Long Beach to San Pedro across the harbor, Todd Shipyard and the Naval Shipyard employed thousands of blue collar men, a statue of Harry Bridges the famous Wobbly (Industrial Workers of the World) union hero stood beneath the green Vincent Thomas Bridge, oil refineries and oil islands and oil derricks dotted the landscape, the downtown streets were full of all-night movies showing men\u2019s movies and cowboy movies, bars with names like The Pink Elephant and The Poop Deck and the V Room full of pool hustlers and sailors with peanut shells strewn across the floors were on every corner, there were old Hollywood sound stages and the Villa Riviera 1928 hotel with a green copper roof where Clark Gable and Rock Hudson and many other movie stars liked to stay (the ghost of Clark Gable is still said to haunt Ocean Boulevard). In Visions of Cody Jack Kerouac mentioned visiting Long Beach in the 40s and seeing the downtown streets full of guys in cowboy boots.<\/p>\n<p>It is an eccentric city of nearly half a million, and when I moved here in 1976 The Pike Amusement Park was shutting down and the International Long Beach Grand Prix was starting up, making the downtown streets shake. I got a job at Douglas Aircraft Company where over 50,000 people worked, joined The United Auto and Aerospace Workers union and began my career making aircraft parts.<\/p>\n<p>There were hippies in the parks playing softball and sometimes throwing rocks at police, the Morningland religious cult with its purple banners on 7th Street, witchcraft stores selling oils and herbs, and poetry readings in the many bars. California State University at Long Beach, with its 32,000 students, has fostered a strong creative writing poetry tradition since the late 60s inspired by the literary legend Dr. Gerald Locklin, and Charles Bukowski gave several of his first readings in the early 70s at the university and in the city\u2019s bars where he drank and read his poetry in defense of the down and the defeated and the working men and women and the joys and laughs of going crazy and rebelling against the American bourgeois way of life.<\/p>\n<p>An editor of the Long Beach poetry magazine Maelstrom Review, the late Leo Mailman, said he thought there was something magical about Long Beach that made people write, and I\u2019d have to agree, having written 7 novels and 3,000 poems here at kitchen tables as motorcycles roared and old ladies hobbled down sidewalks on canes. On Grand Ave. I lived next to door to Big Ivan from Russia who told me stories from his days wrestling professionally at the storied Olympic Auditorium in downtown L.A., then drank himself to death after his drunken wife went crazy throwing furniture at the walls and singing \u201cWhen Irish Eyes are Smiling\u201d and was hauled away in a police car. How can you not write when you share a paper-thin wall with people like that?<\/p>\n<p>For 26 years I have lived happily two blocks from the sea with my wife the poet and publisher Joan Jobe Smith, founder and publisher of Pearl magazine for 40 years, close friend of Charles Bukowski and author of \u201cCharles Bukowski: His Art &amp; His Women, and I have enjoyed rubbing shoulders with Long Beach\u2019s vast array of roustabouts, pipefitters, bartenders, welders, electricians, tree trimmers, construction workers who walk hundreds of feet up in the air, bookmobile drivers taking Dickens to old people in wheelchairs, nurses, waitresses, shipyard workers, dishwashers, professional wrestlers and truck drivers with the black asphalt roads of America in their bones, graveyard shift janitors and candle makers and pool hustlers as we shared smiles and stories and raised schooners of beer to life.<\/p>\n<p>Long Beach is indeed some kind of a magical city, the land of workers and poetry.<\/p>\n<p>\u00a0<strong>Q. What have been the main influences in your life?<\/strong><\/p>\n<p>Watching the stars and planets with my father on our front lawn<br \/>as a young boy<br \/>infinity gripped me<br \/>H.G. Wells and Edgar Allan Poe at age nine<br \/>Rod Serling\u2019s The Twilight Zone and Hemingway at age 11<br \/>Playing basketball in High School age 14-15<br \/>Emerson and Kant and Whitman and Hart Crane and Camus\u2019s The Rebel<br \/>and Albee\u2019s Who\u2019s Afraid of Virginia Woolf? and The Doors and getting kicked off<br \/>the varsity basketball team for going to a Doors concert instead of a game<br \/>and James Joyce\u2019s Ulysses at age 15 -16<br \/>Rimbaud and LSD and demonstrating against the Vietnam War at The University of California<br \/>at Riverside campus and Pindar and Baudelaire and Blake and Beowulf and Pink Floyd and Heraclitus and my first girlfriend at 17-18<br \/>Sir Gawain and the Green Knight at 19<br \/>Robert Johnson and Muddy Waters and blues blues blues music and Jack Kerouac and Charles Bukowski at 20<br \/>At age 22 after dropping out of the U.C.L.A. Ph.D program in English literature and going to work<br \/>in the factory world my father<br \/>came to my side and became a big influence again<br \/>my rudder against crashing against the rocks of the real world<br \/>as I lost my way and life became a nightmare my father<br \/>told me of his wanderings across the country in Great Depression 1933 America<br \/>and told me I could make it through the long dark subterranean night of my soul to the light<br \/>of some kind of dawn<br \/>and working in a steel mill with blast-furnace-burned-face and slivers of cut steel piercing my palms my dawn<br \/>was setting pen to paper<br \/>and writing 7 novels<br \/>to the syncopated rhythms of Thelonious Monk\u2019s piano<br \/>the golden midnight tones of Miles Davis\u2019s horn<br \/>the angry black throbbing explosions of Charles Mingus\u2019s bass<br \/>(always I was close to the soul of the American black man as I floated down the Mississippi with Huck and escaped slave Jim)<br \/>then the great Marvin Malone<br \/>editor of The Wormwood Review poetry magazine entered my life after I submitted the first 4 poems I wrote to him in 1986 and he told me I would survive in literature<br \/>Marvin Malone<br \/>the main magazine publisher of the great poet Charles Bukowski<br \/>Bukowski a huge influence on me since the age of 20 (I was 34 now) with his poetry and novels made of slaughterhouses and lettuce pickers and bicycle factory and post office Neruda<br \/>Henry Miller Herman Melville Mark Twain Richard Wright Tennessee Williams Robinson Jeffers<br \/>among my heroes as Marvin Malone published over 100 of my poems and I met my wife Joan Jobe Smith on the pages of Wormwood Review: 105 (we had our poems published together on its pages) and later I met her in person at a Long Beach California poetry reading<br \/>and Joan and I were married<br \/>Joan the founder and editor of Pearl the leading Long Beach poetry magazine for 40 years now<br \/>became the second great editor of my poetry<br \/>each weekend morning<br \/>she hears my latest poem and helps me with her brilliant instinctive poetry ear<br \/>listening to my voice as I read my poems aloud to her<br \/>and then John Osborne published 100 of my poems in Hull\u2019s Bete Noire literary magazine<br \/>and Neil Astley of Bloodaxe Books published my first poetry book Goodstone in 1991 (published in the U.S. by Joseph Cowles of Event Horizon Press) and The Poetry Society<br \/>booked a whistlestop tour for my wife Joan and I<br \/>and we crossed the Atlantic and set foot on the emerald isle of England for the first time<br \/>and rode the Brit rails to Hull and The Aldeburgh Poetry Festival and The Poetry Society of London and The Bristol Poetry Festival and since then I have been blessed<br \/>by being published by some of the best publishers in Britain<br \/>Martin Bax in his galvanic avant garde literary magazine Ambit<br \/>Alan Dent in his hard hitting Penniless Press and Mistress Quickley\u2019s Bed magazines<br \/>Michael Curran in his beautiful limited edition hardbound Dwang<br \/>Joan Jobe Smith and Marilyn Johnson at Pearl magazine<br \/>and Dan Veach at Atlanta Review are regular publishers of my poems<br \/>and I have grown to love classical music these last 20 years<br \/>Ives Stravinsky Shostakovich Duke Ellington Mahler Debussy Beethoven<br \/>and with me always as inspiration is the great Edward Hopper<br \/>with his paintings of the lonely American pushing a rake or standing nude at a window<br \/>or cutting hair or sitting in a bright lonely diner<br \/>swallowed by American night at 3 am<br \/>and Van Gogh\u2019s sunflowers Gauguin\u2019s dreamy-eyed Tahitian women<br \/>Eakins\u2019s swimmers Grosz\u2019s<br \/>fat piggy cigar-chomping capitalist Berliners<br \/>and always Neruda<br \/>with the foam of his Chilean beaches his ghost of Magellan<br \/>on Cape Horn rocks and Buk<br \/>smiling over his typewriter just finishing a poem with a bottle by his side grinning as he laughs<br \/>at bourgeois America<br \/>and always Joan<br \/>my incredibly wise and loving wife by my side with her brilliant sense of humor<br \/>inspiring my comic relief Frank and Jane poems<br \/>and always the factory workers<br \/>the never-boring real-as-nails funny exciting bow-down-to-no-man<br \/>ready-to-haul-their-toolbox-down-te-road-to-the-next-machine-shop<br \/>never-say-die infuriating inspiring shocking x-rated brutally honest indomitable working men<br \/>who keep these poems alive.<\/p>\n<p>\u00a0<strong>Q. What brought you into writing?<\/strong><\/p>\n<p>I needed something<br \/>I had the fierceness and realness of a steel mill I was working in<br \/>and I worked at a blast furnace burning the moustache off my face<br \/>then moved into the machine shop where the razor-sharp teeth of shell cutters sliced<br \/>through \u00bc-ton steel standards and threw red-hot<br \/>chips of steel onto my neck where<br \/>they stuck and sizzled<br \/>but I needed something more<br \/>something that would keep me from feeling empty and hungry inside<br \/>I needed to find a spirit within me<br \/>as fierce and real as that steel mill<br \/>I needed to nail it down onto a page<br \/>I needed to bring art into this steel mill of blank tin walls and ticking time clocks<br \/>and snarling foremen where no Vincent Van Gogh sunflower had ever<br \/>been seen<br \/>no Beethoven DA DA DA DA crescendo ever heard<br \/>no Hemingway Cuban fisherman old man ever dreamed of African lions sleeping on the beach<br \/>I needed to dream I could change the world just a little bit<br \/>like Nelson Mandela stepping out of his Robben Island prison cell<br \/>Jim Morrison breaking on through to the other side<br \/>Jean Valjean<br \/>free at last<\/p>\n<p><strong>Q. Do poetry, music and the other arts have anything to do with economic and political realities?<\/strong><\/p>\n<p>The great ships have circled the globe and stolen the Mayan gold<br \/>200 + years of industrial revolution<br \/>and 900 lions are left on this earth<br \/>as the tiger and the gorilla<br \/>barely hang on\u2026.<br \/>as America has become an oligarchy\/plutocracy mouthing words about free speech and voting rights but enslaves its masses in economic chains of exploitation<br \/>America ruled by men with clean hands who shuffle the papers and walk the 80th-floor offices<br \/>as the earth enters its death throes\u2026.<\/p>\n<p>My viewpoint is from the earth-level shop floor where men get their hands dirty. Whitman and Neruda and Brecht are on my shop floor. Neruda\u2019s father worked for the railroad, my father was an outdoors man swimmer and mountain climber (his grandfather a Nebraskan homesteader) who hopped freights in the Great Depression and could walk up to any man on the street and start up a conversation with him and be at ease with him.<br \/>I am walking with Brecht\u2019s Mother Courage as she forges ahead through a war-torn landscape.<br \/>I am with Whitman walking down his open road and taking off his hat to no king Neruda escaping the fascists by horseback over the Andes Charles Bukowski saying, \u201cThe worst men have the best jobs and the best men have the worst jobs.\u201d<br \/>I am with Charles Ives the great iconoclastic American composer writing symphonies and songs of marching bands passing each other in the American streets and the sounds of Central Park in the dark and Emersonian universal brotherhood and small town dance bands playing \u201cTurkey in the Straw\u201d, Ives who sent up Wall Street greed with the cacophonous insanity of his 4th symphony\u2019s 2nd movement.<br \/>I am with John Huston and his classic American film The Treasure of the Sierra Madre that shows how we rip gold from the earth and how money can ruin and take our marvellous gift of life by dividing men against each other.<br \/>I am with Whitman and Blake and D.H. Lawrence and the great American artist Thomas Eakins who believed in the honesty and dignity and holiness of the naked human body the laboring human body and I believe in the soul of the labouring man not in top hats and gold and guns and locks and locked vaults full of money and $2,000 suits but bread<br \/>for all free concerts in the parks openness and caring for all Yosemite National Park and Sequoia redwood trees for all<\/p>\n<p>I believe in the common man the man of the earth of sweat of shouts in the street and meetings on street corners of Van Gogh\u2019s coal miner potato eaters Eakins\u2019s shad fishermen Goya\u2019s blacksmiths Hemingway\u2019s old Cuban fisherman Santiago battling the sharks Hugo\u2019s Jean Valjean carrying Marius through the Paris sewers Melville\u2019s sailors and his mighty white whale Steinbeck\u2019s farmers Mark Twain\u2019s escaped slave Jim Neruda\u2019s mineworkers Diego Rivera\u2019s mural glowing with assembly line blast furnace flame Philip Levine\u2019s Detroit auto plant workers Thoreau\u2019s homemade cabin on Walden Pond Kerouac\u2019s Sierra Mountains fire lookout August Wilson\u2019s black trash truck driver Troy Maxson Arthur Miller\u2019s thrown-away-like-an-orange-rind-by-the-company salesman Willy Loman Lautrec\u2019s cancan dancers Homer\u2019s warriors Shakespeare\u2019s gravedigger Beethoven\u2019s Eroica Symphony of revolution Stravinsky\u2019s peasant dance folk music as Jim Morrison sings, \u201cWhat have they done to the Earth?\u201d and The Rolling Stones sing \u201cSalt of the Earth.\u201d<\/p>\n<p>Where do most of us spend most of our lives?<br \/>behind bus wheels at sheet metal bending machines behind donut counters at cash registers over jackhammers gripping wrenches flipping burgers serving coffee laying floor washing windows tarring roofs punching out motorcycle gaskets sitting in cubicles looking at inventories on computer screens where we barely feel human where we need poetry and art and music and theater and film to find us and tell our stories<br \/>Let Jackson Pollock paint the wall of a factory<br \/>Let a symphony grow from the booms and bangs and rattles and groans of an assembly line<br \/>Let the grease on a concrete shop floor be full of soul<br \/>Let Rembrandt set up his easel beside steel cutters<br \/>Is it the maintenance man gripping the monkey wrench that will save the earth?<br \/>Is it the heart of the man straddling the machine big as a locomotive that will save the tiger?<br \/>If men who stir red-hot molten steel with 20-foot-long rakes are treated like humans could it<br \/>keep the polar icecaps from melting?<br \/>men who walk the earth where panthers and giraffes and Buddha and Jesus walked<br \/>men who keep wheels rolling<br \/>old people walking and breathing<br \/>bridges hanging<br \/>water flowing<br \/>boats floating<br \/>with their hands<br \/>Can they save the earth?<\/p>\n<p>\u00a0<strong>Q. What&#8217;s your vision? What do you aim for when you&#8217;re writing poetry and prose?<\/strong><\/p>\n<p>Dropping out of the U.C.L.A. Ph.D program in English literature in 1974, my writer\u2019s instinct told me to leave the dryness and cynicism of the academic ivory tower and turn toward life.<br \/>\u201cGod is a cry in the street,\u201d Stephen Daedalus said in James Joyce\u2019s Ulysses and my writer heroes were<br \/>Jack Kerouac hungry for life rolling automobile wheels across America toward a San Francisco bebop jazz club<br \/>Hemingway risking his life on the 1937 Spanish earth fighting the fascists and writing For Whom the Bell Tolls<br \/>Whitman putting his arm around a dying soldier on the American Civil War battlefield<br \/>Melville on a military ship in his white jacket high up in the crow\u2019s nest in the freezing wind and ice rounding Cape Horn<br \/>Richard Wright showing how quickly a black man\u2019s life can turn into a nightmare in 1930s Great Depression America<br \/>Mark Twain guiding his steamboat around rocks through the fog on the mighty Mississippi<br \/>And I was drawn into the world of the factories and went into a steel mill<br \/>the fierceness and realness of a steel mill was what I needed<br \/>I was not studying Sir Gawain and the Green Knight I was Sir Gawain<br \/>in 1977 entering a new strange world of adventure and vernacular speech raw open emotions earthiness the sensuous beauty of toil the honesty of working with hands<br \/>humor exuberance shouting with 2-ton drop hammers pounding sizzling of cutting torches hissing of welding rods everything outsized and exploding with life<br \/>the backbones of cities ready to be carved and stamped out of red-hot molten steel ex-cons out of prison sweating and straining desperate to remake their lives<br \/>laughs and curses and screams all the wild guts and heart and passion of man living life hard<\/p>\n<p>And I started writing novels of truth and fortitude and survival until in my last novel, Making America Strong, written in 1985, my vision and aim for my writing truly began to take shape. It was a short novel set entirely in a machine shop where a defense contractor, Goodstone Aircraft Company, is making nuclear bombers and raking in the big money from the Reagan-era military industrial complex.<br \/>Writing Making America Strong I had a vision of the corporation as America and suddenly realized corporate capitalism defined America as much or more than democracy did. In the novel workers without any say in company direction or management and forced to follow often insulting and senseless rules and procedures, turn to harassing and abusing each other like humiliated children, using drink and drugs and falling into racism and violence.<\/p>\n<p>In 1986 I started writing poetry and this world of work became the subject matter of my poetry.<br \/>My poetry has been greatly affected by the men I\u2019ve worked with in the factories all these years and the fact that I was a poet in the factories.<br \/>At first I thought (as we\u2019ve been taught) the men were somehow less than human<br \/>less than poetry<br \/>less than me<br \/>but as the layoffs hit me and I learned what it felt like to know<br \/>I might end up living in the street<br \/>as I saw men going on gripping wrenches with hands swollen with arthritis<br \/>going on as bosses screamed at them<br \/>and aching and tired still smiling at the end of the workweek walking out into the sun like man<br \/>must never give up hope<br \/>and someday we must all be free<br \/>those men didn\u2019t look down on me<br \/>because I didn\u2019t yet understand how they could still laugh<br \/>between tin walls in the face of firings wrenched backs crazy bosses in this loud grinding factory<br \/>where no flower<br \/>or poem<br \/>ever grew<br \/>they didn\u2019t look down on me because I didn\u2019t know<br \/>what a micrometer or a ball peen hammer or a compound angle was<br \/>they handed me their tools<br \/>their hearts<br \/>wise with a lifetime of steel dust and driving their rollaway toolboxes down highways<br \/>and rolling them through countless machine shops and going on with a twinkle in their eye<br \/>I didn\u2019t know I would soon begin writing poems about them<br \/>or that years later when they found out and read them<br \/>they would like them<br \/>who says this world contains<br \/>no miracles?<\/p>\n<p>We can begin to see workers in factories are just as human<br \/>as kings<br \/>firemen orchestra conductors tightrope walkers ship captains ambassadors<br \/>nurses and novelists<\/p>\n<p>we are all Charlie Chaplin\u2019s little tramp twirling his cane walking down the open road at dawn<br \/>Toulouse Lautrec laying down paint onto canvas celebrating the high-kicking legs of cancan dancers though his crippled stunted legs ache<br \/>the fighter<br \/>getting up off his stool and coming back out of his corner though he was almost knocked out<br \/>in the last round<\/p>\n<p>we invented the gods<br \/>built the cities<br \/>made the wheels the axles the chimneys the wings the masts the scalpels the rudders the valves<br \/>the rails the keys<br \/>and no corporation should ever stand above us.<\/p>\n<p><em>See also: <a href=\"index.php?option=com_k2&amp;view=item&amp;id=2302;let-the-poet-lift-a-hammer-the-prophetic-poetry-of-fred-voss\">Let the poet lift a hammer: the prophetic poetry of Fred Voss<\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>When I asked Fred Voss if we could do an interview by email, little did I know what would happen. In response to my prosaic questions, he&#8230;<\/p>\n","protected":false},"author":359,"featured_media":12006,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1660],"tags":[1845,1856,1731,1855],"class_list":["post-12007","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-poetry-2","tag-fred-voss","tag-long-beach","tag-poetry","tag-whitman"],"_links":{"self":[{"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/posts\/12007","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/users\/359"}],"replies":[{"embeddable":true,"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/comments?post=12007"}],"version-history":[{"count":0,"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/posts\/12007\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/media\/12006"}],"wp:attachment":[{"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/media?parent=12007"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/categories?post=12007"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.gfdesign.co.uk\/culture\/wp-json\/wp\/v2\/tags?post=12007"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}