{"id":1069,"date":"2013-01-18T16:16:02","date_gmt":"2013-01-18T16:16:02","guid":{"rendered":"http:\/\/peggylee.com\/wp\/?p=1069"},"modified":"2021-08-04T10:19:19","modified_gmt":"2021-08-04T14:19:19","slug":"the-generation-bridge","status":"publish","type":"post","link":"https:\/\/www.peggylee.com\/the-generation-bridge\/","title":{"rendered":"The Generation Bridge"},"content":{"rendered":"
\n

by Len Epand<\/p>\n

Los Angeles \u2013 What do you do when Peggy Lee asks you to dinner? Well, if you\u2019re Paul McCartney, you just don\u2019t buy a bottle of rare champagne to show your appreciation. You sit at your piano and compose her a song. That\u2019s what Paul did when the McCartneys were to meet Miss Lee in London earlier this year. And that\u2019s why he and a most flattered Peggy \u2013 one of the greatest pop vocalists of the era, whose name is certainly known to as many people as the Beatles \u2013 were at the Record Plant studios one day the first week in June: McCartney was producing his song, “Let\u2019s Love,” for the title track to what must be Peggy Lee\u2019s fortieth album.<\/p>\n

After a hard day\u2019s work, Paul, unmustachioed and dressed sharply in a black satin shirt and washed-out blue jeans, and Peg, looking trim in a tan suede suit (having recently taken off some weight) and youthful, though at 54 years of age she could be Paul\u2019s mother, held a mini press conference\/photo session around Studio C\u2019s grand piano. In high spirits, they casually sang a couple of songs together, elaborated on their surprising collaboration and then took the small mob into the control room to hear the finished track.<\/p>\n

“Well, of course,” said Peggy to Paul, “I was a fan of yours before you knew about me.”<\/p>\n

“No, that\u2019s not right,” answered McCartney. “No. I was a fan of yours before you knew about me, Peggy.”<\/p>\n

“Yeah, I used to have records of Peggy. I did \u2018Til There Was You\u2019 because I had Peggy\u2019s record of it [see Latin a la Lee]\u2026 So I\u2019ve been a fan of hers for a long time, you know. And she came to London and she invited us for dinner over at her hotel. So I thought \u2018I\u2019m going along to dinner. Well, I\u2019m either gonna take a bottle of champagne or a song\u2026\u2019”<\/p>\n

“I\u2019d rather have a song anytime,” added Peggy. “I can always get some champagne, but it would be very difficult to get a Paul McCartney song \u2013 written especially for me.”<\/p>\n

“So I took a song along and Peggy said, \u2018Great. Let\u2019s do it.\u2019 So we got a hold of Dave Grusin (who with Peggy is producing the rest of the album). And really that\u2019s all there is to it.” The logistics were no problem.<\/p>\n

“I was delighted, naturally,” said Peggy. “And Linda didn\u2019t mind.”<\/p>\n

“Let\u2019s Love,” recorded with Paul on piano, is a simple romantic tune with characteristic McCartney production. From the lone piano introduction, strings and woodwinds enter in stages as Peggy sings in her rich, becalming tones: “Lover, let\u2019s be in love with each other \/ Tonight is the night of the butterflies \/ Let\u2019s love\u2026”<\/p>\n

When the new album (her first on the Atlantic label) \u2013 and “Let\u2019s Love” in particular \u2013 are released sometime in August Peggy Lee may very well have another hit in the Hot 100 charts. “I hope so,” she said, speaking in her lavish \u2013 but not opulent \u2013 Beverly Hills home. “I am so thrilled about the whole thing. The material is strong and I love the one Paul wrote. And to think that he would go to all that trouble. He said it was his way of returning an inspiration\u2026 You know I met him and Linda in London an it was instant friendship. And somehow I feel that with all the great things Paul has done, his talent is just growing and growing.”<\/p>\n

Coming from Peggy Lee, that\u2019s quite a compliment. Since her first smash recording “Why Don\u2019t You Do Right?,” with the Benny Goodman band in 1943, Peggy has recorded over 500 songs including hits like “Ma\u00f1ana” and “It\u2019s a Good Day,” which she wrote with Dave Barbour, and “I\u2019m a Woman,” “Lover,” “Fever,” “Heart” and “Hallelujah, I Love Him So.” Her recent hit, “Is That All There Is?,” conducted and arranged by Randy Newman, won her a Grammy Award for Best Contemporary Female Vocalist of 1970.<\/p>\n

Furthermore, she has collaborated with some of the top songwriters of this century. With Victor Young she wrote “Where Can I Go without You?” and themes for the films Johnny Guitar and About Mrs. Leslie; with Sonny Burke, the complete musical score for Walt Disney\u2019s Lady and the Tramp; with Quincy Jones, “Happy Feet” and “Stay with Me;” with Cy Coleman, “Then Was Then and Now Is Now” and “I\u2019m in Love Again;” with Johnny Mandel, “The Shining Sea;” with John Pisano, “So What\u2019s New;” with Dick Hazard, “Here\u2019s to You;” and with Dave Grusin, the theme from the film The Heart Is a Lonely Hunter, “Nickel Ride,” which McCartney may record. She also composed songs for the film Tom Thumb. In a closet she says she has piles of music which she wants to write lyrics for.<\/p>\n

In critic Henry Pleasants\u2019 new book The Great American Popular Singers, Peggy Lee is given a chapter, as are Al Jolson, Bessie Smith, Billie Holiday, Ella Fitzgerald, Frank Sinatra, Bing Crosby, Nat King Cole, Ray Charles, Judy Garland, Elvis Presley, Aretha Franklin and Barbra Streisand. And she has been endlessly acclaimed. Noted jazz critic-author Leonard Feather describes her as being “about as close to perfection as any singer who lovingly fashioned a performance for an audience.” Rex Reed, writing in Stereo Review, said she is “just about the best singer in the business today, and, like brandy, getting better every year, one of the greatest magicians a good song could ever wish for.”<\/p>\n

Not only has Peggy been known for her meticulous attention to every nuance of her performance \u2013 from her makeup, lighting and dress to her backup orchestration and careful selection of material (her black notebook detailing these for every performance is famous) \u2013 but for her unforced, evocative and precise use of her gentle yet hardy vocal cords. Within the bounds of a surprisingly limited tonal range, she makes her songs, regardless of idiom \u2013 swing, blues, jazz, Latin, show music and rock \u2013 arrestingly convincing. The individual needs of each song are first in her mind.<\/p>\n

Her recordings have always been state-of-the-art. In fact, the night before we spoke, she re-recorded six of her vocals because she wanted to experiment with her own custom-made microphone. “It\u2019s a Shure mike but it\u2019s tuned to my voice,” she explained. “There are only three of them. One for Tony Bennett, one for Frank Sinatra and one for me.”<\/p>\n

Talking with Peggy, one feels her natural dignity, great modesty and graciousness. And, though, she carefully guards details of her quite tumultuous life, which saw her married and divorced four times, she is open, feeling and trusting, and speaks with a calmness that would belie her mental acuity. (This might be related to the fact that she has been practicing Transcendental Meditation for the last six years.) And she\u2019s a good hostess who, if asked, shows visitors her house, art collection and rare books. An artist herself, one of her oils, entitled “Gabby,” was snatched up for a cool $13,500. Among her treasures are gifts from Aldous Huxley, Albert Schweitzer and Jonas Salk, and she has a genuine Tibetan Lhasa Apso dog which was given to her by the Dalai Lama.<\/p>\n

But above all of that, one witnesses her discipline immediately. The white-jacketed houseboy brought drinks in long-stem crystal: white wine for me, distilled water for Peggy. A few years ago she quit smoking and even social drinking to prevent her voice from going the way of Frank Sinatra\u2019s. And she has overcome her overweightness, the bulk of which many who have seen Peggy throughout the late-60s still recall when they hear her name. That condition, which also had the effect of inhibiting her vocal cords, was the result of a glandular problem, she said. “My doctor says it was my willpower that reversed it. I followed his orders to the letter.” In a black notebook every day she listed what she ate and how many calories she was getting.<\/p>\n

Peggy was born Norma Deloris Egstrom in Jamestown, North Dakota. It was her rough childhood that heightened her sensitivity, prepared her for hard work, gave her determination and taught her not to take success and life for granted. “My mother died when I was four. And I had my first job away from home when I was eleven. I worked on a farm and I did just about everything \u2013 milking cows, housekeeping, taking care of a newborn baby \u2013 I pretended it was a doll. These people were terribly poor, they really couldn\u2019t afford me. But the lady was quite ill. And so I was sort of a nurse too.”<\/p>\n

By the time she was fourteen, she decided to become a singer \u2013 though her only vocal training was high school glee club. Her teacher, she recalls, had her hold in the air a stool or light chair while sustaining notes. She believed that it strengthened the diaphragm muscles which control breathing. “So I used to do that all the time. I must have looked rather silly. But it helped me sing more correctly without knowing it.” A few years later she landed a job singing for radio station WDAY in Fargo, North Dakota.<\/p>\n

Then, to see more of the world, she went to Hollywood where she worked as a waitress and even a “very shy” barker at an amusement park. One singing job she landed in a Palm Springs club proved fateful: She met one of the owners of the Ambassador Hotels and he hired her to sing in the Ambassador West\u2019s nightclub. It was then that friends persuaded Benny Goodman to hear Peggy Lee. He called her the following day \u2013 but Peggy refused the call believing it was someone\u2019s bad joke. Finally, convinced it might be legitimate, she came to join Goodman. Though some critics have said that his band for a time slowed her development, for Peggy it was an invaluable experience.<\/p>\n

“I would say that it was hard schooling, but after you graduate, you really appreciate it.” She was paying her dues. “It was hard to pay the rent. We rode in buses and trains and occasionally planes \u2013 oh, I would rather\u2019ve walked. And for some reason, until I had my daughter (her only child, by her first marriage), I was fearless. I think I must have been a little bit insane.<\/p>\n

“We rehearsed a great deal. Actually, my part of the rehearsal wasn\u2019t that important. But I was always there. And I might have waited three hours before they got to a song with a vocal in it. But that taught me patience and humility and the value of rehearsing, of being prepared.”<\/p>\n

It was during her second year with Goodman, in 1943, that she recorded the now classic “Why Don\u2019t You Do Right?” Again, Peggy rarely speaks of her personal life. It\u2019s been something of a mystery why she suddenly retired after having such a smash hit. “I fell in love with David Barbour,” she explains. (Barbour was Goodman\u2019s guitarist par excellence). “But \u2018Why Don\u2019t You Do Right?\u2019 was such a giant hit that I kept getting offers and kept turning them down. And at that time it was a lot of money. But it really didn\u2019t matter to me at all. I was very happy. All I wanted was to have a family and cling to the children. Well, they kept talking to me and finally David joined them and said \u2018You really have too much talent to stay at home and someday you might regret it.\u2019” She still didn\u2019t buy it. “As a matter of fact, I recall crying, \u2018I don\u2019t want to. I just don\u2019t want to.\u2019” Movie offers were refused. (And, except for making The Jazz Singer in 1953 with Danny Thomas and Pete Kelly\u2019s Blues in 1955 \u2013 for which she was nominated to receive an Academy Award \u2013 those opportunities haven\u2019t reappeared.) But she finally wound up doing a little singing work, and that little bit\u2019s success led to more and more. “I see now,” she said, “I guess I was fated to.”<\/p>\n

So Peggy Lee and David Barbour toured. “We were like the Sonny and Cher of our day,” she said. They played as a quartet, with a tenor sax, bass, drums and guitar, sometimes augmenting with a local theater\u2019s orchestra. They had more than a few giant hits, but something made Peggy retire a second time. “It\u2019s a touchy area.” When did she reemerge? “Oh. Dates and time don\u2019t mean anything to me. Agents just wanted me to work again. There\u2019s no problem with that. There\u2019s always been a market and I\u2019m grateful for that.<\/p>\n

From then to the present, when not debilitated with several bouts of pneumonia (which she attributes to overwork), Peggy appeared on virtually every major TV variety show. And that means Ed Sullivan, Perry Como, Dean Martin, Andy Williams, Jackie Gleason, Dinah Shore, Judy Garland, Jack Paar, Johnny Carson, Hollywood Palace, Kraft Music Hall, two of her own specials for Four Star, her own ninety minutes on David Frost, specials with Johnny Cash, Frank Sinatra, Bing Crosby, Harold Arlen and the Grammy show. She was also the subject of her own 90-minute NET special.<\/p>\n

As for nightclubs, she appeared in most major cities in the U.S. and Europe. One particularly memorable engagement was at Basin Street East early in the sixties when the nightclub business was struggling to make a comeback in New York. Fouled with the worst blizzards in fifty years, and with an emergency declared in the city, the fans turned out anyway. “It was absolutely jammed \u2013 some people even rented sleds and horses to get there. And it was funny. The management didn\u2019t think there would be any business. But they had reservations just piling in. And they were actually, in New York City, that sophisticated and beautiful city, they were calling around to buy chickens from markets and other restaurants and anyplace they could buy them so they could feed the people. I helped them order a few chickens.”<\/p>\n

Among the singers who\u2019ve influenced her, Peggy names Maxine Sullivan, a black singer in the thirties who “had a soft tone and marvelous sense of time,” Billie Holiday, Mildred Bailey, Bessie Smith and “of course” Ella Fitzgerald. “But I always feel that the biggest influence on my work has been listening to musicians,” she said. She used to lie on her bedroom floor in North Dakota listening to Count Basie broadcasts from faraway Kansas City. “It always thrills me to think that I\u2019d still lie on the floor and listen to Count Basie. His music and Duke\u2019s is really classic.”<\/p>\n

Peggy\u2019s attention to the music \u2013 rhythm in particular \u2013 increased audience appreciation of percussion, one of her major contributions to popular music. Her unorthodox arrangement of Richard Rodgers\u2019 waltz classic “Lover,” for example, was a new blend of American pop and Latin rhythms. Peggy said that she had realized the music being written approached a timeless quality while the rhythm section was merely being counted upon to keep time. “The thing that I always notice that dates a record is the rhythm section. Now with a good arranger, the music can be timeless. But rhythm can change, because, heaven knows, we didn\u2019t know rock was going to come in, did we. And in the older records, if you separate the two in your mind, you\u2019d notice the rhythm section might be sounding like thump, thump, thump, thump. And now there\u2019s more thought given to it. [Listen to \u2018Golden Earrings\u2019 or Latin a la Lee.] In popular music it\u2019s so important. It sets the pose \u2013 there can be a sensuous quality, there can be a martial quality\u2026”<\/p>\n

Her version of “Fever” is the best and will certainly prove timeless with its charged percussive simplicity. To Peggy, that song\u2019s production is like a fine line drawing. “You know, that art is extremely subtle. And the idea just came to me to do it with bass, drums and finger snapping.”<\/p>\n

Beyond her innovations, talent and artistry, the most amazing, indeed essential, thing about Peggy Lee \u2013 why this part of red-brick forties, fifties and sixties Americana is not an anachronism or an object of nostalgia in the glass and steel world of the seventies \u2013 is that she is as responsive as ever to changing styles and trends. She sang Randy Newman songs (“Have You Seen My Baby?,” “Johnny” and “Love Story”) even before Newman was well known. And she has covered songs by Kris Kristofferson, George Harrison (“Something” and “My Sweet Lord”), with whom she converses by telephone, Otis Redding (“Dock of the Bay”), Sly Stone (“Everyday People”) and Leon Russell (“A Song for You”).<\/p>\n

“This is a musical house,” she said, explaining how she stays on top of things. Every room has built-in stereo speakers. “We rehearse in here and in the studio (with tape machines) in there. Then musician friends bring me things that are new. A lot of them are in on the recording sessions and they say, \u2018hey, I heard a song, it\u2019s marvelous\u2026\u2019 And they bring it over and I feel like it\u2019s a special gift. And then, of course, I keep in touch with the record stores.”<\/p>\n

Suddenly, she blurted out: “And it\u2019s nice to see there are a lot of women writers\u2026uh \u2013 I\u2019m not a \u2013 I\u2019ve always been liberated.” And it\u2019s true. Beside her self-reliance, her consciousness recorded in Leiber and Stoller\u2019s “I\u2019m a Woman” (not to be confused with Helen Reddy\u2019s “I Am Woman”) a decade ago is right there. But she adds that it can be a “drag” to be ahead of your time. “You\u2019re less commercial.”<\/p>\n

Like her silence on all things personal, she doesn\u2019t talk about politics other than to express faith that the country is improving and express despair for the men who fought in Vietnam. “I\u2019ve always been very politically aware. But I\u2019m very private about it. I feel that a singer particularly can influence people\u2019s emotions a great deal and sway them in a certain direction. Now I personally don\u2019t feel that I know enough about the workings of politics. So I think my opinion on that should just remain my opinion.”<\/p>\n

She will tell how a matured pop singer reacted to the sixties\u2019 British rock invasion. “Well, it wasn\u2019t the British rock that scared me, because first the Beatles fascinated me and then I developed a taste. But it was the acid-rock that scared me. I couldn\u2019t get with that, I couldn\u2019t identify with drug-oriented music. Well, first I couldn\u2019t understand those secret words that were in there. I understand,” she asked blushing, “there were secret words?<\/p>\n

“But I couldn\u2019t sing them because I didn\u2019t know what they meant. I felt lost. And I am extremely sensitive. I have to know and believe what I am singing or I don\u2019t sing it. And it is of no credit to me (she believes a true pro should be able to sing anything), it\u2019s just that my Self won\u2019t let me.”<\/p>\n

Peggy mentioned incidentally that she\u2019s talking with another pop star on the level of McCartney about a possible collaboration. She could not yet say who. She enjoyed working with McCartney on “Let\u2019s Love” because of his know-how and genuine enthusiasm. And she was surprised to find with McCartney, as with Elton John \u2013 who she met at Hollywood\u2019s Les Restaurant after a recording session \u2013 that “there\u2019s really no generation gap at all. It\u2019s sort of a family feeling.” Indeed, for Peggy, pop music is the only family she has ever really had.<\/p>\n

“Yes. And my audience has been changing,” Peggy added, reflecting over a stretch of experience few people could even contemplate. “And it\u2019s all age groups\u2026 But by the end of a night\u2019s program,” she concluded, “they\u2019re all getting along just fine.”<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

by Len Epand Los Angeles \u2013 What do you do when Peggy Lee asks you to dinner? Well, if you\u2019re Paul McCartney, you just don\u2019t buy a bottle of rare champagne to show your appreciation. You sit at your piano and compose her a song. That\u2019s what Paul did when[…]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"ngg_post_thumbnail":0,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-1069","post","type-post","status-publish","format-standard","hentry","category-library"],"yoast_head":"\nThe Generation Bridge - Peggy Lee<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.peggylee.com\/the-generation-bridge\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Generation Bridge - Peggy Lee\" \/>\n<meta property=\"og:description\" content=\"by Len Epand Los Angeles \u2013 What do you do when Peggy Lee asks you to dinner? 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That\u2019s what Paul did when[...]","og_url":"https:\/\/www.peggylee.com\/the-generation-bridge\/","og_site_name":"Peggy Lee","article_publisher":"https:\/\/www.facebook.com\/misspeggylee\/","article_published_time":"2013-01-18T16:16:02+00:00","article_modified_time":"2021-08-04T14:19:19+00:00","og_image":[{"width":1200,"height":630,"url":"https:\/\/www.peggylee.com\/wp-content\/uploads\/2022\/01\/Peggy-Lee-og.jpg","type":"image\/jpeg"}],"author":"David Torresen","twitter_card":"summary_large_image","schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.peggylee.com\/the-generation-bridge\/#article","isPartOf":{"@id":"https:\/\/www.peggylee.com\/the-generation-bridge\/"},"author":{"name":"David Torresen","@id":"https:\/\/www.peggylee.com\/#\/schema\/person\/5858c3f21b8ac2572f3ad6d6ee48255d"},"headline":"The Generation Bridge","datePublished":"2013-01-18T16:16:02+00:00","dateModified":"2021-08-04T14:19:19+00:00","mainEntityOfPage":{"@id":"https:\/\/www.peggylee.com\/the-generation-bridge\/"},"wordCount":3394,"publisher":{"@id":"https:\/\/www.peggylee.com\/#organization"},"articleSection":["Library"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.peggylee.com\/the-generation-bridge\/","url":"https:\/\/www.peggylee.com\/the-generation-bridge\/","name":"The Generation Bridge - Peggy Lee","isPartOf":{"@id":"https:\/\/www.peggylee.com\/#website"},"datePublished":"2013-01-18T16:16:02+00:00","dateModified":"2021-08-04T14:19:19+00:00","breadcrumb":{"@id":"https:\/\/www.peggylee.com\/the-generation-bridge\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.peggylee.com\/the-generation-bridge\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/www.peggylee.com\/the-generation-bridge\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.peggylee.com\/"},{"@type":"ListItem","position":2,"name":"The Generation Bridge"}]},{"@type":"WebSite","@id":"https:\/\/www.peggylee.com\/#website","url":"https:\/\/www.peggylee.com\/","name":"Peggy Lee","description":"The Official Site of Miss Peggy Lee","publisher":{"@id":"https:\/\/www.peggylee.com\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.peggylee.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.peggylee.com\/#organization","name":"Peggy Lee Associates","url":"https:\/\/www.peggylee.com\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.peggylee.com\/#\/schema\/logo\/image\/","url":"https:\/\/www.peggylee.com\/wp-content\/uploads\/2022\/01\/pl-org-logo.jpg","contentUrl":"https:\/\/www.peggylee.com\/wp-content\/uploads\/2022\/01\/pl-org-logo.jpg","width":600,"height":600,"caption":"Peggy Lee Associates"},"image":{"@id":"https:\/\/www.peggylee.com\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/misspeggylee\/","https:\/\/www.instagram.com\/peggyleeofficial\/?hl=en","https:\/\/www.youtube.com\/channel\/UCWfdzpDGBCOOWxWVR0fLVNw"]},{"@type":"Person","@id":"https:\/\/www.peggylee.com\/#\/schema\/person\/5858c3f21b8ac2572f3ad6d6ee48255d","name":"David Torresen","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.peggylee.com\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/bf99d02cc4058c2b1b9997b7edc241ed8e9f4dae28767f8380afcd571571e329?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/bf99d02cc4058c2b1b9997b7edc241ed8e9f4dae28767f8380afcd571571e329?s=96&d=mm&r=g","caption":"David Torresen"},"url":"https:\/\/www.peggylee.com\/author\/dtorresen\/"}]}},"_links":{"self":[{"href":"https:\/\/www.peggylee.com\/wp-json\/wp\/v2\/posts\/1069","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.peggylee.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.peggylee.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.peggylee.com\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.peggylee.com\/wp-json\/wp\/v2\/comments?post=1069"}],"version-history":[{"count":0,"href":"https:\/\/www.peggylee.com\/wp-json\/wp\/v2\/posts\/1069\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.peggylee.com\/wp-json\/wp\/v2\/media?parent=1069"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.peggylee.com\/wp-json\/wp\/v2\/categories?post=1069"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.peggylee.com\/wp-json\/wp\/v2\/tags?post=1069"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}