{"id":106,"date":"2016-03-19T01:06:23","date_gmt":"2016-03-19T05:06:23","guid":{"rendered":"http:\/\/sites.williams.edu\/engl117s16\/?p=106"},"modified":"2016-03-19T01:07:18","modified_gmt":"2016-03-19T05:07:18","slug":"jesus-walks-cultural-innovation-in-an-industry-of-monotony","status":"publish","type":"post","link":"https:\/\/sites.williams.edu\/engl117s16\/uncategorized\/jesus-walks-cultural-innovation-in-an-industry-of-monotony\/","title":{"rendered":"&#8220;Jesus Walks&#8221;: Cultural Innovation in an Industry of Monotony"},"content":{"rendered":"<p style=\"text-align: center\">By Ross Hoch<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter\" src=\"https:\/\/a.abcnews.go.com\/images\/Entertainment\/rtr_kanye_west_jc_150407_16x9_992.jpg\" alt=\"\" width=\"992\" height=\"558\" \/>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0&#8216;I feel like I\u2019m too busy writing history to read it.&#8217;<\/p>\n<p>You\u2019ve heard it before: Modern music is all the same, some formulaic progression of chords, manufactured in the hit factory by calculating writers and producers to hook listeners, before being neatly packaged by some attractive entertainers. \u00a0Some would say that people who think like this are only reactionaries; old curmudgeons opposed to change, who not only say that music and culture was more diverse in their day, but that they walked uphill both ways to and from the concert hall where they listened to it. However, scientific studies have proved that pop music has a narrower dynamic and timbral range, borrows more heavily from older music, and is less and less unique than ever before. While advocates of the internet age might disagree, for the most part the significant capital needed to professionally produce and distribute music and other forms of entertainment to the mass market encourages an industrialization and streamlining of the process. \u00a0\u00a0Cultural theorists like Adorno have gone so far as to suggest that with the advent of the industrial age and mass markets, all of culture has been infected with mind-numbing sameness, devoid of original thought. \u00a0Adorno even argues that the supposed counterculture movement merely offers the illusion of choice which functions within and perpetuates the existing system of sameness. \u00a0However, there have been certain artists who seem to have provided strong counterexamples to Adorno\u2019s claims. \u00a0One of the most notable is Kanye West, who gained fame with his groundbreaking single \u201cJesus Walks.\u201d \u00a0While, this work admits that in a world of mass-production the danger of all art being the same exists, Jesus Walks rejects cultural and genre norms, genuinely supporting the idea that the exceptional creativity and individuality of human spirit can overcome industrial society\u2019s pressure for sameness.<\/p>\n<p><iframe loading=\"lazy\" title=\"Kanye West - Jesus Walks (Version 2)\" width=\"584\" height=\"329\" src=\"https:\/\/www.youtube.com\/embed\/MYF7H_fpc-g?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><\/p>\n<p>Kanye West&#8217;s second (and most popular and critically acclaimed) &#8220;Jesus Walks&#8221; music video. \u00a0Not the contrast between the flames of the devil that are trying to engulf West at one moment and the halo that surrounds him at the next. \u00a0Also note the blatant undisguised\u00a0allusions to racism in America.<\/p>\n<p><span style=\"font-weight: 400\">Though it was conceived of well after Adorno\u2019s publication of his cultural theories on an inevitable sameness (in 1944) hip hop was in many ways born out of a reaction to the culture industry and \u201cestablishment\u201d domination of culture and entertainment. \u00a0Working class African Americans in the South Bronx, disenchanted with the almost &#8211; systematic oppression and a lack of opportunity in spite of recent civil rights movements, and not given a voice in popular \u201cindustrialized\u201d artistic forms like rock and roll, created a new unique cultural movement to express themselves. \u00a0As the Paley Center writes, \u201cFrom the beginning, hip-hop was aggressive and oppositional, a break from the musical traditions it followed.\u201d[1]<\/span> <span style=\"font-weight: 400\"> In rejecting the primacy of the melody (something previously thought to be a musical necessity) and instrumentals, in favor of the layering of beats with rhythm, rhymes, bass, and samples, hip-hop established itself musically as a unique, and innovative art form, outside of Adorno\u2019s monotonous \u201cculture industry.\u201d \u00a0Furthermore, by giving a voice to oppressed inner-city blacks and speaking freely about the harsh realities of inner city life it gave expression and agency to those who Adorno would have asserted to be voiceless, brainwashed subjects of the culture industry.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-110 aligncenter\" src=\"https:\/\/sites.williams.edu\/engl117s16\/files\/2016\/03\/sugarhill-300x169.png\" alt=\"sugarhill\" width=\"300\" height=\"169\" srcset=\"https:\/\/sites.williams.edu\/engl117s16\/files\/2016\/03\/sugarhill-300x169.png 300w, https:\/\/sites.williams.edu\/engl117s16\/files\/2016\/03\/sugarhill-768x432.png 768w, https:\/\/sites.williams.edu\/engl117s16\/files\/2016\/03\/sugarhill-1024x576.png 1024w, https:\/\/sites.williams.edu\/engl117s16\/files\/2016\/03\/sugarhill-500x281.png 500w, https:\/\/sites.williams.edu\/engl117s16\/files\/2016\/03\/sugarhill.png 1200w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/p>\n<p style=\"text-align: center\">The Sugarhill Gang who had the very first hit rap single &#8220;Rapper&#8217;s Delight&#8221; in 1979.<\/p>\n<p><span style=\"font-weight: 400\">Yet, few would recognize the 21st century hip-hop culture (that Kanye West wrote in) as the wholly innovative, unique form of expression of a typically marginalized segment of society. As hip-hop spread to the wider world in the 1980s, corporate interests took what had been a subversive and revolutionary form of music made for the oppressed and commoditized it for profit and mass consumption[2].<\/span><span style=\"font-weight: 400\"> \u00a0Under the pressure of corporate-driven profit, rappers have been driven towards defined media stereotypes: such as the \u201cpimp\u201d, \u201cgangsta\u201d, and \u201cplaya\u201d, in corporate America\u2019s attempt to profit from narrow, but dramatically appealing definitions of inner-city black life for profit. \u00a0This evolution in hip hop has led some like music critic Dart Adams to say that hip hop (like one of Adorno\u2019s \u201ccountercultures\u201d) merely presents the illusion of choice, existing \u201calmost solely to maintain the status quo and promote moneyed interests.\u201d[3]<\/span><\/p>\n<p><span style=\"font-weight: 400\">Within this context of hip-hop as the product of an industrial process, the unorthodox messages in \u201cJesus Walks\u201d provide a testament to the fact that despite the conformist pressures of cultural mass production individuals have the capacity to produce art of substance and individual meaning. \u00a0For instance, Jesus Walks very premise, that of the walk with Christ that everyone must embrace, \u201cJesus Walks\u201d rejects adopting for himself the conventional \u201cbad-ass\u201d gangster, rapper, and pimp personas and instead chooses to adopt that of a Christian capable of humility. \u00a0West notes that this is specifically a rejection of the terms and corporate pressures of the producers, in rapping, \u201cSo here go my single dog, radio needs this\/ They say you can rap about anything except for Jesus.\/ \u00a0That means guns, sex, lies, videotape.\/ \u00a0But if I talk about God my record won\u2019t get played, huh?\u201d \u00a0While one might be led to think that the risks of stepping outside convention would be consumer rejection, West explicitly states that he is rebelling against the corporate controlled radio industry (and record industry). \u00a0Thus he does not believe his innovative artwork to be outside the bounds of consumer tastes, but rather outside of the narrow, negative and monotony-inducing \u201cguns, sex lies, videotape\u201d confines imposed by the radio and record industry. \u00a0In interviews about the song West often cited that those in the record industry, while admitting the song\u2019s undeniable musical and lyrical excellence, stated that the centrality of the Christian theme meant that it would not get playtime on the radio[4].<\/span><span style=\"font-weight: 400\"> \u00a0Yet, in explicitly challenging the producers and describing the issues with the corporate elements of hip hop, West not only forces the hip hop industry to widen its scope in playing this convention-defying song, but also in observing its success, confront the fact that their limited scope was neither productive in forming good art, nor in catering to true consumer desires. <\/span><\/p>\n<p><span style=\"font-weight: 400\">Furthermore, unlike the hit singles of many of West\u2019s contemporaries, \u00a0\u201cJesus Walks\u201d is the rare piece of art that by using old material creates a piece of music that is genuinely innovative. \u00a0\u00a0Hip hop production has always been an amalgamation of various musical motifs, beats, samples or songs, with the payoff of the best songs being far more than the sum of their parts. \u00a0However, in recent years this potentially rich combination has often become more and more formulaic. \u00a0Rap has evolved in the direction of a more pop-like formula with a base synthesized beat and musical riff overlaid with alternating rap verses and more and more poppy, melodic hooks typically infused with a couple ear-pleasing samples. \u00a0In contrast to this general trend, \u201cJesus Walks\u201d utilizes several musical elements rarely used in mainstream hip hop to create a rich, and frankly surprising texture of sound. \u00a0As Pitchfork (a magazine particularly vicious in its critiques of unoriginality) remarks, \u201cMilitaristic drums, choral melisma, snake-charmer keyboards, and swatches of orchestration made &#8220;Jesus Walks&#8221; an odd thing to spill out car windows in summer 2004.&#8221;[5]<\/span><\/p>\n<p><span style=\"font-weight: 400\">In addition to these elements atypical of contemporary hip-hop, \u201cJesus Walks\u201d makes heavy use of gospel choir, incorporating an element of the African American tradition of music seldom paired with the heavy beat and rhetorical power of mainstream rap to construct a truly moving refrain. \u00a0\u00a0Indeed, the song made gospel so central to its musical themes and has motifs so characteristic of gospel that it was even briefly nominated for several gospel awards categories despite the fact that the song was not traditionally considered within the confines of gospel music. (Don\u2019t worry cultural conservatives quickly convinced the awards organization of the need to remove a song so \u201csecular\u201d and \u201cprofane\u201d from the nominees).<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"kanye west - jesus walks\" width=\"584\" height=\"438\" src=\"https:\/\/www.youtube.com\/embed\/b8AyHupByuU?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><\/p>\n<p style=\"text-align: center\">\u00a0 \u00a0 \u00a0An early Jesus Walks music video. \u00a0 \u00a0 Listen for the way in which milatiristic drum beats, impassioned gospel solos, the backing children&#8217;s choir, and orchestral transitions combine to create a &#8220;towering inferno of sound&#8221; particularly during the refrain from 1:50-1:20.<\/p>\n<p><span style=\"font-weight: 400\">Jesus Walks\u201d gradually layers all of the above-mentioned voices from all corners of culture on top of each other to build what the Observer describes as &#8220;[a] towering inferno of martial beats, fathoms-deep chain gang backing chants, a defiant children&#8217;s choir, gospel wails, and sizzling orchestral breaks.\u201d[6]<\/span><span style=\"font-weight: 400\"> \u00a0It is a creation that simultaneously hearkens back and stays true to musical traditions, particularly African American hip hop and gospel, and yet is so removed from the stereotypical formulaic conception of commoditized hip hop or any form of mainstream music, that upon listening one cannot help but question Adorno\u2019s theory of universal cultural sameness. \u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">While we have established that West thoroughly rejects the notions of conventional hip hop in terms of both subject matter and musical composition, \u201cJesus Walks\u201d could have been a song that while rejecting mainstream elements of the hip hop industry merely embraced other establishment cultural values previously not expressed through hip hop. \u00a0\u201cJesus Walks\u201d <\/span><span style=\"font-weight: 400\">could have just been some catchy musically brilliant work that presented Christ as a panacea to all the problems facing America, but instead it explores the struggles, false promises and internal conflicts in the American dream for marginalized members of society. <\/span><\/p>\n<p><span style=\"font-weight: 400\">There is no one version of the American dream. \u00a0It\u2019s a buzzword or buzz phrase, if you will, and to some extent it has a different meaning for everyone. \u00a0However, there is a sort of establishment portion of the American dream that a Marxist like Adorno would say the ruling classes foist upon you. \u00a0This is that success is possible through hard-work within the confines and conventions of what\u2019s accepted by society. \u00a0In other words if you adopt the Protestant work ethic as a guideline in your personal and work life some sort of success will come, regardless of your background. \u00a0\u00a0Of course this implies the drug-dealers and criminals are that way because they are less worthy. \u00a0They had a chance to better themselves and wasted it. \u00a0They are criminals chiefly because they are morally depraved and corrupted. \u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">West disagrees with this empirically flawed premise and presents them drug dealers and criminals as equals, morally complex victims of unjust circumstances and stereotypes, to be valued as much as anyone else, through the use of various speakers on either side of the conflict. \u00a0In the first portion of the first verse he raps, \u201cYou know what the Midwest is?\/ \u00a0Young and restless\/ Where restless (niggas) might snatch you necklace\/ And next these (niggas) might jack your Lexus.\u201d<\/span><span style=\"font-weight: 400\"> \u00a0Here he reveals the racial stereotypes of thievery, depravity, and the inferior quality denoted by the usage of the n-word, that are projected onto poor blacks by American society. \u00a0West uses and identifies with (using \u201cwe\u201d) further examples of the systemic environment into which blacks are thrust such as arrested by police and tried in court solely as a result of skin color so that his audience may sympathize with those \u201cwho walk the valley where the shadow of the Chi where death is\u201d like they would with the shepherd of the 23rd psalm. He builds on the sympathy he has established in the listener for the difficulties of the marginalized by segueing into a first-person narration, spoken by a drug dealer raised in this environment. \u00a0Finally, after hearing of the repeated oppression and denial of the American dream in America we can understand why the speaker no longer believes in Jesus\u2019 ability to save us.\u201d \u00a0Through presenting the victims such as the drug dealer and the \u201c<\/span><i><span style=\"font-weight: 400\">victims <\/span><\/i><span style=\"font-weight: 400\">of welfare\u201d as torn between the devil and God, \u00a0Kanye outlines the duality of man and the members of an unequal American society constantly torn, \u201cat war\u201d with \u201cterrorism\u201d \u201cracism,\u201d and \u201courselves.\u201d \u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">A product of the culture industry would likely have accepted and propagated the inequality-enforcing (interpellative) message of the elites American Dream. \u00a0In contrast, West outlines the inherent flaws and inequality caused by racism and stereotypes ingrained within American society, and in doing so creates a genuinely individual, complex, and original message, devoted to a cause greater than profit or maintenance of the establishment. \u00a0Through presenting victims such as the drug dealer and the \u201c<\/span><i><span style=\"font-weight: 400\">victims <\/span><\/i><span style=\"font-weight: 400\">of welfare\u201d as torn between the devil and God, \u00a0Kanye outlines the duality of man and the members of an American society constantly torn, \u201cat war\u201d with \u201cracism,\u201d \u201cterrorism\u201d and \u201courselves\u201d. \u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">In its refusal to conform to norms of popular music genres, and its complex voicing of the struggles of marginalized African-Americans in society \u201c<\/span><span style=\"font-weight: 400\">Jesus Walks\u201d revives the dissident, nonconformist, nature which made hip hop so powerful and attractive at its inception. \u00a0Moreover, \u201cJesus Walks\u201d is nothing if not a musical masterpiece created through a rarely seen combination of gospel, rap, orchestral arrangements, and carefully chosen samples. \u00a0In \u201cJesus Walks\u201d West created a <\/span><i><span style=\"font-weight: 400\">mass-produced <\/span><\/i><span style=\"font-weight: 400\">cultural work of rebellion and originality that is a joy to listen to in its own right. \u00a0Thus, many pieces of entertainment lead their audiences to absorb the conformist ruling-class ideologies packaged within them &#8220;Jesus Walks\u201d demonstrates the potential for certain mass-produced entertainment to elevate its audience\u2019s mindfulness. \u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u201cJesus Walks\u201d openly acknowledges and attacks the perceived culture industry (in this case specifically the record industry) and its tendency to churn out art that is topically and musically monotonous and disconnected from the realities of social conditions within American society just as Adorno does. \u00a0However, by attacking and rebelling against the same cultural problems Adorno diagnoses, it disproves Adorno\u2019s claim that all art is the same, for in order for a mass-produced piece of art to genuinely attack the culture industry for its \u201cAdornian\u201d monotony and false messages, it must be different from those messages which it critiques. \u00a0<\/span><span style=\"font-weight: 400\">The beauty of \u201cJesus Walks\u201d as an artifact of cultural individualism and authentic originality is that it <\/span><span style=\"font-weight: 400\">works within Adorno\u2019s own framework for culture but provides a counterexample to its central claim, that in a culture of mass production all culture is essentially the same. \u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-109 aligncenter\" src=\"https:\/\/sites.williams.edu\/engl117s16\/files\/2016\/03\/jesus-walks-300x266.jpg\" alt=\"jesus walks\" width=\"300\" height=\"266\" \/><\/span><\/p>\n<p style=\"text-align: center\">References<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400\">[1] Calhoun, Claudia. &#8220;The Emergence of Hip Hop.&#8221; <\/span><i><span style=\"font-weight: 400\">Paley Center<\/span><\/i><span style=\"font-weight: 400\">. N.p., n.d. Web. 16 Mar. 2016.<\/span><span style=\"font-weight: 400\">\u00a0 &lt;<\/span><a href=\"https:\/\/www.paleycenter.org\/the-emergence-of-hip-hop\"><span style=\"font-weight: 400\">https:\/\/www.paleycenter.org\/the-emergence-of-hip-hop<\/span><\/a><span style=\"font-weight: 400\">&gt;.<\/span><\/p>\n<p><span style=\"font-weight: 400\">[2] Romero, James. &#8220;Influence of Hip Hop Resonates Worldwide.&#8221; <\/span><i><span style=\"font-weight: 400\">LA Times<\/span><\/i><span style=\"font-weight: 400\"> 14 Mar. 1997, Column \u00a0<\/span><span style=\"font-weight: 400\">One: n.pag. <\/span><i><span style=\"font-weight: 400\">LA Times<\/span><\/i><span style=\"font-weight: 400\">. Web. 16 Mar. 2016.<\/span><\/p>\n<p><span style=\"font-weight: 400\">[3] Adams, Dart. &#8220;Hip Hop Turns 40.&#8221; <\/span><i><span style=\"font-weight: 400\">NPR<\/span><\/i><span style=\"font-weight: 400\">. NPR News Organization, 11 Aug. 2013. Web. 16 Mar. \u00a0<\/span><span style=\"font-weight: 400\">2016.<\/span><\/p>\n<p><span style=\"font-weight: 400\">[4] Leung, Rebecca. &#8220;Rocking for Christ: Christian Music Becoming Big Hits on Mainstream Radio\u00a0<\/span><span style=\"font-weight: 400\">Stations.&#8221; <\/span><i><span style=\"font-weight: 400\">CBS News<\/span><\/i><span style=\"font-weight: 400\">. CBS Interactive, 1 Dec. 2004. Web. 17 Mar. 2016.<\/span><\/p>\n<p><span style=\"font-weight: 400\">[5] Leung, Rebecca. &#8220;Rocking for Christ: Christian Music Becoming Big Hits on Mainstream Radio\u00a0<\/span><span style=\"font-weight: 400\">Stations.&#8221; <\/span><i><span style=\"font-weight: 400\">CBS News<\/span><\/i><span style=\"font-weight: 400\">. CBS Interactive, 1 Dec. 2004. Web. 17 Mar. 2016.<\/span><\/p>\n<p><span style=\"font-weight: 400\">[6] T<\/span><i><span style=\"font-weight: 400\">he Guardian Observer<\/span><\/i><span style=\"font-weight: 400\">. Web. 18 Mar. 2016. \u00a0<span style=\"font-weight: 400\">Mulholland, Gary. &#8220;Song of the Month: Jesus Walks by Kanye West.&#8221; <\/span><i><span style=\"font-weight: 400\">The Observer<\/span><\/i><span style=\"font-weight: 400\"> 15 Aug. <\/span><span style=\"font-weight: 400\">\u00a02004: n. Pag.<\/span><\/span><\/p>\n<p style=\"text-align: center\">Key Works<\/p>\n<p><span style=\"font-weight: 400\">Adorno, Theodor, and Max Horkheimer. <\/span><i><span style=\"font-weight: 400\">Dialectic of Enlightenment<\/span><\/i><span style=\"font-weight: 400\">. N.p.: n.p., 1944. Print.<\/span><\/p>\n<p><span style=\"font-weight: 400\">&#8220;Jesus Walks.&#8221; Comp. Kanye West and Che Smith. <\/span><i><span style=\"font-weight: 400\">College Dropout<\/span><\/i><span style=\"font-weight: 400\">. Perf. and prod. Kanye <\/span><span style=\"font-weight: 400\">West. Roc a Fella, Def Jam, 2004. CD.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>By Ross Hoch \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0&#8216;I feel like I\u2019m too busy writing history to read it.&#8217; You\u2019ve heard it before: Modern music is all the same, &hellip; <a href=\"https:\/\/sites.williams.edu\/engl117s16\/uncategorized\/jesus-walks-cultural-innovation-in-an-industry-of-monotony\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1241,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-106","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"acf":[],"_links":{"self":[{"href":"https:\/\/sites.williams.edu\/engl117s16\/wp-json\/wp\/v2\/posts\/106","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.williams.edu\/engl117s16\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.williams.edu\/engl117s16\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.williams.edu\/engl117s16\/wp-json\/wp\/v2\/users\/1241"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.williams.edu\/engl117s16\/wp-json\/wp\/v2\/comments?post=106"}],"version-history":[{"count":3,"href":"https:\/\/sites.williams.edu\/engl117s16\/wp-json\/wp\/v2\/posts\/106\/revisions"}],"predecessor-version":[{"id":114,"href":"https:\/\/sites.williams.edu\/engl117s16\/wp-json\/wp\/v2\/posts\/106\/revisions\/114"}],"wp:attachment":[{"href":"https:\/\/sites.williams.edu\/engl117s16\/wp-json\/wp\/v2\/media?parent=106"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.williams.edu\/engl117s16\/wp-json\/wp\/v2\/categories?post=106"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.williams.edu\/engl117s16\/wp-json\/wp\/v2\/tags?post=106"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}