{"id":427849,"date":"2022-04-06T20:24:24","date_gmt":"2022-04-06T17:24:24","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/what-is-the-true-purpose-of-the-pop-music-documentary\/"},"modified":"2022-04-06T20:24:24","modified_gmt":"2022-04-06T17:24:24","slug":"what-is-the-true-purpose-of-the-pop-music-documentary","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/what-is-the-true-purpose-of-the-pop-music-documentary\/","title":{"rendered":"#What is the true purpose of the pop music documentary?"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_85 counter-hierarchy ez-toc-counter ez-toc-custom ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6a3f582c212d6\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #dd3333;color:#dd3333\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #dd3333;color:#dd3333\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6a3f582c212d6\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-1'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/buradabiliyorum.com\/en\/what-is-the-true-purpose-of-the-pop-music-documentary\/#%E2%80%9CWhat_is_the_true_purpose_of_the_pop_music_documentary%E2%80%9D\" >&#8220;What is the true purpose of the pop music documentary?&#8221;<\/a><ul class='ez-toc-list-level-2' ><li class='ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/buradabiliyorum.com\/en\/what-is-the-true-purpose-of-the-pop-music-documentary\/#As_Olivia_Rodrigo_joins_Billie_Eilish_Taylor_Swift_and_Charli_XCX_in_putting_her_story_on_screen_its_time_to_think_about_who_is_best_served_by_the_format\" >As Olivia Rodrigo joins Billie Eilish, Taylor Swift, and Charli XCX in putting her story on screen, it\u2019s time to think about who is best served by the format.<\/a><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n<h1><span class=\"ez-toc-section\" id=\"%E2%80%9CWhat_is_the_true_purpose_of_the_pop_music_documentary%E2%80%9D\"><\/span>&#8220;What is the true purpose of the pop music documentary?&#8221;<span class=\"ez-toc-section-end\"><\/span><\/h1>\n<h2 class=\"deck\"><span class=\"ez-toc-section\" id=\"As_Olivia_Rodrigo_joins_Billie_Eilish_Taylor_Swift_and_Charli_XCX_in_putting_her_story_on_screen_its_time_to_think_about_who_is_best_served_by_the_format\"><\/span>As Olivia Rodrigo joins Billie Eilish, Taylor Swift, and Charli XCX in putting her story on screen, it\u2019s time to think about who is best served by the format. <span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><\/p>\n<div class=\"content_blocks\">\n<style>\n<\/style>\n<div id=\"content_block-231103\" class=\"content_block paragraph image triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"media_wrapper\">\n<p>  <img decoding=\"async\" src=\"https:\/\/thefader-res.cloudinary.com\/private_images\/w_760,c_limit,f_auto,q_auto:best\/unnamed_k2qbkc\/olivia-rodrigo.jpg\" srcset=\"https:\/\/thefader-res.cloudinary.com\/private_images\/w_220,c_limit,f_auto,q_auto:best\/unnamed_k2qbkc\/olivia-rodrigo.jpg 220w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_300,c_limit,f_auto,q_auto:best\/unnamed_k2qbkc\/olivia-rodrigo.jpg 300w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_400,c_limit,f_auto,q_auto:best\/unnamed_k2qbkc\/olivia-rodrigo.jpg 400w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_600,c_limit,f_auto,q_auto:best\/unnamed_k2qbkc\/olivia-rodrigo.jpg 600w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_750,c_limit,f_auto,q_auto:best\/unnamed_k2qbkc\/olivia-rodrigo.jpg 750w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_840,c_limit,f_auto,q_auto:best\/unnamed_k2qbkc\/olivia-rodrigo.jpg 840w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_960,c_limit,f_auto,q_auto:best\/unnamed_k2qbkc\/olivia-rodrigo.jpg 960w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_1260,c_limit,f_auto,q_auto:best\/unnamed_k2qbkc\/olivia-rodrigo.jpg 1260w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_1800,c_limit,f_auto,q_auto:best\/unnamed_k2qbkc\/olivia-rodrigo.jpg 1800w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_2400,c_limit,f_auto,q_auto:best\/unnamed_k2qbkc\/olivia-rodrigo.jpg 2400w,\" sizes=\"60vw\" alt=\"What is the true purpose of the pop music documentary?\"><\/p>\n<p><span class=\"img_caption\"><\/p>\n<p>    <span class=\"caption\"><br \/>\n      Olivia Rodrigo<br \/>\n    <\/span><\/p>\n<p>  <span class=\"credit\"><br \/>\n      \u00a0<\/p>\n<p>      Disney+<\/p>\n<p>  <\/span><\/p>\n<p><\/span><\/p><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-231100\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>            Pop documentaries are almost always marketed on the allure of proximity \u2013 allowing the viewer the privilege of being up close and personal with an artist despite that intimate feeling often being crafted within a space that still holds the audience at an arm\u2019s length. In the new Disney+ documentary-concert film <i>Driving Home 2 U<\/i>, Olivia Rodrigo looks back on the making of her debut album <i>Sour<\/i> through in-studio footage captured on a GoPro tucked in the Los Angeles studio where she wrote and recorded the album with producer Dan Nigro. The footage is woven together with performances reimagining the tracklist in chronological order of when each song was created. Mostly, her commentary is provided through the lens of hindsight as she sifts carefully through memories of the time. Throughout the film, the 19-year-old singer and songwriter holds her cards close to her chest \u2013 neatly circumventing the who, what, why, and how of the record\u2019s rumored subject matter.<\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            In one scene, about an hour into the film, Rodrigo recalls the nerves that rocked her as she was thrown into the spotlight nearly overnight. \u201cI remember just feeling kind of tr<a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">app<\/a>ed and kind of, like, flung into this situation that I wasn\u2019t prepared for,\u201d she says in a voiceover. \u201cAll of a sudden, everyone\u2019s watching you, and I\u2019m like, \u2018Oh my God,\u2019 Did I actually ever want this?\u201d It\u2019s one of the few moments that creates a genuine feeling of intimacy, but <i>Driving Home 2 U<\/i> is intent on painting a portrait of an artist who is most accessible through song. Listening to <i>Sour<\/i> will tell you more about the singer than anything she\u2019ll reveal to a camera. For Rodrigo to establish that limited accessibility at such an early stage of her career feels strategic in maintaining control of her own public narrative \u2013 taking a card from Taylor Swift, who redrew the lines of her own boundaries in the 2020 documentary <i>Miss Americana<\/i>.<\/p>\n<p>            The documentary format is inherently self-serving in that way \u2013 and timing is key. The Apple TV+ film <i>Billie Eilish: The World&#8217;s a Little Blurry<\/i> similarly captures the making of the singer\u2019s historic debut album. The film offered up far more about Eilish\u2019s self-reflection and personal relationships and, most importantly, how those two elements inform her creative process. Meanwhile, BLACKPINK\u2019s Netflix release <i>Light Up The Sky<\/i> is committed to presenting the four-piece girl group as undeniable stars. It follows them from their days as K-Pop trainees all the way to Coachella, but the peculiar and overbearing presence of their record producer Teddy Park threatens to darken the film\u2019s shine. <\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-231104\" class=\"content_block paragraph embed triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"media_wrapper\">\n<div class=\"\">\n    <iframe loading=\"lazy\" title=\"Billie Eilish: The World\u2019s A Little Blurry \u2014 Official Trailer | Apple TV+\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/sf2EzBQiTr8?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>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-231101\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>            The recent onslaught of pop music documentaries released in the past few years share a common thread in their attempt to wrangle back a sense of understanding, or control, years after their muddled narrative has taken form as something largely unrecognizable. There\u2019s a sense of trust and proximity crafted through the draw of exclusive, never-before-seen archival footage, either shared on the artist\u2019s own careful volition or by an insider operating close enough to them to capture raw, unfiltered material with ease of access. Often condensing decades of personal development into just a few hours, as films or brief <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/watch-movies-tv-seriess\/\" data-internallinksmanager029f6b8e52c=\"8\" title=\"Watch Movies &amp; TV Series\" target=\"_blank\" rel=\"noopener\">series<\/a>, how do these documentaries effectively reclaim the ever-shifting narratives of their subjects, if they can at all?<\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            In the Netflix documentary series <i>Jeen-Yuhs: A Kanye Trilogy<\/i>, directors Clarence \u2018Coodie\u2019 Simmons and Chike Ozah stumble their way towards an answer. Across four-and-a-half total hours, crafted from a goldmine of over 330 hours of archival footage captured over 21 years, the directing duo chronicles Kanye West\u2019s transformation from rising Chicago rapper \u2013 one with unrelenting determination \u2013 to volatile cultural figure. The series puts into context how badly he wanted to become an invaluable, influence-wielding star, how he made it happen, and how he unraveled along the way. How do you nail down an artist who considers himself to be perpetually misunderstood and refuses to move at anything below full speed? It seems that after a certain point, you can\u2019t.<\/p>\n<p>            For the better part of his career, West has been something of a moving target. <i>Jeen-Yuhs<\/i> itself arrived in the midst of a shift. In the weeks before its arrival, the rapper took aim at Kim Kardashian, Pete Davidson, and Billie Eilish on Instagram \u2013 a few of his many chaotic, and highly public, implosions on the app as of late. \u201cI miss the old Kanye\u201d has been a running gag for some years now, but even Simmons shuts the camera off when he catches up with West during his failed presidential campaign and realizes the dynamic they established 20 years prior has shifted entirely. \u201cI never shot that side of Kanye,\u201d the director <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/www.bbc.co.uk\/sounds\/play\/live:bbc_1xtra\">told BBC Radio 1Xtra<\/a>. \u201cIt just felt uncomfortable.\u201d Simmons and Ozah declined West\u2019s very public demand for final edit and approval of the docuseries on the grounds that <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/www.insider.com\/jeen-yuhs-directors-kanye-west-edit-room-donda-2022-2\">\u201cfor it to resonate, people need to see certain things.\u201d<\/a> And yet, large stretches of the final two-thirds of the trilogy are padded with filler that has nothing to do with the rapper.<\/p>\n<p>            As a filmmaker, maybe it\u2019s better to have an instinct for when to stop filming than for your subject to have to tell you to cut the cameras, but the thought process that plays into that decision is heavily informed by the relationship between the people in front of and behind the camera. When Charli XCX filmed her documentary <i>Alone Together<\/i> in quarantine, she and her housemates controlled when shooting stopped and started. Its directors, Bradley Bell and Pablo Jones-Soler, crafted the film out of the footage they received at the end of each day. Had they been physically present, maybe they would have kept the cameras rolling when the singer called for a timeout. Maybe that captured moment of emotional vulnerability wouldn\u2019t have made it into the film, anyway. But as an artist who is more online than most, Charli\u2019s threshold for how much she\u2019s willing to share shapes not only what we see in the documentary but also the hard-drawn lines of what we don\u2019t.<\/p>\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div>\n<p>            The conversations withheld from these films and series are often as telling as the ones that are included. It returns to this notion of wanting to create something in line with the artist\u2019s narrative, whether ongoing or in the process of being reconstructed. There\u2019s a crucial grain-of-salt element involved for the audience, especially for <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/social-mediaa\/\" data-internallinksmanager029f6b8e52c=\"1\" title=\"Social Media\" target=\"_blank\" rel=\"noopener\">YouTube<\/a> docu-series like Demi Lovato\u2019s breathtakingly vulnerable <i>Dancing With the Devil<\/i> or Justin Bieber\u2019s revealing <i>Seasons<\/i>. Both were heavily shaped by manager Scooter Braun, and consequently stained with an oddly promotional feel, like a neatly concluded victory lap just in time for the album to drop. <\/p><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-231105\" class=\"content_block paragraph embed triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"media_wrapper\">\n<div class=\"\">\n    <iframe loading=\"lazy\" title=\"Charli XCX: Alone Together | Official Trailer\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/YV6B3CoP2kM?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>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-231102\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>            There\u2019s something to be said about allowing those stories to be told by the right people in their own time. In the four-part documentary series <i>Janet Jackson<\/i>, the pop icon regains control on her own terms and in her own words. When her ex-husband Ren\u00e9 Elizondo, who filmed countless hours of the singer\u2019s private and public life over the course of their 10-year marriage, attempts to stage an embrace between Jackson and her mother, she pulls the plug. When a studio session with Jimmy Jam sparks creative strife, she matches his energy with the force of her own. When it comes time to talk about the more controversial elements of her brother Michael\u2019s life, she treads carefully, fighting to keep her story at the center. Filmed over the course of five years, the series builds around the exclusive insight and commentary that couldn\u2019t be found anywhere else. <\/p>\n<p>            This is her narrative she\u2019s writing here, but it wouldn\u2019t be complete without an addressing of the infamous 2004 Super Bowl half-time show. She moves on from it quickly \u2013 the series begins to crumble in the latter half without Elizondo\u2019s archival footage \u2013 but not without first revealing that she had advised Justin Timberlake not to make a statement about the incident: \u201cIf I were you, I wouldn\u2019t say anything.\u201d The two artist\u2019s stories became perpetually intertwined from that moment on, but it was only Jackson who was essentially blacklisted from the entertainment industry. When she was invited back to perform with Timberlake in 2018, she declined. She wouldn\u2019t allow his role in her narrative to inflate once again, after she had spent years letting it die out. Jackson&#8217;s guiding hand throughout the series is unwavering in its desired external perception. <\/p>\n<p>            Unfortunately for him, Timberlake is a notorious figure in another one of pop\u2019s biggest fights to regain control, though Britney Spears hasn\u2019t yet been able to tell that story on her own. While the singer fought to bring an end to the restrictive conservatorship she had been kept in for 13 years, she became the center of two major documentaries \u2013 the New York Times-presented double-feature <i>Framing Britney Spears<\/i> and <i>Controlling Britney Spears<\/i> \u2013 examining how she ended up there. The creators of both films got as close to the singer as they could manage without her direct involvement, painting a compelling portrait of an artist driven to disillusion as the public callously s<a href=\"https:\/\/buradabiliyorum.com\/en\/category\/trip-and-travel\/\" data-internallinksmanager029f6b8e52c=\"10\" title=\"Trip &amp; Travel\" target=\"_blank\" rel=\"noopener\">trip<\/a>ped her of any agency. But seeing the two films put into conversation with the singer\u2019s own statements shared in court, leading up to the conservatorship termination, it\u2019s hard to decipher the feeling of irony in the story of her freedom being shared before she could reclaim the narrative herself.<\/p>\n<p>            Pop documentaries become a double-edged sword when the reputation of objective and independent documentary filmmaking intersects with the rightful authority of an artist \u2013 or the teams of executive producing-industry figures who derive benefit from holding the reins of their image. There are rarely ever clear answers to the questions of agency and intention that color the purpose they serve for both their audience and their subject. And yet, for all of these artists, their stories are not yet complete. All that we learn from those particular moments in time captured on camera informs the living document of their personal and artistic narrative. <\/p>\n<p>            It\u2019s human nature to platform the best parts of ourselves and keep the less polished parts tucked away as a form of self-protection. But ideally, these films should be approaching a balance between the two \u2013 not because we as an audience are entitled to the privilege of being welcomed into the good and the bad, but because the most authentic approach recognizes that both are essential to establishing meaningful complexities. <\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/div>\n<p><\/p>\n<div class=\"author\">\n    <span><br \/>\n      By <span class=\"credit_name\">Larisha Paul<\/span><br \/>\n  <\/span><\/div>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. Follow us on\u00a0<span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/news.google.com\/publications\/CAAqBwgKMLG0nwswvr63Aw\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\">For forums sites go to <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/forum.buradabiliyorum.com\/\" target=\"_blank\" rel=\"noopener\">Forum.BuradaBiliyorum.Com<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more Like this articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/social-media\/\" target=\"_blank\" rel=\"noopener\">Social Media category.<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/www.thefader.com\/2022\/04\/06\/olivia-rodrigo-billie-eilish-britney-spears-pop-music-documentary\" target=\"_blank\" rel=\"noopener\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;What is the true purpose of the pop music documentary?&#8221; As Olivia Rodrigo joins Billie Eilish, Taylor Swift, and Charli XCX in putting her story on screen, it\u2019s time to think about who is best served by the format. Olivia Rodrigo \u00a0 Disney+ Pop documentaries are almost always marketed on the allure of proximity \u2013&#8230;<\/p>\n","protected":false},"author":1,"featured_media":427850,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/thefader-res.cloudinary.com\/private_images\/c_limit,w_1024\/c_crop,h_369,w_624,x_0,y_45,f_auto,q_auto:eco\/unnamed_swjbd3\/unnamed_swjbd3.jpg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[28101,53489,91682,90432,70671],"class_list":["post-427849","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-pop","tag-billie-eilish","tag-charli-xcx","tag-olivia-rodrigo","tag-taylor-swift"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/427849","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=427849"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/427849\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/427850"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=427849"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=427849"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=427849"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}