{"id":48907,"date":"2022-01-31T20:54:25","date_gmt":"2022-01-31T20:54:25","guid":{"rendered":"https:\/\/graziamagazine.com\/us\/?post_type=articles&p=48907"},"modified":"2022-01-31T20:57:40","modified_gmt":"2022-01-31T20:57:40","slug":"laurel-canyon-los-angeles","status":"publish","type":"articles","link":"https:\/\/graziamagazine.com\/us\/articles\/laurel-canyon-los-angeles\/","title":{"rendered":"Paradise Found: Laurel Canyon and the Flowering of an American Dream"},"content":{"rendered":"
\"\"
Joni Mitchell, right (photos: Getty Images)<\/figcaption><\/figure>\n

Los Angeles, 1964. In winding canyon roads just minutes from the hustle and madness of Sunset Strip, hidden among the eucalyptus trees, down single-track lanes, and in quaint, crumbling shacks, something happened that was to change the world forever.<\/p>\n

The occupants of these collapsing bungalows were to come together\u2014by accident as much as design\u2014to define a whole new era of popular culture. Their names read like a roster of some of the most significant musicians and recording artists of the twentieth century; their influence continues to resonate today.<\/p>\n

Over a single fertile decade, Laurel Canyon played host to songwriting legends Joni Mitchell, Carole King, and Carly Simon; it was where Crosby, Stills, Nash and Young got together, and the Rumours<\/em>-era Fleetwood Mac first met. Singer- songwriters James Taylor and Jackson Browne were locals; The Byrds, Buffalo Springfield, Canned Heat, the Eagles, and Love all lived there, as well as Beach Boy Brian Wilson, Bonnie Raitt, Linda Ronstadt, Harry Nillson, and Jim Morrison. Mama Cass Elliot\u2019s door was always open; Frank Zappa\u2019s home was party central, as were houses belonging to Love\u2019s Arthur Lee, and Mickey Dolenz and Peter Tork of the Monkees.<\/p>\n

Laurel Canyon was the breeding ground for the confessional singer-songwriter sound made popular by leading lights Mitchell, Taylor, and King. It was the birthplace of the laid-back, uniquely Californian country-rock music pioneered by the likes of the Byrds and taken to unimaginable heights by the Eagles. It was the inspiration for the Doors\u2019 Love Street<\/em> and the Mamas & the Papas Twelve Thirty (Young Girls Are Coming to the Canyon)<\/em>. In 1970, Joni Mitchell\u2019s third album Ladies of the Canyon<\/em> was dedicated to the area and its inhabitants, and that same year, the Crosby, Stills & Nash hit \u201cOur House\u201d was written by Graham Nash about the Laurel Canyon home he shared with Mitchell. British blues legend John Mayall\u2014whose band the Bluesbreakers had included Cream\u2019s Eric Clapton and Jack Bruce, Rolling Stones\u2019 Mick Taylor, and Fleetwood Mac\u2019s John McVie, Peter Green, and Mick Fleetwood\u2014was so influenced by the neighborhood he recorded the LP Blues from Laurel Canyon<\/em> after a 1968 vacation there.<\/p>\n

If it was a place of extraordinary creative fertility, it was also, perhaps just as importantly, where businessmen David Geffen and Elliot Roberts got together to tap into the sunshine-soaked good vibes and make a global phenomenon out of them\u2014one that continues to generate millions of dollars today.<\/p>\n

\"\"
Clockwise from top left: Sharon Tate; rock band Buffalo Springfield; murderous cult leader Charles Manson; and folk rock vocal group The Mamas and
the Papas (photos: Getty Images)<\/figcaption><\/figure>\n

In the late sixties and early 1970s, Laurel Canyon was more than just a neighborhood: It was a perfect collision of lifestyle and art and ideology\u2014and the tale of those years in these winding streets is the story of the flowering, corruption, and eventual collapse of the hippie dream.<\/p>\n

The story of Laurel Canyon is the story of the 1960s and 70s\u2014drenched in beautiful music, free love, good drugs and idealism… and ultimately destroyed by money, success, bad drugs, and murder.<\/p>\n

Some places breathe magic. Decades before rock \u2018n\u2019 roll came to define the hills north of Sunset Strip, Laurel Canyon had long been a favored hangout of creatives, bohemians, and left-field geniuses. Harry Houdini, Bella Lugosi, and Roaring Twenties \u201cIt Girl\u201d Clara Bow all owned homes in the Canyon. In the years after the war, those houses were taken over by jazz musicians, writers and beatniks. Scandal was never far away: Robert Mitchum was arrested for marijuana possession at a Laurel Canyon house in 1948, as he partied with a dissolute crowd of actresses and dancers. He was later sentenced to 60 days in jail.<\/p>\n

But history remains beguilingly hazy about when what we now call the Laurel Canyon scene really began\u2014partly because nobody was really keeping records, partly because almost everybody concerned was stoned most of the time, and partly because\u2014as with all such scenes\u2014there was no plan, no grand design; but rather, an organic flowering, a unique, accidental, haphazard coming together of the right people, in the right place, at the right time.<\/p>\n

If there has to be a definitive beginning, however, then a good time might be October 1964, when 19-year-old mandolin player Chris Hillman rented a house on Laurel Canyon Boulevard. He had come to L.A. from San Diego to audition for a band his former manager Jim Dickson was putting together. Joining Roger McGuinn, Gene Clark, David Crosby, and Michael Clarke\u2014and playing bass guitar, an instrument he had previously never picked up\u2014they formed The Byrds, and Hillman\u2019s house became their primary writing and rehearsal space, as well as the inspiration for their unique blend of Bob Dylan-esque folksiness and Beatles-influenced electric pop.<\/p>\n

Within a year and following the success of debut single Mr. Tambourine Man\u2014a turned-on, blissed-out take on the Dylan song\u2014the Byrds had become arguably the biggest band in America (and unquestionably the coolest) and a scene had begun to coalesce around them.<\/p>\n

Attracted by the proximity to the band, cheap rent, and the canyon\u2019s peculiar geography as an oasis of calm in the heart of LA, other musicians began to move into the surrounding streets. Almost immediately, new collaborations were formed. At clubs like the Troubadour and the Whisky a Go Go\u2014just a short drive away on Sunset and Santa Monica Boulevards respectively\u2014the young musicians would meet up, perform, watch other bands, swap ideas, and continue the party at nearby Ben Frank\u2019s diner before heading back to someone\u2019s house to keep jamming.<\/p>\n

\"\"
WEST HOLLYWOOD, CALIFORNIA – SEPTEMBER 08: A view outside the Troubadour prior to a performance by Circles Around The Sun with Frank LoCrasto on September 08, 2021 in West Hollywood, California. (Photo by Harmony Gerber\/Getty Images)<\/figcaption><\/figure>\n

The Troubadour especially was a hotbed of creativity. According to record producer David Geffen, who along with Elliot Roberts would manage the careers of Canyonites Mitchell, Neil Young, Judee Sill, David Blue, Jackson Browne, J. D. Souther, the Eagles, and Crosby, Stills & Nash, \u201cEverywhere you looked there was another talented person.\u201d<\/p>\n

Carole King, James Taylor, Jackson Browne, Joni Mitchell, Kris Kristofferson, and Neil Young were regular performers\u2014and even after many of the musicians had become huge stars in their own rights they continued to play at the club, thanks in part to a devious contract clause introduced by the Troubadour\u2019s owner Doug Weston binding them to a specified number of shows.<\/p>\n

The result was an explosion of creativity\u2014with bands whose lineups now read like supergroups. Among them was Buffalo Springfield, formed when singer\/guitarist Stephen Stills persuaded Ohio-born Richie Furay, whom he had met in the coffee houses of Greenwich Village, to come to the Canyon.<\/p>\n

Furay later described the formation of Buffalo Springfield as a typically laid-back kind of happy accident: \u201cStephen Stills said, \u2018Come out to California, I\u2019ve got a band together. I need another singer.\u2019 I said, \u2018I\u2019m on my way.\u2019 Once we started playing at the Whisky, everybody moved to Laurel Canyon. It was the spot. Neil Young had been living in his Pontiac hearse, but he moved up to Lookout.\u201d<\/p>\n

Along with Young\u2019s fellow Canadians Dewey Martin and Bruce Palmer, Buffalo Springfield took the Byrds\u2019 sound still further, injecting more psychedelia and harder rock into the electrified folk. The band only lasted two years, but it set the template for the kind of easy-come, easy-go, collaborative vibe that defined so much of Laurel Canyon\u2019s music.<\/p>\n

Everyone knew everyone, and everyone was a musician.<\/p>\n

\"\"
UNITED STATES – JANUARY 01: Photo of Stevie NICKS and FLEETWOOD MAC; L-R: Lindsey Buckingham, Stevie Nicks performing live onstage (Photo by Richard E. Aaron\/Redferns)<\/figcaption><\/figure>\n

Glenn Frey of the Eagles remembered arriving at Laurel Canyon in 1968 as a struggling guitarist and almost immediately bumping into one of his musical heroes.<\/p>\n

\u201cMy very first day in California I drove up La Cienega to Sunset Boulevard,\u201d he said, \u201cturned right, drove to Laurel Canyon and the first person I saw standing on the porch at the Canyon Store was David Crosby. He was dressed exactly the way he was on the second Byrds album: that cape, and the flat, wide-brimmed hat. He was standing there like a statue.<\/p>\n

\u201cThere was just something in the air up there. There\u2019s houses built up on stilts on the hillside and there\u2019s palm trees and yuccas and eucalyptus and vegetation I\u2019d never seen before in my life. It was a little magical hillside canyon.\u201d<\/p>\n

Joni Mitchell also recalled the magic.<\/p>\n

\u201cMy dining room looked out over Frank Zappa\u2019s duck pond,\u201d she said, \u201cand once when my mother was visiting, three naked girls were floating around on a raft in the pond. In the upper hills the Buffalo Springfield were playing, and in the afternoon there was just a cacophony of young bands rehearsing. At night it was quiet except for cats and mockingbirds. It had a smell of eucalyptus and in the spring, which was the rainy season then, a lot of wildflowers would spring up. Laurel Canyon had a wonderful distinctive smell to it.\u201d<\/p>\n

If everyone was a musician, many of them were also supremely talented, and a few houses in particular played host to some extraordinary collaborations. The home of Cass Elliot became a center of pot-fueled creativity\u2014so much so that the former Mamas & the Papas singer was described by Graham Nash as \u201cthe Gertrude Stein of Laurel Canyon\u201d, with an open-door policy similar to Stein\u2019s 1920s Parisian salon, which played host to artists and writers including Picasso, Hemingway, F. Scott Fitzgerald, and Henri Matisse.<\/p>\n

It was at Cass Elliot\u2019s home that perhaps the most defining of the Canyon collaborations was to come together. It is a typically Laurel Canyon tale\u2014not only in the apparently haphazard nature of its happening, but in the fact that everyone concerned remembers it differently (with some insisting it was Joni Mitchell\u2019s house rather than Elliot\u2019s).<\/p>\n

Stephen Stills, David Crosby, and Graham Nash had all arrived at Laurel Canyon separately. Stills as part of Buffalo Springfield, Crosby thanks to the Byrds, and English-born Nash with girlfriend Joni Mitchell, after becoming disillusioned with the mainstream sound of his former band The Hollies.<\/p>\n

Crosby and Stills, like the dozens of other talented young musicians in the Canyon, had almost certainly jammed together before, but it was at a dinner party at Mama Cass\u2019s when one of the greatest bands of the era was born.<\/p>\n

Stephen Stills later remembered the moment.<\/p>\n

\u201cI always had a place in my heart for alley cats, and David was really funny,\u201d he said. \u201cWe would scheme about a band, and one night at the Troubadour I saw Cass… and she said, \u2018Would you like to have a third harmony?\u2019 I said, \u2018I\u2019m not sure, it depends on the guy, the voice.\u2019 So she said, \u2018When David calls you to come over to my house with your guitar, don\u2019t ask, just do it.\u2019 I knew that the queen bee had something up her sleeve, and sure enough, David calls me and says, \u2018Get your guitar and come to Cass\u2019s house.\u2019 I can see it now \u2013 the living room, the dining room, the pool, the kitchen \u2013 and we\u2019re in the living room and there\u2019s Graham Nash. Then Cass goes, \u2018So sing.\u2019 And we sang, \u2018In the morning, when you rise…\u2019\u201d<\/p>\n

Perhaps the most extraordinary thing about the coming together of Crosby, Stills & Nash (later joined by Stills\u2019 old Buffalo Springfield partner Neil Young) was that\u2014at that time, and in that place\u2014it was not particularly extraordinary at all. Everyone, it seemed, was either jamming with or sleeping with everyone else. At Frank Zappa\u2019s house a revolving parade of musicians, groupies, dropouts, stoners, and freaks meant that the party never really stopped, while in the calmer atmosphere of Joni Mitchell and Graham Nash\u2019s home, the queen of American songwriting would write and share songs with anyone who happened to be around, something Nash later described as \u201ca beautiful bubble of creativity and friendship and sex and drugs and music.\u201d<\/p>\n

Ultimately, however, in what can be seen as a metaphor for the hippie dream itself, Laurel Canyon was to become a victim of its own idealism. As the parties grew wilder, the drugs grew harder, and with them came a new, more disturbing kind of groupie. These girls bristled with intensity, had harder politics, and were in thrall to the leader of their so-called \u201cfamily\u201d\u2014a failed musician and sometime Canyon hanger-on by the name of Charles Manson.<\/p>\n

The Manson murders of August 1969 in nearby Benedict Canyon, in which six people, including the actress Sharon Tate, were slaughtered in their own homes over two nights, effectively signaled the end of the 60s and the beginning of the end of Laurel Canyon\u2019s dream. Suddenly, the endless parties and open-door jamming sessions were over.<\/p>\n

As Cass Elliot\u2019s Mamas & the Papas bandmate Michelle Phillips remembered: \u201cBefore 1969, my memories were nothing but fun and excitement and shooting to the top of the charts and loving every minute of it. The Manson murders ruined the L.A. music scene. That was the nail in the coffin of the freewheeling, \u2018Let\u2019s get high, everybody\u2019s welcome, come on in, sit right down.\u2019 Everyone was terrified. I carried a gun in my purse. And I never invited anybody over to my house again.\u201d<\/p>\n

At the same time, the inevitable result of all that musical talent was to, ironically, destroy the very scene that had fostered it. As Geffen and Roberts made huge stars of their artists, the appeal of living in a crumbling, drafty shack surrounded by hangers-on began to fade, and gradually the scene\u2019s biggest names drifted away to classier, more secure neighborhoods.<\/p>\n

And yet, some magic lingered. In 1974, British drummer Mick Fleetwood rented a house in Laurel Canyon. Already familiar with the area thanks to his time in John Mayall\u2019s Bluesbreakers, his own band, Fleetwood Mac, had by that time released no fewer than nine albums without ever breaking through to mainstream success. In the course of one meeting in that Canyon house, all that was to change: It was there, on New Years Eve, that he persuaded Americans Lindsey Buckingham and Stevie Nicks to join his band.<\/p>\n

The following year, Fleetwood Mac\u2019s tenth studio album\u2014now infused with Buckingham and Nicks\u2019 distinctly Laurel Canyon-esque folk-rock influence\u2014was to become their first to reach number one in the charts. Two years after that, their eleventh LP, Rumours<\/em>, would smash records as one of the most successful albums of all time, selling over 40 million copies worldwide.<\/p>\n

There were just 10 years between a teenage Chris Hillman arriving on Laurel Canyon Boulevard with a mandolin to meet what were to become The Byrds, and Mick Fleetwood welcoming Lindsay Buckingham and Stevie Nicks into his Laurel Canyon home to join Fleetwood Mac. Ten years and barely a single mile between the start of one musical collaboration and the start of another. Ten years that transformed a quiet backwater of Los Angeles into one of the most important neighborhoods in modern cultural history.<\/p>\n

Some places breathe magic.<\/p>\n

\u201cPlaces become a focal point for breaking out of convention. What was happening in Laurel Canyon was the universe cracking open and revealing its secrets. It was just about a time, a creative awakening.\u201d \u2014 Jackson Browne<\/em><\/p>\n","protected":false},"author":28404,"featured_media":48924,"template":"","format":"standard","categories":[38,16],"yoast_head":"\nParadise Found: Laurel Canyon and the Flowering of an American Dream<\/title>\n<meta name=\"description\" content=\"Laurel Canyon was the breeding ground for the confessional singer-songwriter sound made popular by leading lights Mitchell, Taylor, and King. It was the birthplace of the laid-back, uniquely Californian country-rock music pioneered by the likes of the Byrds and taken to unimaginable heights by the Eagles.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/graziamagazine.com\/us\/articles\/laurel-canyon-los-angeles\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Paradise Found: Laurel Canyon and the Flowering of an American Dream\" \/>\n<meta property=\"og:description\" content=\"Laurel Canyon was the breeding ground for the confessional singer-songwriter sound made popular by leading lights Mitchell, Taylor, and King. It was the birthplace of the laid-back, uniquely Californian country-rock music pioneered by the likes of the Byrds and taken to unimaginable heights by the Eagles.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/graziamagazine.com\/us\/articles\/laurel-canyon-los-angeles\/\" \/>\n<meta property=\"og:site_name\" content=\"Grazia USA\" \/>\n<meta property=\"article:modified_time\" content=\"2022-01-31T20:57:40+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/graziamagazine.com\/us\/wp-content\/uploads\/sites\/15\/2022\/01\/laurel-canyon-joni-mitchell-featured-image.jpg?fit=1280%2C898\" \/>\n\t<meta property=\"og:image:width\" content=\"1280\" \/>\n\t<meta property=\"og:image:height\" content=\"898\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/graziamagazine.com\/us\/articles\/laurel-canyon-los-angeles\/\",\"url\":\"https:\/\/graziamagazine.com\/us\/articles\/laurel-canyon-los-angeles\/\",\"name\":\"Paradise Found: Laurel Canyon and the Flowering of an American Dream\",\"isPartOf\":{\"@id\":\"https:\/\/graziamagazine.com\/us\/#website\"},\"datePublished\":\"2022-01-31T20:54:25+00:00\",\"dateModified\":\"2022-01-31T20:57:40+00:00\",\"description\":\"Laurel Canyon was the breeding ground for the confessional singer-songwriter sound made popular by leading lights Mitchell, Taylor, and King. It was the birthplace of the laid-back, uniquely Californian country-rock music pioneered by the likes of the Byrds and taken to unimaginable heights by the Eagles.\",\"breadcrumb\":{\"@id\":\"https:\/\/graziamagazine.com\/us\/articles\/laurel-canyon-los-angeles\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/graziamagazine.com\/us\/articles\/laurel-canyon-los-angeles\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/graziamagazine.com\/us\/articles\/laurel-canyon-los-angeles\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/graziamagazine.com\/us\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Paradise Found: Laurel Canyon and the Flowering of an American Dream\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/graziamagazine.com\/us\/#website\",\"url\":\"https:\/\/graziamagazine.com\/us\/\",\"name\":\"Grazia USA\",\"description\":\"Driving tastemakers in Fashion, Beauty and Culture\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/graziamagazine.com\/us\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Paradise Found: Laurel Canyon and the Flowering of an American Dream","description":"Laurel Canyon was the breeding ground for the confessional singer-songwriter sound made popular by leading lights Mitchell, Taylor, and King. It was the birthplace of the laid-back, uniquely Californian country-rock music pioneered by the likes of the Byrds and taken to unimaginable heights by the Eagles.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/graziamagazine.com\/us\/articles\/laurel-canyon-los-angeles\/","og_locale":"en_US","og_type":"article","og_title":"Paradise Found: Laurel Canyon and the Flowering of an American Dream","og_description":"Laurel Canyon was the breeding ground for the confessional singer-songwriter sound made popular by leading lights Mitchell, Taylor, and King. It was the birthplace of the laid-back, uniquely Californian country-rock music pioneered by the likes of the Byrds and taken to unimaginable heights by the Eagles.","og_url":"https:\/\/graziamagazine.com\/us\/articles\/laurel-canyon-los-angeles\/","og_site_name":"Grazia USA","article_modified_time":"2022-01-31T20:57:40+00:00","og_image":[{"width":1280,"height":898,"url":"https:\/\/graziamagazine.com\/us\/wp-content\/uploads\/sites\/15\/2022\/01\/laurel-canyon-joni-mitchell-featured-image.jpg?fit=1280%2C898","type":"image\/jpeg"}],"twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"13 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/graziamagazine.com\/us\/articles\/laurel-canyon-los-angeles\/","url":"https:\/\/graziamagazine.com\/us\/articles\/laurel-canyon-los-angeles\/","name":"Paradise Found: Laurel Canyon and the Flowering of an American Dream","isPartOf":{"@id":"https:\/\/graziamagazine.com\/us\/#website"},"datePublished":"2022-01-31T20:54:25+00:00","dateModified":"2022-01-31T20:57:40+00:00","description":"Laurel Canyon was the breeding ground for the confessional singer-songwriter sound made popular by leading lights Mitchell, Taylor, and King. It was the birthplace of the laid-back, uniquely Californian country-rock music pioneered by the likes of the Byrds and taken to unimaginable heights by the Eagles.","breadcrumb":{"@id":"https:\/\/graziamagazine.com\/us\/articles\/laurel-canyon-los-angeles\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/graziamagazine.com\/us\/articles\/laurel-canyon-los-angeles\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/graziamagazine.com\/us\/articles\/laurel-canyon-los-angeles\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/graziamagazine.com\/us\/"},{"@type":"ListItem","position":2,"name":"Paradise Found: Laurel Canyon and the Flowering of an American Dream"}]},{"@type":"WebSite","@id":"https:\/\/graziamagazine.com\/us\/#website","url":"https:\/\/graziamagazine.com\/us\/","name":"Grazia USA","description":"Driving tastemakers in Fashion, Beauty and Culture","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/graziamagazine.com\/us\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"}]}},"jetpack_sharing_enabled":true,"distributor_meta":false,"distributor_terms":false,"distributor_media":false,"distributor_original_site_name":"Grazia USA","distributor_original_site_url":"https:\/\/graziamagazine.com\/us","push-errors":false,"_links":{"self":[{"href":"https:\/\/graziamagazine.com\/us\/wp-json\/wp\/v2\/articles\/48907"}],"collection":[{"href":"https:\/\/graziamagazine.com\/us\/wp-json\/wp\/v2\/articles"}],"about":[{"href":"https:\/\/graziamagazine.com\/us\/wp-json\/wp\/v2\/types\/articles"}],"author":[{"embeddable":true,"href":"https:\/\/graziamagazine.com\/us\/wp-json\/wp\/v2\/users\/28404"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/graziamagazine.com\/us\/wp-json\/wp\/v2\/media\/48924"}],"wp:attachment":[{"href":"https:\/\/graziamagazine.com\/us\/wp-json\/wp\/v2\/media?parent=48907"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/graziamagazine.com\/us\/wp-json\/wp\/v2\/categories?post=48907"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}