{"id":3115,"date":"2022-08-01T11:00:28","date_gmt":"2022-08-01T11:00:28","guid":{"rendered":"https:\/\/frenchmennotes.com\/?p=3115"},"modified":"2026-05-12T19:38:31","modified_gmt":"2026-05-12T19:38:31","slug":"margie-perez","status":"publish","type":"post","link":"https:\/\/frenchmennotes.com\/?p=3115","title":{"rendered":"Margie Perez: Magical moments, musicians at work, and how Frenchmen is “like a mini Jazz Fest”"},"content":{"rendered":"
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Vocalist Margie Perez radiates positive energy and danceable grooves. She\u2019s been performing on Frenchmen Street since 2005, with material and influences ranging from Cuban rhythms to funk; pop, jazz, blues, and more. Mainly you\u2019ll see her with her own band\u2014catch them at 30\/90 every other Monday\u2014but her versatility has made her a popular front-woman and guest performer for all sorts of other projects as well.<\/em><\/strong> We hung out on her front stoop in March of 2021 and picked her brain about her favorite Frenchmen experiences over the years, plus some of the nuts and bolts of making a living as a musician in New Orleans.<\/em><\/strong><\/p>\n\n\n\n

A FEW QUICK QUESTIONS TO START-<\/strong><\/h2>\n\n\n\n

You started playing on Frenchmen in 2005 – was that before or after Katrina?<\/strong><\/p>\n\n\n\n

MP:<\/strong> Before, singing with other bands at the Blue Nile and Cafe Brasil. After, under my own name. At the Apple Barrel. But for 10 years before I moved here, I was coming here for Jazz Fest, and I would go to all the night shows. So I knew what Frenchmen was like before Katrina\u2014although that was just Frenchmen at Jazz Fest\u2014and it was fabulous. It was the first time that I experienced walking out of a club and it was daylight. I never did that in DC. It was quite an experience.<\/p>\n\n\n\n

Do you have one main band these days?<\/strong><\/p>\n\n\n\n

MP:<\/strong> Yes. My four-piece (Will Repholz, Billy Franklin, Kyle Sharamitaro and me) which has become my five-piece since we added Jake Gold (keys). \u2026We do a regular gig every other Monday at 30\/90, and we play irregularly all around.<\/p>\n\n\n\n

What year do you think Frenchmen was the best?<\/strong><\/p>\n\n\n\n

MP:<\/strong> I\u2019ve only just heard anecdotally about how Frenchmen used <\/em>to be, and it\u2019s gone through a bunch of phases. I\u2019d guess that the \u201880s and \u201890s would probably have been the best time to be on Frenchmen, but I\u2019ve had some magical moments in the years since 2005. <\/p>\n\n\n\n

FRENCHMEN CULTURE<\/strong><\/h2>\n\n\n\n

\u201cWhere the locals go\u2019<\/strong><\/h3>\n\n\n\n

MP: <\/strong>Frenchmen has always been known as \u201cWhere the locals go.\u201d Cab drivers would be the first point of entry for tourists. They would always ask, \u201cWhere should we go see music?\u201d and cab drivers would either say, \u201cGo to Bourbon\u201d or [whispers] <\/em>\u201cGo to Frenchmen!\u201d It was always known as a best-kept secret that just kept getting louder and louder.<\/p>\n\n\n\n

But it just changes, and like everything, we don\u2019t accept change but we learn to live with it. And that\u2019s kind of how Frenchmen has become. Everyone says \u201cFrenchmen is the new Bourbon\u201d… but every now and then there\u2019s a show that you just gotta go down and see! I\u2019ve learned to park so I don\u2019t have to experience much of the Bourbonization of Frenchmen\u2014I\u2019ve learned to strategically park.<\/p>\n\n\n\n

\u201cLike a mini Jazz Fest\u201d<\/strong><\/h3>\n\n\n\n

MP: <\/strong>Frenchmen has made me what I am today, and I will say that proudly. It\u2019s like a mini Jazz Fest, you know? You just walk down the street, and you\u2019ll hear great music, and you can just go from one place to another. There are a lot of clubs, for better and for worse, that don\u2019t charge a cover, and that gives you the luxury to weave in and out between bands. People pay a cover to get into DBA, but you\u2019ll also see them at Cafe Negril or at the Apple Barrel when the band takes break. People walk outside and they go to the next place. I\u2019ll do that sometimes when I take a break.<\/p>\n\n\n\n

With most other venues around town, there\u2019s only one or two bars right nearby. Like the Maple Leaf, or Tipitina\u2019s, or the Bon Temps, so they\u2019ve got their own feel and their own charm, but when you\u2019re playing on Frenchmen\u2026 I think probably because there is that revolving door of people, that every gig feels different even though it\u2019s the same.<\/p>\n\n\n\n

Because it\u2019s Frenchmen, it\u2019s just real special. A lot of the stages are right by the window, so you can look out\u2014like if I\u2019m looking at my drummer, suddenly I see a face pressed up against the window that I know<\/em>. Like, \u201cHey I haven\u2019t seen you in forever!\u201d People with strollers, the babies  just looking up\u2026 It\u2019s just so different. <\/p>\n\n\n\n

And every club <\/em>is different. Snug Harbor feels totally different from the Spotted Cat, and the Spotted Cat feels totally different from Cafe Negril. Like I said, it\u2019s like Jazz Fest, where each stage is different. Even though you\u2019re at the same venue, every stage is different.<\/p>\n\n\n\n

There\u2019s this variety<\/em> that you can\u2019t find anywhere else. Even on Bourbon, it\u2019s not the same. I\u2019m not one of those people who disparages Bourbon Street. Even though I\u2019ve played there and\u2026. yeah. [laughter]<\/em> I am not a Bourbon Street musician, for sure. But yeah, every club you walk into on Bourbon feels the same. But on Frenchmen, it\u2019s very different.<\/p>\n\n\n\n

MEMORIES<\/strong><\/h2>\n\n\n\n

\u201cThe first thing that came to mind was when you asked about a stand-out memory was the day Coco Robicheaux died at the Apple Barrel\u2026\u201d<\/strong><\/h3>\n\n\n\n

\u2026I was playing. Was I at 30\/90 or was I at Three Muses? One of those places. We come out on our break, and we see that the ambulance  there, and some people walk by and say it was Coco Robicheaux. And then word spread so quickly.<\/p>\n\n\n\n

That\u2019s how word spread among the musicians. And that was one of those moments where all the musicians that were there, we just kind of\u2026 it\u2019s hard to describe. I can honestly say that was one of the most memorable moments, one of the saddest; a timeline moment on Frenchmen. And it just\u2013well, in a way there was no better place for him to go than at the bar at the Apple Barrel, you know? The only better place would have been on the bench outside the Apple Barrel.<\/p>\n\n\n\n

\u201cAnother hard one was Ready Teddy\u2026\u201d<\/strong> <\/h3>\n\n\n\n

\u2026He was the one who would get a chair and stand on his head, and that was his schtick. And unfortunately, he got into an accident and broke his neck, and he was paralyzed for a couple years before he passed. Everybody thought that he did it in performance, but no, he was just hanging out a bar, and somebody said something and he laughed, and because he had a cold or something, he was really congested, and he started coughing and fell off the bench and hit a pillar. That\u2019s what caused his paralysis.<\/p>\n\n\n\n

That was one of those urban legends: if you ask most people who knew about Ready Teddy and ask them how he got paralyzed\u2026\u201d<\/p>\n\n\n\n

[<\/em>Int<\/em><\/strong>: \u201cHe was standing on his head.\u201d]<\/em><\/p>\n\n\n\n

MP: <\/strong>Right, nope\u2013everybody thought he was going to go out that way.<\/p>\n\n\n\n

Dave Gregg\u2019s foot-notes<\/strong><\/h3>\n\n\n\n

MP: <\/strong>We\u2019ve lost the opportunity to talk to many people, so it\u2019s great that you\u2019re doing this. The other day I was thinking about, what\u2019s his name, Dave Gregg? He played the Apple Barrel a lot, and he would play the bass with his feet. He\u2019d play the guitar with his hands, and he\u2019d play the bass with his feet. Ask anybody who was around in those days.<\/p>\n\n\n\n

He probably was around\u2014well, definitely longer than I was. He came down to Frenchmen a lot earlier. I don\u2019t even know if he\u2019s in town\u2026I should Google him. I wonder if he\u2019s taken his feet somewhere else. <\/p>\n\n\n\n

Magical moments: Stevie Wonder<\/strong><\/h3>\n\n\n\n

There was another moment, where I wasn\u2019t playing, and this was in 2006. It was the first anniversary of Katrina and Stevie Wonder played a concert I think at the Super Dome, or the Arena <\/p>\n\n\n\n

And then he came down to Frenchmen. This was 2006, everybody had flip-phones. I was hanging out at Cafe Negril, and it was a Wednesday night. Walter Wolfman was playing every Wednesday at DBA, and I would make my rounds. I was hanging out outside\u2014and it looked like the zombie apocalypse: everybody was sloooowly heading down the street. And then somebody said, \u201cStevie Wonder\u2019s at DBA.\u201d <\/p>\n\n\n\n

I went in. There wasn\u2019t a cover at the time, and there was barely anybody on the street because it was a Wednesday. Well, everybody was in DBA, and that\u2019s when they had the seats on the side, so he was sitting\u2026 I would say \u201cwatching,\u201d but you know\u2026he was absorbing it all, and like I said, everybody who was on Frenchmen Street\u2014I think every musician that was playing in every other club\u2014stopped what they were doing and went to DBA. <\/p>\n\n\n\n

And then Walter invited him to play. He sang, because they didn\u2019t have a piano, and every single flip phone was up in the air taking pictures, and my phone died! It wouldn\u2019t have taken a good picture anyways. <\/p>\n\n\n\n

All my friends were like, \u201cYou should have texted me!\u201d and I was like, \u201cMy phone died! And besides by the time you got down here\u2026 he only sang a couple songs.\u201d He sang for a lot of songs actually!<\/p>\n\n\n\n

I remember Kevin O\u2019Day was playing drums for Walter, and a few days later I went to a gig he was playing and I said, \u201cSooooo, what was it like to back up Stevie Wonder?\u201d <\/p>\n\n\n\n

And he was like, \u201cOh-my-God-I-can\u2019t-believe\u2026. I just jumped up and down on the bed, told my wife, \u2018Oh my God I played with Stevie Wonder\u2026\u201d <\/p>\n\n\n\n

It was the anniversary of Katrina. They had this commemorative concert, so he came down. It was really slow. Late August. But what a memorable moment that was.<\/p>\n\n\n\n

Magical moments: Allen Toussaint<\/strong><\/h3>\n\n\n\n

One time Allen Toussaint walked in when I was playing at Cafe Negril. I was singing with Smokey Greenwell. A friend of mine was good friends with Allen Toussaint, she came to town and said \u201cI\u2019m gonna bring him to your gig.\u201d <\/p>\n\n\n\n

And he just walks in\u2026 I didn\u2019t tell anyone else in the band because he might not have come and I didn\u2019t want to get everybody\u2019s hopes up. So that was cool! When he walked in, everybody who knew who he was\u2026. It\u2019s a tiny place, you know? When somebody walks in, you know that they\u2019re walking in. Did they have seating back then? I think so, because there\u2019s no way he would have hung out that long standing up. <\/p>\n\n\n\n

Magical moments: Warren Haynes<\/strong><\/h3>\n\n\n\n

Another time playing with Smokey, he invited Warren Haynes to play. It was a special thing–Cafe Negril wasn\u2019t open on Mondays at the time, but they opened it for him. Smokey is friends with Warren Haynes, so he said, \u201cIf we opened the club, you wanna play?\u201d <\/p>\n\n\n\n

And that was really early on, before mass texting, but people knew. I mean, that place was packed. So that was neat. I didn\u2019t get to perform with him at the same time; I was in the band, but my songs were later and he\u2019d left by then, so I was kind of bummed that I didn\u2019t get to share a stage with him. But I did meet him. I was like, \u201cI\u2019m the girl in the band!\u201d <\/p>\n\n\n\n

You know, little magical moments like that. Times that I get to sit in with bands. And other times when the band invites somebody cool to sit in.<\/p>\n\n\n\n

Magical moments: Coco Robicheaux<\/strong><\/h3>\n\n\n\n

There was a time when Coco Robicheaux sat in with us at the Apple Barrel and he did the Beatles \u201cTomorrow Never Knows,\u201d which is a trippy song anyways, so imagine it being even trippier with Coco. <\/p>\n\n\n\n

And it just–it went on forever, and I was just absorbing and loving every minute of it. When the song was over, he hands me back the microphone, and I was like \u201cYou wanna do another song?\u201d <\/p>\n\n\n\n

And he\u2019s like [rasps]<\/em>, \u201cIt\u2019s your show, baby.\u201d <\/p>\n\n\n\n

It was awesome. I didn\u2019t get to know him as well as other people knew him, but he was a really special guy. <\/p>\n\n\n\n

[Int:<\/em><\/strong> Speaking of urban legends and how they get passed, I heard two different versions about the day he died\u2026 In one, he walked into the Apple Barrel and ordered a shot of tequila, and then the bartender put it on the bar and he died before he could take it. In the other, he did the shot.]<\/em><\/p>\n\n\n\n

MP<\/strong>: I think he did the shot. <\/p>\n\n\n\n

[<\/em>Int:<\/em><\/strong> Good.]<\/em><\/p>\n\n\n\n

MP<\/strong>: Even if he didn\u2019t\u2026. he had to have gone out drinking that shot.<\/p>\n\n\n\n

Magical places: The Vacant Lot <\/strong><\/h3>\n\n\n\n

\u2026The fire-dancers, and Conan would always have his art out there. You know, it was grungy people that just had a little charm to them.<\/p>\n\n\n\n

MUSICIANS AT WORK<\/strong><\/h2>\n\n\n\n

Honing skills & gaining exposure<\/strong><\/h3>\n\n\n\n

MP: <\/strong>You can really hone your talent on Frenchmen. People who know me from DC before I moved here and people who knew of me when I first came here, they see a difference in my performance style, and–just everything. I\u2019m more comfortable on stage, and it\u2019s because I\u2019ve been able to play more. Working those muscles, you see some definition. <\/p>\n\n\n\n

It\u2019s great for networking and meeting people from all over the world. People from all over the world love <\/em>New Orleans. Like, I was able to hook up with the Threadheads. They\u2019re from all over, and they just love music, and they love New Orleans musicians. So that was a really good, good thing that I\u2019ve gotten support them. I have an audience as far as Australia. <\/p>\n\n\n\n

People\u2026 go on to play at bigger venues because they get seen [at places like the Apple Barrel]<\/em>. I\u2019ve gotten gigs\u2014wedding gigs and corporate gigs and stuff\u2014from people who\u2019ve seen me at these little clubs. <\/p>\n\n\n\n

There\u2019s this guy who comes to Jazz Fest every year. He lives in New York. One year, he came down for Jazz Fest with some friends of his who\u2019d just started dating, and they came to the Apple Barrel, and that was the night that they solidified things. He flew us up to New York to play at their wedding reception. <\/p>\n\n\n\n

He saw us at the Apple Barrel! And eventually, three years later, we were his wedding present to them.<\/p>\n\n\n\n

So it\u2019s been really great for me, and I\u2019ve seen a lot of musicians grow and blossom because they\u2019ve been able to play on Frenchmen Street so much. \u2026[My keyboard player, Jake Gold]<\/em> is a good example of someone who is one of the busiest players on the street. He told me once that because we were playing so much, musicians would see him play and want to hire him. Now he\u2019s the main keyboard player in the house band in the Super Jam. <\/p>\n\n\n\n

So, good things come from Frenchmen. It\u2019s like Facebook: it may be awful, but a lot of beautiful things have come from Facebook.<\/p>\n\n\n\n

Gigs & Money<\/strong><\/h3>\n\n\n\n

For a while there, 100% of my gigs were on Frenchmen. Like around 2010. \u2018Cause that\u2019s when I kinda started to become–more people knew my name, because I was playing all the time. I can probably say that I\u2019ve performed at every club on Frenchmen that exists now and even some that are no longer there. I\u2019ve played all of them, in some way shape or form, in some band or combination.<\/p>\n\n\n\n

I think the most that I ever walked away with was about $250 in one night. [Per man for a four-piece, for about five hours of playing.]<\/em> And oddly enough, that was at the Apple Barrel. It was during Jazz Fest, and it was a Sunday; for a few years there, I was playing last Sunday. And even though you can\u2019t fit many people in there, the tip jar was just going around non-stop, and there were people outside, and each bandmember would take a turn [with the tip jar]<\/em>, even our drummer. <\/p>\n\n\n\n

And we played for a long <\/em>time. And it might have been one of those nights when we walked out and it was daylight. We really worked it. We started at 11.<\/p>\n\n\n\n

With the Apple Barrel, they only paid $100 [per band]<\/em> guarantee at the time; I don\u2019t know what they pay now. \u2026But, they gave me my fist gig! I\u2019ve always had that “better or worse” kind of feeling.<\/p>\n\n\n\n

[Hannah points out that if the guarantee works out to $25 a man, than making $250 total means that 90% of the take-home pay was from tips. Obviously that was a good night, so the percentage would be smaller on other nights.]<\/em><\/p>\n\n\n\n

MP:<\/strong> The worst gig was a gig that wound up not happening\u2026 We were supposed to play on Lundi Gras, and we were playing every Monday, and the owner decided that he was gonna book another band because it was Lundi Gras? And he neglected to tell me. And so I show up there, and this other band is setting up\u2026 So that was the worst gig.<\/p>\n\n\n\n

[<\/em>Int: <\/em><\/strong>What\u2019s, you know, like a normal or decent night of pay? Nothing too remarkable but worth putting on pants for?]<\/em><\/p>\n\n\n\n

MP: <\/strong>Usually like $100.<\/p>\n\n\n\n

[<\/em>Int:<\/em><\/strong> Is that true across venues?]<\/em><\/p>\n\n\n\n

MP:<\/strong> Yeah. But my 30\/90 gigs, I play the early slot. 5:30 to 8:30 on Monday. That\u2019s a good night to play because it\u2019s before the Super Jam.<\/p>\n\n\n\n

Passing the tip jar<\/strong><\/h3>\n\n\n\n

Tipping is a \u201cfor better or worse\u201d kind of thing. We can\u2019t survive without tips on Frenchmen. But at the same time, I hate it. I hate <\/em>it. Because I have this weird social anxiety thing anyway, where I can sing with no problem but talking like between songs and that kind of banter, I just\u2014ugh. It feels like I have to have a different skin on. I\u2019m just not comfortable. So passing a tip jar is something that I know I have to do, but I just hate doing it.<\/p>\n\n\n\n

Other people look at it in a different way. Like, \u201cWell, you get to socialize with your audience!\u201d And it\u2019s true. Gene Harding is really good at this. He brings his horn around\u2014he plays drums usually, but he has this French horn that he calls Daisy. He brings Daisy around with the tip jar, and he\u2019s got the best tip jar, because it\u2019s one of those big water cooler jugs and it\u2019s got this basketball hoop on it. So people can just throw money. That tip jar gets tips<\/em>. <\/p>\n\n\n\n

Luckily, he would leave it at 30\/90, so I get to use it on my Mondays. People have so much fun with it, they\u2019d roll it up and they\u2019d throw it in. So that eases the anxiety. But he\u2019ll say  things like, \u201cWhere are you from?\u201d and I\u2019m just like, [squeaks]<\/em> \u201cExcuse me!\u201d I\u2019m just so uncomfortable with it! <\/p>\n\n\n\n

[Get Gene’s take on tipping and hosting the 30\/90 Super Jam here<\/a>.]<\/em><\/strong><\/p>\n\n\n\n

But at the end of the night, counting up those tips is just like, okay, it\u2019s worth it. Sometimes you get more tips than you get from the bar.<\/p>\n\n\n\n

[<\/em>Int:<\/em><\/strong> Sometimes you get 90%…]<\/em><\/p>\n\n\n\n

MP: <\/strong>Yes! And sometimes you get other things. I keep a little collection of things that I would get, Like, change: quarters and that kind of stuff. I would always keep that aside and say, \u201cThat\u2019s laundry money.\u201d But also, the occasional joint, the occasional business card, which is great because sometimes you get gigs out of that. Other times it\u2019s foreign money. I\u2019ve had euros, and money that I couldn\u2019t identify\u2014had to google it. And it\u2019s like, from some Pacific Island nation somewhere where it converts to like three cents. <\/p>\n\n\n\n

And occasionally you\u2019ll find a hundred dollar bill in there.<\/p>\n\n\n\n

New Orleans’ tip-based economy: complications in an imperfect system<\/strong><\/h3>\n\n\n\n

MP: <\/strong>I have this memory: I\u2019m watching Little Freddie King, and it was late in the night. He announced [rasps] <\/em>\u201cThis is our last song.\u201d <\/p>\n\n\n\n

The tip jar is sitting in front of the band, so I walked around with it. Because over at the bar side, you know, people are there and they\u2019re hearing it, but they\u2019re usually on that side because they don\u2019t want to be in the crowd. But, you can see, you know that the band is there, and sometimes you want to tip them! And people were <\/em>tipping.\u00a0<\/p>\n\n\n\n

[Then one of the employees] says, \u201cYou know, people pay a cover to get in here. You shouldn\u2019t be walking around with a tip jar.\u201d He made me feel so bad! I went up to the manager and said, \u201cIs this something that I\u2019m doing wrong?\u201d <\/p>\n\n\n\n

He said, \u201cDon\u2019t worry about it,\u201d and I think he had a word with the employee, but I\u2019ve run across some people that have expressed the same thing, where it\u2019s like, \u201cI already paid a cover to get in here!\u201d But sometimes when it\u2019s late, the club will just let somebody in without paying a cover. <\/p>\n\n\n\n

[Laura asks about where the cover charge goes]<\/em><\/p>\n\n\n\n

MP<\/strong>: It depends. There\u2019s sometimes where if the club has a guarantee, if you don\u2019t meet the guarantee, the bar keeps whatever and the band gets the guarantee. Sometimes it\u2019s a percentage. <\/p>\n\n\n\n

[Hannah explains: “Sometimes it\u2019s like, for example, the first $250 off the cover goes to pay the sound guy\u2026 there are variations.”]<\/em><\/p>\n\n\n\n

MP:<\/strong> Each band has an arrangement.<\/p>\n\n\n\n

[For more on the complications of tipping in New Orleans, read Hannah\u2019s Antigravity article here<\/a>.]<\/em><\/strong><\/p>\n\n\n\n

A community of working musicians<\/strong><\/h3>\n\n\n\n

MP: <\/strong>All of my players, I met on Frenchmen. I was introducing myself to everybody, saying \u201cHey, if you\u2019re doing a project and need a singer, let me know.\u201d I can honestly say most of the musicians I\u2019ve met, I met them on Frenchmen. <\/p>\n\n\n\n

There\u2019s never really been competition between musicians. We all kind of know what Frenchmen is. It\u2019s like, \u201cYou\u2019re not gonna get rich on Frenchmen, but it\u2019s the best place to play.\u201d <\/p>\n\n\n\n

And you see the best local music. I always have a good time there whether I\u2019m playing or not.<\/p>\n","protected":false},"excerpt":{"rendered":"

Vocalist Margie Perez radiates positive energy and danceable grooves. She\u2019s been performing on Frenchmen Street since 2005, with material and influences ranging from Cuban rhythms to funk; pop, jazz, blues, and more. Mainly you\u2019ll see her with her own band\u2014catch them at 30\/90 every other Monday\u2014but her versatility has made her a popular front-woman and […]<\/p>\n","protected":false},"author":1,"featured_media":3429,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[69,4,11],"tags":[],"class_list":["post-3115","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-all-interviews","category-interviews","category-longform"],"_links":{"self":[{"href":"https:\/\/frenchmennotes.com\/index.php?rest_route=\/wp\/v2\/posts\/3115","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/frenchmennotes.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/frenchmennotes.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/frenchmennotes.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/frenchmennotes.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3115"}],"version-history":[{"count":5,"href":"https:\/\/frenchmennotes.com\/index.php?rest_route=\/wp\/v2\/posts\/3115\/revisions"}],"predecessor-version":[{"id":3680,"href":"https:\/\/frenchmennotes.com\/index.php?rest_route=\/wp\/v2\/posts\/3115\/revisions\/3680"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/frenchmennotes.com\/index.php?rest_route=\/wp\/v2\/media\/3429"}],"wp:attachment":[{"href":"https:\/\/frenchmennotes.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3115"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/frenchmennotes.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3115"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/frenchmennotes.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3115"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}