{"id":6055,"date":"2015-11-03T22:20:18","date_gmt":"2015-11-04T04:20:18","guid":{"rendered":"http:\/\/sites.dwrl.utexas.edu\/countrymusic\/?page_id=6055"},"modified":"2015-11-03T22:25:04","modified_gmt":"2015-11-04T04:25:04","slug":"we-are-never-ever-getting-back-together","status":"publish","type":"page","link":"https:\/\/sites.dwrl.utexas.edu\/countrymusic\/music\/we-are-never-ever-getting-back-together\/","title":{"rendered":"&#8220;We Are Never Ever Getting Back Together&#8221;"},"content":{"rendered":"<h3>&#8220;We Are Never Ever Getting Back Together&#8221; (2012) &#8211; Taylor Swift<\/h3>\n<p><iframe title=\"Taylor Swift - We Are Never Ever Getting Back Together\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/WA4iX5D9Z64?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>In 2012, Taylor Swift set the record for the most digital sales of a song by a woman with her single \u201cWe Are Never Ever Getting Back Together.\u201d The hit single from Swift\u2019s fourth album <em>RED,<\/em> is a song that bids adieu to an ex-lover, Swift promises that they won\u2019t ever be getting back together\u2026like ever. Swift\u2019s charismatic voice and slightly sassy conversational tone rule this song, proving that the boy who treated her wrong won\u2019t ever be back in her life. The song was her first to peak at number one on <em>Billboard Hot 100<\/em> and also topped <em>Billboard\u2019s Top Country Songs<\/em> for nine consecutive weeks. Swift\u2019s goodbye-boy song also made its way to <em>Time<\/em> magazine\u2019s Top 10 Songs of 2012, a list noted to be the best songs put out that year. The song was an instant success with her fans (I being one of them). This era, if you will, of Taylor Swift\u2019s career was focused around creating a new sound. This new sound is most prevalent in \u201cWe Are Never Ever Getting Back Together\u201d and has created quite the controversy on what is and what isn\u2019t country music \u2013 with Swift in the hot seat.<\/p>\n<p>The song begins with a hard-to-ignore poppy undertone categorized by its very synthesized guitar playing that obviously has the help of computer-generation (think the chorus of \u201cLike A Prayer\u201d by Madonna). This caught the attention of pretty much the entire world, including the country <em>and<\/em> pop music genres. A girl from Nashville starts to sing \u201cI remember when we broke up \u2013 the first time \/ saying this is it, I\u2019ve had enough \u2013 because like \/ we hadn\u2019t seen each other in a month \u2013 when you, said you, needed space \u2013 what<em>\u201d <\/em>and the Hollywood stars aligned at the voice of a new crossover hit song. Swift, pop country sensation, at the time had only produced country albums but when she began to create <em>RED<\/em> she started to experiment with pop music. \u201cI was getting my ideas the same way I always did and then a few months in they started coming to me as pop melodies and I could not fight it and I just embraced it,\u201d Taylor explained in an interview with Grammy Pro. <em>RED<\/em> and \u201cWe Are Never Ever Getting Back Together\u201d would be the first time for Taylor Swift to work with producer Max Martin, a Swedish music producer and songwriter who worked with pop acts such as Backstreet Boys and Britney Spears. Swift said she was only \u201callowed\u201d to work with Martin on a couple of songs including \u201cWANEGBT,\u201d with her record company worrying she was straying too far from what she was known for. However, Swift\u2019s desire to create pop music with <em>RED<\/em> did not overpower her desire to make her relationships she\u2019s made through country music stronger by coming through with good country music material which created what she called a \u201cmultiple personality\u201d album. This stemmed from the fact that the album had a wide variety of genre representation in the songs, although, listed as country, it was borderline not country.<\/p>\n<div id=\"attachment_6056\" style=\"width: 290px\" class=\"wp-caption alignleft\"><a href=\"http:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-content\/uploads\/sites\/19\/2015\/11\/ts-wanegbt.jpg\"><img fetchpriority=\"high\" decoding=\"async\" aria-describedby=\"caption-attachment-6056\" class=\"size-full wp-image-6056\" src=\"http:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-content\/uploads\/sites\/19\/2015\/11\/ts-wanegbt.jpg\" alt=\"Taylor Swift's &quot;We Are Never Ever Getting Back Together&quot; was her leading single from her album RED\" width=\"280\" height=\"280\" srcset=\"https:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-content\/uploads\/sites\/19\/2015\/11\/ts-wanegbt.jpg 280w, https:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-content\/uploads\/sites\/19\/2015\/11\/ts-wanegbt-150x150.jpg 150w\" sizes=\"(max-width: 280px) 100vw, 280px\" \/><\/a><p id=\"caption-attachment-6056\" class=\"wp-caption-text\">Taylor Swift&#8217;s &#8220;We Are Never Ever Getting Back Together&#8221; was her leading single from her album RED<\/p><\/div>\n<p>\u201cWANEGBT\u201d is a light-hearted song that is written in a very conversational manner. The song is sung from the perspective of Swift as if she is singing to the boy that she is obviously never getting back together with \u2013 she\u2019s not even contemplating it anymore, they\u2019re over. \u201cI\u2019m really gonna miss you picking fights \u2013 and me \/ falling for it screaming that I\u2019m right \u2013 and you \/ would hide away and find your peace of mind \/ with some \u2013 indie record that\u2019s much cooler than mine<em>,<\/em>\u201d she sings very sarcastically. Her somewhat catty lyrics throughout the song leave listeners wishing they knew whom she was talking about so they could break that indie record into tiny pieces. It\u2019s safe to say that audiences tend to flock to Taylor\u2019s break-up hits but this one is unlike other ones she had done in the past. Its up-beat tempo and use of distortion are things that we didn\u2019t typically see from Taylor in her earlier break-up hits.<\/p>\n<p>TS decided to play it safe when creating <em>RED<\/em> by labeling it a country album but putting blatantly pop songs on the record. This decision was most definitely influenced by who Swift was becoming; she arrived on the music scene as an innocent 15-year-old country sweetheart and had been made into a 22-year-old superstar by the time <em>RED<\/em> was released. Time changed her, her fans and her music. That being said, Swift\u2019s intentions with this song are pretty out in the open; she wanted to explore the area of the pop sound while making a country record. However, not all critics and listeners were open to this play on genres. With other popular country hits in 2012 such as, Josh Turner\u2019s \u201cTime Is Love\u201d and Eric Church\u2019s \u201cSpringsteen\u201d country music listeners seemed hesitant to accept Swift\u2019s \u201cWANEGBT\u201d into the same category of songs. Just a glimpse at the reviews of <em>RED<\/em> on iTunes proves that country music listeners were not pleased with this transition. \u201cHer poppy, immature lead single scared me,\u201d said user asdfghjkl24. Another user, ccjewell, said they were very disappointed with the outcome, \u201cTaylor is supposed to be country and making an album with pop and \u201ccountry\u201d (if you can call is that) doesn\u2019t work.\u201d Although listeners who weren\u2019t completely into the pop music scene disapproved of Taylor\u2019s newest take on country-pop, others were pleased and loved the song and the album as a whole. User, myyheartisyourss, said \u201cHearing <em>RED<\/em>, it seems to play to everyone. She has brought back her sweet folk sound from her first self titled album yet combined it with bits of rock, dub step, ukulele, and pop to bring us this fantastic masterpiece.\u201d The user praises the star and continues, \u201cTaylor is brilliant to bring in all the different writers and production to add a freshness to her sound.\u201d Although the overall perceptions of the album were conflicting, it was, at the time, Taylor\u2019s best one on the charts. Taylor\u2019s intentions worked in her favor and rather than reaching one audience, she reached many \u2013 something her predominantly country record label was proved wrong about. The iTunes description of the album perfectly states, \u201cThe banjo pluck of the title track and acoustic ballad \u2018All Too Well\u2019 will resonate with country fans, but glossy singles like \u201cWe Are Never Ever Getting Back Together\u201d and \u201cI Knew You Were Trouble\u201d seem destined for a broader audience \u2013 one that\u2019s just as vivid as the title suggests.\u201d<\/p>\n<div id=\"attachment_6057\" style=\"width: 283px\" class=\"wp-caption alignright\"><a href=\"http:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-content\/uploads\/sites\/19\/2015\/11\/red-tour.png\"><img decoding=\"async\" aria-describedby=\"caption-attachment-6057\" class=\" wp-image-6057\" src=\"http:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-content\/uploads\/sites\/19\/2015\/11\/red-tour-261x300.png\" alt=\"Swift performs &quot;WANEGBT&quot; at her sold-out RED Tour in 2013.\" width=\"273\" height=\"314\" srcset=\"https:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-content\/uploads\/sites\/19\/2015\/11\/red-tour-261x300.png 261w, https:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-content\/uploads\/sites\/19\/2015\/11\/red-tour.png 500w\" sizes=\"(max-width: 273px) 100vw, 273px\" \/><\/a><p id=\"caption-attachment-6057\" class=\"wp-caption-text\">Swift performs &#8220;WANEGBT&#8221; at her sold-out RED Tour in 2013.<\/p><\/div>\n<p>\u201cWe Are Never Ever Getting Back Together\u201d is set up like most of Swift\u2019s other songs, verse-chorus-bridge format. This format works well for her storytelling purposes. Boy, does she know how to tell a story. In this song, the format helps in enabling the listener to get very involved. The verses are similar in style and have the same background instrumentals allowing the listener (or person singing along would probably be a better term) to catch on to how Swift is telling the story pretty quickly. The bridge of this song is different from most Swift-like things because she talks it rather than sings it. \u201c<em>uhhh (she sighs) so he calls me up and he\u2019s like, I still love you \/ And I\u2019m like, I just, I mean this is exhausting, you know \/ like we are never getting back together \u2013 like ever.<\/em>\u201d This simple factor makes the listener feel like Swift is talking right to them, explaining just what\u2019s going on in her love life. (Honestly who doesn\u2019t dream of that being a real life occurrence?) This element is foreign to country music, but relates heavily to the pop sound she\u2019s going for. The writing and the set up of this song came easily, as one would imagine they would for someone who writes songs for a living. Taylor explained to MTV that this song was created when someone who knew an ex-boyfriend of hers (rumored to be Jake Gyllenhaal) walked in to the studio, in which she and producer Max Martin were working, and hinted at a rumor of her and him getting back together. Her response to this accusation was, you guessed it, WE ARE NEVER EVER GETTING BACK TOGETHER. Martin encouraged her to write a song about the relationship she felt so passionately about finalizing and thus the first single of her fourth album was born. If this doesn\u2019t scream \u201cTAYLOR SWIFT,\u201d I don\u2019t know what does. It seems as though even with a change of sound Swift keeps her songwriting consistent, which makes her more relatable and her fans happy.<\/p>\n<div id=\"attachment_6060\" style=\"width: 372px\" class=\"wp-caption alignleft\"><a href=\"http:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-content\/uploads\/sites\/19\/2015\/11\/billboards-2013.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-6060\" class=\" wp-image-6060\" src=\"http:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-content\/uploads\/sites\/19\/2015\/11\/billboards-2013-300x150.jpg\" alt=\"Swift takes the 2013 Billboard Music Awards by storm, including an award for Best Country Song for &quot;WANEGBT.&quot;\" width=\"362\" height=\"181\" srcset=\"https:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-content\/uploads\/sites\/19\/2015\/11\/billboards-2013-300x150.jpg 300w, https:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-content\/uploads\/sites\/19\/2015\/11\/billboards-2013.jpg 800w\" sizes=\"(max-width: 362px) 100vw, 362px\" \/><\/a><p id=\"caption-attachment-6060\" class=\"wp-caption-text\">Swift takes the 2013 Billboard Music Awards by storm, including an award for Best Country Song for &#8220;WANEGBT.&#8221;<\/p><\/div>\n<p>\u201cWANEGBT\u201d pushed the envelope for Taylor Swift and she definitely created a no-boundary zone for herself when it came to writing and making music. This song won accolades as a country song as well as a pop song, proving that genre is based on varying perspectives. The popularity of this song and other similar songs on <em>RED<\/em> influenced Taylor to create one of the best-selling records of all time <em>1989<\/em>, that is solely a pop album. \u201cWe Are Never Ever Getting Back Together\u201d is to thank for pushing Taylor Swift out into the superstardom she has today. She broke the limits and for that country and pop music should both be thankful for.<\/p>\n<p>&nbsp;<\/p>\n<table style=\"height: 1685px\" width=\"919\">\n<tbody>\n<tr>\n<td width=\"59\">Time<\/td>\n<td width=\"81\">Section<\/td>\n<td width=\"189\">Listening Cues<\/td>\n<td width=\"225\">Discussion<\/td>\n<\/tr>\n<tr>\n<td width=\"59\">0:00<\/td>\n<td width=\"81\">Intro<\/td>\n<td width=\"189\">Guitar<\/td>\n<td width=\"225\">The tone of the song is set with the upbeat melody played on the guitar and distortion. The song will follow this melody throughout.<\/td>\n<\/tr>\n<tr>\n<td width=\"59\">0:05<\/td>\n<td width=\"81\">Verse 1<\/td>\n<td width=\"189\">\u201cI remember when we broke up the first time\u2026\u201d<\/td>\n<td width=\"225\">Drums are prevalent here. Swift emphasizes the words \u201cthe first time\u201d and \u201cbecause like\u201d at the end of their lines. Then breaks up fourth line of the verse into two syllable phrasing \u201cwhen you \u2013 said you \u2013 needed \u2013 space what\u201d<\/td>\n<\/tr>\n<tr>\n<td width=\"59\">0:16<\/td>\n<td width=\"81\">Verse 2<\/td>\n<td width=\"189\">\u201cThen you come around again and say\u2026\u201d<\/td>\n<td width=\"225\">Swift follows the same pattern as first verse. Emphasizes the words at the end of each line \u201cbaby\u201d \u201ctrust me.\u201d The breaks up the fourth line into three syllable phrasing \u201cI say \u2013 I hate you \u2013 we break up \u2013 you call me \u2013 I love you\u201d The song thrives on many of these choppy phrases.<\/td>\n<\/tr>\n<tr>\n<td width=\"59\">0:27<\/td>\n<td width=\"81\">Pre-chorus<\/td>\n<td width=\"189\">\u201cOooh, we called it off again\u2026\u201d<\/td>\n<td width=\"225\">Instrumentals are built up in this line. Swift also begins to sing louder and more fluidly \u2013 without the special phrasing seen in the verses.<\/td>\n<\/tr>\n<tr>\n<td width=\"59\">0:38<\/td>\n<td width=\"81\">Chorus<\/td>\n<td width=\"189\">\u201cWe are never, ever, ever\u2026\u201d<\/td>\n<td width=\"225\">It\u2019s almost as if there\u2019s a period after the first \u201cWe\u201d \u2013 said very abruptly. Second and third \u201cWe\u201d is very drawn out \u2013 \u201cweeeeee.\u201d Instrumentals are almost silenced on last \u201cgetting back together.\u201d<\/td>\n<\/tr>\n<tr>\n<td width=\"59\">1:02<\/td>\n<td width=\"81\">Interlude<\/td>\n<td width=\"189\">Guitar<\/td>\n<td width=\"225\">The initial guitar melody picks back up after the chorus. Swift talks the words \u201clike ever\u201d in a very sassy tone.<\/td>\n<\/tr>\n<tr>\n<td width=\"59\">1:06<\/td>\n<td width=\"81\">Verse 3<\/td>\n<td width=\"189\">\u201cI\u2019m really gonna miss you picking fights\u2026\u201d<\/td>\n<td width=\"225\">Swift follows the same verse patter as before. Emphasizes \u201cand me\u201d \u201cand you\u201d \u201cwith some\u201d \u2013 doesn\u2019t continue the paired syllable phrasing. Swift mentions the boy listening to \u201can indie record that\u2019s much cooler than mine\u201d in a very sarcastic and witty way \u2013 this is very much so a zinger.<\/td>\n<\/tr>\n<tr>\n<td width=\"59\">1:17<\/td>\n<td width=\"81\">Pre-chorus<\/td>\n<td width=\"189\">\u201cOooh, you called me up again\u2026\u201d<\/td>\n<td width=\"225\">Instrumentals are built up in this line. Swift also begins to sing louder and more fluidly \u2013 without the special phrasing seen in the verses.<\/td>\n<\/tr>\n<tr>\n<td width=\"59\">1:29<\/td>\n<td width=\"81\">Chorus<\/td>\n<td width=\"189\">\u201cWe are never, ever, ever\u2026\u201d<\/td>\n<td width=\"225\">It\u2019s almost as if there\u2019s a period after the first \u201cWe\u201d \u2013 said very abruptly. Second and third \u201cWe\u201d is very drawn out \u2013 \u201cweeeeee.\u201d \u201cGetting back together\u201d is drawn out on the end \u2013 Swift makes \u201ctogether\u201d a longer note and instrumentals become more prominent during this time.<\/td>\n<\/tr>\n<tr>\n<td width=\"59\">1:51<\/td>\n<td width=\"81\">Instrumental<\/td>\n<td width=\"189\">\u201cOoh, yeah, ooh yeah, ooh yeah\u201d<\/td>\n<td width=\"225\">Swift\u2019s \u201cooh\u201ding follows the beat of the instumentals that are most prominent. The instrumentals change a bit from the songs main guitar melody but still provide the same tone (upbeat, dance-y).<\/td>\n<\/tr>\n<tr>\n<td width=\"59\">2:03<\/td>\n<td width=\"81\">Bridge<\/td>\n<td width=\"189\">\u201cI used to think\u2026\u201d<\/td>\n<td width=\"225\">Instrumentals are barely there. Swift sings in a softer tone that follows the stripped beat in the background. Last \u201cnever\u201d is drawn out to provide contrast to next verse. Her vocals are distorted in this section.<\/td>\n<\/tr>\n<tr>\n<td width=\"59\">2:14<\/td>\n<td width=\"81\">Verse 4<\/td>\n<td width=\"189\">\u201c*Sighs* So he calls me up\u2026\u201d<\/td>\n<td width=\"225\">Original guitar melody is back. Swift talks the entire verse \u2013 as if she\u2019s having a conversation with the listener. Repeats \u201clike ever\u201d from Interlude.<\/td>\n<\/tr>\n<tr>\n<td width=\"59\">2:25<\/td>\n<td width=\"81\">Chorus<\/td>\n<td width=\"189\">\u201cWe are never, ever, ever\u2026\u201d<\/td>\n<td width=\"225\">Chorus follows the same as previous ones with the addition of \u201cooh\u201ds and \u201coh\u201d\u2019s accompanying Swift\u2019s main vocals. Last \u201ctalk to me\u201d is more emphasized than before \u2013 more like \u201cmeeeee.\u201d \u201cGetting back together\u201d is extremely elongated making way to the following outro.<\/td>\n<\/tr>\n<tr>\n<td width=\"59\">2:49<\/td>\n<td width=\"81\">Outro<\/td>\n<td width=\"189\">\u201cWe, oooh, getting back together\u2026\u201d<\/td>\n<td width=\"225\">Swift sings select lines from chorus, without fully repeating chorus, in a more emphasized manner. Instrumentals end on last \u201cever\u201d and Swift finishes \u201cgetting back together\u201d without them. Song ends abruptly after \u201ctogether.\u201d<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Sources:<\/p>\n<p>Brodsky, Rachel. &#8220;Taylor Swift Reveals Secrets Behind &#8216;We Are Never Ever Getting Back Together,&#8217; Oozes Adorableness, Relatability On &#8216;MTV First'&#8221; <em>MTV News<\/em>. 30 Oct. 2012. Web. 28 Oct. 2015.<\/p>\n<p>Caufield, Keith. &#8220;Official: Taylor Swift&#8217;s &#8216;Never&#8217; Song Sells 623,000; Sets Female Digital Record.&#8221; <em>Billboard<\/em>. N.p., 21 Aug. 2012. Web. 28 Oct. 2015.<\/p>\n<p>&#8220;Listening Session With Taylor Swift: 1989 | Part 1.&#8221; <em>GRAMMYPro.com<\/em>. N.p., n.d. Web. 28 Oct. 2015.<\/p>\n<p>&#8220;Max Martin Production Discography.&#8221; <em>Wikipedia<\/em>. Wikimedia Foundation, n.d. Web. 28 Oct. 2015.<\/p>\n<p>&#8220;Red by Taylor Swift on ITunes.&#8221; <em>ITunes<\/em>. 22 Oct. 2012. Web. 28 Oct. 2015.<\/p>\n<p>Thompson, Gayle. &#8220;Taylor Swift, \u2018We Are Never Ever Getting Back Together\u2019 Breaks Country Chart Record.&#8221; <em>The Boot<\/em>. N.p., 10 Dec. 2012. Web. 28 Oct. 2015.<\/p>\n<p>&#8220;Top 10 Songs.&#8221; <em>Time Entertainment<\/em>. N.p., 4 Dec. 2012. Web. 28 Oct. 2015.<\/p>\n<p>&#8220;We Are Never Ever Getting Back Together.&#8221; <em>Taylor Swift Wiki<\/em>. N.p., n.d. Web. 28 Oct. 2015.<\/p>\n<p>Wyland, Sarah. &#8220;Billboard\u2019s Top 50 Country Songs of 2012.&#8221; <em>Great American Country<\/em>. 27 Dec. 2012. Web. 28 Oct. 2015.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;We Are Never Ever Getting Back Together&#8221; (2012) &#8211; Taylor Swift In 2012, Taylor Swift set the record for the most digital sales of a song by a woman with her single \u201cWe Are Never Ever Getting Back Together.\u201d The &hellip; <a href=\"https:\/\/sites.dwrl.utexas.edu\/countrymusic\/music\/we-are-never-ever-getting-back-together\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":96,"featured_media":0,"parent":18,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-6055","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-json\/wp\/v2\/pages\/6055","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-json\/wp\/v2\/users\/96"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-json\/wp\/v2\/comments?post=6055"}],"version-history":[{"count":4,"href":"https:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-json\/wp\/v2\/pages\/6055\/revisions"}],"predecessor-version":[{"id":6067,"href":"https:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-json\/wp\/v2\/pages\/6055\/revisions\/6067"}],"up":[{"embeddable":true,"href":"https:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-json\/wp\/v2\/pages\/18"}],"wp:attachment":[{"href":"https:\/\/sites.dwrl.utexas.edu\/countrymusic\/wp-json\/wp\/v2\/media?parent=6055"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}