Play Public Instance

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{
    "id": 3421345,
    "uri": "https://api.kexp.org/v2/plays/3421345/?format=api",
    "airdate": "2024-11-04T14:32:58-08:00",
    "show": 61763,
    "show_uri": "https://api.kexp.org/v2/shows/61763/?format=api",
    "image_uri": "https://coverartarchive.org/release/43633dc6-b651-430a-9129-c61c7b4b51cb/2226589824-500.jpg",
    "thumbnail_uri": "https://coverartarchive.org/release/43633dc6-b651-430a-9129-c61c7b4b51cb/2226589824-250.jpg",
    "song": "In Cold Blood",
    "track_id": null,
    "recording_id": "781a4cb8-8418-44e7-b056-55db9731b50a",
    "artist": "Quincy Jones",
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    "album": "In Cold Blood",
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    "release_date": "1967-01-01",
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    "comment": "\"This taut, eerie soundtrack was the perfect match for the 1967 film version of Truman Capote’s literary true crime masterpiece, and received an Academy Award nomination for Best Original Score. Capote tried to get Jones off the project because he was Black – “I don’t understand why you’ve got a Negro doing the music for a film with no people of colour in it,” he told director Richard Brooks – for which he later apologised. But Capote’s prejudice wasn’t unique – as Jones told GQ in 2018, it took a lot for him to break into a gig usually reserved for “three-syllable Eastern European composers”.\"\nhttps://www.gq-magazine.co.uk/article/best-quincy-jones-music-tv-movies",
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