{"next":"https://api.kexp.org/v2/plays/?format=json&limit=20&offset=78800&ordering=-airdate","previous":"https://api.kexp.org/v2/plays/?format=json&limit=20&offset=78760&ordering=-airdate","results":[{"id":3564694,"uri":"https://api.kexp.org/v2/plays/3564694/?format=json","airdate":"2025-10-13T20:53:32-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"https://coverartarchive.org/release/98585410-bb9b-441b-b0ef-0a00d6b0cbf5/23019217505-500.jpg","thumbnail_uri":"https://coverartarchive.org/release/98585410-bb9b-441b-b0ef-0a00d6b0cbf5/23019217505-250.jpg","song":"Los dinosaurios","track_id":null,"recording_id":"628e9f96-487e-43e5-bcb4-017829a3da73","artist":"Charly García","artist_ids":["dd999ced-1dd4-44b8-ab67-ee5ec23e52b7"],"album":"Clics modernos","release_id":null,"release_group_id":"33eaf398-1164-32e3-9055-3bcbff8f3b12","labels":[],"label_ids":[],"release_date":"1983-11-05","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Los Dinosaurios,” written during Argentina’s military dictatorship, is one of Charly García’s most enduring protest songs. The lyrics use metaphor to reference disappearances and repression, while the soft melody contrasts the gravity of its subject. Performed live, the song carries emotional weight as both remembrance and warning. García’s ability to combine poetic restraint with political urgency made it a symbol of Argentina’s transition to democracy and the resilience of its artistic community.\u2028Listen: https://open.spotify.com/track/7v46KoV5WfOPj4zOAZZ6I0","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3564693,"uri":"https://api.kexp.org/v2/plays/3564693/?format=json","airdate":"2025-10-13T20:48:07-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"https://coverartarchive.org/release/1ab118c1-4ee2-40bd-89a3-18180ce8ebe3/29210303166-500.jpg","thumbnail_uri":"https://coverartarchive.org/release/1ab118c1-4ee2-40bd-89a3-18180ce8ebe3/29210303166-250.jpg","song":"Viernes 3 AM","track_id":null,"recording_id":"2dac5522-570e-4dc1-9ed5-45e587e0d080","artist":"Serú Girán","artist_ids":["f1cd52dc-49d1-4df6-93ea-3587d8fba30b"],"album":"La grasa de las capitales","release_id":null,"release_group_id":"2e02ae17-685a-3b9e-b9bf-55294ea22447","labels":[],"label_ids":[],"release_date":"1979-08-19","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Viernes, 3AM” first appeared on Serú Girán’s 1979 album La Grasa de las Capitales, one of the defining works of Argentine rock. The song’s lyrics, written by Charly García, describe existential despair and the pressures of modern life. Musically, it combines progressive rock structure with melodic piano and introspective vocals. The 2019 remaster highlights the band’s technical precision and emotional subtlety. “Viernes, 3AM” remains one of the most powerful songs in Argentina’s rock canon.\u2028Listen: https://open.spotify.com/track/6D4s5N9W7ViHuW6pllrL2R","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3564692,"uri":"https://api.kexp.org/v2/plays/3564692/?format=json","airdate":"2025-10-13T20:45:35-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"","thumbnail_uri":"","comment":"","location":1,"location_name":"Default","play_type":"airbreak"},{"id":3564690,"uri":"https://api.kexp.org/v2/plays/3564690/?format=json","airdate":"2025-10-13T20:42:31-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"","thumbnail_uri":"","song":"Mala vida (Mano Negra)","track_id":null,"recording_id":"76ef51f2-2a83-4891-9790-de8b8230bd78","artist":"Mano Negra","artist_ids":["e024a3ca-c78e-459a-9a98-8029f49b5a5f"],"album":"The Best Of","release_id":null,"release_group_id":"fdc94fbd-bc36-3504-9f6a-93e33a8e6898","labels":[],"label_ids":[],"release_date":null,"rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Released in 1988, “Mala Vida” was one of Mano Negra’s breakout hits, defining their mix of punk, ska, and Latin influences. Led by Manu Chao, the band crafted a multicultural sound that reflected France’s immigrant youth. The song’s lyrics portray frustration and restlessness, while the arrangement fuses punk rhythm with Mediterranean melodies. “Mala Vida” became a major European hit and a precursor to Chao’s later solo career, capturing the band’s energy and social edge.\u2028Listen: https://open.spotify.com/track/2Gi8ThOTBCi3vT41j7FUyA","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3564691,"uri":"https://api.kexp.org/v2/plays/3564691/?format=json","airdate":"2025-10-13T20:38:02-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"https://coverartarchive.org/release/13a982f8-9ea9-48cc-b037-c3d76b77ebab/40651759109-500.jpg","thumbnail_uri":"https://coverartarchive.org/release/13a982f8-9ea9-48cc-b037-c3d76b77ebab/40651759109-250.jpg","song":"Despojo","track_id":null,"recording_id":"a2eb48a6-3f2f-46a7-b944-7184895bee01","artist":"Grito Exclamac!ón Feat. Demencia Infantil","artist_ids":["bb216360-0856-4ba5-b3d6-2d9a4e65a2d5","4fe2a59f-df75-4251-b018-f9e4c90cffcd"],"album":"Grito Exclamac!ón","release_id":null,"release_group_id":"00e8b682-f380-4e8b-8302-fb16ce41729b","labels":[],"label_ids":[],"release_date":"2024-06-28","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Grito Exclamac!ón are part of Mexico’s underground punk scene, known for politically charged lyrics and DIY ethics. “Despojo” addresses themes of dispossession and social inequality, delivered through urgent guitars and raw vocals. The production is intentionally lo-fi, matching the band’s anti-establishment stance. They are representative of Mexico’s grassroots punk collectives that merge art and activism. “Despojo” stands out for its lyrical directness and resistance-driven tone.\u2028Listen: https://gritoexclamacion.bandcamp.com/track/despojo","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3564689,"uri":"https://api.kexp.org/v2/plays/3564689/?format=json","airdate":"2025-10-13T20:36:24-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"","thumbnail_uri":"","comment":"","location":1,"location_name":"Default","play_type":"airbreak"},{"id":3564688,"uri":"https://api.kexp.org/v2/plays/3564688/?format=json","airdate":"2025-10-13T20:33:41-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"https://coverartarchive.org/release/ed4be73c-6fcb-3565-9ed0-711c88a7a069/14384656813-500.jpg","thumbnail_uri":"https://coverartarchive.org/release/ed4be73c-6fcb-3565-9ed0-711c88a7a069/14384656813-250.jpg","song":"Sr. Cobranza","track_id":null,"recording_id":"bfebe8c2-3b85-40e5-bb2c-79b9c3f8dd44","artist":"Bersuit Vergarabat","artist_ids":["e90428f4-29ef-47b4-a081-75e415f51037"],"album":"Libertinaje","release_id":null,"release_group_id":"734dbef9-fc99-397d-bab0-24b9773d5afc","labels":[],"label_ids":[],"release_date":"1998-01-01","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Originally written by Las Manos de Filippi, “Sr. Cobranza” became a hit when Bersuit Vergarabat recorded it in 1998. The song attacks political and economic corruption in Argentina with raw sarcasm and explicit language. Musically, it fuses rock with cumbia and ska, reinforcing Bersuit’s trademark hybrid style. Gustavo Cordera’s biting vocal delivery amplifies the song’s rebellious energy. Despite being censored in some media outlets, “Sr. Cobranza” is now considered a protest classic and a defining moment in Argentine rock’s political voice.\u2028Listen: https://open.spotify.com/track/4YUdEY3ZbFqDEoixE44ccu","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3564687,"uri":"https://api.kexp.org/v2/plays/3564687/?format=json","airdate":"2025-10-13T20:28:09-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"","thumbnail_uri":"","song":"Humanos mexicanos","track_id":null,"recording_id":"d140b1e3-bad0-4548-84b5-eac478a1e650","artist":"Control Machete","artist_ids":["38c8254f-ceac-460d-9123-5af2d7a4fc7e"],"album":"Mucho barato…","release_id":null,"release_group_id":"e83030c3-b47c-3542-80c5-4861e03e382c","labels":[],"label_ids":[],"release_date":"1996-01-01","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Humanos Mexicanos stands as one of Control Machete’s more forceful statements: raw, proud, defiant. From Mucho Barato (1996), the song tackles Mexican identity head-on — not in a celebratory cliché‑way, but with gritty realism, anger, and resistance.\n\nThe production is stark yet effective: hard drums, heavy bass, minimal but sharp musical touches that let Fermín IV and Pato Machete’s voices carry the weight. There’s no gloss — it’s meant to provoke thought, raise a fist. Musically, its tempo (~98 BPM) gives it a deliberate pace, balancing aggression and urgency.\n\nLyrically, the song confronts stereotypes and discrimination (“Somos humanos y nos llaman mexicanos”), challenges the powers that assume Mexican voices can be silenced, and asserts dignity. Moments referencing Pancho Villa, the tension with “los güeros,” and cultural symbols (like mariachi) underscore a connection to history, land, and people.\n\nWhat makes “Humanos Mexicanos” powerful is that it’s more than protest — it’s personal. There's pride, but also vulnerability. Resistance, but also intimacy. This combination gives it staying power: it’s not just something to listen to in anger, but something that sticks, that makes you reflect.\n\nOn the downside, its harshness might alienate listeners unaccustomed to such confrontational music. Some might miss subtler lyricism or musical complexity. But that might be precisely the point: it’s not meant to comfort.\n\nOverall, Humanos Mexicanos is a potent anthem — maybe not subtle, but necessary. It captures a moment, a sentiment, a voice that needed to be heard.","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3564686,"uri":"https://api.kexp.org/v2/plays/3564686/?format=json","airdate":"2025-10-13T20:26:28-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"","thumbnail_uri":"","song":"Frijolero","track_id":null,"recording_id":"70de47f5-a62d-4f92-9990-49af9aeed9c2","artist":"Molotov","artist_ids":["4f8916d6-a7d2-43e9-96b6-ce3168c39c84"],"album":"Dance and Dense Denso","release_id":null,"release_group_id":"5556c783-9ff8-3e99-a35b-0eb3054b4d14","labels":[],"label_ids":[],"release_date":"2002-01-01","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Released in 2003 on Dance and Dense Denso, “Frijolero” is one of Molotov’s most provocative songs. Mixing hip-hop, funk, and rock, it confronts racism, U.S.-Mexico relations, and xenophobia through bilingual lyrics. The title—reclaiming a slur—underscores the song’s satirical tone. Molotov’s aggressive style and political edge made it controversial but influential across Latin America. The accompanying animated video reinforced its anti-discrimination message, earning international recognition. “Frijolero” is emblematic of Molotov’s approach: humor, confrontation, and uncompromising social commentary.\u2028Listen: https://open.spotify.com/track/5dYXyYRMgoCzE5KkXld6pJ","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3564685,"uri":"https://api.kexp.org/v2/plays/3564685/?format=json","airdate":"2025-10-13T20:21:17-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"https://coverartarchive.org/release/a045b740-574b-4ca9-a34d-f78795cd70eb/13955327904-500.jpg","thumbnail_uri":"https://coverartarchive.org/release/a045b740-574b-4ca9-a34d-f78795cd70eb/13955327904-250.jpg","song":"V centenario","track_id":null,"recording_id":"c1190a50-8cb2-47ad-9601-4ef6be0554ae","artist":"Los Fabulosos Cadillacs","artist_ids":["cfe85625-10af-46c1-99fb-765ed3a4f1ad"],"album":"Vasos vacíos","release_id":null,"release_group_id":"f6828fc1-1f72-36c1-87e7-0d67aa0ec525","labels":[],"label_ids":[],"release_date":"1993-09-23","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Released in the early 1990s, “Quinto Centenario” is one of Los Fabulosos Cadillacs’ most politically direct songs. It critiques colonialism and celebrates Latin American identity, marking 500 years since the Spanish conquest. The track blends ska, rock, and Afro-Latin rhythms, with a horn section driving its defiant tone. Vicentico’s voice channels urgency while the lyrics connect history to present resistance. The 2008 remastered version highlights the band’s tight arrangements and production clarity, reaffirming its place as a landmark in Latin alternative music.\u2028Listen: https://open.spotify.com/track/0zQ1R1iy7k6pJTDvWXPw0S","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3564684,"uri":"https://api.kexp.org/v2/plays/3564684/?format=json","airdate":"2025-10-13T20:19:05-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"","thumbnail_uri":"","comment":"","location":1,"location_name":"Default","play_type":"airbreak"},{"id":3564683,"uri":"https://api.kexp.org/v2/plays/3564683/?format=json","airdate":"2025-10-13T20:13:15-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"","thumbnail_uri":"","song":"Soy Cavernas","track_id":null,"recording_id":null,"artist":"PELLEJOS","artist_ids":[],"album":null,"release_id":null,"release_group_id":null,"labels":[],"label_ids":[],"release_date":null,"rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"PELLEJOS are a punk band from Argentina’s independent scene. “Soy Cavernas” channels primitive energy through fast guitars, pounding drums, and shouted vocals. The track embraces raw simplicity as part of its aesthetic—anti-polish, direct, and aggressive. Lyrics evoke alienation and defiance, common themes in Argentina’s underground punk resurgence. PELLEJOS continue to gain recognition for their fierce DIY ethic and uncompromising sound. “Soy Cavernas” exemplifies their back-to-basics approach to punk as pure, instinctive expression.\u2028Listen: https://pellejospunk.bandcamp.com/track/soy-cavernas","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3564682,"uri":"https://api.kexp.org/v2/plays/3564682/?format=json","airdate":"2025-10-13T20:09:00-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"","thumbnail_uri":"","song":"Cumbia del Informe","track_id":null,"recording_id":null,"artist":"Sonido Changorama","artist_ids":["52d246ec-a6ab-4d86-a7e8-c0ebef7b97b2"],"album":null,"release_id":null,"release_group_id":null,"labels":[],"label_ids":[],"release_date":null,"rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Sonido Changorama is a Mexican collective that blends cumbia with experimental electronic production and political satire. “Cumbia del Informe” mixes traditional percussion, samplers, and spoken-word fragments referencing government speeches and propaganda. The track critiques corruption and bureaucracy through humor and groove, using the familiar format of cumbia to deliver sharp commentary. Their sound reflects Mexico City’s digital cumbia underground, rooted in both protest and dance culture.\u2028Listen: https://sonidochangorama.bandcamp.com/track/cumbia-del-informe","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3564681,"uri":"https://api.kexp.org/v2/plays/3564681/?format=json","airdate":"2025-10-13T20:04:03-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"","thumbnail_uri":"","song":"Campo Alegre","track_id":null,"recording_id":"53330716-96b4-4c1b-acc6-7100578a2fe8","artist":"Gaiteros de San Jacinto","artist_ids":["2e574282-8fd1-4625-a6ce-eecad43232d8"],"album":"Asi tocan los indios","release_id":null,"release_group_id":"7a28010f-3940-436c-b0c2-8b3a01a8c82f","labels":[],"label_ids":[],"release_date":"2012-10-25","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"“Campo Alegre” opens with a serene sense of place: you can almost feel the warm breeze across the sabana, the earth underfoot. The gaitas (Colombian flutes) weave a plaintive melody, calling out over gentle percussion and soft maracas. The arrangement is spacious yet grounded, letting each instrument breathe and converse.\n\nLyrically, the song speaks of simple agrarian life and love. Lines like “Yo vivo en un campo alegre en medio de una sabana… y si me voy pa’ campo alegre pero mi amor que no se quede” evoke both rootedness in landscape and the bittersweet tension of departure and longing. \n\nThe vocals are warm, natural, and unforced — there’s no grandiosity, just honest expression. What’s striking is how the band balances restraint and emotion: it never overwhelms but steadily draws you in. “Campo Alegre” is an intimate portrait of home, love, and the yearning to stay or leave — all expressed through a masterful, traditional musical language.","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3564680,"uri":"https://api.kexp.org/v2/plays/3564680/?format=json","airdate":"2025-10-13T20:01:21-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"","thumbnail_uri":"","song":"Te llevaré","track_id":null,"recording_id":"1980a2d6-a3c8-4663-b532-7a22d025f68f","artist":"Lisandro Meza y su Conjunto","artist_ids":["5a162170-d306-4331-bddc-54365c52b3e5"],"album":"Con sentimiento vallenato","release_id":null,"release_group_id":"63e688b5-e7c0-4989-ad93-336517c41195","labels":[],"label_ids":[],"release_date":"2000-04-17","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Lisandro Meza, from Colombia’s Caribbean coast, is a key figure in cumbia and vallenato. “Te Llevaré” showcases his trademark accordion sound and rhythmic precision. The song combines romantic lyrics with festive energy, embodying the joyful melancholy of Colombian coastal music. Meza’s work bridges traditional folk and modern popular styles, influencing generations of tropical musicians. “Te Llevaré” remains one of his enduring hits, reflecting his charisma and mastery of Colombian dance rhythms.\u2028Listen: https://open.spotify.com/track/0sa9vEBL0pHhPrgduEU9wE","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3564679,"uri":"https://api.kexp.org/v2/plays/3564679/?format=json","airdate":"2025-10-13T19:59:18-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"","thumbnail_uri":"","comment":"","location":1,"location_name":"Default","play_type":"airbreak"},{"id":3564678,"uri":"https://api.kexp.org/v2/plays/3564678/?format=json","airdate":"2025-10-13T19:56:41-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"https://coverartarchive.org/release/53698866-f39b-35c4-8ec9-792e58e7c352/23690712833-500.jpg","thumbnail_uri":"https://coverartarchive.org/release/53698866-f39b-35c4-8ec9-792e58e7c352/23690712833-250.jpg","song":"Como la cigarra","track_id":null,"recording_id":"17f42813-8644-4fdb-9bb2-1e69a34d2c31","artist":"Mercedes Sosa","artist_ids":["324b9329-7be6-491f-9ee1-65bfa10c7577"],"album":"30 años","release_id":null,"release_group_id":"7058ff80-19c9-3c76-b1ab-153c91438bae","labels":[],"label_ids":[],"release_date":"1993-01-01","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Performed live in the 1980s, “Como La Cigarra” (written by María Elena Walsh) became one of Mercedes Sosa’s emblematic songs. It celebrates survival and resilience through the metaphor of a cicada returning after adversity. Sosa’s powerful voice, combined with sparse instrumentation, transforms the song into a universal hymn of perseverance. Known as “La Voz de América Latina,” Sosa used her performances to bridge art and activism. This live version captures both her vocal mastery and her deep emotional connection with audiences.\u2028Listen: https://open.spotify.com/track/6UYWl09XHCRKXME7hQvYjG","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3564677,"uri":"https://api.kexp.org/v2/plays/3564677/?format=json","airdate":"2025-10-13T19:52:18-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"","thumbnail_uri":"","song":"No soy de aquí, ni soy de allá","track_id":null,"recording_id":"21ff25ff-0e3c-4c9a-a204-be51c25f3189","artist":"Facundo Cabral","artist_ids":["d78185b7-a45e-4df5-ade0-9bae97f90d7e"],"album":"Un canto al pueblo, vol. 1","release_id":null,"release_group_id":"3ab0099e-cd06-46a3-88fd-4630f25ae10f","labels":[],"label_ids":[],"release_date":"1997-01-01","rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Released in 1970, this song became Argentine troubadour Facundo Cabral’s most famous composition. Mixing humor and philosophy, it expresses a universal sense of belonging everywhere and nowhere. The minimalist arrangement—voice and guitar—highlights Cabral’s spoken-sung style. His lyrics celebrate freedom from materialism and borders, turning existential reflection into popular wisdom. “No Soy de Aquí, Ni Soy de Allá” transcended language and generations, earning Cabral global recognition as one of Latin America’s great singer-songwriters.\u2028Listen: https://open.spotify.com/track/2Q5DPLvTuYq3oZ0vuOykqM","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3564676,"uri":"https://api.kexp.org/v2/plays/3564676/?format=json","airdate":"2025-10-13T19:49:15-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"","thumbnail_uri":"","song":"Canción Con Todos","track_id":null,"recording_id":null,"artist":"Marina Fages","artist_ids":["0c2a530a-695b-463b-b8b6-c8d8b35f80cf"],"album":null,"release_id":null,"release_group_id":null,"labels":[],"label_ids":[],"release_date":null,"rotation_status":null,"is_local":false,"is_request":false,"is_live":false,"comment":"Marina Fages reinterprets this classic Latin American anthem, originally written by César Isella and Armando Tejada Gómez. Her version highlights intimacy over grandeur, using soft guitar and minimal production. Fages’ voice adds warmth and closeness to a song that symbolizes continental unity and resilience. This modern take connects the traditional Nueva Canción legacy to contemporary indie folk. It demonstrates how younger artists continue to revisit and honor foundational works of Latin American music with respect and subtle innovation.\u2028Listen: https://open.spotify.com/track/4UXngQyTLLjZOm42HpxMEh","location":1,"location_name":"Default","play_type":"trackplay"},{"id":3564675,"uri":"https://api.kexp.org/v2/plays/3564675/?format=json","airdate":"2025-10-13T19:45:44-07:00","show":64828,"show_uri":"https://api.kexp.org/v2/shows/64828/?format=json","image_uri":"","thumbnail_uri":"","comment":"","location":1,"location_name":"Default","play_type":"airbreak"}]}