The uneasy confluence of sports and politics is featured in a new book by The Nation's Dave Zirin, called Game Over: How Politics Has Turned the Sports World Upside Down.
During the civil rights movement and the Vietnam War, athletes routinely made their political views known. In some cases, that isolated them from sports fans. In other cases, their influence led to real change. But in recent decades, those voices fell silent. Some say the siren's call of endorsement deals made them gun-shy about speaking their minds.
Host Scott Simon speaks with Ian Crouch, web producer for The New Yorker, about tropes in movie trailers throughout the years. Crouch's blog post, "Trailer Trash," was published Friday on The New Yorker's Culture Desk blog.
For nearly 70 years, the Living Theater championed some of the most challenging work in New York Theater. It was the original off-Broadway company. But last month, Jon Kalish reports, co-founder Judith Malina shuttered the space she poured all of her money into and moved into an assisted-living home.
One night in 1910, a little girl is born during a snowstorm in the English countryside. The umbilical cord is wrapped around the baby's neck; she turns blue and gasps for life. The doctor can't make it through the snow, and the little girl dies.
That same little girl is born on another version of that night in 1910, but this time the doctor makes it through the storm, delivers the baby and stays for breakfast.
David Sheff wrote a book in 2008 that became a kind of landmark. Beautiful Boy was a painful, personal story of the battle he tried to fight with and alongside his son, Nic, who was addicted to methamphetamines. The book became an international best-seller and made David Sheff one of the country's most prominent voices on addiction — not as a doctor, an addict or an academic expert, but as a father.
Debbie Reynolds has been in show business for more than 60 years — beginning as an ingenue chirping a novelty tune called "Aba Daba Honeymoon" in one of her first films, a Jane Powell/Ricardo Montalban vehicle called Two Weeks With Love. That was 1950. Today, she's indisputably a grand dame of show business, working with names like Matt Damon and Michael Douglas.
How do you play a character who's been depicted more than nearly any other character in all of Western civilization?
That's the challenge currently facing Irish actress Fiona Shaw, who in the past has played such well-known fictional characters as Harry Potter's Petunia Dursley and Marnie Stonebrook on HBO's True Blood -- not to mention titanic classical roles from Euripides' Medea to Shakespeare's Richard II.
The year is 1915. A beautiful young woman bicycling through sun-dappled woods passes under an effigy of a German soldier and seems entirely unfazed. World War I is raging elsewhere in Europe, but here on the French Riviera life is serene.
The cyclist, Andree, is on her way to pose for an elderly Impressionist painter, Pierre-Auguste Renoir (Michel Bouquet), whom she somewhat startles by claiming to be an artist herself.