Daily Schedule

Claims that “The Revolution will be Tweeted” may not always be the case. On today’s show, Evgeny Morozov looks at whether the Internet may turn out to be more of a boon to authoritarian governments than to democracy. Then, comic Pat Cooper talks about his life and career. Also, we’ll look at the many cliches in professional sports with a behavioral economist and a writer for Sports Illustrated. Plus, James Miller discusses his collection of short biographies of twelve influential philosophers.

Your morning companion from NPR and the WNYC Newsroom, with world news, local features, and weather updates.

The Financial Crisis Inquiry Commission comes out with its final report this morning about how the economic crisis could have been prevented. Call us with your reaction. Plus: the upr...

Most of us consider the ear to be a “one-way” receiver of sound. Soundcheck's Ear Wars series concludes with a look at the sounds an ear produces--and why. Later: Irish vocalist Susan McKeown performs live in our studio.

A wrap-up of the day’s news, with features and interviews about the latest developments in New York City and around the world, from NPR and the WNYC newsroom.

A wrap-up of the day’s news, with features and interviews about the latest developments in New York City and around the world, from NPR and the WNYC newsroom.

Tell Me More focuses on the way we live, intersect and collide in a culturally diverse world. Capturing the headlines, issues and pleasures relevant to multicultural life in America, the daily one-hour series is hosted by award-winning journalist Michel Martin. Tell Me More marks Martin's first role in hosting a daily program. She views it as an opportunity to focus on the stories, experiences, ideas and people important in contemporary life but often not heard.

For this New Sounds, we’ll have at least a double-helping of guitar music, featuring some solo works by Marc Ribot intended as music for films: some are adaptations of music he has actually written for films, others for classic silent movies that he scored for his personal amusement, still others for films of his own imagination.  These haunting and wistful pieces explore, as Ribot says, "the strange area between language and spatiality that exists partly in between music and visual image, and partly as a common property of both."