Features: Summer In The City
What is Summer in the City?
Welcome to Summer in the City, the Intern Edition forum designed to give you food for thought. From an in-depth look at an independent journalist covering post-occupation Iraq, to an upcoming review of the hysteria surrounding everyone's favorite wizard, Harry Potter, this page will feature a plethora of interesting, entertaining, and thought-provoking stories that will leave you wanting more.
Listen to a snippet of some of the best music you've never heard, recommended by NPR interns for our "What Are You Listening To?" feature. Click on the audio links for short, sound-rich stories on a variety of topics. So check back often - we'll rotate fresh news stories, compelling commentaries, and reviews of the latest books, films and concerts the Washington, D.C. area has to offer.
Harry Potter Mania
A Volunteer in Dumbledore’s Army!
What would compel a former Barnes and Noble employee to volunteer at a local bookstore on the most dreaded night of the year? Only a muggle would know the answer to that. Join reporter Lily Percy as she braves the crowds at the Barnes and Noble in Niskayuna, New York’s Midnight Magic Party.
Special 'Occasion' for NPR intern
An Afternoon with Two Jazz Legends
Guess who I met here at NPR. I still don't know if the experience was real or not, but one thing for sure is that I have the evidence to prove it.
It all started on a Friday afternoon when I was told that two very important jazz musicians were coming to NPR to be guests on our show, Talk of The Nation. I was told they were going to perform a live concert and following the concert a live interview. I was assigned to be with them at all times, from the moment they opened the lobby door until they got into their car to leave.
These two great musicians came to NPR in Washington, D.C. because they teamed up and put together their latest album called "Occasion."
I was very nervous-particularly after I started researching their biographies. I should tell you who they are, but first let me give you their backgrounds; you might be able to guess. One is a singer, pianist and actor. His music encompasses jazz, some of it very much in the style of the crooners of the 1940s and early '50s, funk and blues. He provided a soundtrack for the 1989 romantic comedy "When Harry Met Sally," starring Meg Ryan and Billy Crystal. All right check this out now; he won his first Grammy for Best Jazz Male Vocal Performance for his work on the soundtrack. Yeah, and it gets better. In 1990 he released two albums: the jazz trio album Lofty's Roach Soufflé and another album of standards titled We Are in Love, which went double platinum. We Are in Love earned him his second consecutive Grammy for Best Jazz Male Vocal. He even made a contribution to my all-time favorite film. His contribution was "Promise Me You'll Remember," a soundtrack for the Godfather Part III, which by the way was nominated for both an Academy Award and a Golden Globe in 1991.
I guess we remember him most by the role he played in the Academy Award winner Independence Day, where he was a wingman for Will Smith, and Hope Floats with Sandra Bullock, where he played a small-town Texas Romeo.
He is Harry Connick Jr. I could tell you even more about this guy, but then I probably won't finish this article today. Now that you know about Harry Connick Jr. it's time to tell you about our other guest. This American jazz saxophonist won his first Grammy in 1993 for Best Jazz Instrumental Performance, for his album I Heard You Twice the First Time, and another in 1994 for Best Pop Instrumental Performance for Barcelona Mona.
This exceptional New Orleans musician was born into one of the most distinguished and recognized musical families. His father is the legendary pianist and music educator Ellis Marsalis, and his two brothers are Wyton Delfeayo and Jason Marsalis. Well, he is no other than Branford Marsalis. This guy is really amazing; he considers himself a great musician, nevertheless he recognizes that there are other wonderful musicians out there. Frequently, musicians that are popular and famous have a lot of pride and think they are the best, however it's not the case for Marsalis.
I had a chance to talk to him a little bit -since I am a musician myself- about his life and his great career and I must say he is a funny and humble guy. He wants to share his knowledge, and wants to shape the future of jazz. That's why he is now a part-time music faculty member at San Francisco State University.
It was very interesting to see Harry Connick Jr. and Branford Marsalis playing like little kids. And when I say little kids I mean hitting each other in a playful manner and crawling on the floor. They were throwing jokes and making fun of each other; I even had a chance to make fun of them a little bit. It was a little weird to see these guys having fun in such a way because, since they are "super stars," you might have certain expectations about their behavior, but they are regular people who happened to be famous.
Harry Connick Jr. and Branford Marsalis teamed up to record their first ever full-length duo album, and it sounds exquisite. They both have a lot of respect for each other's work, and long-time careers. They showed everyone in the studio how close and good of friends they are by praising each other's work. Who wouldn't? They are simply amazing.
I hung out with them the entire time they were here at NPR. It was a great experience to be able to interact with these great artists that I look up to.
Interview with Dave Enders
Baghdad: The Long and Short of It
BY DAVID ENDERS
ANN ARBOR: UNIVERSITY OF MICHIGAN PRESS.
179 PAGES. $24.95
The occupation of Iraq and the war on terror follow no linear history. Instead, the fragments of truth and the i mages of a city destroyed fall upon our eyes and ears like war debris. Some reporting, however, manages to illuminate the life existing beneath the rubble. p>
David Enders is a 24-year-old independent journalist who has been covering post-occupation Iraq since 2003. His new book, Baghdad Bulletin, i s named for the magazine he co-founded, the first English-language publication to emerge after the U.S. invasion. The book chronicles the actions and sentime nts of the soldiers, citizens, activists and politicians currently in the country. Emily Schmall talks to Enders on the eve of his most recent trip to Baghda d. He says he plans to continue to "chart the American project in Iraq, or the Iraqi reaction to that project."
You're going back tomorrow. Why?
Since even finishing the book last year I've continued to report from the country during the first part of this year, from Janu ary to March, and I'm going back to continue reporting, both for The Nation and for Mother Jones.
At what point did you realize you were writing a book?
Well, sometime last year. I think the University of Michigan contacted me and asked if I'd be interested in doing a book for them about the magazine, and so I think it was around April of 2004.
Were you journaling? How were you keeping a record?
Yeah, I was writing diary entries, and sort of keeping a blog, more than anything to let my friends and family know that I was alive without having to send emails to all of them. And also the woman I was dating at the time kept most of our correspondence, which was extremely helpful in going back and sort of putting down the book. And since I wrote a lot of it sort of first-person, kind of gonzo present tense, having the correspondence from then really helped a lot in going back.
It was very sweet of her.
What I noticed as a reader, and also as a journalist, was that it seemed you established a certain level of fraternity, or at least empathy, with many of the male characters who appear in your book - among them, drivers, translators, and even the American soldiers. Do you think a woman would have been as successful at avoiding harm and gaining the trust of Iraqis and of American soldiers?
Well, yeah. I think that on our staff we had people, women, who were quite capable with doing that, at least as foreign women. I think for Iraqi women, it's extremely tough. It's interesting that you bring that up because for the last year, and sort of as I was finishing the book, I began working with a woman in Baghdad, a female translator, who I've worked with most of the last year I've been there. I've written a lot about that for Mother Jones, actually seeing how, as an Iraqi woman and an Arab woman and a Muslim woman, she's had to deal with male colleagues and come-ons from men in all sorts of different positions, and sort of the unequal position women, at least Iraqi women, occupy there. Whereas in the case of our foreign staff at the magazine, at least in the case of Kathleen McCall who was my age, who had no journalism experience whatsoever, and who had been a poetry major at Oxford, and came out to report for us and who became a correspondent who was on par with correspondents from other correspondents from all sorts of western news outlets in working on stories about the Shiite groups that were in Iraq and Muqtada al-Sadr and his, at the time, budding resistance movement. And the Sadr guys claimed to me that Kathleen was the first woman to actually interview Muqtada al-Sadr and that they actually had to convince their political leader to admit a woman to interview him. I think in some cases most certainly, at least in the case of foreign women.
If there are more female journalists in the country, both Iraqi journalists and foreign journalists, might forcing that kind of confrontation be positive?
Yeah, and I think at the time it was certainly a very positive thing. But of course change, I think, on a systemic level, especially in the case of women's rights in the country, is only going to come internally and through the hard work of a number of very brave women's rights activists who are operating in the country and who are locals.
Why did you decide to be affiliated with Occupation Watch, an activist organization, when you returned to Baghdad for t he second time?
Because I wanted to go back and I had some stuff to wrap up for the magazine - in part, just assessing the situation - because the final decision to close down the magazine was made by my cofounder and while I was out of the country and without my full consent at the time, so I wasvery moved to go back, both to find out what had happened to our staff members and whether it was possible to continue operating. Also, I went there becauseas a concerned American citizen and to some extent an activist, I was very interested in what Occupation Watch was doing, and what they had done in the Palestinian territories. I and some other activists I knew where discussing the possibility of a similar kind of movement in Baghdad. Just as a journalist and a researcher I was there kind of on the ground for them, helping out and trying to parlay what the situation really was and maybe where what we think of as the mainstream news media might have been missing or under-covering or not properly representing. So the decision to work with them was both a decision of pragmatism and a very strong belief in some of the stuff they were doing. I helped them plan a trip in which families of service members who were currently in Iraq as well as a man named Fernando Suarez de Solar, who was the father of a marine who was killed in 2003, was able to travel to Iraq with the help of Global Exchange, and to visit the site where his son died and to go and meet Iraqis who were very much on the other side of this. I think that's really what drew me to Global Exchange: the bottom line for them was really trying to bring these people together, what produced for me certainly probably the most powerful moments of my time in Iraq.
In the book rarely do we hear a voice of support for the occupation force, particularly toward the end. How did expect ations change over the course of the time you were there?
There was a period, and this was the period we started the magazine, where resistance to the occupation, military, armed resi stance to the occupation, did not have any popular support. Iraqis were very much on the whole taking a line of waiting to see what would happen with the occupation government and troops, or in some cases, supporting them, and in fewer cases, being willing to fight against them, as they increasingly saw the American troops as a force that was not in Iraq to bring freedom and democracy. No one ever really believed that the reasons for the occupation were altruistic ones - but they all hoped that maybe some good would come of this, that the byproduct of the invasion would be an Iraqi society that was pluralistic and to someextent free. I think it took three or four months before Iraqis really started to become very, very fed up with the occupation and the way in which it was being carried out. Then you had mistakes like the disbanding of the military at the behest of the coalition provisional authority, which was essentially the U.S. occupation authority, doing things like shutting down newspapers, and not protecting them, actively working against these things that they're paying lip-service to. I think that's when you really saw from Iraqis a great dissatisfaction. I think now you have a point where most Iraqis feel that there will be no return to any sort of normalcy until American troops are gone from the country.
And there are some who go further and say that the occupation force could even spur a civil war.
Well, I think to some extent, you already have a civil war taking place around the American forces. They can prevent outright warfare in an area, but they haven't been able to prevent the very targeted assassinations that have been going in tit for tat in a lot of places between different political groups. In some areas, it would almost appear as if the civil war has started with them sitting in the middle of it. The greater fear is that we're providing arms to one side as we did in the past with Saddam Hussein, allowing him to neutralize the threat to his government using American weapons. Eventually it seems we'll start arming a different faction of Iraqi society against other factions. And so the civil war would take place whether or notwe were there, but it seems unconscionable to escalate it.
Was the downturn following the April 2004 Abu Ghraib scandal as instantly as it was portrayed?
No, because the reaction of most Iraqis was, 'well, now they believe us.' Me and some of my colleagues had been collecting widespread reports from all over the country of that sort of abuse months before those photos were released, and of course it came to light that most of the abuse depicted in the photos had taken place in the fall of that year, so we had been hearing about this for a long time, and of course Iraqis were certainly aware that the abuse was going on. So whereas that gave a very literal and visible face to what was happening, the groundwork had already very much been laid. I don't think anyone was terribly surprised, and really the backlash didn't last long. It was only a week after those photos came out, and certainly they dominated headlines and coverage for that week, but then shortly thereafter Nick Berg was executed, and the attention of the media shifted very quickly. So now, at least in the case of Americans, we can recall the soldiers who were involved but perhaps not much else, except for a few of those striking images, and Ithink it's important to remember that we continue to incarcerate people. The military is holding more people in Iraq than it has at any other point of the occupation.
In Iraq, are those images used as rallying points?
Yeah, they're images that have certainly been burned into the collective memory, but I wouldn't say that they are the image of the occupation. A lot of Iraqis have their own very personal images of what the U.S. military venture has meant to them, and while that's maybe a unifyingnational symbol in some ways, I think everybody probably has a personal experience as well.
And each memory is visceral.
Certainly. It's sort of hard to explain just what it sounds like to have tanks driving down the street at night, and I think that's one thing for Americans trying to relate to it. It's very hard to imagine what it's like to have another army deployed on your streets and to be in the middle of a guerrilla war, and the psychological effect. I think people do have, in addition to what happened in Abu Ghraib, their own personal interpretation and memories with which to grapple.
When you were first there you presented yourself openly as an American journalist, but as the political climate worsene d, you decided to go into disguise as an Iraqi. Were you received differently?
From Iraqis, not particularly, and it was about a year and a half in before I had to start dressing like an Iraqi to pass when I was on the street or driving out of Baghdad by car. The thing that I noticed was really the way I was treated by the U.S. military changed. Whereas before, I was comfortable shouting out in English on the street or being very evidently western so that when they would come across me in a public setting, the troops would be surprised, they'd go, 'what is an American doing out here unarmed?' When they just assumed I was an Iraqi, even when they assumed I was an Iraqi journalist, it was a somewhat hostile encounter. I would have guns pointed at me or my camera grabbed. In one case, some troops started what almost amounted to a riot when they grabbed my camera in front of a whole bunch of Iraqis who thought that I was an Iraqi. That's to be expected. You see these troops out here who are very frightened and where anyone is perceived to be a threat.
You reprinted in the book a somewhat scathing letter to the editor written by an Iraqi who seemed to conflate the effor ts and purpose of your magazine with those of the U.S. military. Do you think this happened often, and how did you distinguish yourselves?
Well, we very prominently displayed on the cover of the magazine the assertion that we were not affiliated with the U.S. mili tary or government, and this was simply for our own safety. We also did not seek out money from USAID or any other American organizations. We were very careful avoiding the perception that we were working for or with the military. The reason we felt comfortable with the project was because all of the Iraqis we talked to, and this was before we started printing, members of Iraqi political parties that were important following the invasion were all very supportive of the venture, and all very much wanted to be involved. You know, we always said that once no one locally wants to work with us, this is when it's time to leave - it's too unsafe. And so, really it wasn't terribly hard to distance ourselves from the military because we found ourselves printing things that were verycritical of the military, enabling Iraqis to print things in English that were very critical of the military. My biggest fear in getting involved was this notion of cultural imperialism, insinuating that Iraqis are not capable of doing something like that themselves. That's something we wanted to be very carefulof, and so I found myself taking all my cues from Iraqi staff members, except when dealing with reporting from Washington or London, but the stuff we reported on the ground, I was very much listening to and working with the Iraqi staff and deferring to them in a lot of cases. And I think that's the bottom line ofwhat allowed us to remain safe while we were there.
There was virtually no free press under the regime of Saddam Hussein. Have you seen things open up?
Certainly, there have been a number of new magazines, television stations, radio stations. In fact, I just wrote an article about this for The Progressive magazine. Before you had a very restrictive government in regards to the press, and now you have chaos. And for what it's worth, the government was once the only actor that could suppress the press, and now you have a situation where people who decide to print freely are in danger of being assassinated for whatever they print from whatever quarter. You also have a situation where people can very easily print things that are untrue, or inflammatory, or potentially dangerous, and certainly people don't have any legal recourse against them. So for better or for worse, Iraq now has a free press, but that in itself has a lot of problems in the current situation.
You've said that it is the responsibility of those with perspective to keep going back to Iraq. How has your perspecti ve aided you as a journalist?
Well, I think my perspective at this point relies on the fact that I still have Iraqi friends who are willing to take me out and to bring me into situations where I'm taking a huge chance, for myself and for them, of passing in these situations and continuing to report. When you look at it, the country's only been open since the invasion in a way, and there aren't a lot of reporters with a lot of experience in Iraq. There are a lot of us who have been going back and forth since the invasion, and a lot of journalists who have reported from there before, but you know, for western journalists, it's in a lot of ways a new country to be working in. I think for this new crop of journalists who've dealt with Iraq, I do have a considerable amount of experience, and I hope that I can continue to go back and give that perspective of what has changed over the last couple of years, and to chart the American project in Iraq, or the Iraqi reaction to that project. And I think the most important perspective to have is even this short historical perspective.
The Promise of Bruce Springsteen
Rock and Roll Lives On
In an age where cynicism, marketing and commercial appeal seem to rise above talent and the age-old craft of songwriting, Bruce Springsteen still reigns supreme. With this years critically acclaimed “Devils & Dust,” his nineteenth album to date, Springsteen is proving to be, once again, the voice of every generation. Lily Percy reports.
Life in the Fast Lane
Observations on corporate advertising, as witnessed from the driver's seat.
Asian Pacific Memorial Concert
Concert and Museum to remember the WWII-era Asian Pacific WarPatricia Li (seated, second from right) at a press conference for the event.
The AGIS Center for the Arts and Humanities organized a concert July 9th at Strathmore Hall to commemorate the 60th anniversary of the ending of the Asian Pacific War during the WWII. A great surprise was awaiting us before the performance of the Yellow River Piano Concerto by the world-acclaimed pianist Yin Cheng Zong. It was the exciting announcement of a 15-year project to build the first ever Asian Pacific Holocaust Museum on the Mall of Washington DC. The museum is intended to remember the 35 million lives loss and overwhelming material devastation suffered during the period, which started with the invasion of China by Japan in 1937. Join us as we explore the details of this grandiloquent museum project, remember the sufferings of the past and enjoy the music that inspired millions of Chinese people to fight for their nation.
Better Luck Next Time
Sailing on the Chesapeake
It's rare that I have the opportunity to start a sentence with, "I almost died when…" I'm just not that type of person. I don't eat spicy foods; I don't go clubbing, and I try to avoid bodily harm at all costs.
So the other day, when my roommate asked me if I wanted to go sailing in the pouring rain, my natural response was, "No, I think I'll stay inside and watch TV." Law and Order was on. I had nothing to do. "You have nothing better to do," she pointed out, and unable to argue, I pulled on a pair of jeans and followed her out the door.
There were six of us who met on the pier in Fell's Point - my roommate, myself, and three Polish men dressed in matching red soccer jerseys. "Wait just a second," they said, and ducked into the nearest convenience store for food and liquor. While we were waiting, I noticed a fourth guy in a red shirt, vomiting next to a parked ambulance. "Is he with us?" I asked. In response, they handed him a case of beer, and we set off in the direction of the boat.
One thing I have always respected in members of the opposite sex is the ability to speak fluently in a foreign language. The language itself is unimportant - I'm as happy listening to my boyfriend ramble about verbs in French as I am listening to the German shop owner inform me they don't serve tap water here. I'm a sucker for gruff, Slavic tones, and as they threw off the ropes, the commands started flying back and forth. "Prawo! Ciagnac! Zwalniac!" Suddenly, I was foreigner in my native land, surrounded by four able-bodied Polish men. We were sitting in the bow - the aft? - of a thirty foot sailboat, headed out into open water. Shirts were bound to come. It had all the makings of a great TV melodrama.
By the time we arrived on the island the rain had completely stopped, and the sun was making a valiant, if not quite successful effort to break through the clouds. We anchored the boat slightly offshore and swam the remaining two hundred feet, with our tarp, knives, beer, and fifteen pounds of kielbasa in tow. Safely ashore, our new friends quickly disappeared into the woods, armed with steak knives on a hunt for dry wood. Denise and I headed down to the beach, armed with a case of Polish beer, and settled down to enjoy the view.
For those who have never tried it, there is little to compare with the experience of roasting Polish sausage over an open fire. Growing up in my family, I had tried kielbasa many times before, but never like this. Spearing it on a stick had the effect of transforming us, for the moment, into a band of wayward sailors, making do with the last of our provisions. There was no one for miles - just four Poles, a German, and one lonely American huddled over a small blaze.
The thunder started around four o'clock, low on the distance. "It's over the Atlantic," Bart said, gesturing toward the horizon. Thunder on its own is never very threatening, and as we started back, the trip seemed to pass amiably enough. We were in good spirits, and, still a ways from the industrial sprawl of Baltimore, were able to enjoy the passing scenery for the first time. The thunder remained low on the horizon, and it wasn't until the storm was actually upon us that we realized that we might have made a mistake.
The rain, when it came, was not a drizzle. It bore no crash of warning, but came as a single, blinding sheet of water across the open bay. Casper saw it first, and with a strained cry of alarm, made a vain attempt to dive below deck, crashing instead into Denise, who promptly crashed into me. The thunder rumbled, closer this time, and before we knew it, the full brunt of the storm was upon us.
"It's fine!" Bart yelled from the wheel. "People have been sailing through storms for centuries." At this point, the rain had turned the surface of the boat into a treacherous slick, and the aluminum railing flashed with each streak of lightning overhead. Casting around for something that wasn't metal, I grabbed Denise and we huddled for what seemed like hours, tacitly avoiding the railings, the sinky, and the glossy silver nails that punctuated the floor.
The storm, and our tiny boat bobbing madly in the waves, was no longer the stuff of television drama. It was like the tsunami itself, a single, inexorable wave rolling towards the shore. We had somehow missed the retreating water, and were now in the midst of what would no doubt become breaking CNN coverage by morning. "It's all right," yelled Bart. "If we get hit, it will go straight down the mast to the water. We'll be fine."
Denise would later tell me that were we to be hit by lightning, it would instead have incinerated the mast, burning a hole cleanly through the hull of the boat. I would think of this when I later recounted the story to my friends - how we would have floated indefinitely, without lights or electricity, gradually drifting closer and closer to the frothing waves. I would later avoid telling my family the whole truth, mentioning the kielbasa and the Poles, but avoiding the lightning and possible chance of death. At the moment, though, I could only consider the mast, and Denise's arm, and my own abject fear as we huddled between the mast and the rigging, considering the strikes and our chances for survival.
The storm was over long before we reached the harbor, but my panic took longer to subside. We chattered easily on the way back about other things, but once home, I tore off my soaked clothes and tried to gauge whether I was still wet enough to conduct a current. I jumped when I touched the light switch, and I anxiously surveyed the sky from the safety of my bedroom.
It was not until I settled down in front of the television, newly warmed and dry, that I allowed myself to slip back into the comforts of ritual. Law and Order was on. So was the OC. Flipping through the stations, I wondered briefly about the girl in the back of the boat - not the savvy lifeguard on the starboard side, or even the buff, newly minted hunk positioned at the wheel. My eyes were peeled for the small white American huddled between the mast and the rigging, clutching a towel around her waist and bracing herself against the wall in a frozen panic. Perhaps she had snuck away somewhere to a small desert island, or perhaps simply the grocery store for a fresh order of kielbasa. I searched high and low, but she was nowhere to be found. Oh well, I thought. Better luck next time.
New Addition to Smithsonian National Zoo
Cats with Nine Lives
The Smithsonian’s National Zoo has had two litters of cheetah cubs within the past year - the zoo’s first in their 112-year history. Follow reporter Rachel Rodriguez as she heads to the zoo to find out what the births of nine healthy cats mean for the world’s endangered cheetah population, and, more importantly, just how cute the baby cheetahs are.
A Dare to Initiate Your Eyes
The Initiated Eye: Secrets, Symbols, Freemasonry and the Architecture of Washington, DC
In many ways Washington, DC makes you feel like you are in an Ancient Greek Metropolis. What amazes most people when they first visit Washington and continues to amaze Washingtonians, are its breathtaking buildings which one can mindlessly get lost within or its narrow streets, which are easy to get turned around on. However, there is something that transcends this beauty and rather speaks to the creators of the architecture itself. Walking away from many of the buildings in DC, such as the Lincoln Memorial or the Supreme Court, there is a great sense that many of these building were planned with an intentional purpose rather than solely for aesthetic admiration. For this reason, I found it to be my own mission to shed light on the architects that helped build Washington, DC to the architectural apex that it is today. With little research, I found it not too surprising that the majority of Washington’s architecture was designed by the well-known Fraternity of the Free and Accepted Masons.
After centuries of secrecy, the Freemasons of Washington, DC welcome the public to uncover the mysteries of the Masonic influence on the planning of the city through the paintings of architectural history painter Peter Waddell. The legacy of Freemasonry is embedded within Washington from the construction of the White House to the layout of the streets surrounding the National Mall. This unprecedented exhibit entitled, “The Initiated Eye: Secrets, Symbols, Freemasonry and the Architecture of Washington, DC” displays a series of paintings coloring not only the influence of the Freemasons on the architecture but the philosophy behind the design of the nation’s capitol.
The exhibit is showing at the Octagon Museum of American Architecture
Nobles of the Mystic Shrine; in Foggy Bottom
36" x 24", oil on canvas
Journey into Light; in Masonic temple on 16th Street by Adams Morgan
How One Small Wizard Encouraged Thousands of Kids to Read
Thousands of children get excited every summer for a new Harry Potter book, and this year, publishers around the world coordinated a big midnight release on July 16th. In the United States, bookstores threw parties on Friday night for awaiting fans, counting down to midnight. Sae Komura reports on what kind of influence the Harry Potter series has generated to children’s reading.
The Ultimate Challenge
Not Your Ordinary Game of Frisbee
Look for this story soon!
Every Sunday a group of men- and sometimes women- meet up in Greenbelt, Maryland for a pick-up game of Ultimate Frisbee. They've been playing Ultimate in the rain, sun, snow and once in their underwear since 1993. In recent years, Ultimate has grown not only in size, but also in popularity across the United States and in international communities. The Washington Area Frisbee Club or WAFC reports over 2,300 members, not including pick-up groups like the one in Greenbelt. Reporter Kella Hammond spends one Sunday in July with the Greenbelt players to find out why Ultimate is just so ultimate...
All Good Music Festival
Getting There is Half the Fun
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In July Ashley Ahearn went to the All Good Music Festival in Masontown, West Virginia. The music was great, even though it rained all weekend. But the most interesting part of the trip, was getting there...
Music of the World
Concert Meshes Culture with Cool Beats
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