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NEW YORK (Reuters) - Rudy Giuliani, a former New York City mayor, led a rally outside the Metropolitan Opera on Monday to protest the company's production of "The Death of Klinghoffer," which some have called anti-Semitic and sympathetic to terrorism.

PARIS (Reuters) - Vandals attacked a giant green inflatable sculpture in one of the most famous squares in Paris in the early hours of Saturday after its resemblance to a sex toy sparked an outcry.

PARIS (Reuters) - Billowing sails of glass join the Eiffel Tower and the Sacre Coeur as permanent fixtures of the Paris skyline this month, when the new Fondation Louis Vuitton contemporary art museum designed by Frank Gehry opens to the public.

NEW YORK (Reuters) - "On The Town" is back on Broadway, 70 years after its debut, in a revival that critics hail as "fizzy and frisky" and a "helluva show."

LONDON (Reuters) - How do you make an exhibition about a man who never existed?

Sports News

(The Sports Xchange) - The career of Columbus Blue Jackets right wing Nathan Horton may be in jeopardy after he was diagnosed with degeneration of the entire lumbar region of his spine, The Columbus Dispatch reported Tuesday.

KANSAS CITY Missouri (Reuters) - Success starved Kansas City Royals supporters packed Kauffman Stadium for Game One of the World Series against the San Francisco Giants on Tuesday with none more excited than South Korean superfan Lee Sung-woo.

BRIDGETOWN Barbados (Reuters) - The excitement and surprises provided by a successful knockout cup competition, similar to England's F.A Cup, could help massively boost interest in soccer in the United States, the head of the country's second flight believes.

BRIDGETOWN Barbados (Reuters) - FIFA's new plans for dealing with concussions have been criticized by some in the United States for not involving an independent medical inspection, but Major League Soccer's medical chief believes team doctors should be trusted.

(The Sports Xchange) - Kevin Durant says he will not rush back from surgery to repair a fracture in his right foot.

Science News

ATHENS (Reuters) - Archaeologists unearthed the missing head of one of the two sphinxes found guarding the entrance of an ancient tomb in Greece's northeast, as the diggers made their way into the monument's inner chambers, the culture ministry said on Tuesday.

TEL AVIV (Reuters) - Personal genetics company 23andMe and Israel's MyHeritage said on Tuesday they would collaborate to enable people to discover their heritage based on genetic ancestry and documented family history.

LONDON (Reuters) - A Bulgarian man who was paralyzed from the chest down in a knife attack can now walk with the aid of a frame after receiving pioneering transplant treatment using cells from his nose.

NEW YORK (Reuters) - A comet from the outer reaches of the solar system on Sunday made a rare, close pass by Mars where a fleet of robotic science probes were poised for studies.

LONDON (Reuters) - Scientists studying fossils have discovered that the intimate act of sexual intercourse used by humans was pioneered by ancient armored fishes, called placoderms, about 385 million years ago in Scotland.

Movie Reviews

Who would be a cop during the Easy Rider era? All the hippies hate him, but diminutive highway patrolman John Wintergreen (Robert Blake) just wants to do a good job. James William Guercio’s cult hit straddles the fine line between straight-up procedural thriller and comedic character study as surely as ‘Big’ John rides his Electra Glide motorbike. It looks and feels like typical drive-in fare with its chases and slo-mo violence, but this is an altogether richer, stranger film. Subversively shooting in John Ford’s Monument Valley, Guercio pokes fun at Dirty Harry-style cops as Wintergreen transforms into one of Hollywood’s unlikeliest cult heroes.

There are some films that don’t just stimulate your eyes and ears. Take Fury, David Ayer’s grim, grimy but utterly gripping movie, set in April 1945 at the fag-end of WW2. You can feel the mud squelching in your toes. You can taste the blood in your mouth. And, boy, can you smell the stench of rotting corpses, burning flesh and unwashed men. This is a film that puts its boot on the back of your neck, and pushes you face-down into the shit and the scum of wartime conflict. A former member of the US Navy, Ayer has always seasoned his scripts with real-life grit. Corrupt-cop dramas Training Day and Dark Blue and last year’s vérité-style LAPD drama End Of Watch, which he also directed, all boast a lived-in authenticity. Same goes for Fury, a film that captures the ragged, desperate hysteria at the end of WW2 – not to mention the “fanatical resistance” faced by the Allies as the troops push for victory across a war-torn Germany. The vehicle, as it were, for Ayer’s film is a battle-scarred Sherman tank – nicknamed ‘Fury’. In charge of this beast is a US Army Sergeant named ‘Wardaddy’ (Brad Pitt), a veteran who has already fought his way through North Africa. From the moment he knifes a Nazi in the eye, you realize why he’s survived this far; he immediately recalls Robert Duvall’s Lt. Kilgore in Apocalypse Now – the sort who knows he’s not going to get so much as a scratch out there. Forget that Nazi-scalping, swastika-carving Lt. Aldo Raine Pitt played in Quentin Tarantino’s Inglourious Basterds. With an attitude as severe as his sides-shaved haircut, the star’s never been so brutal. Ayer reinforces this from the outset, in a shocking scene where the tank’s rookie recruit Norman Ellison (Logan Lerman) is given a baptism by fire(arms), when he’s handed a pistol and told by the Sarge to “put a big fat hole” in the back of a captured German, who otherwise would’ve done the same to him. Never having killed before, Norman, a former pencil-pusher who has been thrown into the maelstrom, refuses to bloody his hands, only for Pitt’s character to practically force him to pull the trigger. Such is the sheer gale-force of this it’ll leave you trembling almost as much as Norman (finely acted by Noah star Lerman). But in the words of Wardaddy, “Ideals are peaceful, history is violent” – a phrase that haunts Fury as the blood and guts of war spill out onto the screen. Much of this is left for Norman to witness; it’s his gradual transition from innocence to experience that powers the film, acting as our way into the conflict, and Ayer doesn’t spare him (or us). One sequence sees a soldier set on fire right in front of Norman; rather than burn, the luckless grunt takes a gun and shoots himself in the head – the sort of sight that will scar a man for life. Yet it would be easy for Ayer to simply slather this story with violence and flag-waving patriotism – something he carefully avoids. As much as Wardaddy is a fighter, he’s not a monster. Witness the crucial scene where he shows kindness to two German girls he and Norman encounter (even if Ayer shamefully squeezes in a blatant shirt-off scene for Pitt, as he washes up in time for eggs and tea). Certainly, there’s humanity under the bravado – even as ‘Bible’ (Shia LaBeouf), ‘Gordo’ (Ayer’s End Of Watch star Michael Peña) and Travis (Jon Bernthal), their fellow operators in the tank, show their baser instincts. Really, Fury recalls Wolfgang Petersen’s Das Boot: like that submarine classic, it shows how being in such a confined wartime space can generate both camaraderie and claustrophobia. The film rolls along at a thundering pace, danger hangs in the air like the shrouds of mist that DP Roman Vasyanov beautifully captures. Credit also the work of production designer Andrew Menzies, evocatively recreating wartime Germany in the English countryside of Oxfordshire and Hertfordshire. In a way, there isn’t much more to Fury – stripped of subplots and intrigue, it offers a grunt’s-eye view of the war, with Pitt only occasionally stopping off to talk tactics with Jason Isaacs’ captain. Detractors may claim that, emotionally, Ayer never really brings out the heavy artillery, but there’s enough here for audiences to get thoroughly involved with these spit’n’sawdust characters. Like Norman, Ayer straps us into the front seat and doesn’t let up until the last shell is fired of the final act – a breathless all-guns-blazing sequence that gives Pitt one of the most heroic moments he’s ever played on film. In the end, though, it’s Lerman who leaves the most lasting impression. It’s his film, really, and he grabs his chance with both hands. The result is highly memorable.

Between Satyricon and Roma, Fellini made this rather more modest curio for Italian TV, a mix of narrative, documentary and mockumentary that explores his childhood obsession – part joy, plenty fear – with circus clowns. It begins with a recreated memory of the Big Top coming to town, and ends with painted jesters coming out of retirement to stage an outlandish funeral for one of their fallen brethren. In between, Fellini and crew investigate the great European clowns of yore, and film themselves doing it. By turns magical and ponderous, this minor work spotlights the life-is-a-circus theme glimpsed in many of his other films.

In David Cronenberg’s recent Maps To The Stars, Mia Wasikowska arrives in Hollywood, where glittering surfaces play host to seething desires. In 1975’s Shivers, a young couple arrive at Canada’s luxury Starliner Towers, where an aphrodisiacal parasite will unleash orgiastic outbreaks of lust. Re-watched 40 years after it outraged moral guardians (and his landlady), Cronenberg’s film breakthrough reminds us what a singular slug-trail of sex, suggestion and psychoanalytic subversion he has left behind him. It’s almost as if he had his route to auteur fame mapped out, so clear is his imprint. Of course, it isn’t that simple. Interviews on decent archival extras (no new DC input, alas) suggest Cronenberg almost didn’t even get to direct his own script: the production company pencilled Jonathan Demme in. When Cronenberg did begin directing, he was winging it so much he worried he wasn’t cut out for film. But Cronenberg’s control and vision resonate. The opening sales pitch for the Ballard-ian apartment-block setting is a droll masterstroke of scene-setting and tone-pitching: it lays out the land and the sting of this satire on repression. Once we’re inside, Cronenberg’s boundary-blurring sensibility kicks in. The sense of outward paranoia while hell erupts inside is set by the contrast between the door-man armed to defend against invaders and scenes of a doctor murdering someone inside. Said Dr Hobbes invented a sex parasite to cure society’s rationality; now he wants to kill it. He fails, it spreads, and residents become lusty zombies in an ingenious psychosexual inversion of attack-from-outside narratives (‘They Came From Within’ was an alt-title). Elsewhere, there are bathroom violations, muddy hygiene and infection divisions, while Cronenberg assiduously rejects good/evil binaries. The slug, he’d say, is just doing its job. Seen from its eyes, critic Jason Anderson joshes on the extras, “It’s actually quite a nice story.” But Cronenberg isn’t afraid to max the nasty. If “The road of excess leads to the palace of wisdom”, as one on-screen poster declares, then Cronenberg’s wisdom inspires his slugs’ work. Taboos are uproariously bust: equal-ops sex is rampant, the gore generous. Add Joe Blasco’s gooey FX work and it’s easy to see why Shivers inspired genre fans and French cineastes alike. It isn’t perfect: the acting (mostly amateur, Barbara Steele aside) and sound mix lurch and wobble erratically. But it was an intelli-punk declaration of intent for Cronenberg’s cinema of sexual symbiosis and visceral smarts, where mind/body and art/horror sensibilities shared fluids. As the parasite is spread city-wide in a cavalcade of cars, you half expect to see a bespectacled, softly spoken, fiercely articulate Canadian behind the wheel: ready to spread his seed across cinema.

Can best friends ever be anything more? Of course they can – romcoms have been proving that for decades – but that doesn’t stop Lily Collins and Sam Claflin proving it again in a soapy heartstring fiddler that follows their torch-holding through 10 ageless years, two continents and a couple of failed marriages. Like a Richard Curtis movie with an Instagram filter, director Christian Ditter makes everything look pretty – including Collins and Claflin, both just winsome enough to rise above a froth of amateur models, a hen-friendly soundtrack and a script as sickly sweet as it is sickeningly posh.

CD Reviews

- Robin Denselow

The Forge, LondonShowcasing her new album, Namvula performed an adventurous and impressive set that blended African styles with jazz

Namvula Rennie is a singer-songwriter whose attractively cool, unusual songs reflect her interesting history. Born in Zambia to a Zambian mother and Scottish father, she has lived in Switzerland, Kenya, the US and now London, developing a hybrid style with lyrics that mix Zambian languages with English, Portuguese and French, and musical influences that range from African styles to jazz. She plays acoustic guitar, but works with an impressive backing band that includes African musicians and members of London-based jazz outfit Led Bib.

This cant have been an easy show for her. Her debut album Shiwezwa is not released until next month, and she was previewing the songs without the help of all her usual musicians. There was no kora player and the Ghanaian guitar hero Alfred Bannerman (of Osibisa fame) was unavailable. But none of this seemed to bother her, and she eased through a set that switched from breathy balladry to stomping jazz-rock.

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- Tim Ashley

Barbican, LondonPappano brings nobility to a celebration of Panufnik and brilliantly evokes Strausss pride, anger and beauty

Marking the centenary of Andrzej Panufniks birth, Antonio Pappanos latest London Symphony Orchestra concert opened with the Polish-born composers 10th Symphony, written in 1988 to a centenary commission from the Chicago Symphony. Despite its genesis, the work is by no means celebratory. The assertive opening fanfare is soon mired in dissonance, as Panufnik builds an evolving one-movement structure that progresses through tension and violence towards spiritual calm before the textures start to thin and the music fades to silence. The performance had great nobility and integrity, and was beautifully played. Conducting with grand gestures, Pappano excitedly punched the air with clenched fists during the climactic presto.

However, it was the closing work, Strausss Ein Heldenleben, that was the high point of the evening. Strausss ambivalent portrait of himself as the star composer of Wilhelmine Germany has become prent and iconic in his own anniversary year, though this was the finest performance of the piece Ive heard for some time. Much of its impact derived from Pappanos ability to maintain clarity, balance and momentum when this immense work is at its loudest and most complex: so the battle sequence, for instance, sounded like a proper symphonic development, for once, rather than simply a cacophony. Yet the brilliance of it all lay in Pappanos refusal to see the score as the last word in self-referential irony, and to remind us that its emotions, its pride, anger and beauty, are genuine and run deep.

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- John Fordham

Cafe Oto, LondonSax innovator Parker celebrated his 70th with a birthday gig that highlighted his talent as both leader and follower

Saxophonist Evan Parkers week of live shows celebrating his 70th birthday began as a summit of all-improv giants. Parker played with Australian trio the Necks, maestros of the art who share his commitment to a many-layered polyphonic improv. It was a fascinating, delicately nuanced and heartwarming display of give and take. Parker often allowed his long soliloquies to be buffeted and spun by the Necks famous ebbs and surges of collective sound, but he sometimes intervened, drawing the music out of trance states into more restless episodes.

Where the Necks choose to begin has a pervasive impact on the run of play it might be a rocket launch of percussion noise from Tony Buck, a double-bass murmur that slowly becomes a hook, or a looping piano figure from Chris Abrahams. The bass method opened this show, with Lloyd Swantons quiet proddings initially inviting something close to conventionally lyrical melody from Parkers soprano sax. Richly woven sax patterns unfolded over Abrahamss percussive piano, and when the pianist switched to brighter, pearly trills, Parker emitted fraught, exclamatory yelps. The sax fell quiet, flappy, birds-wings percussion ushered in a new mood and Parker returned, swapping jazzlike phrases with Abrahams. After an episode highlighting the saxophonists low-register expressiveness, a repeating and receding piano figure began a quietly throbbing descent into silence.

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- Malcolm Jack

02 ABC, GlasgowIrish new-wavers launch their reunion tour powered by high- energy nostalgia and their frontmans prancing charisma

Bob Geldof would have been well within his rights not to give two of his favourite four-letter words about this Boomtown Rats reunion. The prospect of swapping face time with presidents, power nerds and Bono for touring UK venues again cant have held much appeal especially given his familys recent tragedies.

So to hear him introduce the Irish new wavers in a throaty, mid-Atlantic bellow as the greatest fucking rocknroll band in the world, then to see him give it what could only be described as full Bob for the next 90-minutes is a pleasant surprise. Dressed in, as he describes it, a fuck-off pretend snakeskin suit, Geldofs a dancing, prancing, restless mess of a frontman, all manic gum-chewing, grey scarecrow hair and goofy limbs. Fantastic value, in short.

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- Rian Evans

Royal Welsh College of Music and Drama, CardiffThis plunge into Schumanns complex emotional world was a sometimes shocking pleasure

Brahms and his friendship with Clara Schumann have been the subject of much recent attention, leaving Robert Schumann sidelined, so the Gould Piano Trios weekend of his chamber music helped to refocus matters for Cardiff audiences.

Such is the intimacy of this repertoire and the Goulds insight, that it was not a question of sitting back and going with the romantic flow, rather of being made aware of future tragedy implicit in the writing. In the opening Piano Trio in D minor Op 63, the immediacy of being plunged into Schumanns complex emotional world real and imagined was almost shocking. With hints of Mozarts piano concerto and of Mendelssohns Trio in the same troubled key, the listener was drawn into a maelstrom: to suggest that it was deeply unsettling is a compliment to the players. Towards the end of the anguished slow movement, an apprehensive hovering seems to signal the eruption of further turmoil, but what emerges in the finale is a rush of bright, determined optimism. The suspicion that it might be only a veneer was as affecting as the anguish. After this, Mendelssohns Op 45 Sonata for cello and piano, played with deep sensitivity by Alice Neary and Benjamin Frith, felt like respite.

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Book Reviews

Top 5 at a Glance1. THE CONFESSION, by John Grisham2. WORTH DYING FOR, by Lee Child3. AMERICAN ASSASSIN, by Vince Flynn4. THE GIRL WHO KICKED THE HORNET’S NEST, by Stieg Larsson5. SIDE JOBS, by Jim Butcher

Top 5 at a Glance1. LIFE, by Keith Richards with James Fox2. BROKE, by Glenn Beck and Kevin Balfe3. EARTH (THE BOOK), by Jon Stewart and others4. THE LAST BOY, by Jane Leavy5. AUTOBIOGRAPHY OF MARK TWAIN, VOL. 1, by Mark Twain

Top 5 at a Glance1. THE GIRL WITH THE DRAGON TATTOO, by Stieg Larsson2. THE GIRL WHO PLAYED WITH FIRE, by Stieg Larsson3. THE FINKLER QUESTION, by Howard Jacobson4. LITTLE BEE, by Chris Cleave5. CUTTING FOR STONE, by Abraham Verghese

Top 5 at a Glance1. THE LOST SYMBOL, by Dan Brown2. THE GIRL WITH THE DRAGON TATTOO, by Stieg Larsson3. THE RECKLESS BRIDE, by Stephanie Laurens4. THE GIRL WHO PLAYED WITH FIRE, by Stieg Larsson5. 61 HOURS, by Lee Child

Top 5 at a Glance1. EAT, PRAY, LOVE, by Elizabeth Gilbert2. INSIDE OF A DOG, by Alexandra Horowitz3. STONES INTO SCHOOLS, by Greg Mortenson4. THE GLASS CASTLE, by Jeannette Walls5. THREE CUPS OF TEA, by Greg Mortenson and David Oliver Relin

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‘Send This Instead’ App Gives Kids an Alternative to Sexting

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Turn Back Time with Oldies Music Radio Which Brings Good Old Hits Back to Life

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