NPR FOR THE DEAF: We Hear It Even When You Can’t


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Dick Cheney is arguably one of the most powerful vice presidents in American history, but much of his work is done behind the scenes. In his new book, Angler, journalist Barton Gellman details the forty-year political career of Bush’s second in command. Gellman is a special projects reporter on the national staff of The Washington Post. In 2002, he shared the Pulitzer with the Post staff for the paper’s reporting after the Sept. 11 attacks. Angler expands the Pulitzer Prize-winning series of articles about Cheney that Gellman and Jo Becker wrote for the paper in 2007.

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Hour 1
Abstinence education is in the news with Bristol Palin’s pregnancy and Governor Palin’s support of abstinence-only education. At the same time, the Pennsylvania Department of Health has applied for abstinence-only education funding from the federal government. This hour, a conversation with University of Pennsylvania social policy professor REBECCA MAYNARD about what works in sex education and the consequences of teen pregnancy. Listen to this show via Real Audio | mp3

Hour 2
Last week city, state and Foxwoods casino officials announced they are considering the relocation of the Foxwoods casino from its original site along Delaware Avenue to a new site on Market Street East above The Gallery. We get response to the announcement from TERRY GILLEN, senior adviser to Mayor Nutter and JOHN CHIN, executive director of the Philadelphia Chinatown Development Corp., and Mashantucket Pequot Tribal Nation Chairman MICHAEL THOMAS. Listen to this show via Real Audio

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Tuesday September 16, 2008
Conor Oberst

DaviddyeNPR.jpgTaking leave of his distinguished band Bright Eyes, Conor Oberst has recorded his first solo album since his early teens, when the independent music scene first embraced the songwriting wunderkind. The self-titled disc was recorded with The Mystic Valley Band, and is infused with the simplicity and mysticism of the Mexican mountainside setting where it was made. It’s awash in the lean, seductive acoustic melodies for which Oberst is known. In an interview with Michaela Majoun, Oberst says that when he records by himself, he cares more about the performance then the production. It turns out to be a crucial factor in temporarily leaving behind the Bright Eyes moniker.


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