Following the coordinated terrorist attacks in Paris on Friday, John Oliver began his show on Sunday by unleashing an impassioned, profanity-laced condemnation on the attackers responsible for the deadly siege.
"It's hardly been 48 hours and much is unknown, but there are a few things we can say for certain," Oliver started off. "And this is when it actually helps to be on HBO, where those things can be said without restraint, because after the many necessary and appropriate moments of silence, I'd like to offer you a moment of premium-cable profanity."
"First as of now, we know this attack was carried out by gigantic fucking assholes, unconscionable flaming assholes, possibly working with other fucking assholes, definitely working in service of an ideology of pure assholery," he said. "Second, and this goes almost without saying: Fuck these assholes.
"And third: It is important to remember, nothing about what these assholes are trying to do is going to work. France is going to endure."
The Last Week Tonight host continued to offer a message of hope for France, vowing terrorism will never succeed in the face of freedom.
Bob Dylan The Cutting Edge 1965-1966: The Bootleg Series Vol. 12
Columbia Records/Legacy Recordings
The archival Bootleg Series plumbing Bob Dylan's illustrious (and sometimes not so illustrious) history has produced such gems as the complete Basement Tapes and a compilation of his early Witmark publishing demos, but The Cutting Edge is far and away the most exciting entry yet. This dazzling six-disc set covers the period when Dylan plunged wholeheartedly into rock'n'roll and created one masterpiece after another, turning out Bringing It All Back Home, Highway 61 Revisited, and the two-record Blonde on Blonde in a frenetic 18-month burst of genius.
Consisting largely of previously unreleased material (actual bootlegs aside), The Cutting Edge collects early versions, rehearsals, alternates, and other fascinating leftovers from the sessions for those albums. What's immediately most striking is how hard Dylan and company worked in the pursuit of perfection, and how much songs evolved during recording. Want to hear "Like a Rolling Stone" as a waltz? "Visions of Johanna" as a spiky uptempo rocker? They're here, along with other classics-in-progress, and tantalizing orphans such as "Lunatic Princess," "You Don't Have to Do That," and "Sitting on a Barbed-Wire Fence." For those who want even more, there's a hefty (and pricey) 18-CD version available via Dylan's website.
The Velvet Underground Loaded: Re-Loaded 45th Anniversary Edition Rhino
The Complete Matrix Tapes Polydor/UMe
Loaded was the most conventional of The Velvet Underground's four studio outings. With gifted multi-instrumentalist John Cale long gone and drummer Maureen Tucker largely absent from the studio, Lou Reed steered the band away from the notorious sonic and emotional extremes of its early work, trying out a more mainstream pop approach, albeit with more wit and a darker undertone than your basic Top 40 song. The album features a few clunkers but also two of his most-lovable compositions in the form of "Sweet Jane" and "Rock & Roll." After the confrontational brilliance of early songs like "Heroin" and "Sister Ray," these engaging anthems seem positively carefree.
This six-disc package includes a mono version, a surround-sound mix, a previously released live set from Max's Kansas City, and a very lo-fi, previously unreleased live performance from Philadelphia. The high point is the disc containing demos and early versions, which offers hints of what Reed would have sounded like as a folk singer in an alternate universe, and shows him getting warmed up for his impending solo career. "Satellite of Love" would be one of the standouts of Transformer, his second post-Velvets effort and biggest commercial success, while "Sad Song" resurfaced on his third long-player, the harrowing masterpiece Berlin.
Prior to the sessions that produced Loaded, the Velvets played a series of shows at the San Francisco club the Matrix in November and December 1969. Four of those sets appear on The Complete Matrix Tapes and portray the quartet as a cohesive and efficient rock'n'roll band, not simply a vehicle for Reed's solo aspirations. With Doug Yule taking over on bass and psychedelic keyboards, the group ranges from early gems like "I'm Waiting for the Man," presented in a bluesy 13-minute version, and "Sister Ray," which unfolds over 37 mesmerizing minutes, to the not-yet-recorded "Sweet Jane" and "Rock & Roll," heard here in looser, funkier incarnations. Much of the material on this fine four-disc collection has previously been released piecemeal on other archival packages, but The Complete Matrix Tapes is the best way to get a feel for the later Velvet Underground onstage, no longer revolutionary but still compelling.
In the newest issue for Vogue—and umpteenth edition of Jennifer Lawrence being so "real" and so "hilarious"—the Hunger Games actress reveals why she's disavowing her Republican roots, particularly in light of a potential Donald Trump White House.
"If Donald Trump is president of the United States, it will be the end of the world," Lawrence tells Vogue's Jonathan Van Meter. "And he's also the best thing to happen to the Democrats ever."
Lawrence, who is the world's highest paid actress, also didn't mince words when it came to Kim Davis, the defiant Kentucky county clerk who made national news by refusing to issue same-sex marriage licenses back in September.
"I just can't imagine supporting a party that doesn't support women's basic rights," she said. "It's 2015 and gay people can get married and we think that we've come so far, so, yay! But have we? I don't want to stay quiet about that stuff."
When Van Meter asked her about Davis, Lawrence called her "that lady who makes me embarrassed to be from Kentucky."
"All those people holding their crucifixes, which may as well be pitchforks, thinking they’re fighting the good fight," she goes on. "I grew up in Kentucky. I know how they are."
As for Trump, Lawrence describes her opinion as "pretty cut and dried."
Somewhere, Hillary Clinton is nodding in agreement.
On November 9, 1970, George Thornton, an engineer at the Oregon Department of Transportation, had a mission: remove a 45-foot sperm whale washed ashore the Oregon coast just south of the Siuslow River. But how?
ODOT officials struggled with what to do with the whale. Rendering plants said no thanks. Burying was iffy because the waves would likely have just uncovered the carcass. It was too big to burn.
So the plan was hatched: Let’s blow it up, scatter it to the wind and let the crabs and seagulls clean up the mess. So Thornton and his crew packed 20 cases of dynamite around the leeward side of the whale, thinking most of it would blow into the water. At 3:45 p.m. Thursday, Nov. 12, the plunger was pushed.
The whale blew up, all right, but the 1/4 mile safety zone wasn’t quite large enough. Whale blubber and whale parts fell from the sky, smashing into cars and people. No one was hurt, but pretty much everyone was wearing whale bits and pieces.
At that moment on November 12, 1970—45 years ago today—the decaying whale erupted into the public consciousness and eventually became a viral sensation. It was keyboard cat before cats had keyboards. "[It] went viral before the internet had the infrastructure to support viral videos," Andrew David Thaler wrote in Vice's definitive history, "when mailing a six minute clip via USPS was faster than downloading."
The comedian reached another level of hero status on Tuesday, appearing on the Late Show to promote his brilliant new Netflix series Master of None. Just seconds after settling into his guest seat, Ansari wasted no time calling out Hollywood's problems with diversity.
"Stephen's the first late night host from South Carolina and the bajillionth white guy," he said, responding to Colbert's comment that the two of them hailed from the same state. "Very interesting measure of progress."
When Colbert jokingly asked if his spot on the show counted as a show of progress, Ansari replied, "It's really diverse right now. It's 50 percent diverse. It's like an all-time high for CBS." Colbert couldn't contain his admiration and shook Ansari's hand.
The appearance comes on the heels of rave reviews for Ansari's new show, which explores everything from romance and the first-generation immigrant experience, to the insidious racism stillpreventing people of color from securing top-billed acting roles.
On Tuesday, viewers also had a chance to hear from Ansari's real father, who also plays the father of Ansari's character on the show. After their appearance together, Ansari posted the following Instagram:
On Sunday, John Oliver dedicated his show to exposing yet another aspect of our broken criminal justice system, this time focusing on what happens to former offenders once they leave prison and attempt to re-enter society. As the Last Week Tonight host explained, it's an especially timely issue that comes on the heels of the government's recent release of 6,000 federal inmates once accused of committing low-level crimes.
"The fact that around half of people who leave prison end up going back is horrifying, but when you look at the challenges they face, it gets a little less surprising," Oliver said. "In fact, let me walk you through what it's like when you get out of prison—and let's just start with minute one, because when inmates exit that gate to start a new life, they could find themselves in the middle of nowhere, with little to nothing in their pockets."
Oliver then sat down with a former prisoner, Bilal Chatman, to help address the seemingly unending number of obstacles he and countless others faced upon leaving prison—starting with society's negative approach to ex-inmates.
"People are judgmental—people that don't know," Chatman said. "I don't want anybody to look at me as the ex-con. I want them to look at the person I am now. I'm a supervisor. I'm a good employee, I'm an employer."
While demonstrators yelled outside NBC's Manhattan television studios protesting his immigration policies, billionaire mogul and reality TV star Donald Trump became the first presidential front-runner to ever hostSaturday Night Live. Starting with a self-aggrandizing and self-mocking monologue while flanked by two SNL Trump imitators, the presidential hopeful then starred in a sketchset in the oval office a year into hisfirst term as president.
"I bought you the check for the wall," says the visiting President of Mexico. "Consider it an apology for doubting you." Syria is fixed. There's a new national anthem, and Ivanka Trump is having the Washington Monument plated with gold. "Wow, that's going to look so elegant," says Trump. Watch below:
And of course, there was Trump dancing to the internet thing of the moment, Drake's "Hot Line Bling":
Nearly a month after the Seattle Mariners fired manager Lloyd McClendon, the Washington Nationals on Tuesday ended Major League Baseball's brief period without a full-time black manager, when it hired veteran Dusty Baker. But as Mother Jones reported last week, the hiring of one black manager does little to solve the league's larger diversity problem in the coaching arena.
Baseball's diversity problems go beyond the manager's seat, of course. For the last three decades, the percentage of African Americans in the big leagues has declined (though that figure has remained relatively flat at 8.3 percent in the last five years, leaving a pinch of hope). And while the Selig Rule was intended to surface more minority candidates for front-office positions, a mere 13 percent of general managers are people of color.
Major League Baseball will continue touting its international pipeline and its efforts to bring the sport back to kids in America's inner cities. But for now, managers of color may continue to feel, as McClendon told the New York Times in July, "like you're sitting on an island by yourself."
And now, Baker joins Atlanta Braves manager Fredi González on that island. You can read more about baseball's coaching diversity problem here.