The Boston Citgo sign, all 3,600 square LED feet of which has served as the backdrop to Red Sox games since 1965, is now officially a "pending landmark."

Spanish Surrealist Salvador Dalí spent much of the 1940s in the U.S., avoiding World War II and its aftermath. He was a well-known fixture on the art scene in Monterey, Calif. — and that's where the largest collection of Dalí's work on the West Coast is now open to the public.

Copyright 2016 Fresh Air. To see more, visit Fresh Air.

The middle of summer is when the surprises in publishing turn up. I'm talking about those quietly commanding books that publishers tend to put out now, because fall and winter are focused on big books by established authors. Which brings us to The Dream Life of Astronauts, by Patrick Ryan, a very funny and touching collection of nine short stories that take place in the 1960s and '70s around Cape Canaveral, Fla.

When the United Kingdom voted to leave the European Union last month, the seaside town of Port Talbot in Wales eagerly went along with the move. Brexit was approved by some 57 percent of the town's residents.

Now some of them are wondering if they made the wrong decision.

The June 23 Brexit vote has raised questions about the fate of the troubled Port Talbot Works, Britain's largest surviving steel plant — a huge, steam-belching facility that has long been the town's biggest employer.

Solar Impulse 2 has landed in Cairo, completing the penultimate leg of its attempt to circumnavigate the globe using only the power of the sun.

The trip over the Mediterranean included a breathtaking flyover of the Pyramids. Check it out:

President Obama is challenging Americans to have an honest and open-hearted conversation about race and law enforcement. But even as he sits down at the White House with police and civil rights activists, Obama is mindful of the limits of that approach.

"I've seen how inadequate words can be in bringing about lasting change," the president said Tuesday at a memorial service for five law officers killed last week in Dallas. "I've seen how inadequate my own words have been."

Mice watching Orson Welles movies may help scientists explain human consciousness.

At least that's one premise of the Allen Brain Observatory, which launched Wednesday and lets anyone with an Internet connection study a mouse brain as it responds to visual information.

The FBI says it is giving up on the D.B. Cooper investigation, 45 years after the mysterious hijacker parachuted into the night with $200,000 in a briefcase, becoming an instant folk figure.

"Following one of the longest and most exhaustive investigations in our history," the FBI's Ayn Dietrich-Williams said in a statement, "the FBI redirected resources allocated to the D.B. Cooper case in order to focus on other investigative priorities."

This is the first in a series of essays concerning our collective future. The goal is to bring forth some of the main issues humanity faces today, as we move forward to uncertain times. In an effort to be as thorough as possible, we will consider two kinds of threats: those due to natural disasters and those that are man-made. The idea is to expose some of the dangers and possible mechanisms that have been proposed to deal with these issues. My intention is not to offer a detailed analysis for each threat — but to invite reflection and, hopefully, action.

Pages

Voting Pinochet Out Was More Than Just A Yes Or 'No'

Feb 20, 2013
Originally published on February 20, 2013 1:40 pm

These days politics and advertising go hand in hand. Mayors stage photo ops. The Bush administration compared the Iraq war to rolling out a new product. And just last year, Barack Obama and Mitt Romney spent nearly a billion dollars running for president. If you're an American, such wall-to-wall marketing has come to seem a natural phenomenon, like Hurricane Sandy or LeBron James.

Of course, it's not natural. It's as man-made as any building. I've never seen this shown any more clearly than in No, the Oscar-nominated film by the Chilean filmmaker Pablo Larrain. Closer in spirit to Argo than to Lincoln, this enjoyable movie centers on Chile's 1988 plebiscite over whether to give its dictator, Gen. Augusto Pinochet, who seized power during a 1973 coup, eight more years in office.

Its unheroic hero is a fictionalized young ad man, Rene Saavedra, well played by the charismatic Mexican actor Gael Garcia Bernal. Soulful yet politically unengaged, Rene comes up with a marketing campaign designed to get ordinary folks to vote "No" — thereby removing Pinochet. His ideas horrify many in the Vote No camp, who want to use their allotted 15 minutes of nightly TV airtime to chronicle the dictator's many crimes — murders, disappearances, the crushing of unions.

In contrast, Rene insists on going Lite. Using a rainbow logo and a catchy theme song, he sells funny, upbeat images of a future, democratic Chile in the way we've earlier seen him sell soft drinks. Rene's campaign works. It offers brightness and light, not direness, and Chile becomes a freer country.

Smart and skillfully made, No is a sunny companion piece to Roberto Bolano's darkly brilliant novella By Night in Chile, about a critic so corrupted by the dictatorship that he attends literary salons in a mansion where people are being tortured in the basement. This actually happened, by the way.

When No was released in Chile, it sparked controversy. Some of this is local. Larrain is the son of rich parents who notoriously backed Pinochet, so it drives the left nuts that he's the one making movies about the referendum. Yet the more serious charge is that whatever his background, Larrain wound up simplifying, and therefore misrepresenting, what actually happened. His movie suggests that the No vote won because of Rene's ad campaign, when far more was going on — voter drives that registered millions, trade union activism, articles by suddenly emboldened intellectuals.

Such complaints are surely true. It is simplistic to suggest that a rainbow and a jingle got rid of a dictator. Indeed, if Larrain's work has a limitation, it's a certain reductivism. No is the third film in his fine trilogy about the Pinochet era, and all are stronger at revealing a darkly ironic sense of metaphor than a detailed grasp of social complexity.

Then again, it's routine for historical movies — be it Lincoln, Zero Dark Thirty or heck, even The King's Speech — to get attacked for failing to tell the whole story. I like such attacks even when I don't agree with them. For starters, they force me to think. Is Kathryn Bigelow's film really saying that torture was necessary to getting Osama bin Laden? They also teach me new things. Watching No — and reading its critics — I learned a lot about what 15 years of dictatorship did to Chilean life.

In any case, it's too much to expect any work of art to offer you the whole truth. I'm content if it captures one important aspect of the truth. And No does that. It's not as simple as it seems. We see how the 1988 referendum marks the exact moment when Chilean politics became more American — less shaped by ideological debate over how the country ought to be governed and more driven by media gurus dreaming up alluring political imagery.

In fact, for all its good cheer, what gives Larrain's movie an emotional undertow is its suggestion that while Rene's marketing strategy may work, it may also be a double-edged sword. The cheery "No" campaign wins by deliberately playing down the brutal realities of dictatorship. It encourages people to forget about the past they actually lived through and think about the future — even if it's one dreamed up by an ad man whose big concern is making the sale.

Copyright 2014 NPR. To see more, visit http://www.npr.org/.

Transcript

TERRY GROSS, HOST:

The Academy Awards are this Sunday night. One of the five nominees for Best Foreign Language Film is the Chilean entry "No." Directed by Pablo Larrain, "No" tells the story of the political campaign to remove General Augusto Pinochet from office after 15 years of dictatorship. "No" just opened in limited release and our critic-at-large John Powers says he can't decide whether it's simple or complex.

JOHN POWERS, BYLINE: These days, politics and advertising go hand in hand. Mayors stage photo ops. The Bush administration compared the Iraq War to rolling out a new product. And just last year, Barack Obama and Mitt Romney spent nearly a billion dollars running for president. If you're an American, such wall-to-wall marketing has come to seem a natural phenomenon, like Hurricane Sandy or LeBron James.

Of course, it's not natural. It's as man-made as any building. I've never seen this shown any more clearly than in "No," the Oscar-nominated film by the Chilean filmmaker Pablo Larrain. Closer in spirit to "Argo" than to "Lincoln," this enjoyable movie centers on Chile's 1988 plebiscite over whether to give its dictator, General Augusto Pinochet, who seized power during a 1973 coup, another eight years in office.

Its unheroic hero is a fictionalized young ad man, Rene Saavedra, well played by the charismatic Mexican actor Gael Garcia Bernal. Soulful yet politically unengaged, Rene comes up with a marketing campaign designed to get ordinary folks to vote no, thereby removing Pinochet. His ideas horrify many in the Vote No camp. You see, they want to use their allotted 15 minutes of nightly TV airtime to chronicle the dictator's many crimes: murders, disappearances, the crushing of unions.

In contrast, Rene insists on going light. Using a rainbow logo and a catchy theme song, he sells funny, upbeat images of a future, democratic Chile in the way we've earlier seen him sell soft drinks. Rene's campaign works. It offers brightness and light, not direness, and Chile becomes a freer country.

Smart and skillfully made, "No" is a sunny companion piece to Roberto Bolano's darkly brilliant novella "By Night in Chile" about a critic so corrupted by the dictatorship that he attends literary salons in a mansion where people are being tortured in the basement. This actually happened, by the way.

Now, when "No" was released in Chile, it sparked controversy. Some of this is local. Larrain is the son of rich parents who notoriously backed Pinochet, so it drives the left nuts that he's the one making movies about the referendum.

Yet the more serious charge is that whatever his background, Larrain wound up simplifying, and therefore misrepresenting, what actually happened. His movie suggests that the no vote won because of Rene's ad campaign, when far more was going on: voter drives that registered millions, trade union activism, articles by suddenly emboldened intellectuals.

Such complaints are surely true. It is simplistic to suggest that a rainbow and a jingle got rid of a dictator. Indeed, if Larrain's work has a limitation, it's a certain reductionism. "No" is the third film in his fine trilogy about the Pinochet era, and all are stronger at revealing a darkly ironic sense of metaphor than a detailed grasp of social complexity.

Then again, it's routine for historical movies - be it "Lincoln," "Zero Dark Thirty or heck, even "The King's Speech" - to get attacked for failing to tell the whole story. I like such attacks even when I don't agree with them. For starters, they force me to think.

Is Kathryn Bigelow's film really saying that torture was necessary to getting Osama bin Laden? They also teach me new things. Watching "No" - and reading its critics - I learned a lot about what 15 years of dictatorship did to Chilean life. In any case, it's too much to expect any work of art to offer you the whole truth. I'm content if it captures one important aspect of the truth.

And "No" does that. It's not as simple as it seems. We see how the 1988 referendum marks the exact moment when Chilean politics became more American, less shaped by ideological debate over how the country ought to be governed and more driven by media gurus dreaming up alluring political imagery.

In fact, for all its good cheer, what gives Larrain's movie an emotional undertow is its suggestion that while Rene's marketing strategy may work, it may also be a double-edged sword. The cheery no campaign wins by deliberately playing down the brutal realities of dictatorship. It encourages people to forget about the past they actually lived through and think about the future, even if it's one dreamed up by an ad man whose big concern is making the sale.

GROSS: John Powers is film and TV critic for Vogue and Vogue.com. You can download podcasts of our show on our website freshair.npr.org. And you can follow us on Twitter at nprfreshair and on Tumblr at nprfreshair.tumblr.com. Transcript provided by NPR, Copyright NPR.