Morning Edition is your perfect morning companion: gentle, but straightforward, explaining the vagaries of international diplomacy, reporting weather and even recommending the best film in town.

Jeffrey Toobin of The New Yorker talks about the federal stop and frisk trial and the legal issues raised by the case here in New York City, as well as other national legal news. Then, WNYC’s Brigid Bergin talks about the latest in the mayoral race, including Anthony Weiner’s status. Plus: the launch of the nomination process for the “NYC Neighborhood Library Awards”; and a life featured on today’s New York Times obit page.

Fresh Air is one of the most popular programs on public radio, breaking the "talk show" mold, and Gross is known for her fearless and insightful interviews with prominent figures in American arts, politics, and popular culture.

Reporters scour the globe for the most direct and compelling information, from the spread of AIDS in India to the inexplicable fluctuations of the Brazilian economy.

In this episode: Director Baz Luhrmann’s film adaptation of F. Scott Fitzgerald’s 1925 novel features a soundtrack packed with rap and hip hop. Wall Street Journal contributor Will Friedwald tells us about modern sounds (of the ‘20s) Fitzgerald described in his work. 

Plus: Faith Salie asks a simple question: “What’s the difference between rap and hip hop?” As we find out, the answer is complex.

And: Hip hop mixes with funk and punk when the Oakland, California-based group The Coup performs in the studio.

Listen to works inspired by gospel, early folk hymns, spirituals, and shape note singing on this New Sounds program.  There's an intense and shimmering setting by drummer Jaimeo Brown of the gospel hymn “Everything is Moving by the Power of God," which incorporates samples from the rural Alabama gospel group the Gee’s Bend Quilters from their 1941 and 2002 recordings.  On drums, Brown builds and highlights the ecstatic melody of the gospel group by way of crashy and tasteful washes of cymbals.  Then, as the sampled voices fade away, that build gradually gives way to pianist Geri Allen’s inspired and passionate improvisation on the melody of the tune.