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  • Precision-guided munitions, unmanned aircraft and Special Ops soldiers make headlines in Afghanistan -- but just as important to the war effort are those who airlift supplies and equipment to troops in the field. NPR's Tom Gjelten rides along on an Air Force C-17 for a first-hand report for Morning Edition.
  • If you're a fan of Broadway musicals, this is your week. On Tuesday, Wednesday and Thursday, PBS TV stations air Broadway:The American Musical, a six-hour documentary charting the history of the Great White Way. Bob Mondello says the series is packed with rare footage and even rarer insights.
  • We feature your favorite Celtic artists including Nightnoise, Ossian, Liz Carroll, and Moving Hearts, as they create musical impressions and notions of springtime.
  • The fragile state of the U.S. air traffic control system was easy to see during the recent outages in Newark. But it will be a lot harder to make up for decades of underinvestment and other mistakes.
  • Last April, Arizona implemented a program to clear up the smoggy skyline. The idea, give people tax breaks for buying clean cars. The problem, the state was a bit too generous, and citizens a bit too eager. Now the program's threatening to eat up seven percent of the budget. NPR's Mark Moran reports.
  • Cocteau Twins' Elizabeth Fraser collaborates with Massive Attack's Damon Reece. As Sun's Signature, they unlock a psychedelic aurora.
  • Host Jennifer Ludden and Randy Cohen, The New York Times Magazine's ethics columnist, answer a listener's ethical dilemma. A laptop computer user wants to know if he should feel guilty for tapping into other people's wireless networks.
  • The Little Ones' "Lovers Who Uncover" recalls the work of Built to Spill in more ways than one: It occasionally brings to mind the Idaho rock band’s odd sound, but it also spawns a similar sense of excitement and discovery.
  • In West Africa, a new policy is hailed as a first step to making expensive and arduous flights cheaper.
  • Propelled by clicks, pings and a ghostly backing vocal, "Belarus" is a characteristically oblique Low song: It's built on phrases that set the scene without making a meaning clear, and it draws its power from an arrangement that's both understated and overpowering.
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