(AP) — Pop singer Kesha is suing her producer and mentor, claiming he sexually and emotionally abused her for nearly a decade — allegations he calls extortion.

The lawsuit filed Tuesday in Los Angeles alleges the hit-making producer known as Dr. Luke drugged and raped Kesha and emotionally abused her until she had to enter rehab for an eating disorder earlier this year.

Dr. Luke filed a lawsuit in New York calling the claims defamatory and an attempt to extort him to give Kesha a better record deal.

Kesha signed with Dr. Luke's record company when she was 18. He produced her first two albums and the hit "Tik Tok."

Kesha's lawsuit claims the producer, whose real name is Lukasz Sebastian Gottwald, has control over her career. It seeks to invalidate their recording agreements.

Beats by Dre produces high-end headphones, but they’re probably not worth the $10,000 San Francisco 49ers quarterback Colin Kaepernick paid to wear them last week.

The NFL, which just fined Denver Broncos tight end Julius Thomas and Cleveland Browns linebacker Christian Kirksey a little more than $8,200 each for dirty hits last Sunday, fined Kaepernick $10,000 for wearing non-approved headphones in a post-game press conference, according to CSN Bay Area’s Matt Maiocco.

The NFL has a new deal with Bose headphones, and banned players from wearing other headphones in post-game interviews. Beats by Dre, in a stroke of marketing genius, has gained popularity in part because athletes seem to always have the headphones around their necks or planted on their heads when they’re on camera before or after games. And one would imagine that Kaepernick, one of the main spokesmen for Beats by Dre, was told that the multibillion-dollar headphones company would pay whatever fine Kaepernick got for continuing to wear the product. For a company like that, $10,000 in advertising for being part of an NFL controversy is just a sound investment.

(Reuters) - The winner of the 2014 Man Booker Prize, considered one of the world's most prestigious literary awards, will be announced on Tuesday in London. Here are capsule reviews by Reuters correspondents of the six short-listed contenders.

"J" - HOWARD JACOBSON

Howard Jacobson’s “J” shifts from the contemporary London Jewish world of “The Finkler Question”, which won the Booker Prize in 2010, to a dystopian setting around 60 years in the future. But the questions of identity and assimilation remain.

Ailinn Solomons and Kevern “Coco” Cohen are having a slightly on-off love affair in the bleak coastal town of Port Reuben. Kevern was brought up there but has never felt at home in a place where men are routinely violent to their women, and the only entertainment is to get drunk in the “Friendly Fisherman.” At home, he has carried on his father’s puzzling habit of putting two fingers across his lips whenever he says the letter ‘J’.

Ailinn is an orphan from another part of this country, where everyone has surnames like theirs or with endings like –kind or –berg, and the population, lacking in culture or much sign of industry, is required to say sorry for "what happened, if it happened". It seems like the two of them are destined to be together. Or is that just part of somebody else’s plan?

It’s a slow-burning novel, with some brutal humor as an escape from a landscape of ugliness and despair, in which secondary characters have few redeeming qualities. But the plot gains twists as the story progresses, and it’s not all grim – Jacobson captures tenderness and love too, alongside a dissection of the feelings that lead to hatred.

(Carolyn Cohn, Insurance and Fund Management Correspondent)

"THE NARROW ROAD TO THE DEEP NORTH" - RICHARD FLANAGAN

In "The Narrow Road to the Deep North," the Australian novelist Richard Flanagan takes up the familiar story of Allied prisoners of war building the Siam-Burma railway line during World War Two.

His protagonist is Dorrigo Evans, a doctor and a soldier in the Australian army who is taken prisoner on Java, presumably in 1942. Pinning down exactly what happens when in the novel can be difficult, because Flanagan chops up his narrative and hops back and forth in time. Consequently, he often tells us effects before he shows us their causes, which can be entertaining in a Quentin Tarantino film but is annoying in a novel.

The disjointed narrative is mostly notable for what it doesn't include: the surrender by the Allied troops, any fighting they might have done before surrendering, most of the actual work on the railway and the end of the war, for example. It also skips over Evans's marriage after the war, the birth of his children or their names or sexes. It doesn't even give us much detail about the most important event of Evans's pre-war life, a brief affair with Amy, unloving wife of Evans's uncle.

Flanagan's work is a self-consciously "literary" novel that has no plot to speak of. Its characters are sketched only in outline and we are more often told how they feel about something than shown how they acted while it was happening.

(Larry King, Desk Editor)

"HOW TO BE BOTH" - ALI SMITH

Ali Smith’s “How to be Both” contains the twin stories of George and Francescho, one a teenager of the 1960s, the other a young artist in 15th century Ferrara, joined by a single thread that spans the centuries. The story is cleverly divided into two parts, both titled “One”, that can be read in either order. The chapter devoted to painter Francescho del Cossa bursts into a rushing stream of consciousness, that gradually catches its breath and slows into punctuated prose, as his memories become more lucid and fall into place.

Del Cossa existed. The son of a stone carver, much of his work at Ferrara in northern Italy has been destroyed and his main surviving works are frescoes painted after 1470. In Smith’s narrative, he must balance his public identity, with his private – that of a girl disguised as a boy to pursue a life in art.

George, in her leaking bedroom in Cambridge, is struggling to come to terms with the sudden death of her mother months before, alongside her bereft father and a younger brother. Her story flits between the present day and the memories of a trip to Ferrara with her art-loving mother. The book describes itself as a literary double-take, in which present and past, fact and fiction, appearance and reality, life and death swirl around each other. Time, space, perspective and even gender overlap and multiple realities intertwine to form the fabric of a vibrant, engaging story.

(Amanda Cooper, Editor, Global Markets Forum)

"TO RISE AGAIN AT A DECENT HOUR" - JOSHUA FERRIS

Can you choose your spiritual path? Or are you chosen for it? Is doubt more powerful than belief? Joshua Ferris's tight, theological thriller "To Rise Again at a Decent Hour" mulls a number of these fundamental questions. It answers one, unequivocally: Yes, it is certainly better to floss.

For all his neuroses and ill-advised escapades, Dr Paul O'Rourke can be trusted on this point of preventative care. The 40-year-old obsessive baseball fan, on whom Ferris centers his novel, is a Manhattan dentist. He makes lots of money from his posh practice, but something is missing. Prematurely curmudgeonly, O'Rourke is a man forever on the outside looking in. An avowed atheist, he craves acceptance and belonging and bizarrely seeks it through an over-enthusiastic embracing of girlfriends' religions. First the Catholic Santacroces, then Connie Plotz and her large Jewish family.

When, still giddy with anesthetic, a man O'Rourke has treated lurches from the building, leaving the dentist with the parting news that he too is an "Ulm" – a member of an underground group whose history can be traced back to the early Israelites - the book teeters over the edge of the rollercoaster.

After 40 years of searching for belonging, O’Rourke’s people have come to reclaim him, and what follows is a fireman's hose of hysteria, identity theft, paralyzing rejection of 21st century technology, and dynamic interplay between the workers at the surgery. Meandering and lengthy detail on the history of the "Ulms" and the "Amalekites" touch the brakes on Ferris's narrative, but the author's gift for characterization and crackling dialogue override this.

(Ossian Shine, Global Editor: Sport, Lifestyle and Entertainment)

"WE ARE ALL COMPLETELY BESIDE OURSELVES" - KAREN JOY FOWLER

"Skip the beginning," the weary father of the talkative protagonist of Karen Joy Fowler's "We Are All Completely Beside Ourselves" advises. "Start in the middle." And she does, beginning this haunting, often whimsical narrative 17 years after the event on which the book hinges - the disappearance of her sister and companion, Fern. Other reviewers have warned of spoilers, and spoiler risk is high indeed. There is a twist - a very good one - on page 77.

But the book is about more than the intriguing reveal (about which this reviewer, at least, will keep silent). Rosemary Cooke, the protagonist and engaging narrator of the tale, is the daughter of an Indiana University professor who brings his work home, filling the farmhouse with experiments, blackboards and graduate students. Part-inspired, no doubt, by Fowler's own father, a psychologist at the same university who, she says, "ran rats through mazes".

It ends, perhaps predictably, in tears. The biggest experiment of all is abruptly terminated. "One day, every word I said was data, and carefully recorded for further study and discussion. The next, I was just a little girl, strange in her way, but of no scientific interest to anyone," she writes.

Fowler, a writer of fantasy and science fiction who impressed readers with "The Jane Austen Book Club", turns out a heartbreaking tale of loss, grief and dysfunctional family, reminiscent of Jonathan Franzen or Joyce Carol Oates. And without adopting the preaching tone of other authors' efforts - think J.M. Coetzee's "Elizabeth Costello" - Fowler writes what is one of the most touching discussions in recent times of animal rights, animal intelligence and the questionable ethics of experimental psychology. It is a book that is about so much more than an exercise in nurture versus nature.

(Clara Ferreira Marques, Mining and Steel Correspondent)

"THE LIVES OF OTHERS" - NEEL MUKHERJEE

Set in Calcutta in the late 1960s, "The Lives of Others" is the story of the Ghosh family whose head, Prafullanath, owns paper mills in the city. Mukherjee describes in extraordinary and vivid detail the relationships between the various family members who live on different floors of their house.

Arranged marriages, births, deaths, fierce personal rivalries and resentment are stitched together with great skill as the family unravels amid a changing society. The eldest grandson, Supratik, morally horrified by the lives of the countless starving people in the country, leaves home to join the CPI(M), Communist Party of India. His letters about his experiences form one thread of the book.

Mukherjee brings this world to life with beautifully crafted prose, describing the weather, trees, jewelry and buildings in intricate detail. Food is a recurring theme while scenes of brutal torture, rotting flesh, blood and sickness provide a shocking backdrop to the story.

(AP) — The Nielsen company on Friday admitted to errors dating back to March in its measurement of television viewing, statistics that serve as the foundation for billions of dollars in advertising spending for the entire broadcast industry.

The company blamed a software glitch for errors that, industry officials said, mistakenly credited ABC for viewing that was in reality spread across all of the broadcast networks. Nielsen described the errors as minuscule, but the extent will become better known next week when the company issues corrected ratings for the first week of the television season.

Nielsen executives said the errors only became apparent in the past few weeks when the beginning of a new television season meant more people were tuning in.

"The differences are small enough that those of us who look at these numbers every day and live by them didn't notice a difference," said Patricia McDonough, Nielsen senior vice president for planning policy and analysis.

The mistakes came up in adjustments Nielsen makes to its ratings each day between an early morning estimate of viewers and a more complete accounting that is released late in the afternoon. The morning estimate doesn't account for schedule changes in individual markets and sometimes doesn't assign some market results to individual networks.

It was discovered that all of the unassigned viewing was mistakenly being credited to ABC, making that network's afternoon viewership estimates consistently higher than those reported earlier in the day.

CBS research chief David Poltrack said his network became suspicious upon looking at ratings for "Dancing with the Stars" on Sept. 22. Two big ABC affiliates, in New York and Chicago, carried the "Monday Night Football" game that night between the Chicago Bears and New York Jets instead of "Dancing." When Nielsen adjusted its ratings to account for two large markets that did not carry "Dancing," it stood to reason that the show's ratings would drop with the more detailed afternoon accounting.

Instead, the "Dancing With the Stars" afternoon numbers went up. CBS began noticing a pattern of ABC ratings being adjusted upward in the afternoon and called it to Nielsen's attention, Poltrack said.

It's unclear whether the errors are significant enough to impact advertising spending, which is based on Nielsen's estimates of how many people are watching individual shows. Nielsen said that in more than 98 percent of programs, the difference was 0.05 of a ratings point or lower.

More significantly, the error rocks the industry's confidence in Nielsen, making networks wonder if the company is paying close enough attention to its basic research at a time it is launching new initiatives to measure viewership on mobile devices or online video, Poltrack said.

"Why is it that Nielsen didn't discover this?" Poltrack said. "Why did we have to discover it?"

Nielsen Global President Steve Hasker said the company was already reviewing the potential problem before a network called attention to it.

"Our entire industry relies upon Nielsen for accuracy and veracity, and we hope that they can quickly resolve this issue," said ABC spokesman Kevin Brockman. He said ABC is confident that even corrected numbers will illustrate the network's positive momentum this season. The network's ratings this season are consistently higher than last year.

Networks will be scrutinizing the revamped numbers to see, for example, if ABC's reported victory over NBC in the evening news ratings, for the first time in five years, holds up.

Nielsen said its glitch does not affect the company's estimate of overall TV viewing, only the network to which that viewing is credited. It does not affect the company's ratings of cable networks.

With an uncommon view of history in action, a new documentary captures Edward Snowden's leak of NSA documents as it unfolded in a Hong Kong hotel room.

Laura Poitras' highly anticipated documentary "Citizenfour" premiered Friday night at the New York Film Festival. The one-of-a-kind film presents a remarkably intimate portrait of Snowden, including his first meetings with the journalists with whom he shared thousands of documents revealing the previously undisclosed collection of Americans' phone and email records by the National Security Agency.

Initially communicating under the alias "citizenfour," Snowden reached out to Poitras, a hybrid journalist-documentarian, and Guardian reporter Glenn Greenwald. The film shows their very first meeting with Snowden and the days that followed as his revelations made international news.

From the beginning, Snowden is seen as highly aware that such a leak would mean sacrificing his own freedom.

"I already know how this will end for me," he says. "And I accept the risk."

Snowden was charged with three felonies under the Espionage Act: unauthorized communication of national defense information, theft of government property and willful communication of classified communications intelligence to an unauthorized person. He is currently living in asylum in Russia, where he fled from Hong Kong with the aid of WikiLeaks' Julian Assange.

Poitras said she showed the film to Snowden two or three weeks ago, during which she shot footage (used in the film) of Snowden and his longtime girlfriend, Lindsay Mills, cooking dinner at their Moscow home.

Members of Snowden's family attended the screening, which was received with an emotional standing ovation. His father, Lonnie Snowden, told the crowd: "The truth is coming and it cannot be stopped."

"Citizenfour," which the Weinstein Co.'s boutique label Radius will release Oct. 24, had been shrouded in mystery. For fear of having her footage seized, Poitras edited the film in Berlin. She and Greenwald returned to the United States earlier this year only after sharing the Pulitzer Prize for public service given to The Washington Post and The Guardian for the NSA revelations.

"Citizenfour" doesn't aim to be an unbiased documentary about a controversial figure, but rather seeks to depict the stealth buildup of government surveillance in the wake of Sept. 11 and the people who have fought to uncover it.

"This was a film about people who take risks and come forward," Poitras said after the screening.

Snowden, a former contractor for the NSA, comes across as calm, intelligent and deliberate. There are glimpses of paranoia. After room service calls Snowden's hotel room, he unplugs the phone. A fire alarm momentarily prompts his concern. And when he enters passwords on his laptop, Snowden covers himself with a red blanket.

Throughout the process, Snowden speaks about not hiding or "skulking around," instead certain of himself as a whistleblower ready to take sole responsibility for the leak. "Put the target right on my back," he tells the filmmakers.

"So much has been said about Edward Snowden: a lot of it bad, but a lot of it really good," Greenwald said after the film. "I felt like this was really the first time that people could see who he really is in an unmediated way."

(Reuters) - Punk rock band Green Day, rockers Nine Inch Nails and singer Sting are among the 2015 nominees announced on Thursday for induction into the Rock and Roll Hall of Fame.

They lead a diverse list that includes The Paul Butterfield Blues Band, the late singer Lou Reed, German electronic group Kraftwerk, Motown singers The Marvelettes, and The Smiths, who broke up many years ago.

Artists are eligible 25 years after the release of their first record for induction into the Hall of Fame, which was established in 1983.

"Rock and roll incorporates the styles of so many different kinds of music and that's what makes this group of nominees, and this art form, so powerful and unique," Joel Peresman, the president and CEO of the Rock and Roll Hall of Fame Foundation, said in a statement.

Rockers Joan Jett & the Blackhearts, soul group Chic, rappers N.W.A, the late blues guitarist Stevie Ray Vaughan, California funk group War, the R&B group The Spinners and singer Bill Withers were also nominated.

More than 700 artists, music industry professionals and historians will decide who will be inducted. Fans will also be able to cast their votes. The top five artists selected by the public will comprise a "fans' ballot" that will be counted with the other ballots to select the 2015 inductees.

The winners will be announced in December and inducted into the Hall of Fame at a ceremony in Cleveland on April 18.