Jurassic World hasn’t even opened yet and people are already talking about a sequel. And why not? The fourth film in this ever-beloved franchise is on track to make a ton of money in its opening weekend. Unless the movie is a total critical disaster that everyone hates, a follow-up will happen, even if director Colin Trevorrow won’t be around to yell “Action!” and “Cut!” It’s inevitable.

So that brings us to the question of the moment: where do you go after Jurassic World? After all, they’ve already upped the ante from “park” to “world,” which is one helluva jump. The next step is obvious and natural: it’s time to send the dinosaurs to outer space.

Okay, this is where I’ll get serious. No, I do not think a fifth Jurassic Park movie should take place in space. That’s a terrible a terrible idea. Granted, it’s a terrible idea that I would pay big bucks to see, but I would never actually endorse it…even though the thought of a T-Rex floating through a zero-g pen desperately trying to devour hapless astronauts makes the caveman corners of my brain light up with idiotic glee. The real reason I bring this up is because Jurassic World is currently saturating the market with all things dinosaur and I can’t stop thinking of one the best bad science fiction movies I have ever seen: Voyage to the Prehistoric Planet.

Since no one has actually made “Jurassic Park in Space,” Voyage to the Prehistoric Planet has the unique honor of being the only film to remotely come close to that delirious logline. Released in 1965, the film follows a team of space explorers who land on the surface of Venus, only to learn that the Earth’s next door neighbor is, inexplicably, home to dinosaurs. The result is 74 minutes of poorly dubbed actors running around inexpensive but surprisingly gorgeous sets while getting in firefights with people in dinosaur costumes.

To be fair, the version that you will find in every B-movie box set is the ruthlessly re-edited American cut of a supposedly superior Soviet movie. However, we will say this much for what the American distributors did to the film: they did everything in their power to make the whole thing incomprehensible.

No one will ever accuse the American cut of Voyage to the Prehistoric Planet of being good, but I will stand here and accuse it of being one of the best movies you will ever watch when you’re under influence of your choice substance. Like many cheap genre movies, it takes a little while to get going (and there are endless scenes of characters flying or driving nowhere in particular), but the good stuff is so good that it has to be seen to be believed. This is the only movie ever made where astronauts, with glass bubble helmets and everything, fire handguns at velociraptors.

And while you will find plenty to laugh about when you watch this movie, a part of you, deep down inside, will realize that this thing is ripe for rediscovery. Hell, it’s ripe for a remake! Imagine astronauts battling dinosaurs on a $150 million budget! Imagine a certified genius like Guillermo del Toro calling the shots. If that doesn’t stir up your nerdy interest than you have to answer an important question: what is it like to not know joy?

Don’t take my word for it. Voyage to the Prehistoric Planet has fallen into the public domain and you can watch it in the YouTube embed below. I can guarantee that you will have as much fun with this movie as you will with Jurassic World (even if you have fun for all of the wrong reasons).

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Last October, the University of North Carolina at Chapel Hill released findings from an internal investigation that revealed approximately 3,000 students — mostly student athletes — had their grades inflated through sham courses in the school’s African and Afro-American studies department over a span of almost 20 years.

Now the NCAA has hit the school with five “Level 1” violations, or “severe breaches of contract” because of that grade-inflation. The NCAA says UNC faculty and staff did the following:

-University faculty and staff provided “special arrangements to student athletes that were not generally available to the student body,” including offering classes as independent study courses with little if any attendance requirements and “artificially high final grades.”

-A philosophy instructor who also served as an athletic academic counselor “knowingly provided extra benefits in the form of impermissible academic assistance and special arrangements.”

-The head of the school’s African and Afro-American studies department and a student services manager in that department withheld information from the NCAA during their investigation and refused to participate in interviews with UNC officials and NCAA enforcement staff.

-The university failed to monitor the behavior of faculty and staff involved in the grade inflation scheme. The school also failed to monitor the academic departments involved. The NCAA says the sham courses existed for 18 years and went mostly unchecked by the school.

UNC-Chapel Hill says it received the notice of allegations from the NCAA on May 20, but waited to post it until the school’s Public Records Office could review it. School Chancellor Carol F. Folt and Director of Athletics Bubba Cunningham issued a statement that says the school takes the allegations seriously and will respond to the notice “using facts and evidence to present a full picture of our case.” The statement continues:

“We believe the University has done everything possible to address the academic irregularities that ended in 2011 and prevent them from recurring. We have implemented more than 70 reforms and initiatives to ensure and enhance academic integrity. We will continue to monitor the effectiveness of those measures and, wherever needed, put additional safeguards in place.”

The statement also says, “Although we may identify some instances in the NCAA’s notice where we agree and others where we do not, we are committed to continue pursuing a fair and just outcome for Carolina.”

UNC-Chapel Hill says once it responds to the NCAA’s notice of allegations, the NCAA has 60 days to send its own response. A hearing will then take place “later this fall,” with final infractions expected six to eight weeks later.

NPR previously reported on UNC-Chapel Hill’s grade inflation scandal, which first came to light in 2011. Last October, the school said it would launch a new public records website to “enhance accountability,” add faculty to a group that reviews student athlete eligibility, establish a working group to help people share concerns about academics, and implement a plan to “stabilize” the school’s Department of African, African American and Diaspora Studies, the department where most of the grade-fixing took place.

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One of the biggest pleasures of listening to global music is hearing artists wed the past, present and future — especially as they create smart, innovative juxtapositions of elements you might think have no musical or cultural commonalities. And this month’s roundup is full of those kinds of surprises.

If you’re a fan of our Tiny Desk Concerts, you may remember a highly unusual, enormously vital and joyous performance by Galician bagpiper Cristina Pato. She’s back with her quartet for an album called Latina, which explores all kinds of great sounds, textures and rhythms from the Latin world, from Spain to Peru, Colombia, Brazil, Argentina and beyond. Here’s a fandango written by one of her band members, bassist Edward Perez, that tweaks a popular dance rhythm from Spain that migrated across Europe and into the Americas.

Moroccan pop star Saad Lamjarred’s new song “Lm3allem” (“Teacher”) is not exactly breaking new sonic ground, but the eye-popping video is a total blast — and it seems to be a direct homage to the exciting work of the Moroccan-born, U.K.-based visual artist Hassan Hajjaj (whose work happens to be on display right now at the Newark Museum in New Jersey), down to repeating some of his most familiar images, beginning with those young women on motorbikes.

This video isn’t new, but I just came across the 18-year-old female Afghan rapper Sonita Alizadeh, and her song “Brides for Sale,” through a feature broadcast earlier this month on the public radio program The World. Raised since age 8 in Tehran, Alizadeh was told by her parents that she would be married off to a man in Afghanistan — because her family needed the dowry money to pay for her brother’s wedding. In response, the anguished Alizadeh wrote this song, by turns anguished and acidic.

The upshot: Alizadeh’s parents loved the video and told her she didn’t have to marry. She is now studying in Utah, but she told The World she’ll always sing about Afghanistan.

And the dawn of summer should bring dance parties, so here are two songs to get your groove on. I’ve been a fan of the band Yiddish Twist Orchestra for a while now. They call what they do “London retropolitan.” It’s a throwback to the 1950s and early 1960s mashups of big band, mambo, calypso — and Eastern European Jewish music. (See: Bagels and Bongos.) Their new album, Let’s!, is hugely fun, and I bet you’ll never hear the chestnut “Bei Mir Bistu Shein,” birthed in the Yiddish theater of New York’s Lower East Side, in quite the same way ever again.

The other is “Tepotzteco,” a track from the Oakland duo Dirtwire (David Satori and Evan Fraser). Its name hearkens back to an ancient Aztec temple that attracted worshipers from as far away as Guatemala. But here, it’s a song that weaves electronic sounds with cumbia and a West African ngoni lute. But rather than sounding sleek and cold, the song is full of grit and pulsates with life. The video was shot in Guatemala City with dancers from the Heroes Company crew.

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Two people died in Tushka, Oklahoma, as a tornado ripped through the tiny town late Thursday afternoon. The storm system also spawned 80-mile an hour winds in Arkansas, where five people were killed. The twister…