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No matter how much free time you have this weekend, we have TV recommendations for you. Come back every Friday for new suggestions on what to watch. This Weekend I Have ... an Hour, and I'm Hip '2 Dope Queens' When to watch: Friday at 11 p.m., on HBO. Lupita Nyong'o joins the hosts Phoebe Robinson and Jessica Williams on the season premiere of this comedy talk show, and Nyong'o shows off some real skills in a hasty and charming hairstyling contest. "Queens" is part interview show, part banter, part stand up showcase, and the segments don't always seem to row in tandem. But this episode is a particularly good one and the closing stand up set from Solomon Georgio is fantastic.	N24News: A New Dataset for Multimodal News Classification	Television
Second, protection of voting rights in the United States is marked by polarized and judicialized decision making. Some Republican decision makers controlling some aspects of American election machinery have pushed for laws and policies that make it harder for students, the poor and minority voters to register and vote, leading to a pushback by Democrats and voting rights groups to loosen those restrictions. Often this battle takes the form of unsubstantiated claims of voter fraud, such as President Trump's recent false claims about vote by mail, a method of voting he and his closest friends and advisers are comfortable using themselves. These politicians often use antifraud messages to justify restrictive voting laws or, in the case of the pandemic, a refusal to modify laws to assure continued access to the ballot. Mr. Trump's irresponsible tirades against mail in balloting during the pandemic are particularly confounding, and make it more likely that his own rural and poorer supporters will either not vote or not be able to vote safely. Given the highly litigious nature of American society and American election law in particular, these political fights often wind up in court, and sometimes break along party lines in the courts as well. Protecting voting rights in 2020 America requires a state by state slog and often litigation in an uncertain legal environment. These battles have been especially intense since the Supreme Court in its 2013 decision in Shelby County v. Holder killed off a key protection for minority voters in the Voting rights Act. Finally, and related to this last point, constitutional protections for voting rights remain weak. The U.S. Constitution contains no affirmative right to vote. It speaks of voting rights mostly in the negative: thanks to a number of constitutional amendments, it is now illegal to bar someone from voting on the basis of race, gender, age of at least 18, or through the use of a poll tax. The Constitution does guarantee equal protection of the laws in the 14th Amendment, and equal protection lawsuits have become the primary method by which those seeking to protect voting rights get federal court relief. Courts sometimes protect voting rights and sometimes they don't, through application of an ad hoc and uncertain balancing test. For example, the United States Court of Appeals for the Fifth Circuit, headquartered in Louisiana, recently rejected age discrimination and equal protection arguments that it is unconstitutional for Texas to allow voters over the age of 65 to vote by mail without an excuse, while barring from the vote by mail option others who lack immunity from the coronavirus and fear going to a polling place to vote. The Texas Democratic Party appealed for emergency relief from the Supreme Court. On Friday, it lost. A decentralized, federalist approach to voting rights has led to a self perpetuating system of voting inequality, where in some places you may be disenfranchised even if you do everything right. For example, some voters in Georgia, including the 2018 Democratic candidate for governor, Stacey Abrams, requested the chance to vote by mail back in April, but had problems with their June primary ballots and had to wait in long lines at polling places to vote instead. In the short term, we need to take certain steps to assure that millions of voters already at risk of not voting are not disenfranchised through suppression, incompetence, and lack of resources in November. All states need to expand opportunities for online voter registration in time for November. People cannot go door to door during a pandemic as they usually would, signing up voters in the summer before a high stakes election. Although there is some evidence that the George Floyd protests have led to a spike in registrations in some places, voter registration was down 70 percent in April 2020 compared to April 2016 across 11 states, including California and Texas, according to a study by the Center for Election Innovation and Research. California at least has same day voter registration, but Texas does not. If you can't register, you can't vote. More from "The America We Need" Congress needs to adequately fund additional expenses related to running an election during the pandemic. Absentee ballot requests will soar, whether states have the resources to process them or not, and fewer resources means more mistakes and a greater risk of disenfranchisement. It is also more expensive to run polling places with good hygiene and social distancing. So far Congress has allocated only 400 million, but estimates are that it will take 2 billion or more to get our system ready. Even this won't be enough. Lawsuits are going to be necessary to ensure that the kinds of debacles we have seen in Georgia and Wisconsin are not repeated in November. States need to form independent bipartisan task forces to conduct full and independent investigations into why areas with more poor voters and voters of color saw significant problems voting in person during the primaries. Beyond triage for 2020, longer term change requires bolder thinking. We need a new social movement, that may take a generation or more, pushing a constitutional amendment protecting the right to vote. It would guarantee all adult citizens the right to vote in federal elections, establish a nonpartisan administrative body to run federal elections that would automatically register all eligible voters to vote, and impose basic standards of voting access and competency for state and local elections. Talking of a constitutional amendment in the current polarized atmosphere may sound like a pipe dream when Congress cannot pass even basic voting rights protections, like restoring the part of the Voting Rights Act that the Supreme Court destroyed. But the current situation is untenable. We need a 28th Amendment for voter equality around which people can organize and agitate. Organization could emulate the battle for passage of the 19th Amendment, which bars gender discrimination in voting. It took more than a generation for that amendment to pass, and along the way activists for equal women's suffrage got state legislatures to bolster voting rights and the public to change its attitudes about voting.	N24News: A New Dataset for Multimodal News Classification	Opinion
The song is indistinct at first, as the barefoot man descends from the ceiling in hazy darkness. And when we can make out the tune "Daisy, Daisy, give me your answer, do" it's almost spooky in its old timey sweetness, at odds with the spare, forbidding space we see before us. This is the start of the French director choreographer Raphaelle Boitel's stark and stunning "When Angels Fall," a blend of circus and dance set in a mechanized dystopia whose inhabitants yearn for human connection a bicycle built for two. But the main pairing in this exquisitely designed and surprisingly moving work, receiving its American premiere at Peak Performances in Montclair, N.J., is between light and the human form. Illumination (by Tristan Baudoin, who also designed the set) is often kept to a minimum, all the better to see individual beams, like the sharp light that silhouettes the jerky, Chaplinesque movement of that barefoot man (Loic Leviel). On the capacious stage of the Alexander Kasser Theater at Montclair State University, "When Angels Fall" borrows much from the language of film the scope of the audience's vantage; the largeness of scale; the emotion stirring music (by Arthur Bison), which often sounds like it could underscore a silent movie. Yet it's the liveness of the performers that lends this piece urgency. Encased in drab suits some of them amusingly animate, turning their wearers into marionettes they struggle to escape. (Costumes are by Lilou Herin, rigging and machinery by Nicolas Lourdelle.) In this regimented world, it is a shock the first time someone throws off a jacket and we see an expanse of flesh. But physicality is insistent here, and so is the human spirit, which finds suspenseful, exalted expression as one woman (Alba Faivre, daring with a rope) climbs and falls and climbs in an attempt to get out. But it's in stillness that Ms. Boitel finds the power to break our hearts. Off in a corner, a small figure (Emily Zuckerman) crouches, enraptured. With her gaze trained offstage, she is bathed in warm light, holding a whispered conversation from which she refuses to be dragged away. Companionship is also at the core of "Non Solus," at the Brooklyn Academy of Music, where a curtain of sorts obscures the stage of the Howard Gilman Opera House before the show begins. It looks like puckered plastic sheeting, and it bulges at the sides like the walls of an inflatable house. But when the lights go down, it does not rise. Instead it becomes a blurry scrim, and through it we see glowing orbs of light alive with movement a miniature man inside each of them, descending. It's an illusion, dreamily romantic and set to music, and like much of what happens in this two man work of physical theater from Recirquel Company Budapest, we're not sure at first what we're looking at. Then the curtain is ripped away and it billows like an enchanted wave of water, a sculptural form that becomes a dance partner for the muscular man revealed alone onstage. Ending that aloneness is the whole point of "Non Solus" or so it seemed to me. Created by the director choreographer Bence Vagi, it is performed by an acrobat, Renato Illes, and a dancer, Gabor Zsiros. Mr. Vagi has said that the piece is about body and soul, but it can also be read as a birth to death narrative about two human beings, walking and flying and dancing through life together. The flying, of course, is the most glamorous part, and Mr. Illes is a riveting aerialist. On his own with a rope to climb, he flips and spins and twines around it like a lover. On a trapeze with Mr. Zsiros who if he were an element would be solid earth to Mr. Illes's fire Mr. Illes is thrilling, lithe and quick in feats of perfect equilibrium. Of course, much of that time he is balancing on, or suspended by, Mr. Zsiros. If the two are evenly matched in talent, this show doesn't give Mr. Zsiros the chance to prove it. His solo dance segments are less about the human body than about the movement of material in air (that filmy plastic, a fluttering silken skirt), which is sometimes beautiful but elsewhere underwhelming, even when dramatic music (by Gabor Terjek) insists otherwise. Gradually we begin to understand how the show's visual design works (the reflective panels that line Arpad Ivanyi's set, lit by Attila Lenzser; the projections and animation by Andras Sass, Tamas Vaspori and Laszlo Czigany), and some of its mystery dissipates. But that's a reasonable metaphor, too, for a deepening relationship tricks of the light giving way to reality.	N24News: A New Dataset for Multimodal News Classification	Theater
SAN FRANCISCO The federal government on Thursday appealed a judge's ruling that prevented the Trump administration from imposing a ban on TikTok, the viral video app owned by the Chinese company ByteDance. In a filing to the U.S. Court of Appeals for the D.C. Circuit, the Justice Department argued that a preliminary injunction issued last month by Judge Carl Nichols in the U.S. District Court for the District of Columbia should be lifted. A Justice Department spokeswoman said it had no further comment beyond the appeal. TikTok declined to comment. It was not immediately clear when the court might act on the government's appeal. The government's decision to appeal the injunction, which delayed TikTok from being banned in U.S. app stores, further escalates the battle between the White House and ByteDance. The move is part of a Cold War between the United States and the Chinese government.	N24News: A New Dataset for Multimodal News Classification	Technology
During another week of presidential declarations that some journalists were "enemies of the people;" of new steps to restrict White House press access by way of a naughty and nice list, and of reported moves to force national intelligence agencies to toe the administration line, a now familiar pattern set in. Journalists, their subscriptions and ratings spiking, howled about another move to undercut the role the free press plays in a democracy (which "Dies in Darkness" as the new Washington Post slogan has it). The administration doubled down on its antipress aggression, this time declaring it was "going to get worse every day" for these "globalist" and "corporatist" journalists (and other such gobbledygook from the former Goldman Sachs executive Stephen K. Bannon). And all the while, so many of the most important and credible leaders in the president's own party more or less kept their traps shut or looked the other way. If there were ever a moment for government leaders who believe that true information unearthed by independent news sources is vital to our nation to stand up and say so, this would be it. President Trump's argument that the national press corps is illegitimate and dishonest has emerged as one of the most consistent themes of his presidency, alongside and seemingly as important to him his calls for a major tax code overhaul, an end to Obamacare, a border wall and "extreme vetting." Those other parts of his agenda appeal to large groups of Republicans on Capitol Hill, including the leaders of the House and the Senate. So you could see the appeal of staying out of the way to let Mr. Trump do his thing against the press no great favorite on The Hill anyway as their other big policy dishes marinate and cook. But they might be wise to rethink that strategy. The journalism that Mr. Trump and his aides seek to delegitimize today could be the legitimate research and bipartisan data points they try to use to make policy arguments with Mr. Trump tomorrow. There's also that part of putting your money where your mouth is after spending long careers extolling the genius of the founders who created our system to ensure our president never became an infallible king, ever cognizant that, as James Madison put it, "popular government without popular information," is "a prologue to a farce or tragedy." Asked on Thursday about Mr. Trump's first declaration that the press was "the enemy," Senator Mitch McConnell of Kentucky, the majority leader, said, "I don't view you guys as the enemy." It warms the heart. He went on to say: "I expect adversarial questions. And you rarely disappoint me. And I think it's part of what make America function." It was a start, I guess. But it fell short of the full throated "knock it off" to Mr. Trump that these times demand, at least when it comes to calling true journalism false or calling journalists dishonest enemies. Retail earnings and Black Friday: the week in business. Elizabeth Holmes will resume her testimony in her fraud trial. The office of Representative Paul D. Ryan, the House speaker, declined to engage with me on Saturday when I asked for a comment on whether Mr. Ryan was comfortable with what I called Mr. Trump's attempt to delegitimize the fourth estate. His office said it disputed the premise of the question. As a couple of senior congressional Republican aides told me on Saturday on condition of anonymity, to speak candidly about private discussions there is a view on their side of the aisle that, while Mr. Trump's bombast is notable, the press is being too quick to hyperventilate, and that, in the end, things will be just fine. And every week I wonder about it myself how serious are all the threats and bluster against the news media by Mr. Trump and Mr. Bannon, given that news organizations continue to break big stories about the administration with help from leaks that have not abated despite the presidential pounding? None of it stopped The Washington Post from reporting on Friday that presidential aides, after failing to convince the F.B.I. to publicly dispute reports by The New York Times and CNN about contact between Trump campaign aides and Russian intelligence, went on to successfully pressure other intelligence officials and key congressmen to do the same. It didn't keep The Associated Press and The Wall Street Journal from reporting on a Department of Homeland Security assessment disputing the basis for the administration's attempt to block travel to the United States from seven predominantly Muslim countries. Nor did it stop the news team at KOKH, a Fox television station in Oklahoma City, from learning and reporting that Mr. Trump's new leader of the Environmental Protection Agency, Scott Pruitt, conducted some state business by private email during his time as Oklahoma's attorney general, despite denying that he did so in recent Senate testimony. On Saturday, I turned to a sage of the Washington press corps, Bob Schieffer of CBS, whose time in Washington dates to the Nixon administration, to see how seriously he took the recent threats against the press. It was his 80th birthday. "We need to be taking this very seriously any time you undermine the press, I think that's very dangerous for democracy," Mr. Schieffer said. "Do we want a situation where the only source of information is the government? I mean, really? Somehow I don't think that's what the founders intended." Mr. Schieffer was struck by Mr. Trump's declaration on Friday that the press should not rely on anonymous government sources when his administration had pushed officials to speak anonymously to reporters that very same day. Mr. Trump was quite fond of anonymous sources himself when, for instance, he promoted the lie that President Barack Obama wasn't born in the United States by announcing "an extremely credible source" had told him Mr. Obama's "birth certificate is a fraud." All of which leaves the question of what's to be done about it. The most obvious answer came in the statement CNN made after the network along with The New York Times, BuzzFeed, Politico and The Los Angeles Times was cut out of an off camera press briefing with Sean Spicer, the White House press secretary, on Friday: "We'll keep reporting regardless," the network declared. There should be, however, legitimate questions about whether that reporting should include blanket coverage of the next speech Mr. Trump gives in which he calls honest journalists dishonest or "the opposition." Those kinds of polemical statements are no longer "news" (defined as "new") but rather part of a repetitive, antipress, negative branding campaign. Another lesson came on Friday after several news organizations went along with Mr. Spicer's exclusive gaggle, including CBS News, ABC News, Bloomberg and The Wall Street Journal, even as Time and The Associated Press refused.	N24News: A New Dataset for Multimodal News Classification	Media
Can This Relationship Be Saved? Big Tech and Big Advertisers Talk It Over. None For years, companies have complained that they pay good money for online ads, only to see them end up near a racist post or an article promoting a conspiracy theory. Now major advertisers like Clorox and Coca Cola, along with a number of large advertising agencies, are pushing the big tech companies to give them more control over where and how their ads show up. The effort follows the advertiser boycott of Facebook last month, when more than 1,000 companies stopped buying ads on the platform to protest its handling of hate speech and misinformation. Ben Hovaness, an executive at Omnicom Media Group, a company that manages 38 billion in global marketing spending, said it was time for the tech giants to go by the rules that applied before digital platforms were dominant. "Advertisers buying TV ads, print ads, radio ads have for many decades had control over which programs or which pieces their ads appear next to or within," Mr. Hovaness said. "Now that social advertising is a major portion of a lot of our clients' budgets, having control over adjacency is just something that we see as essential as the ecosystem matures." Omnicom Media Group, known as OMG, has demanded that Facebook, Twitter and other tech companies do more than make promises that ads will be kept away from inappropriate content. It wants the big digital platforms to put systems in place to make sure that online ads will appear where companies are comfortable, and it wants proof that the systems work. Mr. Hovaness also said that the reports on ad placement and ad performance provided by the tech companies were insufficient and should be supplemented by independent quarterly audits. Greater control of ad placement and the independent measurement of ad performance were included in a list of proposals submitted recently to tech companies by the Council on Accountable Social Advertising, a lobbying group formed by OMG, along with dozens of clients, including Clorox. Facebook, Reddit, Snap, TikTok, Twitter and YouTube have agreed to most of the proposals in principle, and OMG is monitoring the platforms to see if they update their practices. The OMG campaign comes during a summer when tech companies have fallen under new scrutiny. In a congressional hearing last month, lawmakers interrogated the leaders of Amazon, Apple, Google and Facebook. Criticism has mounted over the proliferation of misinformation related to the coronavirus pandemic and the coming election on various digital platforms. The Facebook chief executive, Mark Zuckerberg, appeared before a House subcommittee last month. The ad industry is adding its grievances to the mix. In addition to the OMG led effort, a newly formed coalition of trade groups, ad firms and companies, the Partnership for Responsible Addressable Media, is pushing back against planned changes from Apple and Google that are expected to disrupt how companies reach potential customers. IPG Mediabrands, an ad group, released an audit of nine tech companies last week. But some industry watchdogs are skeptical of the efforts, especially at a time when companies spend more than half of their marketing budgets on digital platforms. "It's for optics, so they can appear to be doing something," Augustine Fou, an independent ad fraud researcher, said. "The only thing that's really going to have a long term effect is when consumers or marketers revolt and actively stop using the platforms." Tech executives have defended their dealings with advertisers and pledged to do better. "We fundamentally believe that our advertisers should have control over what content a user sees before and after their ad," said Andrew Abbott, who is Reddit's liaison to OMG. Facebook cited its work with the Global Alliance for Responsible Media, an advertising trade group created last year to address toxic online content, and said that it had spent billions of dollars to keep hatred off its platform. Tara Walpert Levy, the vice president of agency and brand solutions for Google and YouTube, said: "It is terrific to see Omnicom and others leaning in even further." Does that mean there will be peace between the advertisers and the tech companies? Mr. Hovaness, the OMG executive, sounded optimistic. Sort of. "Now the really fun part starts," he said. "The platforms are saying, philosophically, we agree with your construct of advertiser rights and remedies, and we think your clients are entitled to these features." He added, "We see this as a monthslong effort. Getting these partners to agree in principle is a key but early step. The odds of these platforms' first pass at solutions being perfect is pretty low. And that's fine."	N24News: A New Dataset for Multimodal News Classification	Media
WILD ROSE (2019) Stream on Hulu. In the music driven drama "Wild Rose," a young woman seeks to trade Scottish pubs for Nashville honky tonks. The film tells the story of Rose Lynn (Jessie Buckley), a budding Scottish country singer who, after finishing up a prison sentence, moves back in with her mother (played by Julie Walters), who has been looking after Rose Lynn's two children. "First and foremost, the movie, written by Nicole Taylor and directed by Tom Harper, is a superb showcase for Jessie Buckley," Ben Kenigsberg wrote in his review for The Times. "Doing her own singing, Buckley is a rich, startling vocalist who if anything seems to under excite the crowds she performs for. Yet she is also persuasive as a reluctant, unreliable parent." CATS Stream on BroadwayHD. A fresh version of the Andrew Lloyd Webber musical "Cats" hits theaters this weekend, complete with "digital fur technology." Those who want to refamiliarize themselves with the show (or who prefer old fashioned, kitschy costumes and makeup) can see this 1998 filmed version, with Elaine Paige, John Mills and Ken Page.	N24News: A New Dataset for Multimodal News Classification	Television
Hillary Clinton was there, in periwinkle silk, bodyguards in tow. So was Oprah Winfrey, glittering stones in her hair. So was almost the entire American fashion establishment, old (Calvin Klein, Donna Karan, Carolina Herrera, Diane von Furstenberg) and new (Kanye). So was Spielberg. So was Schwarzman. Movie stars and power brokers rained down, but not the rain itself, though all day storm gray clouds had lain low overhead. Even nature, it seemed, had decided to pay homage to Ralph Lauren and his 50 years of fashion on Friday night. And the celebration turned Central Park and more specifically Bethesda Terrace, the graceful arched circular promenade at the heart of the park into a space that seems increasingly elusive in the current public discourse: a cynicism free zone. A candlelit argument for the restoring balm of, as Ms. Winfrey noted in a toast to the designer, "bedazzlement." "I make documentary features about America he makes dreams about it," said Ken Burns, the filmmaker, who has known Mr. Lauren since 1993 when they met in Telluride and who was attending his first show (wearing Ralph Lauren, like many of the guests). Such was the night itself, layered in Mr. Lauren's mythmaking. It began on the verdant edge of 72nd Street and the park, one block up from the limestone mansion Mr. Lauren built across from the Rhinelander Mansion he already owned retail in the guise of empire. Old fashioned street trolleys with wooden slatted seats ferried guests into the core of the park, where 17 looming LED screens played a video loop of collections past, and waiters in custom made Ralph Lauren looks passed cocktail franks and mini pastrami sandwiches and crab cakes with the Champagne. Below, the arcade under the overpass had been divided into a runway and covered with overlapping magic carpets, Persian and otherwise, and once the 500 or so guests had finally been ferried to their seats below the Minton tiled ceiling once Anne Hathaway had stopped schmoozing with Tom Hiddleston, and everyone had congratulated Thom Browne on selling his company to Ermenegildo Zegna models began to descend the sweeping staircase in pairs. "New York Is My Home" played as they walked. There were men and women, old and young, outfitted in Mr. Lauren's favorite reference points: the leathers and Buffalo plaids and hardware of the American West; the micro sequined flapper frocks and laces of Gatsby's Eggs (East and West); the tweeds of Brideshead and the pinstripes of prohibition; paisleys and collegiate stripes and collarbone sweeping earrings. All of it mixed together in a signature stew. Later, an entire community of models from babies to grandparents appeared in pieces from the Polo collection, a pointed (if unspoken) ode to diversity and inclusion, in clothes as in life. There were more than 100 looks in all, but it was the haute patchwork gowns collaged together from scraps of tapestry brocade and velvet, dripping silk fringes at the seams, that summed it up best: a career as a collage of what once caught our collective imagination, refined over seasons. Mr. Lauren's work, and his pet themes, have often been seen, including by me, as escapist: fantasies of the past indulged and made accessible; sacrificing urgency for smoothed over aesthetics. But what this show suggested, as Ms. Winfrey pointed out later in her toast, before the tomato salad and burrata arrived, before the steak from Mr. Lauren's RRL ranch, before she had to hop in her car to go back to Teterboro, was that it can be a political move to strive to make the world, even its cliches, more beautiful. That, as she said, it's "not just about fashion." "You care about family," she said, looking down at the designer, who was clad in his trademark tuxedo jacket, faded jeans and somewhat beat up cowboy boots. "You care about freedom. You care about integrity. Integrity a word we need more of." Ironically, for a designer who never had much truck with irony, life itself has suddenly caught up to Mr. Lauren, casting his clothes and what they represent in a new light. Even if the night itself seemed somewhat unreal, even if it felt like nothing so much as the gorgeously designed end of an era. Ask not for whom the trolley bell tolls. It tolls for thee.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Christmastime in London has long set the scene for Charles Dickens's treasured novels and many a blockbuster rom com. This year, locations across the city are offering travelers memorable ways to experience Britain's most beloved holiday traditions. There's no shortage of festive entertainment during London's Christmas season. The Shangri La Hotel, At The Shard, is hosting a six night performance series in its Signature Suites from Nov. 27 to Dec. 12. The theater company Revels in Hand will perform the play "Four Calling Birds," a brand new Christmas comedy, for up to 25 guests per show. "It's West End quality theater in your living room," said Lucy Eaton, founding director of Revels in Hand. Guests can purchase individual tickets (PS95, or about 123), which come with Champagne and canapes, or book the hotel's Christmas in the Clouds package, which combines a suite stay, buffet breakfast and two show tickets with rates starting at PS841. Two Red Carnation hotels are offering travelers a more classical version of the arts. Guests overnighting in a Junior Suite at The Rubens at the Palace receive two tickets to a Christmas show at Cadogan Hall, featuring the Royal Philharmonic Orchestra on Dec. 5 or 14 (suite rates based on double occupancy start from PS555). The package also includes English breakfast, afternoon tea and a three course pre theater meal. Milestone Hotel Residences is sending guests to "The Nutcracker" ballet at Royal Albert Hall from Dec. 28 to 31. The offer includes 15 percent off one night's accommodation, English breakfast, welcome glasses of Champagne and show admission for two (room rates from PS525). "Carol concerts and carol singers are as much a part of Christmas in London as trick or treating is to Halloween in the U.S.," said Christopher Wilmot Sitwell, co owner of the London based travel outfitter Cazenove Loyd. To showcase this celebrated British tradition, The Kensington hotel is offering a package with two tickets to the Christmas Eve carols at Royal Albert Hall. "There is no better way to get into the holiday spirit than singing along with carolers in this must see Victorian era concert hall," said Francesco Sardelli, the hotel's general manager. Additional benefits include daily breakfast, a bottle of Champagne, a surprise gift for children on Christmas Eve and a traditional roast turkey Christmas lunch alongside a roaring fire in the restaurant. The four night package starts at PS1,680 based on double occupancy and is available from Dec. 22 to 28. "There are a lot of traditions this time of year and shopping is one of them," said Letitia Dunlop of Original Travel UK. "Classic London department stores like Libertys, Selfridges and Fortnum Mason really go to town for the holidays and no expense is spared!" Selfridges London, which just opened a 22,000 square foot F. A.O. Schwarz flagship store on its fourth floor, unveiled its futuristic, fairytale inspired windows and in store decor with "A Christmas For Modern Times" theme. Starting Dec. 12, patrons can enjoy a daily 15 minute light show featuring the retailer's 42 foot, 1.5 ton Christmas tree crafted from mirrors (7 p.m. on weekdays; 4 p.m. on weekends). The Lanesborough hotel is partnering with Harvey Nichols department store to offer guests a Festive Shop Stay experience from Nov. 13 to Jan. 7, with room rates for the experience starting at PS860. "London is still one of the world's fashion epicenters and with currency markets as they are currently, shopping in London offers good value for a lot of our guests," said Marco Novella, managing director of the hotel. Perks of the package include daily breakfast, 24 hour butler service, a chauffeured transfer to the store, shopping with a personal stylist and a 20 percent apparel and accessories discount. "Our butlers are on hand to collect shopping purchases from the store and deliver items directly to guest rooms," Mr. Novella said. "They also assist in packing and gift wrapping so our guests have extra time to enjoy the city." During the holidays, London has a wealth of bedecked Christmas markets like Covent Garden, Winter Wonderland in Hyde Park and Southbank Centre's Wintertime Market. On Dec. 4, the Belmond British Pullman is taking guests on a round trip train journey from London 's Victoria station to spend the day at the Bath Christmas Market. A three course brunch is served onboard in the train's restored antique carriages before guests disembark in one of Britain's most scenic cities. "Guests can shop locally made gifts and sample festive treats like mince pies and mulled wine in over 200 stalls and chalets," said Gary Franklin, vice president for Belmond's trains and cruises. The return trip includes a four course dinner before arriving in Victoria Station (all inclusive prices from PS503 per passenger). And for take away The Mayfair hotel Claridge's has continued its annual tradition of selling Christmas hampers. The handmade willow baskets are stocked with edible treats like Christmas fruitcake, shortbread biscuits and the brand's famous Christmas pudding. There's also a bundle of keepsakes like a Claridge's cookbook, Christmas crackers and mugs.	N24News: A New Dataset for Multimodal News Classification	Travel
LONDON Efforts to put some bite into Europe's toothless market for carbon emission permits face a crucial vote Tuesday in the European Parliament. Lawmakers will decide whether to let the European Commission take steps that would probably raise the price of emissions credits. At the current prices, polluters have little incentive to clean up their smokestacks. The vote "is incredibly important," said Anthony Hobley, head of the climate change practice at the law firm Norton Rose in London. "If it doesn't go through it would send a very negative signal." Carbon emission permits are essentially licenses to release greenhouse gases the emissions that scientists have linked to global warming. Lawmakers are considering a measure aimed at raising the price of those licenses. Permits are priced in units that allow the holders to emit a ton of greenhouse gases. Because a big user of coal burning power plants might release millions of tons of greenhouse gases a year, the higher the prices for the permits, the higher the cost for polluting. But the prices of these allowances, which are traded by manufacturers and financial institutions, have plummeted to about EUR5 a ton, compared with EUR7 a ton a year ago and around EUR25 per ton in 2008. The European Union introduced its cap and trade program, known as the E.U. Emissions Trading System, in 2005, hoping to force utilities and manufacturers to reduce emissions and put money into low carbon technologies. But prices have dropped to a point at which they are too low to have much influence on investment decisions. "At the moment the carbon price does not give any signal for investment," Hans Bunting, chief executive at RWE, one of Germany's largest utilities, said in a telephone interview. European investment in clean energy fell 25 percent in the first quarter this year from the first quarter of 2012, according to Bloomberg New Energy Finance, a market research group. Under the European Trading System, companies are allocated permits or can buy them at auction, with each permit allowing for the emission of one ton of carbon dioxide each year. Companies that exceeded their permitted amount would risk heavy fines. As the system was originally planned, the number of permits available was supposed to be gradually reduced, forcing emissions downward. Permits were also intended to be increasingly sold by auction to polluters rather than granted as allocations. The glut of allowances on the market, estimated at about two billion tons, has brought the carbon price down to a level so low that it does little to deter pollution. With the price of carbon permits so low, European power companies have been burning coal, which is cheap but a big source of emissions, while mothballing gas fired plants, which are much cleaner. The use of coal for power generation in Britain increased last year by 31.5 percent, while gas use dropped by about 32 percent, according to the government. Kevin Spacey was ordered to pay 31 million to the 'House of Cards' studio after sexual harassment allegations. Netflix buys a visual effects company in a move to support its global ambitions. A main reason coal is inexpensive in Europe is because it is being spurned by U.S. utilities, which are cashing in on the boom in low cost shale gas. Stig Scholset, an analyst at Thomson Reuters Point Carbon, a market research group in Oslo, said that prices of EUR35 to EUR40 were needed to encourage electricity generators to switch from coal to gas. Europe is likely to meet its goal of reducing emissions by 20 percent from 1990 levels by 2020, but that will largely be a result of reduced economic activity. The European Commission's proposed fix, which European lawmakers will vote on Tuesday in Strasbourg, is to postpone the auctioning of 900 million tons of carbon credits that had been planned for this year through 2015, delaying it until the 2019 2020 period. This would reduce the volume of allowances offered for sale between 2013 2015 by about one quarter. Backloading, according to Isaac Valero Ladron, an E.U. spokesman, is a short term fix aimed at keeping the price from going to zero. Later, structural changes, including permanently reducing the number of allowances, will be considered. The parliamentary vote is considered too close to call. Industrial businesses are split on the proposal. Royal Dutch Shell, for which a higher carbon permit price might benefit its sales of natural gas, favors the proposal. But BASF, the German chemical producer and a big emitter of carbon says that intervention is unnecessary. "Withholding temporarily allowances from auctioning and thus introducing market intervention as a corrective instrument will undermine carbon market trust," the company said in a statement. If the European Parliament rejects the measure, the permit price could sink below EUR1 per ton, according to the energy research firm IHS Cera, "as participants recognize there is no political will at present to restore the market mechanism to functioning order." Even at the current price, the market is losing interest and players, participants say. Failure of the European trading system might have global implications, because countries like China are considering adopting versions of cap and trade systems based on the European model. "If we are not able on our side to agree to a mechanism that works for carbon pricing what signal are we sending to the world?" said Fabien Roques, an analyst at IHS Cera in Paris. And various countries in Europe might go their own ways, leaving Europe with a hodgepodge of carbon rules. Some, like Britain, might impose carbon taxes. Others, like Poland, might prefer to preserve their industries' ability to keep burning locally available coal. "If the E.T.S. fails, there is an increased chance that Europe will go away from its carbon reduction ambitions," said Georg Zachmann, an analyst at Bruegel, a Brussels research institute.	N24News: A New Dataset for Multimodal News Classification	Global Business
The New York women's ready to wear shows began just after the video that exposed the seeming truth about President Trump's hair (or lack of it) spread online, and while those may seem like two unrelated incidents, the latter turned out to be something of a portent for the former. Just as that gust of wind and missing a more important than anyone knew accessory (the MAGA cap) revealed the big nothing under all those artfully arranged strands on the executive head, so, too, it turned out the first big show of the week, Tom Ford, didn't have much under its skirt. Metaphorically speaking, of course. There were barely any skirts on the runway at all. There were, rather, leggings lots of 'em! in sequins and lame and silver. There were sharp shouldered jackets, big (maybe fake) fur coats and blouson satin bomber jackets. There was a little black catsuit with cutouts at the side and a bow at the waist, and a little black dress with a little white collar. There was a menagerie of genetically modified leopard prints, including a group of beaded leopard pantsuits in lurid shades of lipstick red and lime (the mythic cats presumably roam the streets of Los Angeles late at night, stalking their prey). Oh, and there were some swinging '60s sequined Pop Art cocktail dresses and a sweatshirt blaring "Tom Ford Beverly Hills." Mr. Ford has always loved a bit of kitsch it's part of his birthright as a designer; part of what put him on the map at Gucci, back in the day but his skill lay in balancing it with an appreciation of high luxury, so the net effect was an elegantly knowing, arch kind of power cool. This time around, the luxury element was missing, despite all that fur. Giant paste diamond buttons on coats and jackets just looked cheap. Some ruffled leopard baby doll dresses worn over matching tights fit so badly (the dresses, not the tights) that the model Joan Smalls appeared to be clutching a jacket closed to preserve her modesty. Mr. Ford can be forgiven for a lot of things he has earned it but bad fit is not one of them. Of course, it's possible that he meant for the slip dresses to hang so low on the models' breasts that they were constantly in danger of full exposure. If so, he would have misjudged the current cultural moment to a nearly unimaginable extreme. Besides, the fact "Pussy power" was on a handbag would argue against that idea. Mr. Ford has had a lot on his plate: 48 hours before his women's show, he held a men's wear show in the same space, used in part to introduce his new underwear line so it's possible he was simply plundering his own archive. And as a designer who has often been at his best when he is using fashion to philosophize on the subject of sex (or Puritanism or hidebound morality), he may have struggled with how to express himself at a time when the topic has become a public minefield. But it's too bad, because as one of the few names left in an increasingly barren and low key New York Fashion Week who has the ability to create real electricity on the runway to wake you up with identity defining clothes he had the opportunity to set the agenda. Instead, he used a lot of glitter, The Pointer Sisters (on the soundtrack), Zayn Malik and Julianne Moore (in the audience), and big cat double entendres to comb over a lack of ideas.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
President Obama's call in his State of the Union address to "make high quality preschool available to every single child in America" rallied advocates across the country who have long argued that inequity in education begins at a very young age. Details of the president's proposal are expected to be unveiled on Thursday when Mr. Obama visits a Head Start program in Decatur, Ga., but he indicated in his speech that the federal government would work with states to supplement preschool efforts. While supporters herald the plan as a way to help level the playing field for children who do not have the advantages of daily bedtime stories, music lessons and counting games at home, critics argue that providing universal preschool could result in federal money being squandered on ineffective programs. In the 2010 11 school year, the latest year for which data is available, 28 percent of all 4 year olds in the United States were enrolled in state financed preschool programs, according to the National Institute for Early Education Research. According to W. Steven Barnett, director of the institute, which is based at Rutgers University, only five states, including Oklahoma and Georgia, have a stated objective of offering preschool slots to all 4 year olds. While about 1.1 million students across the country are enrolled in federally financed Head Start programs and others attend private preschools, that still leaves millions of children on the sidelines. The president's plan comes at a time when a handful of states are more aggressively pushing taxpayer financed preschool. In Alabama, for example, Gov. Robert Bentley, a Republican, has called for a 12.5 million increase or more than 60 percent in the state's preschool budget, with the eventual goal of increasing financing over 10 years to the point where every 4 year old in the state could have a preschool slot. The governor's proposal is supported by a coalition of early education advocates and business leaders, who see preschool as an important component of future job readiness. "We're trying to invest in a work force that can compete in 20 years with other states and other nations," said Allison de la Torre, executive director of the coalition, the Alabama School Readiness Alliance. Alabama is one of only five states whose preschool program received top marks based on an assessment of its quality standards by the National Institute for Early Education Research, but only 6 percent of 4 year olds there are enrolled in a state financed preschool. To receive state money in Alabama, a preschool must employ teachers with bachelor's degrees in early childhood education or child development, keep class sizes under 20 children, and follow a state approved curriculum. At one of the state financed sites on Wednesday, the Nina Nicks Joseph Child Development Center in Mobile, Tina Adair, the lead teacher in a class of 18 students, most of whom come from low income families, helped Amiyah Wilson, 5, copy the words "Happy Valentine's Day" onto a card for her mother. Elsewhere in the classroom, Donovan Smith, 5, and Henry Hinojosa, 5, used a scale to compare the weights of two loads of blocks. Ms. Adair said that the children had plenty of time to paint, sing or play with dress up clothes and toy trucks. But she said they were also preparing for kindergarten and beyond through letter and number games, science experiments and writing. As a former middle school teacher, Ms. Adair said she could tell when students have had academic preparation from an early age. "As fast paced as our public school system is right now," she said, "any little advantage that they can get is a bonus." Advocates for early education frequently cite research on the long term benefits of preschool, by James J. Heckman at the University of Chicago and others, in terms of reduced crime rates, lower dropout rates and higher incomes among those who attend preschool. Critics say the federal government has already tested a national preschool program with Head Start, which is intended to help prepare low income children for school. A national study sponsored by the Department of Health and Human Services of 5,000 3 and 4 year olds in 84 local programs found few lasting benefits by third grade. "It's one thing to say that there are a handful of small pre K programs that may have had lasting and significant benefits," said Andrew J. Coulson, director of the Cato Center for Educational Freedom, a unit of the Cato Institute, a right leaning research organization. "It's another to imagine that the federal government can scale them up nationally." But other policy analysts say that Head Start, which receives about 7 billion in federal money annually, is hampered by inconsistent standards and low pay for teachers, who are typically paid less than public school educators. "When I hear people say, 'We've tried to replicate high quality preschool programs, and it hasn't worked,' I always stop and say, 'We haven't yet tried to replicate high quality preschool programs, because we haven't yet tried to pay preschool teachers the same that we're paying our K 12 teachers,' " said Lisa Guernsey, director of early education at the New America Foundation, a nonprofit and nonpartisan policy institute. "It's pretty hard to imagine that we're going to be recruiting great teachers if we're paying them a poverty level or just above poverty level wage." The Department of Health and Human Services, which oversees Head Start, has started changes to the program, including requiring local providers to compete for financing every five years and imposing structured evaluations on classrooms. Some policy analysts say a universal program seems wasteful, and advocate instead programs that target the neediest students. "We need to be providing meaningful intervention for the kids who would otherwise start school far behind," said Grover J. Whitehurst, a senior fellow at the Brookings Institution, "rather than providing a new entitlement to free pre K for the parents of every 3 and 4 year old in the country." In a report released last week, the Center for American Progress, a left leaning research organization, estimated that providing preschool for all 3 and 4 year olds would cost about 98.4 billion in federal spending over 10 years. In Alabama, business leaders see the benefits of both educating future workers early and saving future potential spending on remedial schooling or prison cells. "The evidence is, if we don't make this investment and we don't make it wisely," said Bob Powers, president of a real estate and insurance company in Eufaula and chairman of the Education Workforce Development Committee of the Business Council of Alabama, "we're going to pay for it later."	N24News: A New Dataset for Multimodal News Classification	Education
But the soul of the series is procedural crime solving, and that's more than ever the case in the new season, which focuses on the murder of an African American lawyer who was about to go to court with a brutality case against the Los Angeles Police Department. Bosch and his team spend their time doing phone dumps, poring through financial records, searching homes and offices and then searching them again, and endlessly, fruitlessly tailing suspects through the Southern California streets and strip malls. They do it all on camera, and they complain about it. A lot. The romantic associations of the setting balance this attention to the quotidian details of police work the classic bargain of Los Angeles noir. "Bosch" is discreet but determined in its use of evocative locations, which this season include the Bradbury Building, the Biltmore Hotel, Du pars at the Farmers Market, the abandoned Red Line tunnels beneath downtown and, most prominently, the Angels Flight funicular that still runs up and down Bunker Hill. The Smog Cutter, the Silver Lake dive bar, makes its final appearances, having closed late last year. Anchoring it all is the deliberate, heavy quietude of Titus Welliver's performance as Bosch, communicating untold skepticism and disdain through an arched eyebrow or a downturned lip. Mr. Welliver can suggest an entire personality in the way he stares at a whiteboard or silently chooses which chair to sit in, and the show has matched him with other nonhistrionic actors like Jamie Hector (as his partner), Sarah Clarke (his former wife) and Madison Lintz (his daughter). The unhurried pace of "Bosch" can sometimes slow to a crawl, the writing can be workmanlike and the secondary story lines involving Bosch's family or Los Angeles politics can be thin. But when it errs, it errs on the side of literalness rather than falseness, of plainness rather than pretension. The show doesn't require patience so much as relaxation. Surrender to its hard boiled charms, and it will treat you right.	N24News: A New Dataset for Multimodal News Classification	Television
Early in this episode, while on the trail of Roger and the Mohawk, Jamie gets curious about the sorts of stories that survived from his era into the 20th century. Claire tells him that the Mohawk are largely relegated to movies, and that those stories don't tend to be happy for anyone involved. But Jamie has more personal concerns. "I would be seen as a fearsome brute," he mutters, as if hoping Claire will contradict him. But Claire isn't playing that game. "That would be one side of the story," she shrugs, sounding as if a hundred years had passed since they started after Roger. The suspense of this episode's journey is about finding Roger. But the tension of that journey is about the distance between Claire and Jamie. Of course, Claire and Jamie make up it would drag on an already heavy story to have Claire carry these hurts for very long. And their reconciliation is an interesting reminder that this cast makes the most of the material, even in arcs that can feel less satisfying as a whole. In the moment, Claire and Jamie's heart to heart about Brianna and the ghost of Frank is honest and intimate, and Jamie's choked up apology feels cathartic. It is certainly good work by Sam Heughan and Caitriona Balfe. But it feels odd that this comes only after Claire practically begs Jamie for forgiveness for ... keeping her daughter's confidence when she asked. (It doesn't help that Ian also implored her to forgive Jamie but never asked Jamie to, say, apologize. It seems Jamie's feelings are once again paramount.) At River Run, even Lizzie takes a break from begging Brianna's forgiveness to beg Brianna to forgive Jamie, too. But Brianna isn't having it. She hasn't forgotten what Jamie said to her, and she isn't ready to forgive. She is also not ready to go to a dinner party, but Aunt Jocasta didn't summon all these guest stars for nothing. The objective of the dinner, technically, is for Jocasta to find an eligible bachelor for Brianna, one who might not care she's a few months along. The actual objective is to make the most of those guest stars. Maria Doyle Kennedy is in fine form as the original cotillion wine mom. And the jostling suitors are delightfully wretched, particularly Gerald Forbes, into whom Billy Boyd has the time of his life pouring Pepe le Pew energy. We also get to see how Brianna handles her first big occasion. Sophie Skelton makes the most of Brianna's discomfort with unfamiliar manners and with her changing body. And there are echoes of Claire in her attempts to pleasantly redirect attention without giving herself away or falling into anyone's agenda. It makes me wish we'd gotten a better sense of Brianna before her trauma so we would know how much of this she has learned on the fly in the 18th century, but it still works. It works particularly well on Lord John Grey. How well? He comes for a tryst with one of the visiting suitors and stays for an engagement to Brianna. It's a very interesting narrative position for them both the weight of being mutual runners up, hoping to make the best of it. (Their connection so far seems a little strained, but maybe that's inevitable when the proposal includes both a halfhearted extortion threat and a halfhearted rape threat.) But if Lord John dreams of walking through the forest as part of the happy Fraser family, he'll have to wait. Brianna might have forgiven Jamie enough to open his letter by the end of the episode, but her earlier pronouncement to John still hangs in the air: "Don't talk to me about my father's honor." That's going to be an interesting family reunion. Interesting to watch Ian gently shoot down Jamie's assumption that the Cherokee will be happy to go two months out of their way to guide the Frasers north. Heughan and Balfe are getting to be very good at the stage business of making camps. The music cue for Lord John Grey entering that party was Helm's Deep levels of heroic. You can tell Brianna didn't watch a lot of TV before she went through the stones because Lord John and his Pause You Could Drive a Truck Through didn't tip her off whatsoever that he might be in love with her dad. "You mean to say you draw Negroes?" Brianna's drawing is clearly meant as evidence of her modern attitudes. But she is apparently surprised that her aunt's plantation friends are racist, which seems ... disingenuous. And making Phaedra model without really asking doesn't read much differently than making her work without really asking. We haven't really seen Fergus and Marsali on their own before. The question of whether Fergus is "whole" is awkward at best, but Fergus makes a nice counterpoint to Jamie in terms of protecting the family. (Even better to see Marsali and Murtagh chatting and Murtagh getting his boots off Marsali's guest blankets. Glimpses of the dynamics across the family sprawl help ground the high drama exploits.) The episode ends with the captive Roger staggering through a gantlet of warriors. Great job showing both sides of the Mohawk!	N24News: A New Dataset for Multimodal News Classification	Television
When I first heard about "Abominable," the animated movie centered on a modern Chinese family, I opened IMDb.com on my phone to look up the cast. I grimaced at the name of the actress playing the movie's main character: Chloe Bennet. I showed my phone to my wife and said, "Can you believe it? Hollywood has done it again. This is a movie about some kids in China rescuing a yeti, and the actor playing the main character isn't even Asian." My wife, also Asian American, was quick to set the record straight. "Actually, that's Chloe Wang," she said. "She's pretty cool." She went on to explain that Wang was the half Chinese, half white actress known for being outspoken about Hollywood's racism toward Asian Americans. Casting directors had rarely considered her for roles until she started using Bennet (her father's first name). My rage immediately melted into embarrassment, then appreciation. In an industry in which we're scarcely represented 3.4 percent of film roles went to Asian Americans in 2017, according to a Hollywood diversity report by University of California, Los Angeles here was a big studio movie with Chinese characters voiced mainly by Asian Americans , an occurrence as rare as a solar eclipse. The last time I could remember this happening was more than 20 years ago with Disney's "Mulan." In interviews, the makers of "Abominable" said their mission was to achieve authenticity. The director, Jill Culton, who had worked on "Toy Story 2" and "Monsters, Inc.," described how her team went to great lengths to accurately portray Chinese culture, weaving in details like the Shanghai inspired city's use of rubber trash cans (instead of metal), and the children's favorite snack, steamed pork buns. So there was no question that the Chinese characters should be voiced by people of Asian heritage, Culton added. "I would never want a Caucasian actor representing a Chinese character," she said. "You're trying to represent a different culture, and when you do that, especially as a director, you have to tread carefully." Yet in the past that wasn't the road taken by some directors. The last big budget Hollywood animation featuring an Asian family was "Kubo and the Two Strings" in 2016, which featured the voices of Art Parkinson, Charlize Theron and Matthew McConaughey. (At the time, the director Travis Knight said that while he believed inclusion and representation mattered, voice acting involved different considerations.) More controversial was the 2017 live action adaptation of the Japanese anime "Ghost in the Shell," with Scarlett Johansson as Major Killian, better known as Major Kusanagi in the original. A year before that, the Marvel blockbuster "Doctor Strange" featured Tilda Swinton as the Ancient One, who was an Asian man in the source material. Asian Americans make up the fastest growing demographic in the United States, according to the Pew Research Center. So why is the group barely visible on the big screen? Donatella Galella, a professor of theater history and theory at the University of California, Riverside, said that the issue has its roots in American theater. The lack of Asians and their marginalized roles onstage may have been a symptom of the Western world's xenophobia in the late 1800s and onward . Galella pointed to the Russo Japanese war in 1905, in which the Japanese defeated the Russians, as a key historical event that stoked fear about East Asians posing a threat to the West. During that era, when more Chinese were immigrating to the United States, some plays portrayed Asian characters in minor roles often as villains, Galella said. Other plays characterized Asian men as effeminate and desexualized, stemming from the societal fear that they would reproduce with white women and pose an existential threat to the race. (Around this time, the United States enacted laws that could strip a white woman of her citizenship if she married an Asian man. ) On American stages today, important feeders for Hollywood, Asians are still underrepresented. Only 7.3 percent of acting roles on Broadway and at New York's largest nonprofit theaters went to people of Asian heritage in the 2016 17 season, according to the Asian American Performers Coalition, a grass roots organization seeking to expand representation onstage. (Asian Americans make up 12.7 percent of New York's population.) Darnell Hunt, a sociology professor at U.C.L.A. who leads the university's Hollywood diversity report, said the lack of Asian American representation on the big screen is also a reflection of the lack of minorities in Hollywood's executive roles. At major studios, the key decision makers who greenlight projects are mostly white men. If more people of color were in those positions, they would probably have different perceptions about what viewers want, like minority actors in major roles, he said. Case in point: Kevin Tsujihara, the former head of Warner Bros., was the first executive of Asian descent to run a big Hollywood studio, and he played an important role in fast tracking the production of "Crazy Rich Asians." (He resigned this year amid accusations that he promised an actress auditions in exchange for sex.) Hunt added that it was too soon to predict whether movies like "Crazy Rich Asians" or "Abominable" would affect representation in the long term. He noted that he had not seen an increase in the number of Asian Americans in Hollywood's executive suites. "Asian Americans have not been at the table," he said. Bennet said that she was hopeful that "Abominable" would help accelerate her career. But she was uncertain about whether this movie, along with the string of recent hits with Asian American casts, was a watershed moment. "Abominable" underlines what can result from a diverse set of people behind the scenes. The movie was a co production between the American studio DreamWorks Animation and China's Pearl Studio. One of the producers, Peilin Chou, said she and the rest of the team worked diligently to cast actors of Asian descent. In addition to Bennet as Yi, the heroine, the chief supporting characters, Peng and Jin, were voiced by Asian American actors, Albert Tsai and Tenzing Trainor. "From moment one it was something that was born of two cultures, and I think that right there was a foundation of how we wanted to approach this film," Chou said. What "Abominable" lacks, however, is a big celebrity name to help sell tickets. Bennet is not well known outside of her role in the TV show "Marvel's Agents of S.H.I.E.L.D." Even lesser known are Tsai and Trainor, who have TV roles in "Fresh Off the Boat" and "Clueless." It's unclear whether the lack of a star in "Abominable" will affect its financial success. But Chou, the producer, said there was a chicken and egg problem: If the major studios only want to cast celebrities to attract audiences, how will Asian Americans ever gain fame if they don't get a chance to be onscreen? That, perhaps, is what is most remarkable about "Abominable": not the story or the visuals, but the chance it is taking on Bennet and her peers.	N24News: A New Dataset for Multimodal News Classification	Movies
OAKLAND, Calif. In one of the most far ranging attempts to halt the spread of the coronavirus, Apple and Google said they were building software into smartphones that would tell people if they were recently in contact with someone who was infected with it. The technology giants said they were teaming up to release the tool within several months, building it into the operating systems of the billions of iPhones and Android devices around the world. That would enable the smartphones to constantly log other devices they come near, enabling what is known as "contact tracing" of the disease. People would opt in to use the tool and voluntarily report if they became infected. The unlikely partnership between Google and Apple, fierce rivals who rarely pass up an opportunity to criticize each other, underscores the seriousness of the health crisis and the power of the two companies whose software runs almost every smartphone in the world. Apple and Google said their joint effort came together in just the last two weeks. Their work could prove to be significant in slowing the spread of the coronavirus. Public health authorities have said that improved tracking of infected people and their contacts could slow the pandemic, especially at the start of an outbreak, and such measures have been effective in places like South Korea that also conducted mass virus testing. Yet two of the world's largest tech companies harnessing virtually all of the smartphones on the planet to trace people's connections raises questions about the reach these behemoths have into individuals' lives and society. "It could be a useful tool but it raises privacy issues," said Dr. Mike Reid, an assistant professor of medicine and infectious diseases at the University of California, San Francisco, who is helping San Francisco officials with contact tracing. "It's not going to be the sole solution, but as part of a robust sophisticated response, it has a role to play." Timothy D. Cook, Apple's chief executive, said on Twitter that the tool would help curb the virus's spread "in a way that also respects transparency consent." Sundar Pichai, Google's chief, also posted on Twitter that the tool has "strong controls and protections for user privacy." With the tool, people infected with the coronavirus would notify a public health app that they have it, which would then alert phones that had recently come into proximity with that person's device. The companies would need to get public health authorities to agree to link their app to the tool. President Trump said on Friday that his administration planned to look at the tool. "It's very new, new technology. It's very interesting," he said. "But a lot of people worry about it in terms of a person's freedom." Privacy is a concern given that Google, in particular, has a checkered history of collecting people's data for its online advertising business. The internet search company came under fire in 2018 after it said that disabling people's location history on Android phones would not stop it from collecting location data. Apple, which has been one of the biggest critics of Google's collection of user data, has not built a significant business around using data to sell online advertising. Still, the company has access to a wealth of information about its users, from their location to their health. There are already third party tools for contact tracing, including from public health authorities and the Massachusetts Institute of Technology. In March, the government of Singapore introduced a similar coronavirus contact tracing app, called TraceTogether, that detects mobile phones that are nearby. But given the number of iPhones and Android devices in use worldwide, Apple and Google said they were hoping to make tracing efforts by public health authorities more effective by reaching more people. They also said they would provide their underlying technology to the third party apps to make them more reliable. Daniel Weitzner, a principal research scientist at M.I.T.'s Computer Science and Artificial Intelligence Laboratory and who was one of those behind the school's contract tracing app, said Google and Apple's partnership will help health officials save time and resources in developing their own applications to track the virus' spread. One challenge for third party apps is that they must run constantly 24 hours a day, seven days a week to be effective. Google said some Android smartphone manufacturers shut down those applications to save battery life. Apple and Google said their tool would also constantly run in the background if people opt to use it, logging nearby devices through the short range wireless technology Bluetooth. But it would eat up less battery life and be more reliable than third party apps, they said. Once someone reports his or her infection to a public health app, the tool will send the phone's so called broadcast beacons, or anonymous identifiers connected to the device, to central computer servers. Other phones will constantly check those servers for the broadcast beacons of devices they had come near in the past 14 days. If there is a match, those people will receive an alert that they had likely come into contact with an infected person. Apple and Google said they were discussing how much information to include in those alerts with health officials, aiming to strike a balance between being helpful while also protecting the privacy of those who have the coronavirus. "This data could empower members of the general population to make informed decisions about their own health in terms of self quarantining," said Dr. Reid. "But it doesn't replace the public health imperative that we scale up contact tracing in the public health departments" around the world. Apple and Google said they would make the tool's underlying technology available to third party apps by mid May and publicly release the tool "in the coming months." The companies said the tool would not collect devices' locations it only tracked proximity to other devices and would keep people anonymous in the central servers. Google and Apple's approach aims to resolve one of the hurdles facing government and private efforts to create contact tracing applications: a lack of common technical standards. The European Commission, the executive of the 27 nation bloc, said on Wednesday that "a fragmented and uncoordinated approach risks hampering the effectiveness" of such apps. Ashkan Soltani, an independent cybersecurity researcher, cautioned that surveillance tools that start as voluntary often become required through public policy decisions. China, for instance, has introduced a color coded coronavirus surveillance app that automatically decides whether someone must stay at home or may go outside and use public transportation.	N24News: A New Dataset for Multimodal News Classification	Technology
These Otters Are Popular Pets in Asia. That May Be Their Undoing. TOKYO We smelled them before we saw them. Amid an overwhelming reek of urine and scat, we descended a tight staircase into a cramped basement, where tattered ottomans faced a small wire cage. Within the cage stood the star attractions and source of the odor: four Asian small clawed otters. Spotting us, the animals burst into chirps, whimpers, shrieks and screams. After passing around a laminated sheet with warnings printed in Japanese, Mandarin and English ("Otters sometimes become violent"), a handler opened the cage. The animals bolted out and flew about the room, racing over laps and gobbling down kibbles. Their tubular brown bodies felt like slick, furry throw pillows, and their animated, whisker framed faces were like those of puppies. Selfies proved difficult: Throughout our 30 minute session, the otters never stopped moving. "Sellers advertise online, and pet owners post endless cute pictures of their little otter, which spreads the news that otters make wonderful pets, which they don't," Dr. Duplaix said. Where are all of these pets coming from? Otters are difficult to breed in captivity without proper techniques. Many conservationists believe that the majority of animals sold as pets are captured in the wild. Like the Science Times page on Facebook. Sign up for the Science Times newsletter. In Thailand, a number of Japanese citizens have been arrested after they were caught trying to smuggle otters through airport security. In Vietnam, Save Vietnam's Wildlife, a nonprofit organization that rehabilitates animals confiscated from traffickers, has begun receiving otters for the first time in the group's 14 year history. The police delivered 10 otters to the group in November alone. Threatened smooth coated otters and endangered hairy nosed otters, both found in Southeast Asia, are sometimes caught up in the pet trade. But Asian small clawed otters, a "terminally cute" threatened species, tend to be the primary targets for poachers, Dr. Duplaix said. Asian small clawed otters are not domestically protected in Indonesia, but all trade in unprotected wildlife is subject to a harvest quota, and there is no quota for otters. This makes their commercial trade illegal without a special permit, Dr. Nijman said. "We now see hundreds on offer on Facebook and Instagram, and none have permits," he added. Otter owners in Indonesia often join "civet lover" groups, online communities for fans of small carnivores. Members get together to show off their animals, Dr. Nijman said, parading them down the street on leashes on Sundays in Jakarta, for example. "On national news and online in Indonesia, this has been presented as something acceptable, fun, novel and exciting," Dr. Nijman said. "It's for people who want something different than your normal cat or dog." In Thailand, trapping, selling or exporting otters is illegal, but the animals are freely traded online there, too. Penthai Siriwat, a doctoral candidate at Oxford Brookes University, monitored seven Thai language Facebook pages from 2017 to early 2019, and found 572 individual animals for sale. "It's just been increasing," she said. Over half the otters for sale in Thailand are litters of newborns that have not yet opened their eyes, Ms. Siriwat reported in the Journal of Asia Pacific Biodiversity. The rest are mostly juveniles weaned on cat food, which sellers claim are guaranteed to live and thus are more expensive. "Young otters are often taken from the wild while their mother is killed trying to defend her litter," said Paul Yoxon, head of operations at the International Otter Survival Fund, a nonprofit group based in Scotland. "The fact that there are so many newborns available also suggests that traders have no concern as to whether the animals survive or not." The otter trade has spread from Thailand, most notably to Japan. According to Traffic Japan, a group monitoring the illegal wildlife trade, a popular television series helped kick off the trend by featuring a pet otter. Social media stars followed up with videos of visits to otter cafes, some of which have gotten millions of views. "The problem with otters is that just normal people, even my friends, are now interested in keeping them as pets," said Yui Naruse, a researcher at Traffic Japan. "We have this cuteness culture that is really deeply rooted in Japan, and that plays a strong role in this trend." In 2018, Ms. Naruse and her colleagues conducted an online survey and found 85 otters for sale around Japan. Nearly half the retailers claimed that their animals were captive bred in Japan. But Ms. Naruse and her colleagues found no evidence of captive breeding in the country, strengthening their suspicion that otters are being smuggled in from abroad. (Japan's native otter subspecies was declared extinct in 2012.) According to Traffic's research, 70 percent of otters seized in Southeast Asia in 2017 were destined for Japan; authorities seized at least 39 otters coming into Japan or bound for the country from 2016 to 2017. In a widely publicized case last October, a Tokyo district court prosecuted two men for smuggling five baby otters into Tokyo from Thailand. Speaking at his Tokyo cafe location, where walls are lined with autographed photos of Japanese YouTube and television celebrities, Mr. Nagayasu said that his otters come from a breeding facility he founded in Malang, Indonesia, which he claimed received otters rescued from the illegal trade and bred them. The strongest offspring are released into the wild, he said, and the rest are sent to Japan, where Mr. Nagayasu sells them for more than 10,000 each. All profits go back to Indonesia for facility maintenance and conservation of wild otters, he said. "If we didn't do this business, all the otters you see here right now would probably be dead," Mr. Nagayasu said. But on the ground at Kebun Alam Jaya, Mr. Nagayasu's facility in Indonesia, there is little evidence of conservation, according to the Scorpion Wildlife Trade Monitoring Group, a nonprofit organization based in Medan, Indonesia, and the International Otter Survival Fund. "One of the workers at the facility told me they got otters from around the area, from the wild," said Gunung Gea, executive director of Scorpion. Photographs taken by Mr. Gea show adult otters in tiny wire cages and cement pits lacking adequate nest boxes in which to have cubs. All of the animals appeared to have been caught in the wild, according to Jason Palmer, curator of collections at New Forest Wildlife Park in Britain and an adviser to the I.U.C.N. "This place looks very suspicious, like nothing more than a holding facility for animals for sale," Mr. Palmer said. "Nothing indicates a rescue and rerelease or breeding center, and even if it did, the otters do not have the care or the environment to ensure they would survive in the wild." Mr. Nagayasu said that he has paperwork proving that all of the adult otters in his facility are rescues that the Indonesian government seized from the illegal wildlife trade. He declined to share the paperwork with a reporter for The Times, referring her instead to the Indonesian government. Indonesian government officials did not respond to requests for comment. According to Traffic's Southeast Asia office, Indonesia seized just eight otters from 2015 to 2017. Mr. Gea counted 16 adult animals during his visit to Kebun Alam Jaya. Mr. Nagayasu added that he legally imported his otters into Japan. Soon that may no longer be possible. In May, international representatives will vote on whether to give short clawed and smooth coated otters the highest level of protection at a meeting of the Convention on International Trade in Endangered Species of Wild Fauna and Flora (Cites). If the proposals pass, international commercial trade of wild otters would be banned. While increased protection under Cites would be a boon for otters, it would not end the illegal trade, said Daniel Willcox, science adviser to Save Vietnam's Wildlife. Corruption and enforcement challenges create obstacles, enabling many species fully protected by Cites to still be sold illegally. Given that, Mr. Willcox believes that conservationists should try to work directly with otter owners. "In a county like Vietnam, it's much better that people are keeping otters rather than eating them," Mr. Willcox said. "Some of these people really care about their animals, and if we can find a way to engage with them to show them why keeping otters is wrong, they can become advocates for wildlife conservation." Given a chance, otters and people still can coexist, even in crowded Southeast Asia, said Sivasothi N, a biologist at the National University of Singapore. By the mid 1980s, Singapore's otters had disappeared because of pollution and development. After the nation began a cleanup campaign, the animals slowly returned. Now, 11 otter families live on the island. Their 80 odd members benefit from strictly enforced anti poaching laws, Mr. Sivasothi said, and from widespread public support. "There's something about otters moving together as a family squeaking, diving and catching fish that really excites people," Mr. Sivasothi said. "Singaporeans are beginning to look at the water again."	N24News: A New Dataset for Multimodal News Classification	Science
Dr. H. Jack Geiger, who ran away to Harlem as a teenager and emerged a lifelong civil rights activist, helping to bring medical care and services to impoverished regions and to start two antiwar doctors groups that shared in Nobel Peace Prizes, died on Monday at his home in Brooklyn. He was 95. His death was confirmed by David Shadrack Smith, his stepson. Dr. Geiger was a leading proponent of "social medicine," the idea that doctors should use their expertise and moral authority not just to treat illness but also to change the conditions that made people sick in the first place: poverty, hunger, discrimination, joblessness and lack of education. "Jack redefined what it meant to be a physician," said Dr. Irwin Redlener, the founding director of the National Center for Disaster Preparedness at Columbia University and the co founder of the Children's Health Fund. He added, by email, "He felt it was our right and responsibility as doctors to 'treat' hunger, poverty and disparities in health care, as directly and openly as we treat pneumonia or appendicitis." The social order, not medical services, determines health, Dr. Geiger said in "Out in the Rural," a short documentary film made in 1970 about the first community health center in Mississippi. "I've never seen any use in what I call the Schweitzer bit," he added, referring to the humanitarian Dr. Albert Schweitzer, "which is the idea that you stand around in whatever circumstances laying hands on people in the traditional medical way, waiting until they're sick, curing them and then sending them back unchanged into an environment that overwhelmingly determines that they're going to get sick." In the 1960s, Dr. Geiger was a co founder, with Dr. Count Gibson, of community health centers in South Boston and in Mound Bayou, in the Mississippi Delta. They provided desperately needed health care but also food, sanitation, education, jobs and social services what Dr. Geiger called "a road out" of poverty. The centers inspired a national network of clinics that now number more than 1,300 and serve about 28 million low income patients at more than 9,000 sites. "I don't know if some of the Mississippi white power structure cares about dead Black babies or not," Dr. Geiger said in the film, about the first center in Mississippi. "But if they don't, even they can't afford to say so publicly. We have been able to enter and to do things under the general umbrella of health that would have been much harder to do if we'd said we were here for economic development or for social change per se." Drawing physicians out of the clinic and into the political fray "was a really signal event," said Dr. Robert Gould, a pathologist in San Francisco and president of the Bay Area chapter of Physicians for Social Responsibility. In an email for this obituary sent in 2012, Dr. Geiger said he was driven in part by an outrage over injustice. "I've been angry," he wrote, "seeing terribly burned children in Iraq after the first Gulf war, or interviewing torture victims in the West Bank, or listening to Newt Gingrich say ghetto kids should learn to be part time janitors and clean toilets (in another country, they called that Bantu Education). So anger doesn't vanish, but is replaced by a determination to do something." Herman J. Geiger was born on Nov. 11, 1925, in Manhattan. (It was unclear what the J. stood for, but he was mostly called Jack throughout his life.) His father, Jacob, born in Vienna, was a physician; his mother, Virginia (Loewenstein) Geiger, who came from a village in central Germany, was a microbiologist. Both parents, who were Jewish, had emigrated to the United States as children. Mr. Geiger grew up on the Upper West Side of Manhattan, and their home was often a way station for relatives fleeing the Nazis. "The last to appear were some cousins from my mother's birthplace, Kirtorf," Dr. Geiger said in the email. "When they got their visas to come to the U.S., they said, the Nazi authorities were furious. On the night before their departure, the authorities ordered all their neighbors to go out at twilight and stone their house. The neighbors all dutifully gathered and threw loaves of bread instead." That story, Dr. Geiger said, taught him not to stereotype. He skipped so many grades in the city's public schools that he graduated from Townsend Harris High School (then in Manhattan, now in Queens) at 14. Too young to start college, he learned typing and shorthand and went to work as a copy boy for The New York Times. He also began hanging out at jazz joints, listening to Billie Holiday, Art Tatum and Fats Waller. His parents were often beside themselves, waiting up for him and sometimes even calling the bars to ask if "Jackie" was there. Jack soon ran away from home and turned up, suitcase in hand, in Harlem's Sugar Hill section on the doorstep of Canada Lee, a Black actor whom he had seen on Broadway and had gotten to know after talking his way backstage. Mr. Lee, once a teenage runaway himself, let young Jack sleep on the couch after consulting with his parents and though Jack sometimes returned home, he spent most of the next year in Harlem. The year was 1940, and Mr. Lee's home was a hub for writers, actors and musicians Langston Hughes, Richard Wright, Orson Welles, Paul Robeson, Billy Strayhorn, William Saroyan. The Black guests told harrowing stories of racism, and Harlem was seething over the mistreatment of Black troops at military bases in the South. Jack Geiger took it all in. In 1941, with a loan from Mr. Lee, he began studying at the University of Wisconsin. He worked nights at a newspaper, The Madison Capitol Times. Because Madison had a curfew for anyone under 18, he said, "I am probably the only police reporter in history who had to get a special pass to be out at night." In 1943, after meeting James Farmer, the founder of the Congress of Racial Equality, Mr. Geiger started a chapter of the group in Madison. It was the height of World War II, and after turning 18 that year he left school to enlist in the merchant marine, which he chose because it was not racially segregated. Discharged in 1947, Dr. Geiger enrolled as a pre med student at the University of Chicago. He discovered racial discrimination there Black patients being excluded from certain hospitals, qualified Black students being rejected by the medical school. He fought the policies for three years and ultimately helped organize a 1,000 strong faculty and student protest strike an activity virtually unheard of in that era. He paid a price for his rabble rousing. The American Medical Association wrote to medical schools warning of his "extracurricular activities." No school would take him. He had, in effect, been blackballed. Dr. Geiger went back to journalism for the next five years, as a science and medicine editor for the International News Service (later part of United Press International). It was, he said, "a gorgeous education" that let him read journals, attend conferences, interview researchers and, significantly, meet deans whom he could lobby to let him into medical school. In 1954, at 29, he was admitted to what is now Case Western Reserve University's medical school in Cleveland. During his last year at Case Western, he traveled to South Africa and worked with two physicians who were setting up a health center in an impoverished, disease ridden region of the country called Pholela, which was then a Zulu reserve. A key to the center's success was that local people its own patients worked there and helped run it. For five months Dr. Geiger took care of patients, visiting thatch huts and cattle kraals, meeting traditional healers and seeing the huge improvements pit latrines, vegetable gardens, children's feeding programs that the health center had brought to the region. "I learned a little Zulu, including the three oral clicks in that language, which always made me drool, to the hilarity of my African teachers," he wrote in a chapter he contributed to the 2013 book "Comrades in Health." Dr. Geiger's time in Africa made him want a career in international health. He trained in internal medicine at Boston City Hospital and in epidemiology at the Harvard School of Public Health. In the "freedom summer" of 1964, he traveled to Mississippi to help care for the civil rights workers who were pouring into the Deep South to campaign for voting rights. The next year, he organized medical care for the people who marched with the Rev. Dr. Martin Luther King Jr. from Selma to Montgomery, Ala. "I took a long look around," Dr. Geiger recalled of his first visit to Mississippi. He saw conditions much like those in South Africa: families living in shacks with no clean drinking water, toilets or sewers; sky high rates of malnutrition, illness, infant death and illiteracy; few or no opportunities for residents to better themselves and escape. He did not have to travel to Africa to find people in trouble, he realized. The center was a copy of the Pholela project. The clinic, which opened in 1967, treated the sick but also used its grant money to dig wells and privies and set up a library, farm cooperative, office of education, high school equivalency program and other social services. The clinic "prescribed" food for families with malnourished children to be purchased from Black owned groceries and the bills were paid out of the center's pharmacy budget. The governor complained, and a federal official was sent to Mound Bayou to scold Dr. Geiger for misusing pharmacy funds, which, the official said, were meant to cover drugs to treat disease. "Yeah," Dr. Geiger replied, "well, the last time I looked in my medical textbooks, they said the specific therapy for malnutrition was food." The official, he said, "shut up and went back to Washington."	N24News: A New Dataset for Multimodal News Classification	Health
What began as an attempt by two music insiders to pause business as usual across the industry on Tuesday, in response to the protests sweeping the nation, broadened and morphed overnight on social media into a less focused action, resulting in a sea of black boxes across Instagram and other platforms. Brands including Spotify, Live Nation, Apple, TikTok and many of the largest record companies said on Monday that they would cease most operations the following day, in light of the demonstrations sparked by the death of George Floyd in Minneapolis. The industry blackout initiative, which started under the hashtag TheShowMustBePaused, was the brainchild of two black women who work in music marketing, Jamila Thomas and Brianna Agyemang. "The music industry is a multibillion dollar industry," the women, who did not respond to requests for comment, wrote in a statement. "An industry that has profited predominantly from Black art. Our mission is to hold the industry at large, including major corporations their partners who benefit from the efforts, struggles and successes of Black people accountable." On the Billboard album chart, black artists have held the No. 1 spot for 11 out of the last 13 weeks and occupy four of the Top 5 slots this week. As the black boxes spread, first across other creative communities, like theater, film and dance, and then to any individual wishing to show support for broader causes of racial injustice, the gesture largely eclipsed its original specific intent. Some vowed to "mute" themselves online for the rest of the day as part of the blackout, while skeptics worried that silence was not the answer. And when many on social media began appending the general blacklivesmatter message to their posts, others pointed out that doing so could drown out other postings under the same slogan. "Posting black boxes on Instagram and hashtagging black lives matter is rendering the hashtag useless," the drag performer and singer Tatianna wrote on Twitter as millions of similar posts flooded the services. "Remove the hashtag so actual BLM posts can be seen." Beyond the confluence of hashtags, some in the music industry questioned what was being done beyond promises for reflection and general statements of support. "how much money is being donated from the labels, publishers, streaming services and all other corners of the music industry tomorrow? i can't find this info," the artist and producer Jack Antonoff, who has worked with Taylor Swift and Lorde, posted on Twitter. The R B singer Kehlani said she was taking issue with "a bunch of suits on instagram saying black out tuesday for the industry. with no context. no nod to the original organizers or the original flyer." Many in the music business said they would be using the blackout day to plan future action. "This is not a day off," said Columbia Records, a division of Sony Music, in a social media post. "Instead, this is a day to reflect and figure out ways to move forward in solidarity." Sony Music said it would expand its mental health support for employees, including grief counseling and a group meditation session this week, as well as promising to match employee donations to social justice organizations. A spokesman for Def Jam Records, a division of Universal Music, said the company had hosted a town hall meeting for employees on Monday. "Today, some of us are marching, some are mobilizing, others are praying," the label said. "Many of us are donating our day's wages to the organization of our choice on the front lines of this fight." Def Jam added that it would be "honoring the wishes of our artists who have asked that we pause in the release, marketing and promotion of their music" this week. Other companies said they would postpone new releases scheduled for Friday, the standard day for debuts. Republic Records, home to Ariana Grande and Post Malone, said it would pause the release of all new music, instead "using the time to reflect on the injustices happening to the Black community in America, and discuss how we and our artists can use our voices to impact and create real initiatives for change in our communities." Interscope, along with its partner labels, said it would push back music by 6lack, Jessie Ware, Smokepurpp and others. At the same time, the calls for action this week have intersected with longstanding issues that critics within the industry have identified as systemic problems, like the lack of diversity among employees and at executive levels, from the major labels to the Recording Academy. "Our industry covers every genre of music and is welcoming to new creations," Jon Platt, the chief executive of the music publisher Sony/ATV and one of the highest ranking black executives in the industry, wrote in an open letter on Monday. "Inside our companies, the workforce should be equally diverse. My dream is for our companies to be an orchestra of races, creeds and colors." Separately, Universal Music Group said it was forming a task force to address issues such as "inclusion." But the protest also coincided with the industry's biggest financial transaction of the moment, the pending initial public offering by the Warner Music Group. Warner, the home of stars like Ed Sheeran and Cardi B, as well as evergreen catalogs by Madonna, Prince and Led Zeppelin, has announced plans to raise as much as 1.8 billion through the I.P.O. a closely watched deal that solidifies how dramatically the industry's fortunes have been turned around by the boom in streaming. While Warner executives have instructed employees to "take a day out from their jobs" and "concentrate on helping yourself and others," the I.P.O. will go ahead as planned. It is expected for this week and could come as early as Wednesday, according to a person briefed on the company's plans who was not authorized to speak about them publicly. A Warner spokeswoman declined to comment about the I.P.O. At Spotify, acknowledgment of the blackout included the darkening of its playlist logos; "special curation of select songs" by artists like Kendrick Lamar and Gary Clark Jr.; and the inclusion of eight minutes and 46 seconds of silence on some playlists and podcasts "as a solemn acknowledgment for the length of time that George Floyd was suffocated." The streaming service said it would match donations by employees to anti racist organizations.	N24News: A New Dataset for Multimodal News Classification	Music
For years, scientists assumed that when it came to elephants on the African savanna, matriarchs were the only leaders. Old males, on the other hand, were seen as solitary loners whose social contribution ended at breeding. New evidence suggests that male elephants do have social lives, and that older males may act as leaders for younger ones. "These findings build on support that's slowly being revealed about the importance of old bulls," said Connie Allen, a doctoral researcher in animal behavior at the University of Exeter in England, and lead author of a study published on Thursday in Scientific Reports. "This is the first study that concretely shows older bulls in a leadership role." Little research has focused on male elephants which can live 60 plus years because males tend to roam across vast distances. This makes them difficult to track and observe. A few studies have hinted, though, that there is more to males than assumed. For example, from 1992 to 1997, young orphaned male elephants that had been introduced to Pilanesberg National Park in South Africa began coming into premature musth, a temporary state of heightened aggression and sexual activity. When females rejected the adolescents' advances, the young males took their aggression out on white rhinos, killing more than 40. Seeking a solution, researchers introduced six older male elephants to the park. The younger males' musth subsided, and the rhino killing stopped.	N24News: A New Dataset for Multimodal News Classification	Science
Beyonce's performance at Coachella last year nodded to the musical legacy of historically black colleges. You're reading In Her Words, where women rule the headlines. Sign up here to get it delivered to your inbox. Let me know what you think at dearmaya nytimes.com. "There's not much that can be done about the past, but we can rewrite our future." Shirley Manson, lead singer of the band Garbage, on creating gender balance on stage at music festivals Like many, I spent two hours last week watching Beyonce burn past all logical boundaries of musical performance in her new Netflix documentary, "Homecoming," about her elaborate 2018 Coachella set. It was an epic show so much so that fans nicknamed the whole event Beychella but a rare one. She was the first black woman to headline Coachella in its 20 year history. Beyonce is just one of several female artists Ariana Grande, Cardi B, Kacey Musgraves, Halsey, Billie Eilish dominating the music scene these days with No. 1 albums and songs, raking in awards and breaking records while they're at it. But as we enter music festival season, you'd never know it. Female artists are usually starkly absent from headlining spots and are often a fraction of overall lineups. This month at Coachella, women made up 35 percent of acts, the same as last year, according to Book More Women, a group that manipulates posters of major festivals to show how few women were playing. Further, according to Nielsen, festivalgoers are majority female. McLachlan, reminiscing about what prompted her to start the event, told Glamour in 2017 that while looking at the festival scene, she thought: "Wow, they're just full of men. And yet there's all this amazing music being made by women right now. So why is that not being represented?" Last year, as a rallying cry against festivals where reports of assaults and rapes were widespread, the Statement Festival in Sweden billed itself as the world's first music festival exclusively for women, transgender and nonbinary people a "safe space" festival, if you will. But separating female acts from mainstream events is not the answer, some say. And demand for gender balance has been building. Starting last year, more than 100 festivals have agreed to aim for 50/50 gender parity by 2022 as part of an initiative called Keychange, introduced to address gender inequality at festivals. Here's a look at how gender disparities played out on stage in 2018. That's how many female acts made up the average lineup in 19 festivals, according to an analysis by Pitchfork. That's an increase from 14 percent in 2017. The percentage of groups with at least one female or nonbinary member, held relatively steady at 11 percent. That's how many were on the bill for Lollapalooza out of 183 total acts, none of them headliners. That's how many were listed among 40 artists in the first 10 rows of Bonnaroo's poster. That's how many reached gender parity last year, according to Pitchfork's analysis. In 2017, zero made it. Sign up here to get future installments of In Her Words delivered to your inbox. What else is happening Here are five articles from The Times you might have missed. None "I will be satisfied when I know there is real change and real accountability and real purpose." Joe Biden, who announced he's running for president, expressed regret to Anita Hill, above, but she says it's not enough. Read the story None "Me OW! It's the end of the catfight." Popular for over a century, a sexist term has fallen out of favor in the MeToo era. Read the story None "What are the implications of a society in which women earn more than men?" Stephen Moore, President Trump 's planned nominee to the Federal Reserve, has derided and mocked women in columns and appearances. Read the story None "It's like playing hockey in heaven." In a remote Himalayan town in northern India, a women's ice hockey team comes together. Read the story None "If I'm shining, everybody gonna shine." How Lizzo a flute playing, twerking, social media dominating rapper and singer created a pop anthem as irresistible as she is. Read the story From the archives, 1999: 'Boneheaded sexism is on the rise throughout the rock scene.'	N24News: A New Dataset for Multimodal News Classification	Music
Two years ago, TAG Heuer grabbed headlines at the giant Baselworld watch fair with a glimpse of the future: a Google enabled smartwatch, the Connected, that was considered the first big Swiss counterstrike to the Apple Watch. This week, the pedigreed Swiss watchmaker again turned heads at Baselworld, but this time, it did so by looking back a half century. At a splashy news media conference featuring the actor Patrick Dempsey, TAG Heuer unveiled one of the most talked about watches of the fair: a reborn version of its classic Autavia racing chronograph from 1962, which has become a hot collectible on the vintage market. Instead of scouring auctions and spending five figures for an actual piece from the Kennedy era, TAG fans can secure a faithful rendition of a watch made famous by auto racing legends like Mario Andretti and Jochen Rindt for 5,150 (on a leather strap) or 5,300 (on a stainless steel bracelet).	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
What Do Billionaires Have in Common? Big Bucks, and Not Much Else What do Larry Ellison and Ingvar Kamprad have in common? They are both billionaires. But that may be one of the few characteristics they share. Billionaires may have enormous spending potential, but they certainly exercise that power differently. Some live lavishly and enjoy being in the headlines, while others live frugally, if not anonymously. There are big spenders and those who give it away. Mr. Ellison, a founder of Oracle and its executive chairman, owns most of the 140 square mile Hawaiian island of Lanai, after buying 88,000 acres in 2012 with plans to create a sustainable, eco friendly resort. He also likes expensive racing yachts. Paul Allen, a Microsoft founder, is unmistakable on the high seas in his 250 million superyacht, Octopus, which has two helicopter pads, a submarine, a glass bottom swimming pool and a recording studio, not to mention room for 26 guests. Recently, he has been known to host a celebrity studded party on Octopus during the Cannes Film Festival. But he has a serious side, too. Mr. Allen last year gave 295 million to brain and cell science, wildlife conservation, global health and climate change. Then there's the sultan of Brunei, Hassanal Bolkiah, with a fortune once estimated by Forbes to be as much as 20 billion. He has the world's largest collection of rare cars, including a gold coated Rolls Royce; his 1,788 room palace, Istana Nurul Iman, is the largest private home in the world. But not all billionaires like to be so obvious. Chuck Feeney, who built an empire of duty free shops and a multibillion dollar fortune along the way, has worked since the 1980s to give all that money away, as quietly as possible. Forbes magazine once called him the "James Bond of philanthropy" for his work through his charity, the Atlantic Philanthropies. The foundation has given away 8 billion to education, science, health care and human rights projects around the world and made its final grant last year. It plans to close for good in 2020. Another example of modest living is Mr. Kamprad, the founder of Ikea, the assembly required Swedish home goods company. According to estimates by Forbes, Mr. Kamprad was worth as much as 23 billion before giving away much of his stake in the company, but he lives stingily He flies economy class and drove an old Volvo until recently. He is also said to prefer cheap hotels and secondhand clothes. Could that be a carefully shaped public persona? There are also reports in the media that he owns a Swiss chalet and a French vineyard. An Ikea spokeswoman said Mr. Kamprad "is a private person and we have no information about his private assets." The fact is, most "ordinary" billionaires live quietly. "Unlike what the public thinks, the majority of these people come out of the middle class or even poverty," said Jim Grubman, a clinical psychologist who wrote "Strangers in Paradise," a book about how people adjust to becoming wealthy. "The billionaire lifestyle makes for good TV, but below the surface is a much bigger portion of people who are salt of the earth families just concentrating on raising their kids and running their businesses," said Mr. Grubman, who is a consultant at Cambridge Family Enterprise Group, an adviser to wealthy families. More than half of billionaires are self made, either through business or successful investments, but of course there are dynastic families as well. Queen Elizabeth II of Britain would not be even Europe's richest monarch if you did not count Buckingham Palace, the crown jewels and assorted royal accouterments that are state owned. That title goes to Prince Hans Adam II of Liechtenstein, whose personal fortune is estimated to be 4 billion, mostly from banking. His passion is collecting art, including works by Rembrandt and Rubens, holding most of it in the National Museum. Asia is an active area of billionaire creation, with one person reaching that threshold every three days, according to a study released in October by UBS and the accounting firm PricewaterhouseCoopers. Asia's two richest men are Jack Ma, founder of the e commerce giant Alibaba, with a 26 billion net worth, and Wang Jianlin, a real estate mogul with 29 billion to his name who also holds stakes in a Spanish soccer club and the Hollywood film production company Legendary Entertainment. In 2015, The Economist reported on the party Mr. Wang held to celebrate his deal to buy Infront Sports Media, which has marketing rights to World Cup soccer. The magazine said that Mr. Wang favored "private jets and flashy yachts (he owns Sunseeker, the British maker of the sleek craft seen in James Bond films)," and that the party featured strobe lights, disco music and leggy beauties. Where do some billionaires hang out? According to a calendar of major luxury events, they like mountains and beaches. In the winter, many flock to the World Economic Forum in Davos, Switzerland; the Sundance Film Festival in Park City, Utah; and New Year's Eve celebrations on St. Barts, where people can rent their own eight bedroom beachfront villa for 420,000 a week. In the summer, some of the richest flock to Britain for the Henley Royal Regatta, the Royal Ascot horse races, and Wimbledon, where a center court season ticket at the men's championship final this year has a market value of 3,300. As for passions and hobbies, 56 percent in WealthX's billionaire survey cited philanthropy as their top priority. Many billionaires, Mr. Ellison, Mr. Branson and Mr. Allen among them, are part of the Giving Pledge, something Warren E. Buffett set up with Bill Gates in 2010. It is a collective effort by the world's richest people to give more than half their wealth to charitable pursuits during their lifetimes or through their estates. So far, 156 billionaires and their families have committed to the cause, according to the profiles listed on the pledge's website. The group also includes the Facebook founder Mark Zuckerberg, his wife, Priscilla Chan, the Silicon Valley entrepreneur Elon Musk and the former New York City mayor Michael R. Bloomberg.	N24News: A New Dataset for Multimodal News Classification	Your Money
As the ferry slowly turned the corner of the Hengistbury headland off Britain's southwest coast, the passengers on board stood up and gaped at the silhouettes of giant cruise ships moored in the distance, letting out bursts of exhilaration as the vessels came into focus. "What a beauty, what a sight," one man shouted, as he scuttled to the front of the boat to take a closer look. "They're alive, they're breathing," said another, pointing to the plumes of smoke visible through his binoculars. "Absolutely stunning," said a woman, her hand resting on her heart. "I just can't wait to hop back on." Avid European cruise ship fans, who would normally be traveling around the world this time of year, but have had their own expeditions canceled to prevent the spread of the coronavirus, are instead flocking to the southern coast of Britain to catch a glimpse of the empty liners. These vessels, belonging to various cruise companies, are anchored in small clusters across the English Channel. The interest has been so high that Paul Derham, a former deputy captain for P O cruises, has deployed one of his small passenger ferry boats in Dorset to give people close up tours of the ships. The idea, first announced on his Facebook page in August, became an instant success, with the tours booking up within hours. "One day I noticed some of the most famous cruise ships, anchored right here in my back garden and I just wanted to give people the rare opportunity to see them close up," Mr. Derham said as he steered his boat toward the vessels. "It's really a unique, spectacular sight." As he pulled up closer to the 225,282 ton Allure of the Seas, the 24 ferry passengers, suddenly dwarfed by the giant blue hull of the ship, lined up to take selfies as if they had just spotted a celebrity. The 6,780 person vessel, operated by Royal Caribbean International, is known to be one of the largest and liveliest ships in the world, but on this day it appeared eerily empty with its lights out and curtains drawn. The cruise fans did not allow the atmosphere to dampen their spirits. For many of them, the tour was a way to relive past excursions, when the ships were filled with music, bright lights, bustling restaurants and people sprawled out across the lido decks. "It's like taking your own hotel with you wherever you want to go, without any hassle of changing rooms and luggage," said Victor Francisco, a fashion salesman, who had been hoping to get a glimpse of the P O operated Aurora vessel on the tour as he had booked it for a December cruise, before it was canceled. "It's also so much more than that," he continued. "You get to have these really special experiences like dressing for dinners and cocktail parties with the captain and attending lectures with maritime historians. But the best part is the inner peace and pleasure you get from being out at sea and away from everything."Some 30 million people sailed on a cruise last year, helping the 150 billion cruise industry to continue its record growth over the last decade. But now most of the nearly 350 vessels operated by major cruise companies worldwide are idle in open waters or docked at ports. A no sail order issued by the Centers for Disease Control and Prevention for all United States cruises is in place until Sept. 30. In most European countries, cruises remain restricted until local authorities deem it safe to start up operations. Industry officials remains optimistic that cruising will indeed bounce back, but the unpredictability of the pandemic is forcing many companies to consider what to do with fleets should the financial challenges become untenable. Most of the cruise goers touring Britain's southern coast said they could not wait to get back on the ships and had booked excursions for next year, even as their cruises for 2020 continue to get canceled. Never mind that cruise ships played a significant role in the initial spread of the coronavirus and several operators continued to sail despite the outbreak of infections onboard their ships. Gay Courter, a 75 year old American novelist and avid cruise goer, was stranded on board the Diamond Princess cruise ship in Japan in February as hundreds of guests and crew members became infected with the virus. Luckily, Ms. Courter did not contract the virus, but her experience in quarantine the first 12 days confined to her cabin, followed by 15 days in a U.S. Air Force base in Texas was so distressing that she received therapy for post traumatic stress disorder when she returned home. Still, every day she contemplates when she will return to a cruise. "I understand why so many people are eager to go back," she said in a telephone interview. Ms Courter said cruising triggers endorphins, and "like a drug, it becomes addictive and I think many people can't find that level of satisfaction anywhere else." Yet, Ms. Courter says she cannot realistically consider cruising until an effective vaccine becomes available and everybody on board is required to take a shot. "I think a lot of people are in denial," she said. "We need a full prescription that includes vaccines, rapid testing and even medication in case you get infected when you are out in the middle of the Indian Ocean." Several cruise companies that resumed operations over the summer were forced to cut short their expeditions because of suspected or confirmed infections on board. Some European cruise operators, like the Italian line Costa, have started reduced capacity local cruises within Italy and require that all crew members and guests are tested before they board the vessel. Craig Lee tested positive for the virus onboard the Diamond Princess even after two weeks of quarantine in his windowless cabin. The retired schoolteacher from Canada said he could not imagine going back on a cruise without the requirement of mandatory testing. "I was lucky because I was asymptomatic and did not have any problems breathing, but then you think of all the people you came into contact with during the trip and that is very concerning," said Mr. Lee, 72, in a telephone interview. When Canada lifts its travel restrictions, Mr. Lee said he plans to travel to England to see his relatives and then will explore small cruise routes from Britain to Europe. "I trust the Europeans a lot more than I do the Americans right now," he said, laughing. Other cruise loyalists, including those who traveled to Dorset to view the idled ships, said they trusted the operators to take all the necessary precautions in the future. Shannon Wright, a 45 year old beautician, drove six hours with her family to Osmington Mills, a coastal hamlet in Dorset that offers some of the best views of the ships. "Nobody really knew how the virus worked at the beginning and now that they do I trust that they will take all the right measures," she said. While Ms. Wright and other ship sightseers have been part of a tourism wave welcomed by coastal communities, some local residents worry about the ships' effect on the environment, especially in the seaside town of Weymouth where people have grown concerned about pollution, having noticed a new yellow smog in the atmosphere. Unlike planes, which are switched off when they are not being used, cruise ships run auxiliary engines when moored out at sea, enabling power for the maintenance procedures and safety precautions in the event of bad weather. "Most cruise ships operate on heavy fuel oil, which is really thick, toxic, bottom of the barrel fuel," said Lucy Gilliam, an aviation and shipping campaigner for Transport Environment, a nonprofit group that promotes sustainable transport. "When anchored they have a base load of energy demand for air filtration systems, keeping the lights on, keeping the auxiliary engines ticking over, being able to do all of that maintenance and cater for the skeleton staff that are on board," she explained. "It's not going to be at the same level as if they had a full passenger load, but the chimneys are still going to be pumping out pollutants." Local officials in Dorset rejected claims that the cruise ships were causing smog over Weymouth Bay. "The summer weather we have been experiencing is causing temperature inversions these are responsible for producing smog, trapping the pollutants produced by all vehicles, fires and industrial activities," a spokeswoman for the Dorset council said in an email. "The U.K. monitors emissions from vessels very closely. They must use fuel within approved limits to make sure they comply with these regulations," a spokeswoman for the agency said in an email. Cruise ships are increasingly being equipped with technology to allow the delivery of shoreside electricity, so that when they are anchored in a port they can plug into local electric power and switch their fuel engines off. "The cruise industry has invested over 23.5 billion in ships with new technologies and cleaner fuels, and is working diligently to identify innovative new ways to build upon this progress and, ultimately, achieve a zero carbon future," the Cruise Lines International Association, the cruise industry's trade group, said in a statement. Laura Baldwin, an environmental activist in Dorset and former Olympic sailor, has been campaigning against the anchored cruise ships in recent weeks. She believes that much more needs to be done by the industry, and the biggest issue is the lack of awareness among Weymouth residents and businesses that are focused on making up their losses from the pandemic. "We are one of the most deprived areas in the country, and many people are worried about their daily struggle and feeding their children," Ms. Baldwin said. "It's just too much to take on the climate and ecological emergency." For many of the tourists visiting Weymouth, the sight of the ships outweighs any concerns over pollution.	N24News: A New Dataset for Multimodal News Classification	Travel
The state attorneys general from four dozen states officially declared on Monday that they were beginning investigations into the market power and corporate behavior of big tech companies. The formal declaration, delivered from the steps of the United States Supreme Court by a bipartisan group of state officials, adds investigative muscle and political momentum to the intensifying scrutiny of the tech giants by federal watchdog agencies and Congress. The states are focusing on two targets: Facebook and Google. Letitia James, the Democratic attorney general of New York, announced on Friday that a bipartisan group was investigating Facebook. That came with a simple press statement. The event on Monday, formally announcing the Google investigation and discussing Facebook, was a news conference in the nation's capital. Ken Paxton, the Republican attorney general of Texas, another large state with a sizable legal staff, is taking a lead role in the Google inquiry. In a statement, Mr. Paxton noted that there was nothing wrong with a company becoming big and powerful. But, he said, "we have seen evidence that Google's business practices may have undermined consumer choice, stifled innovation, violated users' privacy and put Google in control of the flow and dissemination of online information." The state inquiries coincide with bipartisan scrutiny of the tech companies in Washington, by House and Senate committees, the Justice Department and the Federal Trade Commission. Federal officials are examining the practices of Amazon and Apple as well as those of Facebook and Google. The states can play a key role, often in concert with federal regulators and Congress, in building evidence and public support for major investigations. That was the pattern in the landmark antitrust case against Microsoft, when 20 states joined the Justice Department in suing the software giant in 1998. The highly public declaration on Monday was partly political theater, but it was also seen as a signal of the states' commitment. "This kind of high profile announcement creates expectations, and it does put pressure on the federal agencies to follow through to seriously investigate these companies," said Andrew I. Gavil, a law professor at Howard University. "And by making it bipartisan, they are wisely laying the groundwork for what could be a lengthy and far reaching investigation." The investigation into Google has been joined by 48 states as well as the attorneys general for the District of Columbia and Puerto Rico. The states that have not joined the inquiry are Alabama and California, the home to Google and Facebook, Mr. Paxton said at the news conference. Major antitrust inquiries can take years, whether they result in legal action or not. The states have been looking at the big tech companies amid rising concerns about their power in markets and their influence in public communication and political debate. The states formed a multistate unit called the Tech Industry Working Group months ago. They steadily built up support, both getting bipartisan backing and enough states to marshal the legal resources to pursue in depth investigations and potentially an antitrust suit. Each investigation has a smaller core group of states, evenly split between Democrats and Republicans. And they are supported by a larger collection of states that agree to join the effort. "Obviously, we're just beginning, but this is going to be a thorough investigation," said Phil Weiser, the Democratic attorney general of Colorado. Colorado is a member of the core group in both the Facebook and the Google investigations, and Mr. Weiser is an antitrust expert, having served as a federal antitrust official in the Clinton and Obama administrations. "I'm not worried about having the legal and intellectual firepower for these investigations," he said.	N24News: A New Dataset for Multimodal News Classification	Technology
Nubya Garcia started playing music at 5 and picked up the saxophone at 10. She's never put it down. It hasn't taken long for the 28 year old tenor saxophonist Nubya Garcia to make a big impression in the acclaimed British jazz scene she came up in, and beyond. "She can play one note and you can tell what her artistic intentions are," said Shabaka Hutchings, the British saxophonist known as something of a godfather to the scene. "She's not trying to find her position. She's expressing herself within a position that she's already defined." On Friday, Ms. Garcia will expand that role with the release of "Source," her debut full length album for Concord Jazz. It's her most ambitious project yet a sweeping set of jazz with Afro Caribbean influences that funnels a life's worth of experiences into an hourlong listen. Ms. Garcia's mother is from Guyana, and her father is from Trinidad. Her own story began in the London borough of Camden, with a very musical family: parents who played reggae, rock, Latin and Cuban music around the house; a sister who sang classical music; another who played cello; and a brother who took up the trumpet. Ms. Garcia started with violin and piano as a young child, then discovered an old silver clarinet in the house. "It was broken as hell," she said. "But I just made it work." She taught herself to play by reading old Abracadabra instruction books for a year. The pianist Nikki Yeoh first met Ms. Garcia as a shy 5 year old who came with her brother to one of Ms. Yeoh's weekly music workshops. "She turned up one time with a clarinet," Ms. Yeoh remembered. "She had this really beautiful fascination with music at a young age." When Ms. Garcia was 10, her mother bought her a Yamaha saxophone; she fell in love with the instrument and never stopped playing it. At the behest of her mother, Ms. Garcia went back to Ms. Yeoh's class as a preteen and learned to play jazz and blues arrangements, and songs like Herbie Hancock's "Maiden Voyage" and Bronislaw Kaper's "On Green Dolphin Street." Ms. Gracia was shy, but motivated. "I just hung out in the class and I didn't say a word and barely managed to get a note out," she said. "But the teacher was always so full of life, so bubbly, so inviting. She would encourage us to listen to our parents' music if we had that at home, or to listen to the tracks we've played in the lesson." As a teenager, Ms. Garcia listened to old jazz records and played in different ensembles around Camden, where she met and became friends with other would be leaders of the budding British jazz movement. The drummer Moses Boyd encountered her in the mid 2000s, when she was playing piano during a weekend workshop. She came into her own as a member of Tomorrow's Warriors, the nonprofit co founded in 1991 by the bassist Gary Crosby and the producer Janine Irons. Mr. Boyd called her playing equally melodic and unique, informed by jazz legends like Wayne Shorter and John Coltrane, yet very much her own thing. And there isn't much ego in it, either. "She has a way of playing where she's not trying to show off," said the tuba player Theon Cross. Besides Shorter and Coltrane, Ms. Garcia cited Charlie Parker's "Now's the Time," Sonny Rollins's "Saxophone Colossus" and Dexter Gordon's "Go" as influences. A hunger to collaborate has shaped her journey so far. Mr. Boyd recalled seeing Ms. Garcia at the Brainchild Festival in Britain several years ago, dashing frantically from one stage to the next with her saxophone in tow. "I remember seeing her running across the fields," Mr. Boyd said with a laugh. "It felt like she was playing with 10 bands. She's one of the busiest people in the world." This isn't lost on Ms. Garcia. The contemplative song "Pace," which opens her new album, is a personal reminder to not feel so overwhelmed. She wrote the song a year ago, when she was feeling rundown and wondering if life on the road was sustainable. "It's weird to talk about it now, obviously, because we're in a completely different way of living," Ms. Garcia said. "I'm not good at resting, but I've learned a lot about resting during this time." Over Zoom, Ms. Garcia was as warm and chatty as an old acquaintance; she wore a big smile and remained incredibly chill, readily sharing anecdotes about her days as a former gymnast and netball player. "I just love to compete and win," she said. "I guess the team thing is really important to me." Ms. Garcia's name has become a fixture in album credits for works as disparate as Makaya McCraven's communal triumph "Universal Beings" and Moses Sumney's introspective "Grae." As part of the women led collective Nerija, a rarity in jazz, her music takes on a breezy, sun drenched aura. With the sextet Maisha, Ms. Garcia billows softly in the distance, bolstering the group's tranquil blend of spiritual jazz. "Source" is another grand achievement for a British jazz scene that has garnered acclaim in recent years, which includes Mr. Cross, Mr. Hutchings and Mr. Boyd. Mr. Cross said they all shared a slightly different approach to making improvised music. "We all came up learning the American tradition, but we all started to embrace our own countercultural backgrounds," he said. "When we decided we all wanted to make our own music, we drew from that. It's a new perspective of the African diaspora." "I'd been keeping my compositional tools sharpened on the road because you have to keep those muscles ready," Ms. Garcia said. "You can't just not do it for six months, then come back and expect to write a banging symphony or whatever you want to do." The album's creative direction was cemented last summer, then she booked two studio days one before and one after the tour and recorded the album in two sessions.	N24News: A New Dataset for Multimodal News Classification	Music
Julie Chen, who has co hosted the award winning CBS show "The Talk" since it began almost a decade ago, announced Tuesday that she would leave the program as her husband, the former network chief Leslie Moonves, continues to combat sexual harassment allegations against him. In a video message that was broadcast on "The Talk," Ms. Chen, 48, said she was departing because "right now, I need to spend more time at home with my husband and our young son." She did not mention Mr. Moonves by name. Still, the decision comes just nine days after Mr. Moonves, 68, stepped down as the chief executive of the CBS Corporation amid accusations by a dozen women of sexual misconduct. Before playing the video message, one of the talk show's hosts said that Ms. Chen had recorded it from the set of the CBS reality television show "Big Brother," where she was said to be "working on" Wednesday night's episode.	N24News: A New Dataset for Multimodal News Classification	Media
Sands Point, N.Y.: A Fairy Tale Village, for Those Who Can Afford It In "The Great Gatsby," that novel of yearning, F. Scott Fitzgerald located all that was aspirational in a big moneyed enclave called East Egg on the North Shore of Long Island. There, at the home of Jay Gatsby's old flame, Daisy Buchanan, "the lawn started at the beach and ran toward the front door for a quarter of a mile, jumping over sun dials and brick walks and burning gardens." Fitzgerald's inspiration for East Egg was Sands Point, a village at the tip of the Port Washington peninsula, about 25 miles east of Manhattan. A convenient alternative to Newport, this was where Jazz Age Hearsts, Harrimans and Guggenheims sealed themselves off from urban heat and dust in sybaritic summer palaces at the water's edge. Nearly a century since "Gatsby" arrived, many of the mansions have been torn down too big to maintain and the properties have been subdivided. After World War II, ranch houses took root and spread like ground cover. The village, which is in the town of North Hempstead, now has about 2,900 residents and more than 900 houses. Would Fitzgerald even recognize it today? Still, Sands Point has hardly turned middle class. Last year, the website 24/7 Wall St. named it the richest "town" defined as a place with a population between 1,000 and 25,000 in New York State, based on its median household income of 231,667. But it presents a friendly face to young families, who are moving in as older residents age out. The village, which lacks commerce of its own, has natural beauty, one acre zoning and a feeling of retreat, while providing access to the schools, businesses and direct train to New York City in the neighboring community of Port Washington, to the south. "I saw somebody on a horse the other day," said Maggie Keats, a broker with Douglas Elliman who lives in Sands Point and remembers a time before the houses had numbers. (Nassau County pressured the village to adopt them in 2001, to conform with the 911 system.) Two years ago, after debating whether to move out of Manhattan with their now 6 year old daughter and 3 year old son, or find a larger home in the city, Lauren Alter, a speech pathologist, and her husband, Adam Alter, an account executive at Google, bought a 1950s split level ranch in the Harbor Acres section of Sands Point. They paid 1.89 million and spent six months gutting and renovating the house, which is on slightly more than one acre and has five bedrooms and access through a community association to a beach and tennis courts. "It's a little bit of a fairy tale, to be honest," Ms. Alter, 36, said, sketching a picture of flourishing children, friendly neighbors and summer pizza and ice cream parties on the beach. The influx of young families is one of the most visible recent developments, said Edward A.K. Adler, Sands Point's mayor since 2011. When he and his wife moved to the village in 1976, they felt like the only ones pushing around a stroller. Now children are much in evidence at the bus stop in the morning, where they wait to be ferried to school. Crossing into Sands Point, Mr. Adler said, sounding not unlike Fitzgerald, "you enter a world of trees and flowers and backyards with soccer goals; of golf courses, tennis courts and lots of swimming pools." Port Washington provides some municipal services, including fire protection and mail delivery (the homes have Port Washington addresses), but Sands Point maintains its own police force. Officers regularly patrol the streets and use license plate readers installed at key intersections to assist crime prevention. Residents' comfort level is so high, in fact, that it has lulled some into a false sense of security. Mr. Adler said a recent spate of car thefts came about because keys were left in unlocked vehicles in their owners' driveways. Incorporated in 1910, Sands Point is surrounded on three sides by Manhasset Bay, Hempstead Bay and the Long Island Sound. The Manhattan skyline is filigree on the western horizon. Because of the elevation, flooding is of less concern than beach erosion and litter. 88 OLD HOUSE LANE An eight bedroom energy efficient house with nine full and four half bathrooms, built in 2014 on a 3.58 acre lot, with an indoor swimming pool and basketball court, listed for 24.8 million. 631 745 4441 Adam Macchia for The New York Times "It's not Antigua, but it's beautiful water," said Matt Engel, the 42 year old owner of a commercial real estate business, who has been living in Sands Point for a decade. Mr. Engel is the chair of the Village Club of Sands Point, a waterfront facility the village bought in 1994. (It had previously been an IBM training center and employee retreat.) Open to both residents and outsiders, the 210 acre club includes an 18 hole golf course, 12 tennis courts, a swimming pool and a recently rebuilt pool house with a view of Hempstead Harbor. Dining and lodging are in a circa 1916 Florentine flavored mansion named Villa Corola by its first owner, Isaac Guggenheim. Dues for access to all of the facilities are about 11,000 a year for residents, 15,000 for nonresidents. Together, the Village Club and Sands Point Preserve keep more than 400 acres from development, helping to secure the village's green world feeling while offering a steady diet of diversions. Sands Point Preserve, which is owned by Nassau County and operated by a nonprofit conservancy, organizes cultural events, educational programs, museum exhibitions and benefits. Yoga, beekeeping, concerts under the stars and an exhibition on Robert H. Goddard, the father of modern rocketry (on view through Dec. 22) only begin to describe them. The preserve maintains a 50,000 square foot stone building called Hempstead House that was built for the Gould family, but only after its owners had erected a 100,000 square foot heap known as Castle Gould, which remains on the property. After the Guggenheim family took over the estate, a 1923 house called Falaise, built in the style of a Norman manor, was added; it is now a museum. 12 HICKS LANE A six bedroom, five and a half bathroom waterfront house called Wild Bank that was once the home of the composer John Philip Sousa; built in 1907 on 2.6 acres, it is listed for 8.995 million. 516 449 7598 Adam Macchia for The New York Times The preserve recently introduced a dog park, an organic vegetable garden and the Woodland Playground. The grounds are open to the public year round. The entry fee for nonmembers is 15 a car or 4 for an individual on foot; house tours are extra. About 100,000 visitors drop by every year, said Ms. Horn, the preserve's director, speaking on the day she was hosting a crew filming a Stephen King television series. (Location scouts and wedding planners are a boon to the park's operating budget.) Sands Point also has the Community Synagogue, housed in a 1929 Tudorbethan building called the Chimneys, as well as the United Methodist Church of Port Washington and the Helen Keller National Center for Deaf Blind Youths and Adults. Most everything else is a single family residence shingled, stuccoed, glass walled, flat roofed, crenelated or gingerbread trimmed. If you're interested in buying the landmarked house at 12 Hicks Lane once owned by the composer John Philip Sousa, it's available for the reduced price of 8.995 million, with taxes of 78,711. Called Wild Bank, the 1907 six bedroom stucco house with a terra cotta roof sits on a bluff overlooking Manhasset Bay and has a beach, a deepwater dock and a tennis court. 89 BARKERS POINT ROAD A three bedroom waterfront house with three full and two half bathrooms, built in 1931 on 1.19 acres, listed for 4.65 million. 516 984 9049 Adam Macchia for The New York Times Another historic estate for sale is 235 Middle Neck Road, a 14 bedroom Norman style house. Designed in the late 1920s by McKim, Mead White, it was the home of Mary Harriman Rumsey, the founder of the Junior League and a sister of William Averell Harriman, who became governor of New York. This house, too, has a private tennis court and beach. It is listed for 13.888 million, with taxes of 131,174. Among the 45 properties on the market as of Dec. 10, a more modest choice is 6 Woodland Drive, a 1955 ranch house with three bedrooms, on a one acre lot. It is listed for 1.6 million, with taxes of 24,750. According to data from the Multiple Listing Service of Long Island, the median sale price of Sands Point homes from Aug. 31 through Nov. 30 was 1.955 million, a year over year increase of 16.7 percent. In Port Washington, by comparison, the median sale price in the same period was 796,500, a year over year decrease of 9.7 percent. 22 WOODLAND DRIVE A four bedroom, two bathroom ranch house, built in 1955 on 1.1 acres, listed for 1.249 million. 646 250 6512 Adam Macchia for The New York Times Despite the raucous presence of geese waddling on a front lawn or two, Sands Point conveys a Garbo esque attitude of elegant aloofness. Rooflines peep up over wood fencing. There are no sidewalks, no streetlights, no on street visitors' parking. The historic Sands Point Lighthouse is on private land. The average SAT scores reported in 2018 for Paul D. Schreiber High School were 594 in reading and writing and 594 in math, versus 528 and 523 statewide. Sands Point residents routinely cite the advantages of Long Island Rail Road's Port Washington Branch, which provides direct service to Pennsylvania Station. Peak travel time in the morning is from 34 to 49 minutes; the one way fare is 12.50, and a monthly ticket is 270. Driving time to Midtown Manhattan on the Long Island Expressway is typically 45 to 90 minutes, depending on traffic. Sands Point has a historic cemetery where 112 members and friends of the Sands family, early settlers and area namesakes, were buried between 1704 and 1867. Listed on the National Register of Historic Places, it is on private land on Sands Point Road, south of the junction with Middle Neck Road. For weekly email updates on residential real estate news, sign up here. Follow us on Twitter: nytrealestate.	N24News: A New Dataset for Multimodal News Classification	Real Estate
The Sun Pushed the Limits of Winning, Losing and Playing in Pain The pain of defeat, of a season's abrupt end, was still raw when Curt Miller emerged from the Connecticut Sun locker room late Tuesday. The seventh seeded Sun were the lowest seed to advance to the W.N.B.A. semifinals since 2016, a pro version of a Cinderella team. There, they pushed the top seeded Las Vegas Aces to the brink of elimination before dropping two consecutive closeout games. The last turned into a struggle between two of the league's best defenses. It all came down to a few seconds, to 3 points. "Honestly, that locker room thinks we could have won the championship," Miller said. "We believe that much in our defense, so it's heartbreaking for them. But so proud of how far they've come." The 66 63 loss in Game 5 capped a Connecticut season defined by challenging limits. It was a season about how deep a hole a team can dig, and still claw out. About learning to thrive in new surroundings. About playing through injury despite the pain. The Sun hit their ceiling against the Aces. Still, Connecticut was the last team to be eliminated in the bubble before a W.N.B.A. champion is decided. Compare that with the beginning of the season, when Connecticut was almost the last team to get its first win at IMG Academy in Bradenton, Fla. When the Sun started the regular season 0 5, Miller said, "we were a little bit in disarray for a variety of reasons." After reaching the finals last year, the Sun tinkered with their roster to build around the All Stars Alyssa Thomas and Jonquel Jones. They acquired DeWanna Bonner and Briann January, two veterans with championship experience. "Change is rough sometimes," guard Jasmine Thomas said. "I feel like, for us, it was a matter of just playing it out." Bonner, a three time All Star who spent the first 10 years of her career with Phoenix, said her debut season with Connecticut "was probably the happiest I've been on the court with a group of girls." She led the Sun in scoring during the regular season with 19.7 points per game, while averaging 7.8 rebounds, 3 assists and 1.7 steals per game. Brionna Jones, who, according to Miller, had a "secret" Achilles' tendon injury for about a month, became a steady force in the paint during her first season with significant playing time. Jasmine Thomas remained reliable in the backcourt. Young players like Natisha Hiedeman, Kaila Charles and Beatrice Mompremier got key minutes during the postseason. She averaged 15.5 points, 9 rebounds and 4.8 assists per game during the regular season, igniting the break and facilitating for teammates while also finding her own shot. She led the league in steals with two per game as a multipositional defender who Miller says is "the best in the world." Teammates fed off her competitiveness in the semifinal series with Las Vegas. Alyssa Thomas, who was playing with partially torn labrums in both shoulders, dislocated her right shoulder early in Game 2. But she returned the next game and played the rest of the series, finishing with 22 points, 10 rebounds and 3 assists in Game 5. Before that game, she brushed off inquiries about her health, saying, "I'm done with shoulder questions." Bonner said: "She's the leader of this team. She's the leader of this organization. She is Connecticut Sun basketball." January said early in the semifinals that this Connecticut team reminded her of the 2012 Indiana Fever team she won a title with. That team won four elimination games and overcame the loss of the star Katie Douglas to an ankle injury. "It's all about heart and discipline, putting yourselves in positions to win games," January said. "It doesn't happen overnight. It's not luck. It's focus. It's intensity. It's togetherness. It's having each other's backs. It's being ready when your name's called." Miller felt a similar cohesion, reiterating Tuesday that he wished those not inside the bubble could have seen how close the players became. Chemistry cannot be measured by box scores or analytics. But it has been the common theme of Miller's winning teams. With this group, the coach often pointed to an off day family dinner, at which players and staff sat in a circle and talked about basketball and life, as a turning point. "Especially in a season like now, where you're playing every other day, those conversations, they don't happen as often," Jasmine Thomas said. "You don't have that time to really have days in between games to clean up stuff off the court, just in a chemistry, getting to know your teammate kind of way. I feel like that was a good dinner for us in that sense. I feel like I felt that momentum after it." Though Miller and his players said they were fueled by feeling disrespected, this playoff run further illustrated what Connecticut showed by making it to the finals last season: The Sun have reached the upper tier of sustained success.	N24News: A New Dataset for Multimodal News Classification	Sports
A Brazilian voice in fine jewelry's designer vanguard, Fernando Jorge introduced his line in 2010 with vividly colored gems many from his native country and a strikingly sensual modernity reminiscent of the swooping concrete architecture of Oscar Neimeyer, his compatriot. For Bloom and Sprout, his new collections inspired by the lush jungles of Brazil, the Sao Paulo born designer has heightened his exploration of color, extending the intense hues of his gemstones to the gold itself. It started with a blue macaw's wing, rendered with pear shaped, indigo colored tanzanites. "I wanted something tropical, something very Brazilian without being figurative," Mr. Jorge said. And he wanted something utterly and totally blue blue gold. What he found, after dismissing the dull brownish tones of colored rhodium platings, is a recently invented technique: nano ceramic coating, a composite of resin and nanoparticles of pigment.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
How long might immunity to the coronavirus last? Years, maybe even decades, according to a new study the most hopeful answer yet to a question that has shadowed plans for widespread vaccination. Eight months after infection, most people who have recovered still have enough immune cells to fend off the virus and prevent illness, the new data show. A slow rate of decline in the short term suggests, happily, that these cells may persist in the body for a very, very long time to come. The research, published online, has not been peer reviewed nor published in a scientific journal. But it is the most comprehensive and long ranging study of immune memory to the coronavirus to date. "That amount of memory would likely prevent the vast majority of people from getting hospitalized disease, severe disease, for many years," said Shane Crotty, a virologist at the La Jolla Institute of Immunology who co led the new study. The findings are likely to come as a relief to experts worried that immunity to the virus might be short lived, and that vaccines might have to be administered repeatedly to keep the pandemic under control. And the research squares with another recent finding: that survivors of SARS, caused by another coronavirus, still carry certain important immune cells 17 years after recovering. The findings are consistent with encouraging evidence emerging from other labs. Researchers at the University of Washington, led by the immunologist Marion Pepper, had earlier shown that certain "memory" cells that were produced following infection with the coronavirus persist for at least three months in the body. A study published last week also found that people who have recovered from Covid 19 have powerful and protective killer immune cells even when antibodies are not detectable. These studies "are all by and large painting the same picture, which is that once you get past those first few critical weeks, the rest of the response looks pretty conventional," said Deepta Bhattacharya, an immunologist at the University of Arizona. Akiko Iwasaki, an immunologist at Yale University, said she was not surprised that the body mounts a long lasting response because "that's what is supposed to happen." Still, she was heartened by the research: "This is exciting news." A small number of infected people in the new study did not have long lasting immunity after recovery, perhaps because of differences in the amounts of coronavirus they were exposed to. But vaccines can overcome that individual variability, said Jennifer Gommerman, an immunologist at the University of Toronto. "That will help in focusing the response, so you don't get the same kind of heterogeneity that you would see in an infected population," she said. "Sterilizing immunity doesn't happen very often that is not the norm," said Alessandro Sette, an immunologist at the La Jolla Institute of Immunology and co leader of the study. More often, people become infected a second time with a particular pathogen, and the immune system recognizes the invader and quickly extinguishes the infection. The coronavirus in particular is slow to do harm, giving the immune system plenty of time to kick into gear. "It may be terminated fast enough that not only are you not experiencing any symptoms but you are not infectious," Dr. Sette said. Dr. Sette and his colleagues recruited 185 men and women, aged 19 to 81, who had recovered from Covid 19. The majority had mild symptoms not requiring hospitalization; most provided just one blood sample, but 38 provided multiple samples over many months. The team tracked four components of the immune system: antibodies, B cells that make more antibodies as needed; and two types of T cells that kill other infected cells. The idea was to build a picture of the immune response over time by looking at its constituents. "If you just look at only one, you can really be missing the full picture," Dr. Crotty said. He and his colleagues found that antibodies were durable, with modest declines at six to eight months after infection, although there was a 200 fold difference in the levels among the participants. T cells showed only a slight, slow decay in the body, while B cells grew in number an unexpected finding the researchers can't quite explain. The study is the first to chart the immune response to a virus in such granular detail, experts said. "For sure, we have no priors here," Dr. Gommerman said. "We're learning, I think for the first time, about some of the dynamics of these populations through time." Worries over how long immunity to the coronavirus persists were sparked mainly by research into those viruses causing common colds. One frequently cited study, led by Jeffrey Shaman of Columbia University, suggested that immunity might fade quickly and that reinfections could occur within a year. "What we need to be very mindful of is whether or not reinfection is going to be a concern," Dr. Shaman said. "And so seeing evidence that we have this kind of persistent, robust response, at least to these time scales, is very encouraging." So far, at least, he noted, reinfections with the coronavirus seem to be rare. Exactly how long immunity lasts is hard to predict, because scientists don't yet know what levels of various immune cells are needed to protect from the virus. But studies so far have suggested that even small numbers of antibodies or T and B cells may be enough to shield those who have recovered. The participants in the study have been making those cells in robust amounts so far. "There's no sign that memory cells are suddenly going to plummet, which would be kind of unusual," Dr. Iwasaki said. "Usually, there's a slow decay over years." There is some emerging evidence that reinfections with common cold coronaviruses are a result of viral genetic variations, Dr. Bhattacharya noted, and so those concerns may not be relevant to the new coronavirus. "I don't think it's an unreasonable prediction to think that these immune memory components would last for years," he said.	N24News: A New Dataset for Multimodal News Classification	Health
A little boy with a backpack misses his bus. Bummer. Then comes a succession of buslike vehicles a covered wagon, a ship that are definitely not what he's waiting for. This ingenious book will call out to toddlers, but keep it around for early readers, too. The words are simple, and Yang's witty art is built to last. THE RABBIT LISTENED Written and illustrated by Cori Doerrfeld Onesie wearing Taylor, who's wonderfully drawn to be either a boy or a girl, builds a block tower that falls down. Everyone who comes by to help, including a chicken and an elephant, is full of well meaning advice. Only a silent rabbit offers what Taylor like all of us needs: the comfort of someone who will just listen, laugh and give a hug. HELLO, HELLO Written and illustrated by Brendan Wenzel Wenzel's "They All Saw a Cat" played with different creatures' points of view. This book spreads its arms wider, introducing the staggering range of species that share the earth many of them endangered or threatened. Wenzel's vibrant collaged art and simple rhythms call to mind Eric Carle, with a factual minded touch. THE WORD COLLECTOR Written and illustrated by Peter H. Reynolds Jerome collects not things but words lovely ones like "willow" and "spark" and decides to share them. As always, Reynolds ("The Dot") brings an enchanting light hand to deeper themes. In Jerome's quest to spread the beauty of language, the story acquires the timeless, classic quality of Leo Lionni's tale of Frederick the mouse. This warm trip through the wonderland of Grandma Mimi's purse is really a tribute to the steadying force of grandparental love in a child's life. It also brims with adorable small stuff to look at. No illustrator does clothes, decor and style better than Brantley Newton ("The Youngest Marcher"). VINCENT COMES HOME Written and illustrated by Jessixa Bagley and Aaron Bagley Jessixa Bagley's books featuring woodland animals include "Boats for Papa," an honestto God tear jerker. Here she's teamed with her husband, Aaron Bagley, for the tale of a ship's cat who learns what "home" means. Wider ranging than her solo books, it's just as satisfying and emotionally astute. ALL THAT TRASH: THE STORY OF THE 1987 GARBAGE BARGE AND OUR PROBLEM WITH STUFF Written and illustrated by Meghan McCarthy With her exuberantly silly illustrations, McCarthy ("Earmuffs for Everyone!") has a great way with nonfiction picture books. This one about an oozing, fly infested barge of New York City garbage that became famous for traveling the seas unable to find a willing dump raises awareness of our national trash problem. As children know, the truth is so often stranger than fiction. BEAR AND WOLF Written and illustrated by Daniel Salmieri Salmieri, known for his visual humor ("Dragons Love Tacos"), shows his writing chops in this stunning, serene and philosophical book. A bear and a wolf, out for nighttime walks, hike through snowy winter vistas. Nothing much happens: Sometimes, peaceful companionship and a mutual appreciation of beauty are more than enough.	N24News: A New Dataset for Multimodal News Classification	Books
Four more people have died from tainted romaine lettuce, federal health officials said Friday, bringing the total to five deaths related to a virulent strain of E. coli whose source has still not been located. In addition, officials at the Centers for Disease Control and Prevention updated the case count: 197 people from 35 states were sickened. Food and Drug Administration officials said, however, that romaine now for sale on grocery shelves is safe to eat. The growing season in the Yuma, Ariz. region, which produced the contaminated lettuce, ended April 16. According to an FDA blog post, "Any contaminated product from the Yuma growing region has already worked its way through the food supply and is no longer available for consumption. So any immediate risk is gone." The F.D.A. said its investigators were still working to trace sources of the outbreak. While they have traced the toxic E. coli strain to the Yuma growing region, they are still looking for the precise source whether it originated in the water supply, harvesting equipment, a processing plant in the area or somewhere else.	N24News: A New Dataset for Multimodal News Classification	Health
Much of the splatter takes place inside a rundown meeting hall for war veterans, where Fred (Stephen Lang) and his cronies (including William Sadler, Fred Williamson and Martin Kove) drink and wax nostalgic about their exploits in Vietnam. Outside, a new drug has turned the city into a battleground where crazed addicts and punk dealers viciously collide; and when a vulnerable teenager (Sierra McCormick) seeks sanctuary from the enraged owners of the drugs she has stolen, the vets prepare for one last stand. No prizes for guessing they're more stoked than dismayed. Essentially a geezers fight back siege movie (Tom Williamson plays the sole young veteran), "VFW" is riotously scuzzy and warmly partial to its rusty heroes. As they improvise weapons from pool cues and other scavenged bits and bobs, their camaraderie and newfound purpose are rather sweet. The resulting violence is almost comedically baroque, the special effects at times howlingly crass blood geysers forth as if every blow has nicked a major artery but none of it is meanspirited. Meantime, the director, Joe Begos, brings a grindhouse sensibility to Mike Testin's glowering images, which are sometimes too murky to tell which body part is being crushed or chainsawed. Even so, I'm not watching it again to find out.	N24News: A New Dataset for Multimodal News Classification	Movies
A White House road map for federally funded climate research has for the first time recommended research into geoengineering, the concept of intervening in nature to slow or reverse global warming. The document, an update of a report that lays out a plan for climate related research at 13 federal agencies until 2021, calls for studies related to the two most discussed approaches to geoengineering: distributing chemicals in the atmosphere to reflect more heat producing sunlight away from the earth, and removing carbon dioxide from the air so the atmosphere traps less heat. The report was submitted to Congress this week by the U.S. Global Change Research Program, which was established in 1990 and is overseen by the executive branch. The program, the report notes, "provides insight into the science needed to understand potential pathways for climate intervention or geoengineering and the possible consequences of any such measures, both intended and unintended." Although the update had long been in the works, its release in the final days of the Obama administration is another sign that President Obama is intent on extending his legacy on the issue of climate change. Among other actions, Mr. Obama in recent weeks has declared parts of the Arctic and the Atlantic Ocean off limits to offshore drilling for oil and gas and invoked the Endangered Species Act to further protect bumblebees and polar bears. The report is an advisory one, and its recommendations face an uncertain future under the incoming Donald J. Trump administration. Mr. Trump has called climate change a hoax and has named people to his cabinet who deny the scientific consensus on global warming, so it is unclear how concerned the new administration will be with technologies to counter it. David W. Keith, a Harvard physicist who has proposed a small scale geoengineering experiment, said he was pleased that the call for research was included in the report. "Though of course worried about consequences under Trump," he wrote in an email. But the concept of manipulating the atmosphere stirs controversy beyond partisan politics. Opponents of the idea, including many scientists, argue the risks are too great: Geoengineering might have unintended damaging effects on weather patterns, or it might be used unilaterally as a weapon by governments or even extremely wealthy individuals. Many environmentalists have opposed geoengineering research on the ground it would be a distraction from the task of reducing the impact of climate change by cutting carbon emissions in the first place. Others say scientists should at least be getting a head start on research in case geoengineering is someday needed. Far from calling for any test of geoengineering methods, the report has much more modest recommendations, including research to improve how computer models represent the interaction of clouds and aerosol particles of the type that someday might be used to reflect sunlight. Michael MacCracken, chief scientist for climate change programs at the Climate Institute, a Washington research group, said in an email that the recommendations were only a "very first step of what is needed given the faster than projected severe impacts that are emerging." Still, the recommendations illustrate how far the subject of geoengineering has come in official circles. For years, the Obama administration avoided mentioning the term after the White House science adviser, John Holdren, drew criticism for saying in 2009 that geoengineering measures should not be "off the table." But a government sponsored panel of the National Academy of Sciences recommended in 2015 that some geoengineering research be allowed, with proper oversight.	N24News: A New Dataset for Multimodal News Classification	Science
In the final scene of "The Godfather Part III," Michael Corleone, the aged protagonist of this epic crime drama, is left in solitude to contemplate his sins, gripped with guilt over actions that have devastated his family and the knowledge that he cannot change what he has done. Francis Ford Coppola, the director and co screenwriter of the "Godfather" series, has never approached his work in quite the same way. These three movies have won a combined nine Academy Awards, grossed more than 1.1 billion when adjusted for inflation and gained an exalted status in the popular consciousness. But rather than regard them as immutable monuments, Coppola has treated them like an unfinished painting he is free to update. He has previously restored and reordered portions of the "Godfather" story, modifying its multigenerational tale of corruption, vengeance and family duty as his own ideas about storytelling have evolved. Now he has turned his attention to "The Godfather Part III," the 1990 film that took a more meditative approach to the Corleones. Unlike the near universal acclaim the first two movies enjoy, "Part III" is remembered as the Fredo of its family the one that doesn't really measure up. It was criticized for its lugubrious tone, convoluted plot and Coppola's casting of his daughter, Sofia now a celebrated filmmaker in her own right as Michael's doomed daughter, Mary. The history of this "Godfather" movie is as sweeping and dramatic as the much told tales behind the creation of its two illustrious predecessors, full of conflict, perseverance and decisive last minute changes. It is a legend that seemingly ended with a fatally flawed result but now has a new untold chapter that could improve the standing of the final film in one of the most influential franchises of all time. Coppola's personal story is of course inextricable from the story of the movie, and there is more at stake for the director than reclaiming his movie from the tarnished reputation he felt it never deserved. At 81, he is still striving to demonstrate his vitality as a filmmaker and reconnect with the rebellious energy that permeated the making of the first two "Godfathers." He is no longer the barnstorming artistic despot of the 1970s; these days he approaches his trade like a seasoned craftsman, always honing his work in search of some mythical ideal. Using a quaint metaphor, he compared his process to fixing a cigarette lighter. COPPOLA NEVER INTENDED to make even one sequel to "The Godfather," his blockbuster 1972 adaptation of Puzo's best selling novel. But he said he had been "seduced" by Paramount, the studio behind the films, which acceded to his demand to give the initial follow up the then unusual title of "The Godfather Part II." Already, Coppola said, Paramount had visions of building the original runaway hit into a multi movie franchise. As he explained the studio's philosophy, he said, "You've got Coca Cola, why not make more Coca Cola?" When "Part II," released in 1974, unexpectedly matched the critical and commercial acclaim of its predecessor, few of Coppola's colleagues believed that he was interested in risking his luck on a third installment. "I always thought Francis was done with it," Al Pacino said. He himself was ready to leave behind his career making role as Michael Corleone. As he put it in a recent interview, "I felt a little tired of doing that kind of thing. It was consuming." The studio nonetheless continued to develop a third "Godfather" and courted Coppola, who had moved onto ambitious projects like "Apocalypse Now." But in the 1980s, his costly misfires, like "One From the Heart" and "The Cotton Club," made Paramount's offer one that he well, you know how the quotation goes. Another incentive for Coppola to return was to team up again with Puzo, his esteemed screenwriting partner, and compose the script for "Part III": one branch of the story would follow a new family member, Vincent (played by Andy Garcia), an illegitimate child of Michael's brother Sonny, as he tries to earn his place in the Corleone clan, while another branch would chronicle Michael's efforts to buy his way to legitimacy and absolution. Pacino was delighted by the screenplay, in which Michael's well honed craftiness would be tested by unexpected guile within the Vatican: "He found something a little more corrupt than his criminal world," the actor said. Though it would be decades before Coppola could call the film "Coda," he already saw the project as such: "It was really our intention to make it a summing up and an interpretation of the first two movies, rather than a third movie," he said. IN SEPTEMBER 1989, the "Part III" cast and crew gathered at Coppola's Napa Valley vineyard to rehearse and prepare for filming. The roster included "Godfather" mainstays like the cinematographer Gordon Willis and the production designer Dean Tavoularis. But in Italy, the film faced a serious crisis. Ryder, who had just finished shooting "Mermaids" in Boston, became ill when she arrived in Rome and withdrew from the film. Reports from that time said that actresses like Annabella Sciorra and Laura San Giacomo were suggested as possible replacements; today, Coppola would say only that "Paramount had a list of many fine actresses who were older than I felt the character should be." "I wanted a teenager," he added. "I wanted the baby fat on her face." Instead, the director saw his solution in Sofia, who was visiting the set on a break from her freshman year of college. She had appeared in several of her father's previous films, including "Rumble Fish" and "Peggy Sue Got Married," and knew his rhythms and shorthand. Sofia Coppola said her decision to take the part was straightforward and organic, undertaken as an act of good will to her father. "It seemed like he was under a lot of pressure and I was helping out," she said. "There was this panic and before I knew it, I was in a makeup chair in Cinecitta Studios in Rome having my hair dyed." But she trusted her father's judgment and felt safe among his collaborators: "For me, they were all my family," she said. "It felt very separate from the outside world." For Sofia Coppola, the cultural whiplash was bewildering; she had been asked to take part in glamorous photography shoots for magazines like Entertainment Weekly, only to find herself on their covers surrounded by headlines like "Is She Terrific, or So Terrible She Wrecked Her Dad's New Epic?" Looking back on the ordeal, she said, "It was embarrassing to be thrown out to the public in that kind of way. But it wasn't my dream to be an actress, so I wasn't crushed. I had other interests. It didn't destroy me." "Part III" grossed more than 136 million worldwide; it was nominated for seven Oscars but won none. Francis Ford Coppola, already smarting from the negative reviews, was further stung by what he saw as efforts to make Sofia a scapegoat for its shortcomings and blamed himself for putting her in that position. "They wanted to attack the picture when, for some, it didn't live up to its promise," he said. "And they came after this 18 year old girl, who had only done it for me." The story he had just told in the movie provided an irresistible metaphor: "The daughter took the bullet for Michael Corleone my daughter took the bullet for me," he said. He is aware of the checkered reputation of "The Godfather Part III" and that no amount of changes might be enough to redeem it in the eyes of some viewers. As he told me in a video interview from his Napa estate, "When a movie is first made and is about to be released, you know that whatever the reaction is will define it for its entire life." There were things about the movie that irked him, too, starting with the "Part III" title he was compelled to accept. "It was the thread hanging out of the sock that annoyed me, so that led me to pull on the thread," he said. He realized that the opening in the film's theatrical release which mixes footage of the Corleones' Lake Tahoe home seen in "Part II" with a mournful voice over from Michael made it "difficult to grasp what the story was about." As he told me, "The audience goes into a film with a certain amount of resources. They're willing to go with you, but there's a limit." "The Godfather, Coda" now begins with a scene that came later in "Part III," when Michael is negotiating a multimillion dollar deal, involving the Vatican Bank and a real estate company, with the desperate Archbishop Gilday (Donal Donnelly). The aim of this change, Coppola said, was in part to more closely parallel the opening of the original "Godfather," when Vito Corleone (Marlon Brando) hears the angry pleadings of a wronged undertaker. Starting this way immediately establishes the stakes of the film, Coppola said: "You get it put right to you: What is the big deal about? The Corleones have reached such a level of success and wealth that they're able to loan money to the Vatican." Where "Part III" ended famously some might say notoriously with the elderly Michael slumping in his chair and falling dead to the ground, "Coda" shows him old and alive as the scene fades to black and a series of title cards appear. They read, "When the Sicilians wish you 'Cent'anni' ... it means 'for long life.' ... and a Sicilian never forgets." Despite a new title that promises otherwise, Coppola explained that Michael does not actually die. "In fact, for his sins, he has a death worse than death," Coppola said. "He may have lived many, many years past this terrible conclusion. But he never forgot what he paid for it." Pacino said he enjoyed his preparations for Michael's original death, an approach that was criticized as exaggerated and unintentionally comedic. "That was just fun to do," Pacino said. "I spent hours, days, weeks, thinking, how am I going to die? It's fatalist. I love dying. What actor doesn't?" But ending the movie as Coppola does now, with Michael stranded in a purgatory of his own making, felt right, Pacino said. "Leaving him awake, not dying, that's the tragedy of it all," he said. Perhaps his only regret, Pacino said as his voice rose to an exaggerated volume, is that he cannot do the scene again when he is finally as old as Michael is meant to be: "I'm ready to do it now!" he exclaimed. "I understand it better! I don't need makeup!" This does not prevent Paramount from making sequels if it wants to. "There may well be a 'Godfather IV' and 'V' and 'VI,'" Coppola said. "I don't own 'The Godfather.'" (Paramount said in a statement, "While there are no imminent plans for another film in the 'Godfather' saga, given the enduring power of its legacy it remains a possibility if the right story emerges.") For others who participated in "Part III," parts of the movie still hold up with the best of the trilogy, in their estimation, and its perceived flaws don't seem as bothersome over time. "It taught me that as a creative person, you have to put your work out there," Sofia Coppola said. "It toughens you up. I know it's a cliche, but it can make you stronger." Just a few days earlier, her teenage daughter, Romy, told her she had read about her mother's much discussed performance. "She said, 'I saw online that you did the worst death scene ever in the history of movies,'" Sofia recalled. "I was like, oh my God, all these years later, it's still a thing." With a laugh, she added, "I think it's so funny that it lingers, all these years later. It's fine." For Francis Ford Coppola, the fact that he has probably put his final stamp on the film series that altered his life and influenced moviemaking for decades to come is not an occasion for nostalgia or celebration; it's just a reminder that there are so many more kinds of movies he still wants to make and genres he wants to play in. "I like life to be an experience that I learn from," he said. "I felt a sense of completion after the first one. I felt the first film had all the story I saw in the book. I felt satisfied that it was summed up." If there are more "Godfather" movies to come, he said, "I won't do 'em. But I'm an old man."	N24News: A New Dataset for Multimodal News Classification	Movies
The joy of the Dodgers' long coveted World Series title was overshadowed on Tuesday night when Justin Turner, the team's veteran third baseman, joined his teammates in celebration on the field shortly after learning he had tested positive for the coronavirus. Turner's return to the field, which occurred right in front of Rob Manfred, Major League Baseball's commissioner, at Globe Life Field in Arlington, Texas, raised questions about how the league had allowed such a public lapse in its coronavirus protocols and drew widespread criticism from experts in epidemiology. M.L.B. said on Wednesday afternoon that it would investigate the incident, but placed the blame squarely on Turner, saying he had refused the orders of league security to remain in isolation. "Turner was placed into isolation for the safety of those around him," M.L.B. said in a statement. "However, following the Dodgers' victory, it is clear that Turner chose to disregard the agreed upon joint protocols and the instructions he was given regarding the safety and protection of others. While a desire to celebrate is understandable, Turner's decision to leave isolation and enter the field was wrong and put everyone he came in contact with at risk. When M.L.B. Security raised the matter of being on the field with Turner, he emphatically refused to comply." The Dodgers had pulled Turner, 35, from the game when they learned of his positive test before the eighth inning, but he came back onto the field during the postgame celebration. He was seen kissing his wife, holding the World Series trophy, and hugging and talking to teammates sometimes with a mask, sometimes without. And he took his place at the center of a team photograph, sitting between Manager Dave Roberts and Andrew Friedman, the Dodgers' president of baseball operations none of whom wore a face covering during the photo shoot. According to Dr. John Swartzberg, an infectious disease expert and professor emeritus at the University of California, Berkeley, who has consulted the Pac 12 Conference on coronavirus guidelines, the fact that the team knew to pull Turner from the game should have been sufficient reason to keep him off the field for celebrations, especially as he could have exposed more people to the virus than he had before. None Everyone Loves Ohtani: The Angels' two way star was a unanimous pick for A.L. M.V.P. and his superfans redefine devotion. Phillie Phavorite: Bryce Harper truly committed to Philadelphia and now he's back on top of baseball, winning the N.L. M.V.P. Cy Young Winners: Milwaukee's Corbin Burnes and Toronto's Robbie Ray had hit rock bottom before they worked their way up to stardom. Baseball Is Stuck in Neutral: The potential of a lockout has a star studded group of free agents waiting for the dust to settle. Free Agency Tracker: Get the latest updates on signings, contract extensions and trades. Turner, who joined the Dodgers in 2014, has been one of their leaders and best players, particularly in the postseason. Friedman admitted the scene on the field made for bad optics, but he said everyone in the Dodgers' so called postseason bubble had already been exposed to Turner and seemed to suggest that sentimentality for a beloved player influenced the situation especially with his contract expiring after the World Series. "For him, just being a free agent, not knowing exactly how the future is going to play out, I don't think there was anyone who was going to stop him," Friedman said. The players' union said it was also gathering facts about the incident but had no further comment. Turner did not speak to reporters after the game, though he wrote on Twitter that he felt "great, no symptoms at all." Teams have been subject to regular testing since the season began in July, a process that was jointly negotiated between the league and the players' union. Several players tested positive early in the season, and more than 40 games were postponed because of virus cases. In an effort to prevent the spread of the virus, the final three rounds of the postseason were held in four contained environments at neutral site stadiums in Houston, San Diego, Los Angeles, and Arlington, Texas. Teams were restricted to hotels that were closed to the public, and they were taken to and from the stadium, forbidden from going anywhere else. Players' wives and children were allowed to join them as long as they had quarantined, and many of the Dodgers' immediate family members were on the field after Tuesday's game. There had not been a positive case among major league players in nearly two months entering Tuesday. Multiple news media reports said that Turner's test from Monday had come back "inconclusive" during the second inning of Tuesday's game. That led the league to expedite processing Turner's test from Tuesday morning, which came back positive. M.L.B. said on Wednesday that the Dodgers' entire traveling party had been tested after Tuesday's game and that both they and the Tampa Bay Rays were tested again in the morning. It said "appropriate authorities" would determine whether the teams could travel or not, but did not specify which ones. The Dodgers flew home Wednesday evening, but it was unclear how many members of the team were on the flight. The Los Angeles County Department of Public Health said that it was working with the Dodgers to prevent additional exposures and that it had "provided direction on the required quarantine of players and staff that are close contacts." Guidelines from the Centers for Disease Control and Prevention state that anyone who has been within six feet of a person who has the coronavirus for at least 15 minutes over a period of 24 hours should isolate for 14 days, regardless of whether they were wearing personal protective equipment, including masks. "Exposure on the field is different from a World Series celebration, too," said Catherine Troisi, an infectious disease epidemiologist at UTHealth School of Public Health in Houston. "When they're in closer proximity, yelling and hugging, they are more likely to transmit the virus." Turner seemed keenly aware of the threat of the virus earlier this season. Just before M.L.B. strengthened the health and safety protocols in early August in the wake of large outbreaks within the Miami Marlins and St. Louis Cardinals, Turner helped lead a charge to tighten his club's own behavior. Turner sent to a reporter from SportsNet LA, the Dodgers' broadcaster, a list of rules on July 31 that players and coaches had stressed among themselves, apart from M.L.B.'s protocols. The Dodgers specific rules included maintaining six feet of distance, ensuring any player not in the game wasn't in the dugout during a contest and stating that "all players will wear face coverings in the dugout."	N24News: A New Dataset for Multimodal News Classification	Sports
When Safa Abdulkadir, a first year medical student at the University of Minnesota, attended a protest in Minneapolis in response to the killing of George Floyd, she had no intention of putting her medical knowledge to use. It was May 26, one day after Mr. Floyd was killed, and although Ms. Abdulkadir was attending the demonstration as a protester, she made a point of wearing her white lab coat, a common symbol of medical professionals and students. "I went more as a sign that there is someone in the medical community who is here supporting the cause," Ms. Abdulkadir said. "I wanted my people to feel as though I was there and supporting them, and feel my presence." Before long, however, she saw a young woman on the ground crying, a small crowd around her. The woman told her that she had been shot in the breast with a rubber bullet. When Ms. Abdulkadir approached the group, they asked if she was a doctor, and she explained that she was a medical student. Someone asked her to look at the young woman's wound, and bystanders formed a barrier around them so that Ms. Abdulkadir could do so. She discovered some bruising but no severe trauma; she then gave the woman a bandage she happened to have in her pocket and helped find her a cold compress. Ms. Abdulkadir is just one of the many people in cities and towns across the country providing medical care during the George Floyd protests. These volunteers often refer to themselves as street medics, and have a history that stretches back to the civil rights movement. The term refers to a loose, informal group of people with varying degrees of medical experience, from physicians to amateurs, who attend protests and demonstrations specifically to provide medical care that participants may need. Coalitions of street medics have formed, and many offer a 20 hour training to introduce participants to basic first aid skills specifically tailored to protests, such as treating people with dehydration or tear gas exposure. Some organizations, like the Do No Harm Coalition, also offer bridge training to introduce medical professionals to the world of street medicine. Ahmed Owda, a fourth year medical student at Columbia University, watched one of the coalition's webinars as he was preparing to attend protests as a street medic in New York. "I'm an African American male, and that was one of the things that inspired me to come into medicine, the disparities that we witness in communities of color," he said. As he saw documented instances of police violence against protesters nationwide, Mr. Owda said that although he was not yet a doctor, he felt it was important to use his position in, and knowledge of, health care to help protesters in ways that he could. He has been attending protests in New York in his scrubs, with bottles of water and a first aid kit, but has not yet had to provide direct care. Duck Bardus, a street medic in Columbus, Ohio, first completed street medic training at the protests at the Standing Rock Reservation in 2016. Since then, Mx. Bardus has worked hundreds of protests but this was the first time they had experienced violence directed at them while clearly marked as a street medic. "This is the first time I have ever, ever seen anything like what we're seeing on the streets in Columbus," they said. "I have never been shot at with projectiles, I have never been maced at a protest, and all of those things have happened over the last week here in Columbus." Mx. Bardus estimated that over the past two weeks they have treated 150 to 200 people, most frequently for chemical irritants, and called for an ambulance several times, although emergency medical technicians were not always able to reach injured people through the crowds, highlighting the important role of street medics. On May 28, Mx. Bardus said that they were with a group of peaceful protesters when police started to "bombard them with mace and pepper spray." "I treated the same guy three times in 15 minutes," Mx. Bardus said. "I've never in my life seen a protester take chemical irritants like that and just pop back up and go right back. They were very, very resilient. They were determined." Darien Belemu, a graduate student at John Jay College of Criminal Justice, said that the possibility that an emergency responder might not be able to reach a protester in time was one of his main motivations for working as a street medic at protests in New York. Mr. Belemu has his EMT B certification, and took a bridge street medic training course, designed for people who had medical experience, from a coalition in New York. "I see a lot of 20 year old, 19 year old kids that are acting, I think, really heroically and standing up to the police and making sure they know they're not OK with police brutality," Mr. Belemu said. "It scares me to think that somebody is not going to get treatment, especially if they have a head wound and it's going to affect their ability to live a normal, healthy life." Mr. Belemu said he treated a protester on May 30 whom police had pepper sprayed directly in the face. When the protester turned to run away, Mr. Belemu said, an officer hit the protester at the base of the skull with a baton. By the time Mr. Belemu reached him, the protester was bleeding profusely. "That's where your brain stem is, and any swelling there could threaten a person's ability to breathe, or it could stop their heart," Mr. Belemu said. "That was a very scary situation." Mr. Belemu and a nearby medical worker cared for the protester and urged him to go to the hospital immediately if he vomited or developed a throbbing headache. For many street medics, the coronavirus has only made their work feel more urgent. Police officers have been using tear gas on protesters, which often causes people to cough, potentially adding to the spread of the virus. Some health officials have voiced their concerns, and most street medics have been carrying masks with them to hand out to protesters, as well as trying to change gloves in between treating individuals. "It makes me really concerned that national guardsmen and police are using things like tear gas and pepper spray in light of the fact that we're in a pandemic, and that those exposures could increase the risk of getting Covid 19," said Dominique Earland, a first year medical and Ph.D. student at the University of Minnesota, who has been working as a street medic in Minneapolis. "It's especially concerning to me, as a black woman, to know that the black community was disproportionately impacted by Covid before, and then they didn't really have any equitable responses." Mr. Owda shares Ms. Earland's concerns. "Obviously Covid is an incredible disaster," he said. "But in so many ways in my day to day life police violence is a bigger threat to me than Covid." There have been documented instances of the police destroying street medic supplies, and Ms. Abdulkadir and Ms. Earland said that on May 30, they had to flee a triage tent where they were helping protesters, because police officers started firing rubber bullets near them. "I cannot confirm that," said John Elder, a spokesman for the Minneapolis Police Department. "I have no knowledge of it."	N24News: A New Dataset for Multimodal News Classification	Health
Even in the depths of summer, when New York theaters close up shop and dance companies go on break or on tour, the ballet teacher Zvi Gotheiner keeps going to work, though he may not call it that. And dancers keep flocking to work with him. "Don't forget to breathe," he said on a recent Friday morning, addressing about 40 students in a studio at City Center. And a few minutes later: "Again, you may notice you're not breathing." Shoulders relaxed and chests softened. Mr. Gotheiner doesn't speak often, but when he does, people listen. "What I don't say is more important than what I do say," he said later over coffee in Midtown. "The less I interfere, the better." Mr. Gotheiner has been arriving at that conclusion over three decades of teaching ballet in New York. Quiet and unobtrusive, often described by his students as Zenlike, he has developed a large and unusually heterogeneous following. He doesn't advertise his class, except through the website for his company, ZviDance. (He is also a distinguished choreographer.) But stop by on just about any morning he teaches six days a week, year round, including most holidays (though in August he's teaching in Europe) and you'll find a kind of microcosm of the New York dance world: American Ballet Theater principals doing plies next to members of the Martha Graham Dance Company; Broadway and downtown performers bounding side by side across the floor; retired dancers and novices stretching together at the barre. Though a dancer might forget to breathe, breathing is a decent analogy for daily ballet class, which for many is an indispensable ritual: a warm up for rehearsal or performance or just a means of staying in shape. A typical class builds from exercises at the barre to slow sequences without the barre's support (adagio) to faster jumping phrases (allegro). Mr. Gotheiner's class is slower than some but still vigorous; he repeats most barre exercises twice on the way to long, buoyant, space gulping combinations. And everyone is welcome. "You can do it as a modern dancer, you can do it as an 80 year old, you can do it as a 15 year old," Wendy Whelan, the former New York City Ballet principal, said of Mr. Gotheiner's class. She's been a regular since last year, when she started attending while recovering from hip surgery. "It's kind of unique in the ballet world, because so many companies and schools are like, 'This is the only way to do it.' I think Zvi's approach is much more open ended, for people to apply it how they want to." If Mr. Gotheiner has a method, it might be the absence of one. While many modes of ballet training flood dancers with (unattainable) images of the ideal physique and rigid rules about proper technique, he champions the body's natural intelligence, its ability to find its own way. He'll never ask a dancer, for instance, to "elongate" or think about growing taller. "I assume that everything the dancers do is correct," he added. "It's correct now, and it could be correct differently in the next second." Some educators would bristle at that philosophy, and Mr. Gotheiner admits that his teaching has, at times, been controversial. He recalled a skirmish with one colleague over how to teach releve (rising onto the toes or balls of the feet), which led him to present his ideas in a new way as prompts, not truths: "If it's useful, please use it; if not, do other things." The permissiveness of his class is one of its draws, especially for dancers healing from injury. "You don't feel like you're going uphill in his class," said Sara Mearns, a principal at New York City Ballet who attended while recovering from back injuries. "Everything feels good on your body." For the dancer Lindsay Clark, Mr. Gotheiner counteracted the severe, Balanchine based training she grew up with. "It's really the opposite of most ballet classes I've been in," she said, "where you step in and there's this code of conduct that dictates how you should be moving. Zvi actively removes the 'should.' You're not being asked to fix anything. You're not arriving with a problematic body." Mr. Gotheiner grew up on a kibbutz in northern Israel not as a dancer but as a violinist. (It's no coincidence that he gives lusciously musical combinations and recruits excellent accompanists.) His budding music career veered off course in high school when he saw the Batsheva Dance Company, his first exposure to concert dance. "I was possessed," he said. While serving in the army near Tel Aviv, he took dance classes at night. As soon as he completed his service, he joined Batsheva. After moving to New York in 1978, he began studying with the revered ballet teacher Maggie Black, whom he credits with teaching him how to teach. Her attention to the body's basic physics and alignment appealed to him, as did her emphasis on efficiency and freedom. "The realization that sometimes you put power in your body that is excessive and actually blocks you this was very new to me," he said. Dancers often comment on Mr. Gotheiner's discreet, almost ghostly demeanor. "He's not the kind of teacher who makes his presence the most important part of the class," the freelance dancer Stuart Singer said. "There's not a lot of ego." But Mr. Gotheiner says that hasn't always been the case. "I wanted people to recognize me as a great man," he said, laughing, of his early years as a teacher. "I found that it exhausted me. Then I realized there was another way that made teaching more inspired. I kind of took a step back to create a form and allow dancers to bring life into the form, in the way they want to. "You'll notice that people are late for class," he continued. "It's up to them. I guess they needed to be late that day." If dancers are dancing, he's content, and so are they. Michael Trusnovec of the Paul Taylor Dance Company has taken class with Mr. Gotheiner for more than a decade. "Sometimes when you go to class, you feel like a student," Mr. Trusnovec said. "But I never leave his class without feeling like a dancer, feeling happy to be a dancer."	N24News: A New Dataset for Multimodal News Classification	Dance
THE MASTER (2012) Stream on Netflix; rent on Amazon, iTunes and Vudu. Joaquin Phoenix is up for the best actor Oscar this year for his performance in "Joker." If he wins, it will be the first time that he's landed the award. But he's been nominated twice before: Once for the Johnny Cash biopic "Walk the Line," and more recently for "The Master," a hallucinatory drama from Paul Thomas Anderson. Set in 1950, the film stars Phoenix as Freddie Quell, a World War II veteran and alcoholic who falls under the spell of a California cult leader played by Philip Seymour Hoffman. The cast also includes Amy Adams and Laura Dern, who is herself up for a best supporting actress Oscar this year. In his review for The New York Times, A.O. Scott called the film "a glorious and haunting symphony of color, emotion and sound." This is a movie, he wrote, "that defies understanding even as it compels reverent, astonished belief." JAYDE ADAMS: SERIOUS BLACK JUMPER Stream on Amazon. "I don't know if you've ever been to stand up in this day and age," the British comedian Jayde Adams says in this new special, "but basically, stand up isn't stand up unless you are trying to inflict change upon your audience." Other topics she addresses here include emoji, feminism and black turtlenecks.	N24News: A New Dataset for Multimodal News Classification	Television
SINCE 1962, Anita Friday's home on 205th Place has provided her a vantage point for the waves of change that have come in succession to Hollis, her family's corner of Queens. At the start the population was predominantly white, said Ms. Friday, 80, who is black, and who recalled that over her first decade as a resident, most of her white neighbors moved away to Long Island. Even as the racial makeup shifted, though, Hollis kept hold of its essence as an orderly and largely working class community one where people ride a bus to the subway to get to work, and where houses and lots are small, and most lawns neatly trimmed. Ms. Friday is a former president of her block association and a retired federal government employee. Her husband, Reedy, who died in 2002, worked for TWA at Kennedy Airport. Neighbors, she said, have included postal and subway workers. In recent years, they have come from farther flung places: Haiti, Panama, Jamaica, the Dominican Republic. A few blocks away on 205th Street, Ava Winston, who has lived in Queens all her life, said she had moved to Hollis about four years ago so her children could be within walking distance of school. "The blocks are pretty quiet," she said. "Everybody around here works." Ms. Winston's street is also known as Run DMC JMJ Way, after the rap group, which made the neighborhood famous with songs like "Christmas in Hollis" and "Hollis Crew." Joseph Simmons, known in the group as Run, grew up on the street, as did his brother Russell Simmons, the music impresario, who has recalled Hollis in the 1970s and '80s as a middle class neighborhood increasingly plagued by drugs. Run DMC's D.J., Jason Mizell also known as Jam Master Jay lived in the area until his murder in 2002 in nearby Jamaica. One side of the Hollis Superette, on the corner of 205th Street and Hollis Avenue, bears a mural commemorating his life. Yvonne Reddick, the district manager of Community Board 12, which represents the area, describes Hollis today as a neighborhood with many longtime residents, where absentee landlords are relatively rare. "It's a stable community," she said. "It's a community where the homeowner takes pride." In Ms. Friday's opinion, however, some pockets of the neighborhood have changed for the worse. A passageway trestle under the Long Island Rail Road tracks that many pedestrians use as a conduit to Jamaica Avenue is covered in pigeon droppings and has needed cleaning for well over a decade, she said. And Hollis Avenue, the main commercial street, feels desolate at times. "We don't have the things that we had when we moved here," Ms. Friday said, recalling the days when the avenue had a bakery, a movie theater and a deli, among other thriving businesses. Now, many retail spaces are empty, and many businesses including the movie theater have been replaced by storefront churches. "We have to go out of our neighborhood to get something like some good Italian pastries or whatever," Ms. Friday said. Thinking of how busy the street used to be, she added, "It makes you sad." But most residential blocks remain attractive, and her house held much of its value even in the bad real estate market. Houses in Hollis do not stay empty long, she said. New people are always there, waiting to buy. Covering a little more than one and a half square miles, Hollis has about 34,000 residents, according to 2010 census data. The neighborhood straddles the Long Island Rail Road tracks; the blocks to the north include Hollis Park Gardens, a subsection bounded by Hillside Avenue, Jamaica Avenue, and 192nd and 195th Streets where houses date to the 1920s and lots are 100 feet deep and 60 to 100 feet wide. According to Asad Bajwa, an associate broker at Prudential Douglas Elliman, Hollis lots tend to run 20, 25 or 30 feet wide. Another subsection, this one nameless, lies west of Farmers Boulevard, marked by tall trees that shade the houses on many blocks. Most properties, whatever their exact location, are detached and designed for single families though there are a few apartment buildings and some attached houses. In addition to Hollis Avenue, Farmers Boulevard and Jamaica Avenue have modest commercial districts. Mr. Bajwa said Hollis, like many of its neighbors, had suffered in recent years from the economic downturn. Foreclosures and short sales have become more common, he said, and sales data indicate that inventory is still increasing while prices decrease. Still, he added, "it avoided the worst, because if you go right south of there, to South Jamaica, other markets got hit much worse." Eddie Saeed, an agent at Elliman, says single family houses generally sell in the 400,000 range. Two family houses, which are rare, sell at a premium, he said. For example, a typical two family house, comparable in size to a 400,000 one family, might sell for 600,000. Mr. Bajwa says sale prices are down 25 to 30 percent in recent years. The few attached or semiattached houses, which tend to be on the small side, now sell in the 270,000 range. There are also some pricing anomalies, Mr. Saeed said. He is marketing a seven bedroom one family house on a 60 by 100 foot lot. The price is 699,000, "which is on the high side," he said, "and the sellers know it." Their optimism has not yet been rewarded, though he noted that someone had offered 600,000 in cash. The sellers turned it down. For owners more eager to sell, Mr. Saeed said: "It's a popular neighborhood. If you list a house priced right, you can sell it within 60 to 90 days." Rentals are rare. The few one bedroom apartments on Craigslist or Streeteasy cost 1,000 to 1,250 a month. There are no large parks in the neighborhood, though the 358 acre Cunningham Park, one of the largest in Queens, is not far to the north along Francis Lewis Boulevard. It has sports fields, wooded trails and access to part of the Vanderbilt Motor Parkway, a paved bicycle path that began life as a major thoroughfare but was shut down in 1938. The trip to Penn Station from Hollis's Long Island Rail Road station, at 193rd Street and Woodhull Avenue, is quicker: about half an hour. But it costs more: 8.75 for a regular ride during peak hours, or 193 for a monthly pass. Many residents own cars, but the commute to Manhattan can be challenging. It involves the Van Wyck and the Long Island Expressways; there can be long delays during rush hours, and potentially any other time. The name Hollis comes via Frederick W. Dunton, the first developer of the area, which was once known as East Jamaica. He was a native of Hollis, N.H. The Long Island Rail Road station was built in 1885 but burned in an arson in 1967. It was replaced by a small shelter in the 1990s.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Finance ministers from leading global economies on Saturday avoided a public rift with Japan over policies driving down the value of its currency, while keeping up pressure on Germany to help lift growth in Europe. At the end of two days of talks among the Group of 7 finance ministers outside London, other nations appeared to accept at least for now Japan's explanation that its new monetary efforts were meant to stimulate its domestic economy, rather than to drive down the yen on international currency markets. The chancellor of the Exchequer in Britain, George Osborne, said on Saturday that ministers from the G 7, made up of the United States, Germany, Japan, Britain, Italy, France and Canada, had reaffirmed earlier commitments on exchange rates and agreed to make sure policies are "oriented towards achieving domestic objectives." Other officials described the talks as in depth and positive. Last week, the dollar breached the 100 yen mark for the first time in over four years. The two day meeting, in Buckinghamshire, also focused on efforts to stem tax avoidance and on banking reform, and Mr. Osborne said it was "important to complete swiftly our work to ensure that no banks are too big to fail." The officials discussed efforts to create a European banking union, which have slowed in recent months.	N24News: A New Dataset for Multimodal News Classification	Global Business
The long running reality show "Keeping Up With the Kardashians," which blended celebrity news, family turmoil and brand sponsorships, will end next year after its 20th season, Kim Kardashian announced Tuesday evening on Instagram, where she has 188 million followers. In the post, Ms. Kardashian did not state a reason for ending the series, which debuted in 2007. "It is with heavy hearts that we've made the difficult decision as a family to say goodbye" to the show, she wrote. "This show made us who we are and I will be forever in debt to everyone who played a role in shaping our careers and changing our lives forever." The show has featured Ms. Kardashian and her sisters, Kourtney, Khloe, Kendall and Kylie; their brother, Rob; and their mother, Kris Jenner. A spokesperson for E!, the network that has broadcast the series, said in a statement, "We thank the entire extended family and our production partners, Bunim Murray and Ryan Seacrest Productions, for embarking on this global phenomenon together." Over the years the show has offered viewers a candid look into the family's dynamics and relationship woes, spawning several spinoffs on E! Notable moments and controversies highlighted on and offscreen throughout the show's run included Kim Kardashian filing for divorce after her almost two month marriage to Kris Humphries, several accusations of family members' taking part in cultural appropriation and a string of cheating scandals surrounding the family's significant others.	N24News: A New Dataset for Multimodal News Classification	Television
HONG KONG Even after this city returned to Chinese control in 1997, it has traditionally held the largest annual vigil for the Tiananmen protesters killed in the government's crackdown. It is home to the only museum dedicated to the events of 1989. But as Beijing's influence has increased, one of the greatest reservoirs of those memories Hong Kong's publishing industry is imperiled. On the 30th anniversary of the Tiananmen crackdown, people who produce books documenting it and other key moments in Chinese history fear they will soon be driven out of business. "Independent publishing has been reduced to a nonprofit activity for preserving some important historical documents, memoirs and recollections," said Bao Pu, the founder of New Century Press, one of the few surviving Hong Kong publishers focusing on modern China. "Otherwise it would be gone." Photos of the Tiananmen protests from a student witness. For years, Hong Kong publishers found a ready audience of mainland Chinese readers who wanted books they could not find at home and could sneak back into mainland China. But the industry has declined thanks to tighter border checks, the consolidation of Hong Kong distributors and retail outlets under mainland control, and the disappearance and imprisonment of independent booksellers. "Authors are afraid to publish. Publishers are afraid to continue doing business. Distributors are also afraid," said Yaqiu Wang, a China researcher for Human Rights Watch. "Bookstores are diminishing and people there are afraid, too. So are the buyers, of course. It's an attack on the publishing industry from all aspects." Want to keep up with the latest and greatest in books? This is a good place to start. None Learn what you should be reading this fall: Our collection of reviews on books coming out this season includes biographies, novels, memoirs and more. See what's new in October: Among this month's new titles are novels by Jonathan Franzen, a history of Black cinema and a biography by Katie Couric. Nominate a book: The New York Times Book Review has just turned 125. That got us wondering: What is the best book that was published during that time? Listen to our podcast: Featuring conversations with leading figures in the literary world, from Colson Whitehead to Leila Slimani, the Book Review Podcast helps you delve deeper into your favorite books. New Century Press last week released "The Last Secret: The Final Documents From the June Fourth Crackdown," a collection of statements and speeches on the Communist Party's decision making process in 1989, as well as an analysis of top leader Deng Xiaoping by the veteran journalist Dai Qing, and a memoir by the academic and Tiananmen hunger striker Zhou Duo. The three new books are particularly important to Mr. Bao. Now 52, he was a college senior in Beijing in 1989, and his father was the most senior Communist Party official to go to prison for siding with the calls for political reform. "I met a lot of people at Tiananmen," Mr. Bao said. "The event really changed our lives. It certainly changed mine." Mr. Bao said that publishing his latest three books New Century's sole output this year required extraordinary efforts. And he wonders if he will be able to do it again. The company could previously produce about one book a month, Mr. Bao said, but it has been hampered by various obstacles, including the loss of its longtime printer in Hong Kong, Asia One, which cut ties in 2016. "There was no direct explanation, just 'We don't want to work with you anymore,'" said Mr. Bao. Peter Lau, the managing director of Asia One, denied any political pressure but said he did not recall why his company stopped working with New Century. New Century has since worked with printers outside Hong Kong. China's efforts to target outside publications stretch back decades, including a drive against materials from Hong Kong, Taiwan and elsewhere immediately after the Tiananmen massacre in 1989. The current effort, called the Southern Hill Project, began in 2010. Border checks were heightened to prevent travelers from bringing in books. Those that were caught had their books taken and were warned. The People's Recreation Community, a shop with a street sign featuring an image of Mao in a People's Liberation Army cap, was a haven for readers from mainland China seeking such titles. It closed last year after a failed attempt to rebrand it as a cafe. The proprietor, Paul Tang, denied any outside pressure but blamed a lack of customers and new offerings from publishers. And in the past few years, several Hong Kong media workers have been arrested or detained by Chinese officials, including the publisher Yiu Mantin, who was arrested in 2013, and the magazine journalists Guo Zhongxiao and Wang Jianmin in 2014. In 2015, several employees of Mighty Current Media, which published gossipy books on Chinese politics, and its associated retail outlet, Causeway Bay Books, disappeared. The Chinese authorities said the men had gone to the mainland voluntarily to help with an investigation. But another detained bookseller, Lam Wing kee, revealed after being allowed to return to Hong Kong that he had been held in solitary confinement and forced to confess to illegal book sales. In April, Mr. Lam fled Hong Kong for Taiwan out of fear he could be sent to mainland China under a new extradition law being considered by the Hong Kong government. "I am very scared," he said by telephone from Taiwan, where he has been given permission to remain until July.	N24News: A New Dataset for Multimodal News Classification	Books
Hostel Business Wants to Make a Push Back Into New York Pouring rain one day last week didn't stop a dozen or so European and American hostel owners and executives from taking a four hour bus tour through the industrial neighborhoods of Long Island City in Queens. Intent on reviving and expanding New York's atrophied hostel business which they say could enhance the city's appeal to youthful tourists the visitors were sizing up thousands of square feet of commercial space and warehouses. The properties included an auto body repair shop; a hardware supplier; and a clothing restoration business that over the years has worked on Winston Churchill's military uniform, Princess Diana's gowns and Melania Trump's wedding dress. "Old buildings all have great stories," said a visitor from Dublin, Anne Dolan, a founder and director of Clink Hostels, whose keystone business is housed in a former London magistrate's court. "Hostel owners are like backpackers," Ms. Dolan said. "We dare to go where others haven't gone." But the issue in New York City, these hostel experts say, is that too few backpacking and other young and budget conscious travelers dare to pass through town, because of a dearth of hostels. As a result, they said, the city is not only losing tourist business and tax revenue, but also the chance to advertise itself to young people from around the country and the world who might someday return to work and live in New York. "I think hostels make great cities accessible to young people," Ms. Dolan said. "New York is missing out." Hostel proponents blame a six year old New York State law, the Illegal Hotels Bill. The law was aimed at nonconforming rentals, overcrowded single room occupancy residences and other forms of lodging deemed substandard by the legislation's sponsors. Although Airbnb was not as big a presence in 2010 as it is now, the law has been wielded to crack down on various types of listings on the company's service. Last week Airbnb settled a lawsuit against New York City in which the company had opposed the city's right to impose fines on Airbnb hosts who listed properties that did not conform to the 2010 law. Nearly five dozen New York City hostels were put out of business by the 2010 law, and new ones have been prevented from opening, Mr. Mooney said. Most of the remaining ones advertise as hostels but are now formally classified as hotels. Mr. Mooney and others on the tour say they hope that a new piece of legislation, awaiting a hearing by the New York City Council, could revive the city's hostel business. Right now, the only bona fide hostel in the city is run by a nonprofit group, Hostelling International USA, on Amsterdam Avenue on the Upper West Side, he said. It is able to operate its New York City property because of its building classification and special use permit. Aaron Chaffee, Hostelling International's vice president for hostel development, said he would welcome additional hostels in the city but supported the need for regulation. The final stop on the bus tour was at the Paper Factory, an elegant, edgy hotel decorated with repurposed objects from its former life as a pulp plant. "Wow, I love it," said Eric van Dijk, managing director of Meininger Hotels, a company based in Berlin that owns 16 hostels in Europe and has 13 more in the pipeline there. He said the game room and other communal spaces gave the property the look and vibe of a hostel. "I like the business model of hostels," Mr. Sela said. The revenue per square foot from dorm style rooms is profitable, he said, but more important are a laid back ambience and a focus on community. "It's something unique in hospitality," he said. "I'd change it into a hostel in a heartbeat if the law changes." Before the 2010 legislation, some hostels were substandard, Mr. Mooney conceded, but not all. He said that hostels around the world today were typically safe, clean and modern, with kitchens and laundry facilities, on site cafes and even 24 hour reception desks. Many reflect high end design similar to boutique hotels. Hostelworld has hired Jerry Kremer, president of Empire Government Strategies, a lobbying firm, to help change the law affecting hostels. "Young people coming to the city have very few choices," Mr. Kremer said. "The hostel industry is frustrated that the city hasn't embraced a form of tourism that not only brings in money but also encourages young people to come to the city and stay. Any other major city in the country would be chasing after us." New York currently yields about 234 million a year in revenue from hostels and related tourism about a third of the amount a city its size should be generating, according to a recent Hostelworld analysis. "Hostel owners will go in areas that are underserved and turn them into something special and change a neighborhood," Mr. Kremer said. "They are ready, willing and able to write checks." The group met with City Council members to discuss legislation that would authorize the creation of hostels and provide specific oversight for their licensing, regulation and operation. The hostel group hopes to have a hearing before the Committee on Housing and Buildings by early next year. "It was a good and productive meeting," said the bill's primary sponsor, Councilwoman Margaret S. Chin, a Democrat whose district is primarily in Lower Manhattan. Providing good, safe and affordable accommodations for young travelers is "critical," she said. Generator Hostels, based in London, has a dozen properties and several in development in Europe, and a property under construction in Miami scheduled to open next year. Both Generator and Meininger, the German company, have full time staff in the United States actively looking for sites. And yet, for all the activity, hostel development in the United States has been slow, compared to other regions of the world, said Bjorn Hanson, a professor of hospitality and tourism at New York University's Tisch Center. That, he said, is because of strict regulations, the rise of less expensive limited service hotels in urban areas and the popularity of hotel chain loyalty points. And not everyone sees the appeal of bunkhouse camaraderie. Still, there is a trend even in the mainstream lodging industry for guests to spend less time in their hotel rooms, in favor of public spaces to work and meet fellow travelers. "Hostels do that extremely well by offering more of a social experience than most hotels," Dr. Hanson said. All of which is why the visitors on the bus in Long Island City last week remained hopeful. "There's power in numbers," Ms. Dolan of Clink Hostels said. "It seems like the right moment."	N24News: A New Dataset for Multimodal News Classification	Real Estate
Matthew Broderick and Kenneth Lonergan Look to the Universe, Again LONDON Long before their professional stars aligned, Kenneth Lonergan and Matthew Broderick took an astronomy course at the Hayden Planetarium on the Upper West Side of Manhattan. Nearly 40 years later, the best friends who'd met at 15 in a school up the street are still talking about that class, taught by a man Mr. Lonergan described as "very quiet, very sincere, very gentle." "He kind of stuck in my mind," Mr. Lonergan, who went on to a celebrated career as a playwright and screenwriter, said. "I thought he'd be a good character in a play, and the astronomy classroom at the planetarium would be a great setting." Mr. Broderick added: "We imagined a whole life for this teacher." In 2009, Mr. Lonergan unveiled "The Starry Messenger," a sweetly comic drama about a middle aged astronomy instructor, mired in the minutiae of marriage and career, who looks to the heavens for guidance. And he cast Mr. Broderick as Mark Williams, its lead. It was to be the playwright's highly anticipated return to the stage, after a move into moviemaking that peaked with the Oscar nominated "You Can Count on Me" but ran into legal drama over the fate of its follow up, "Margaret." News reports at the time warned that the New Group production was doomed that Mr. Lonergan was overwhelmed by his first efforts at directing his own unwieldy play, that Mr. Broderick couldn't remember his lines. But others came to see redemption when the play opened. "If this is what a disaster looks like, bring on the apocalypse," Ben Brantley wrote in The New York Times, contending that Mr. Broderick had delivered "his finest, most affecting performance in years." In separate interviews Mr. Broderick in London before a rehearsal in early May, and Mr. Lonergan in New York on the day of the play's first preview two weeks later the men discussed their friendship, their collaboration and the play's bumpy beginnings. Here are edited excerpts from the conversations. Matthew, this is Kenny's third play on the West End but it's your debut. Does it feel like a milestone? BRODERICK I mean, I'm superstitious and I don't want to, you know ... BRODERICK Knock wood, exactly. Looks around There's no wood. Walks to a wooden table and knocks When you're a kid, there's something very romantic about London. I'm embarrassed to say it, but it is sort of a dream to come here and do a play. BRODERICK Well, it sounds hokey. And it also just sets you up for, "Be careful for what you dream for, you expletive ." And wham, I'll be smashed down to whack a mole. Laughs Don't print any of that. Kenny, did you have Matthew in mind as Mark from the beginning? LONERGAN No. I started writing notes for it, or making attempts at scenes in it, when I was pretty early in my mid 20s. And the character could be anywhere from his early 40s to his early 50s no older and no younger so there's no question of writing it for Matthew. But I believe that I thought at the time, "It's too bad he's not the right age because it's a really good part for him." He happens to understand what's so beautiful about astronomy itself. LONERGAN All you've got to do is go outside at night when you're in the country and look up. LONERGAN When I first wrote the play, I was a young man, not a 40 year old man, and I really didn't know what it was like to be in a relationship for 10 years, or to have the same job for 10 years. Matthew, you've also appeared in Kenny's films, including "You Can Count on Me" and "Manchester by the Sea." Who takes the lead when you collaborate? BRODERICK Gosh, that's a good question. I always let Kenny be in charge because I love him and I never don't agree with him. And he wrote "The Starry Messenger" , so my first job is to get him what he wants. LONERGAN Laughs I certainly have the final say over what he says in the play, and he has the final say over how he says it. But it's really much more collaborative than that. BRODERICK Not to say we haven't had a few screaming fights over nothing that don't last. But no, we've never had a split in an endeavor, one of these plays or movies, never. What was it like putting on the original production amid all that negativity? LONERGAN There was a little tumult because I had never directed a play before. I was inexperienced and so our tech was not smooth. And we lost an actor late in the process. But I only found out that the play was supposed to be in trouble after I had read somewhere that it was supposedly in trouble.	N24News: A New Dataset for Multimodal News Classification	Theater
"To be honest, this quarantine life is very similar to life of an overseas women's basketball player in a place like Russia," the Seattle Storm's Breanna Stewart said. "You get stuck inside a lot. You text, watch a lot of Netflix." Along with the rest of the world, athletes have had their careers upended by the coronavirus pandemic. They are giving The New York Times an intimate look at their journeys in periodic installments through the rest of the year. Over the last decade Breanna Stewart has dominated her sport as few ever have. She won four national titles in four seasons at the University of Connecticut and won Most Outstanding Player in the Final Four each year earned Olympic gold and was the W.N.B.A.'s Rookie of the Year in 2016. She led the Seattle Storm to a championship in 2018, winning the Most Valuable Player Award along the way. That dominance has not been a golden parachute, though. As a pro, the slender, 6 foot 4 Stewart has followed other elite female basketball players who play nearly year round, in foreign leagues in China and Europe to maximize their earnings. While playing for a Russian team in the 2019 EuroLeague championship game, Stewart ruptured her right Achilles' tendon. After months of difficult post surgery rehab and doubt, she was finally feeling like herself and readying for her first full season back in the W.N.B.A., which had been scheduled to start on May 15. Then the world changed. This interview has been condensed and lightly edited for clarity. Coming back after my surgery wasn't easy. There were times I wondered if it was going to work out. In January, I started playing again, and I couldn't wait for this year's W.N.B.A. season. It felt like the league was about to take a real jump. But first I had to play in Russia again. And that's where I was when all of a sudden, I began hearing about the coronavirus. The thing is, in Russia, I felt like I was on the outside of a fishbowl looking in, like for whatever reason we didn't know as much about what was going on in the rest of the world. We were just late to the party over there. When did it really hit me that this was serious? A teammate from Seattle, Sami Whitcomb, her French team was supposed to come play us in Russia. She texted me and said, "Hey, we're not coming because we're worried if we go to Russia, we'll get stuck and won't be able to get back." That made me really feel how serious this was outside Russia. And then it's like practically the next day when the N.B.A. is canceled. Just like that, we're all scrambling to get home. It was like diving straight into the fishbowl. The trip home to the United States, I'm just thinking, "I gotta get back, gotta get back, right away." It doesn't matter the flight, I was going to take it. I fly from the city where my team is to Moscow, then to Paris, to Boston, and finally Seattle. From airport to airport I could see the level of worry growing with each stop. I got what I think was one of the last flights to the U.S. from Paris. People were worried, scared, you could see it in their faces. I didn't have a mask on. I had a scarf, I was doing whatever I could to cover my face, and I had gloves at the beginning but then my hands got so hot that I ended up taking them off. Nobody knew what to think. You touch your phone and you touch your face, who knows what can happen? When someone would cough, you're like, "Whoa, do you have it?" Things got way more serious when I got home. One of my best friends is Corey Edwards. Corey played in college and now he coaches high school in Florida. A few days after I got home to Seattle, his dad died from the coronavirus. His dad was Dave Edwards, who a lot of people in basketball know about, especially in New York. I knew him well. Not a lot of people call me by the nickname "Bree," basically only people I'm really close to, but he called me that. He was in his 40s and lived in New York, and when he was sick nobody could be with him in the hospital. I wanted to be there but couldn't. New York was a madhouse. For a while it seemed like he was getting better. His fever was going down. And then, well, it spiraled out of control. It was so painful when Corey's father passed. I think it's hitting me even more now than when it first happened. Right now, I'm just trying to be there for one of my best friends. When this happens to someone you care about, it puts everything into a whole different kind of perspective. I might not be able to play basketball for a while, and when it's all said and done, with my injury, it might be two years before I play another season. But Corey, he can't see his father again. Don't get me wrong, I miss basketball like crazy. It's not only what I do for a profession, it's what I love, even the simple feeling of a ball in my hands. If I could, I'd go and practice free throws all by myself, but there's nowhere to do that and I'm taking this really seriously, so I stay inside as much as possible. I get out for walks sometimes. The neighborhood where I live is usually super busy, but now it feels abandoned and eerie. I do drive to rehab my leg a couple of times a week. Got to keep it strong. The calf on my injured leg atrophied like crazy and is still about a half inch smaller than my other one. I live in a two bedroom apartment in downtown Seattle. My mom is my roommate right now and I have Stew, my Aussiedoodle, who wakes me up early every morning, wanting to go for a walk. To be honest, this quarantine life is very similar to life of an overseas women's basketball player in a place like Russia. You get stuck inside a lot. You text, watch a lot of Netflix. A lot of screen time. I've watched the video of the injury. I watched our 2018 W.N.B.A. semifinal series, Seattle against Phoenix, a bunch of times. I've played in a lot of great games, but Game 5 of that series was probably the best game I've ever played in. Some of the N.B.A. guys, they're hooping at the gym in their houses. Me? I can't hoop at all. I can't exactly put up a hoop in my condo. I don't think that's going to go over that well. But I'll find myself randomly grabbing a ball, spinning it, just to feel that feeling. Sometimes I'll even end up dribbling in the condo because that's all I have right now. The people below me, hopefully they don't mind.	N24News: A New Dataset for Multimodal News Classification	Sports
Greta Gerwig's coming of age story is streaming. And Rachel Weisz plays a mysterious widow in an adaptation of a Daphne du Maurier novel. LADY BIRD (2017) on iTunes and Amazon. "What is 'Boyhood,' but for a girl? What is 'The 400 Blows,' but for a girl? What is personhood for young women?" That's Greta Gerwig speaking about her film "Lady Bird" at the New York Film Festival. Set in Sacramento in the early aughts, the movie stars Saoirse Ronan as the titular character, whose nickname is self assigned. In the waning days of her Catholic high school career, Lady Bird navigates college applications, the limitations of her family's economic situation and the tension between platonic relationships and romantic ones. "I wish I could convey to you just how thrilling this movie is," A. O. Scott wrote in his review for The New York Times. "I'm tempted to catalog the six different ways the ending can make you cry."	N24News: A New Dataset for Multimodal News Classification	Television
In a typical week, Jerome Gage, a Lyft driver in Los Angeles, makes 900 to 1,000 before expenses during roughly 50 hours on the road. This week, with most of the state holed up and demand for rides evaporating, he expects to work even longer to make far less than half that amount. Given the option, Mr. Gage said, he would stop wasting his time and risking his health and file for unemployment benefits. But unlike workers employed by restaurants, hotels and retail establishments, gig workers like Uber and Lyft drivers typically have not been able to collect unemployment benefits or take paid sick leave. In a call with analysts last week, the Uber chief executive, Dara Khosrowshahi, alluded to the problem, suggesting that his hands were tied because Uber drivers are independent contractors. "This situation certainly demonstrates the downside of attaching basic protections to W 2 employment," he said. And in a letter to President Trump on Monday, Mr. Khosrowshahi asked that any economic stimulus or coronavirus related legislation provide "protections and benefits for independent workers," along with "the opportunity to legally provide them with a real safety net going forward." A Lyft spokeswoman said her company was also pushing to extend any forthcoming stimulus to drivers, and said, "The vast majority of drivers on the Lyft platform use it to earn supplemental income," rather than as a primary job. But for many drivers, the problem is not a legal void. It is that the companies they work for have not complied with existing laws or agency rulings. The highest profile case is in California, which passed a law last year requiring companies to classify workers as employees if the companies control how they do the work, or if they hire workers to perform a job central to the business. The bill's author has said she intended the law to apply to Uber and Lyft drivers, which would make them eligible for unemployment benefits and state mandated sick leave. Legal experts have agreed with this interpretation. But Uber launched a legal challenge to the law late last year, and the two ride hailing companies are investing tens of millions of dollars in a November ballot initiative that would effectively exempt them from it. Loree Levy, a spokeswoman for the California Employment Development Department, which oversees unemployment benefits, said by email that applicants who were not eligible for benefits because the state lacked their wage information could follow up, and that the department would investigate, awarding benefits if it deems them misclassified. She said the department investigated many such cases even without a follow up, but declined to say whether it was working to require Uber and Lyft to report drivers' wages. Employers are obligated to contribute to a state unemployment insurance fund, but the companies' failure to do so does not disqualify workers from receiving benefits. The state can pursue unmet payroll tax obligations later. Uber and Lyft declined to comment on the situation in California, but both companies have announced that they would provide pay to drivers nationwide who were diagnosed with Covid 19 or were asked by a public health authority to isolate themselves. The stalemate has set up a showdown with increasingly desperate drivers. On March 11, Shannon Liss Riordan, a Boston based plaintiff's lawyer who has won rulings against Uber and Lyft over the employment status of drivers, filed complaints seeking to force the companies to follow the state's new law immediately, giving drivers access to unemployment benefits and sick days. Ford and Rivian no longer plan to work jointly on electric vehicles. Elizabeth Holmes took the stand in her trial. Follow along with our reporters. Ken Griffin, head of Citadel, bid highest for a copy of the Constitution. "It is very unfortunate that such a crisis may be necessary to prompt these companies into actually complying with the law and extending employment protections to their drivers," Ms. Liss Riordan said in an email. Her complaints are pending in federal court. While the cases play out, drivers around the state have stepped up efforts to demand that Uber and Lyft provide them with employment protections. A union backed group called Mobile Workers Alliance, which Mr. Gage is involved with, began circulating a petition Friday demanding that the gig companies abide by the state's new law deeming them employees. The petition has collected more than 6,000 signatures. Lisa Opper, a Lyft driver involved with a group called Rideshare Drivers United, which held demonstrations on Thursday in San Diego, Los Angeles and San Francisco, said she typically worked 40 to 50 hours per week and made 900 to 1,000 before expenses. She made 226 the week before last, after which she stopped driving out of concern for her health. "I won't risk it," Ms. Opper, who is 60 and diabetic, said on Friday. "The virus is airborne, and I had three or four people last week coughing." She said she had been driving with a blue surgical mask but didn't have access to the N95 mask that experts say is most effective at stopping the spread of the illness. Ms. Opper said she planned to file for unemployment insurance and hoped to get benefits, at least on appeal. "I just believe Uber and Lyft are ignoring the law," she said. California is not the only state where many Uber and Lyft drivers have not received the employment protections to which they appear to be entitled. In 2018, New York's unemployment insurance appeal board, its highest executive branch authority on such questions, ruled that three Uber drivers were eligible for unemployment benefits, along with all "similarly situated" drivers. But New York State has yet to require Uber, Lyft and other gig economy companies to contribute to its unemployment insurance fund on workers' behalf a sum that would likely be worth at least tens of millions of dollars while it identifies which drivers are "similarly situated" to those in the appeal board's ruling. The companies have so far declined to report drivers' wages to the state, forcing drivers to undertake a monthslong bureaucratic process to prove their employment status and secure unemployment benefits. An Uber official said the company had received a request from the state for driver wage information over the weekend and was "likely" to comply. Still, an Uber spokesman said the company believed the appeal board's 2018 ruling "uniquely applies to the three claimants" because Uber has changed many of its policies affecting drivers in recent years. But Nicole Salk, senior staff attorney at Legal Services NYC, who has represented drivers seeking unemployment benefits, said she was personally aware of dozens of drivers who had been deemed employees by the state in the past few years. The problem, Ms. Salk said, is that many other drivers have abandoned the process when faced with bureaucratic hurdles. "There are at least three additional questionnaires," after the initial application, she said. "It takes months and months." Ms. Salk said she represented a driver who applied for benefits during the third week of December and had yet to complete the process. Last year, the federal Department of Labor and the National Labor Relations Board issued findings contending that gig workers are contractors, not employees, but those findings are not binding on state agencies that oversee unemployment benefits. A spokesman for Gov. Andrew M. Cuomo of New York said the state had requested disaster unemployment assistance from the White House that could make benefits available to drivers and other gig workers. Congress, for its part, is working on a stimulus bill well in excess of 1 trillion that could make such benefits available nationally. But even if the contractor benefits are enacted, they may not apply to drivers in states where they have been deemed employees, according to Zubin Soleimany, a lawyer for the New York Taxi Workers Alliance, a driver advocacy group. Mr. Soleimany's group is pushing for New York to expedite the application process for those seeking routine unemployment benefits so that drivers can receive them promptly, like other workers. "It's a completely unacceptable outcome now," he said.	N24News: A New Dataset for Multimodal News Classification	Economy
Roseland Ballroom, the popular concert and dance hall on West 52nd Street, between Broadway and Eighth Avenue, saw plenty of fishnet on its dance floor through the years. Fishnet tank tops at the disco parties of the 1980s. Fishnet stockings when Lady Gaga performed at the auditorium's final shows in 2014, shortly before the building was torn down. Now the luxury rental tower that has risen in its place is wearing fishnet, of a sort. A webbed sheath of composite metal panels has been slipped over a curving glass tower designed by Manhattan architecture firm CetraRuddy, for Algin Management. The building, named ARO, stands 62 stories (60 of them occupiable), thanks in part to the purchase of air and development rights from nearby low rise theaters, and it gradually widens halfway up. Balconies arc out, giving the asymmetrical exterior a dynamic rippling effect. The building introduces contemporary architectural drama to a portion of west Midtown that is not generally known for it (with the exception of Norman Foster's faceted glass tower for the Hearst headquarters, with its own metal exoskeleton, at 57th Street and Eighth Avenue). And it is pushing residential use east. There are plenty of apartment houses on Eighth Avenue, as well as older tenement buildings on the side streets farther west. But ARO, on its mid block site which reaches back to 53rd Street, where the new tower's entrance will be is "moving the residential zone toward Broadway," said John Cetra, a founding principal of CetraRuddy. His client is a residential real estate company founded in 1957 by the late Albert Ginsberg, whose three children now run the firm. Algin purchased Roseland in 1981 with the idea of developing the site, but operated the entertainment business which became a profitable one as a sideline until it felt the time was right. "We do one project at a time," said Larry Ginsberg, who, with his sisters, Liane Ginsberg and Hilary Feshbach, recently led a tour of their latest, which they've conceived as their company's flagship. The leasing office is slated to open the first week of September, with occupancy expected to begin in November. CetraRuddy, too, is a family business Mr. Cetra is married to co founder and managing principal Nancy J. Ruddy, who heads the interiors side of the practice. At ARO, this has engendered a coherence between the exterior and interior architecture, with details like the lobby's curved cove ceiling and swooping reception desk taking their cues from the tower's undulating outer form. The rectilinear base of the building includes retail space no tenants have signed on yet, but Algin is hoping for a restaurant and the lengthy list of amenity spaces that has become requisite in luxury buildings. On the tower floors above, the 426 apartment units range from studios starting at 2,800 to a duplex penthouse whose price has yet to be determined. Seventy percent of the units are studios and one bedrooms (the latter will rent for 3,695 and up), and all have ceilings of nearly 10 feet and marble bathrooms. Apartments on the upper floors offer views of the Hudson River, Central Park and the Midtown skyline. Asked about the New Yorkers who still mourn the loss of Roseland, which hosted everything from "taxi dancers" in the 1940s to Madonna in 2008, the Ginsbergs acknowledged their own sadness about shutting the place down. "We had a good time running it," said Ms. Feshbach, who had been Roseland's president of advertising and director of sales. "But I think we were all ready for it to be a building, and our dad had purchased it with the mind set that it would be a building." (The name ARO is a tribute to her father, who died in 2001, as well as to the bygone venue, coined by combining the first letter in his name with "RO," for Roseland.) Algin also saved artifacts from the decades it ran the ballroom. Concert posters will be on display in a lounge. Photographs taken during performances including of the Rolling Stones, Metallica and Dave Grohl will be hung. The 10 foot stainless steel letters that spelled out ROSELAND on the back of the building were also salvaged. Artist James Greco, who said he cut his concert teeth going to see punk bands at Roseland as a teenager and was later a bartender there, has been commissioned to use the A, R and O in a sculpture to be placed in the lobby. For weekly email updates on residential real estate news, sign up here. Follow us on Twitter: nytrealestate.	N24News: A New Dataset for Multimodal News Classification	Real Estate
There are about 44 million donkeys worldwide. They evolved from the African wild ass, which is critically endangered. As few as 600 may exist in Ethiopia, Eritrea and Somalia. Donkeys can live well into their 40s. Male donkeys are called jacks, and females are called jennets. Donkeys have 62 chromosomes and horses 64, but they can interbreed. A mule is the offspring of a male donkey and a female horse, and a hinny is the offspring of a male horse and female donkey. Mules and hinnies can be male or female, but are almost always infertile. Mules are bred far more often than hinnies because male donkey/female horse pairings are about as successful as horses breeding with horses, a rate of about 65 percent. The rate for male horse/female donkey pairings is much lower although experts say it is hard to pin down. Most female donkeys never conceive when mated with a stallion, but the rare exceptions don't seem to have much trouble.	N24News: A New Dataset for Multimodal News Classification	Science
Since the lackluster initial reception of Alfred Hitchcock's "Vertigo" 60 years ago, its reputation has risen steadily, tectonically until it now looms high in cinema history. On the last critic's poll conducted by the film magazine Sight Sound, it ranked as the No. 1 movie of all time. A peak so lofty casts a long shadow. Indeed, we've reached the point where "Vertigo," like Giorgione's "Sleeping Venus" or Delacroix's "Women of Algiers in Their Apartment," is part of the cultural landscape, inspiring new classics that cast shadows of their own. Two photography shows in New York reveal the breadth of the film's influence: Jean Curran's "The Vertigo Project," at the James Danziger Gallery, and Catherine Opie's "The Modernist," at Lehmann Maupin. Ms. Curran, 37, an Irish photographer who lives in London, is presenting 20 film stills that she selected from the movie and made into dye transfer prints. That act of appropriation is far more laborious than it might seem. Dye transfer printing uses color filters to separate a film image into three negatives and, in a process something like silk screen printing, registers them sequentially on a dye absorbing gelatin coated paper. That is a wildly oversimplified summary of the technique. In the hands of an artist, dye transfer prints are intensely saturated, highly contrasted, and gorgeous. The most celebrated example is William Eggleston's "Los Alamos" series, exhibited last spring at the Metropolitan Museum of Art. In a previous body of work, Ms. Curran enlisted a local artisan to hand color the photographs she took of Western soldiers in Afghanistan. She reasoned that by teaching herself the craft of dye transfer printing she could further advance her quest to infuse photography with a painterly, handmade quality. This time, though, she salvaged images made by others. The dye transfer method is very similar to the way Technicolor movies were processed. After considering "Gone with the Wind" and "The Wizard of Oz," she chose "Vertigo" and obtained an original film print from the Hitchcock estate. "I needed to find something with a little more depth to it, with layers," Ms. Curran said in a Skype interview. She learned the intricacies of this dying art from the diminishing band of dye transfer practitioners. Ms. Curran had to search out the chemical dyes and the coated paper; Kodak stopped manufacturing dye transfer materials in 1994. She made her own or scavenged from the hoards of fellow devotees. The use of an obsolescent technique to memorialize "Vertigo" is fitting. Among other things, the movie is about the attempt to hold on to a vanishing past. It is set in a magically beautiful San Francisco that shimmers like a lost dream when we see it today on the screen a feeling that the filmmaker anticipated. "The things that spell San Francisco to me are disappearing fast," one character remarks early in the movie. Ms. Curran said that she considers the dye transfer process to be the antithesis of the disposable profligacy of digital photography. Because of the extraordinary care Hitchcock took to set up each shot, the act of slowing down to scrutinize surface details starts to seem profound. For instance, by sequencing her stills in the order they appear in the movie, Ms. Curran reveals how Hitchcock used color like a Wagnerian leitmotif, shifting from an early reliance on red, the hue associated with Scottie Ferguson (the character played by James Stewart), to the greens that define the Kim Novak figure, a shop girl named Judy who has been employed by a murderous plotter to impersonate his wife, Madeleine. In the sumptuous dining room of Ernie's, the now gone San Francisco restaurant where Scottie glimpses Madeleine for the first time (and which Hitchcock recreated in the studio), the green of her gown jumps out as a visual exclamation point against red flocked wallpaper. In what may be the most mysterious image in the film, Judy, badgered by Scottie to replicate Madeleine, emerges from her bedroom in a powdery green light cast by the neon hotel sign outside her apartment window. It is a morbid glow; indeed, Scottie's unrealizable longing will cause Judy's death. Ms. Curran's sumptuous dye transfer prints recall the photographs of Gregory Crewdson, which look like film stills but are in fact moments in a nonexistent movie, constructed with the aid of a vast production crew. It's a testament to Hitchcock's genius that, viewed frame by frame over its more than two hour length, "Vertigo" blows away anything Mr. Crewdson can conjure. Ms. Curran is not the first artist to be transfixed by the artistry of "Vertigo." The abstract painter David Reed digitally inserted his own canvases above the beds in the movie and then reproduced the rooms in two installations, "Judy's Bedroom" (1992) and "Scottie's Bedroom" (1994), with the altered film running on a continuous loop on a television monitor. Tailoring scenes from "Vertigo" is a clever way to monkey with perception, and very much in the spirit of the movie. Victor Burgin, a photographer, critic and conceptual artist, brought a psychoanalytic perspective to "Vertigo" in his installation "The Bridge" (1984). At the film's climax, Scottie tells Judy: "I have to go back into the past once more. Just once more. And then I'll be free of the past." But it's an earlier scene in the movie, when Scottie rescues Madeleine from a plunge in the San Francisco Bay, that galvanized Mr. Burgin's black and white panels that combine image and text. Mr. Burgin recast Madeleine as the drowned Ophelia in Sir John Everett Millais's Pre Raphaelite painting. For him, Scottie's libidinal desires to rescue Madeleine from water and transform Judy into Madeleine evoke the Oedipal drive to possess the mother, an ambition that repeatedly fails. These reconsiderations of "Vertigo" can feel like grabs of intriguing, but very particular, bits of a monumental elephant. The work that most deeply and creatively engages with the central theme the obsession with a lost, imaginary past fixates on a pier, not a bridge. Chris Marker's short film "La Jetee" has become canonical itself. Made in 1962, at the height of Cold War anxiety about nuclear annihilation, it is set in a Paris that has been razed by World War III. The film's protagonist is sent into the past on a time travel experiment, chosen because he harbors an indelible memory of a blond woman (with an uplift hairstyle just like Madeleine's) whom he spotted when he was a child, before the war, on a pier at Orly airport. The movie is ingeniously constructed out of still photographs. The stop time technique fosters a sensation that each passing moment is a drop washing away. The arsonist constructs a collage on the wall of his studio apartment with newspaper clippings about the fires. (Prints from the film are on view at the gallery where "The Modernist" is playing continuously in an auditorium.) By repeatedly photographing the same movements and actions from varying vantage points and with different depths of field, Ms. Opie instills a riveting narrative drive. In place of a startling moment of film in "La Jetee" when Marker breaks out of stop time and a woman blinks, Ms. Opie injects midway through her movie, which is otherwise silent, the loud rasp of a struck match. A resident of Los Angeles, Ms. Opie, 57, has transposed Marker's Cold War angst to the Trump era. "What is our relation to longing for a past that is always past?" she said recently in an interview in New York. "My longing is for the idea that we will never achieve a utopian dream. Modernist architecture is about utopia. We've been able to create an enormous amount of fear in our culture, because we're so scared of everything being taken away from us. I've kind of been questioning all of nostalgia. Trump's 'Make America Great Again' is an ultimate nostalgic gesture." From her perspective, the people clamoring to restore America's vanished majesty are instead perpetrating "the unfounding of democracy." The character of "The Modernist" is an aficionado of the masterpieces he is destroying. That paradoxical killing of the thing one loves is both the nub of Ms. Opie's political critique and the melancholy viewpoint her film shares with "Vertigo."	N24News: A New Dataset for Multimodal News Classification	Art & Design
The judges and hosts of "The Great British Bake Off" Paul Hollywood, Sue Perkins, Mel Giedroyc and Mary Berry with some of the show's contestants. "The Great British Bake Off," a hit reality TV show that has been hailed as a cheery avatar of multicultural, biscuit loving modern Britain, has been torn apart in recent days over a decision by producers to leave its longtime home at the BBC for a rival network, an announcement that surprised its hosts and prompted two of them to quit on Tuesday. "We were very shocked and saddened to learn yesterday evening that Bake Off will be moving from its home," two of its four hosts, Sue Perkins and Mel Giedroyc, said in a joint statement. "We're not going with the dough." Ms. Perkins and Ms. Giedroyc are both comedians who provide witty banter that is sprinkled throughout the show. Its other two hosts, professional bakers Paul Hollywood and Mary Berry, have not announced if they intend to remain with the program when it moves to its new home, Channel 4. The Guardian reported on Monday that none of the four hosts were consulted during the negotiations. Channel 4 announced the move in a statement on Monday that said it had signed a deal with the show's producers, Love Productions, and will begin broadcasting the show in 2017. Both companies emphasized that Britons would still be able to watch the show without cost, but they will now have to contend with commercials. The BBC is publicly funded and does not have commercials, nor does the show's American home, PBS, where it is shown under the name "The Great British Baking Show." It is also available in the United States on Netflix. "We believe we've found the perfect new home for 'Bake Off,' " Richard McKerrow, the creative director of Love Productions, said in a statement. "It's a public service, free to air broadcaster for whom Love Productions have produced high quality and highly successful programmes for more than a decade." Mr. McKerrow added that he believed Channel 4 would "protect and nurture" the show "for many years to come." Jay Hunt, the chief creative officer of Channel 4, said she was "delighted" that the deal would "keep this much loved show on free to air television." "The Great British Bake Off" follows a group of amateur bakers as they execute increasingly complex recipes and is noteworthy among reality shows because its contestants are uniformly pleasant and likable. It is devoid of both the interpersonal drama and the cash prize that are the hallmarks of American reality TV. There are no screaming fights, just spongecake. Kevin Spacey was ordered to pay 31 million to the 'House of Cards' studio after sexual harassment allegations. Netflix buys a visual effects company in a move to support its global ambitions. The show has had a significant cultural impact in Britain and beyond. Its diverse, scone baking cast has been heralded as a microcosm of modern Britain as it wrestles with questions of national identity in the wake of its surprise vote in June to leave the European Union. More than 10 million viewers in the United Kingdom watched its season premiere last month, and it has spawned a fleet of spinoffs in other countries. Many viewers in Britain reacted negatively to the news that an iconic TV show was leaving the country's iconic national broadcaster. Those viewers were not alone. The BBC made no secret of its displeasure with the move. Shortly before Channel 4 announced it had acquired the rights to the show, the BBC issued what amounted to a plea to "Bake Off" producers, saying in a statement that it had "grown and nurtured the programme over seven series and created the huge hit it is today." In their joint statement, Ms. Perkins and Ms. Giedroyc agreed with that sentiment. "We made no secret of our desire for the show to remain where it was," they wrote. "The BBC nurtured the show from its infancy and helped give it its distinctive warmth and charm, growing it from an audience of two million to nearly fifteen at its peak." "We've had the most amazing time on Bake Off, and have loved seeing it rise and rise like a pair of yeasted Latvian baps," they added. "We wish all the future bakers every success." In the end, the BBC said its disagreement with Love Productions came down to money. "We made a very strong offer to keep the show but we are a considerable distance apart on the money. The BBC's resources are not infinite," the BBC statement said. "GBBO is a quintessentially BBC programme. We hope Love Productions change their mind so that Bake Off can stay ad free on BBC One." It was a rare moment of drama for a show noted for its placidness. When asked via email to comment on the news that "Bake Off" had found a new home, a BBC spokesperson replied tersely, "We're not adding anything to the statement."	N24News: A New Dataset for Multimodal News Classification	Media
It is 1969. Vera Wang is 19. Her competitive figure skating career is ending, and she is studying art history at the Sorbonne during a junior year abroad. She is walking down the street with her mother. Both are dressed in their favorite designer of the moment: Yves Saint Laurent. A tan belted raincoat that fell midcalf, brown Celine boots and a Hermes Kelly bag for Maman, and a navy blue peacoat, gray flannel slacks and a turtleneck for Vera. "That was the first time that I really became Parisian," Ms. Wang said earlier this month, drinking tea tea at one of her longtime Paris haunts, Carette on the Place du Trocadero in the 16th Arrondissement. The designer was back in town because, on Tuesday, she will become one of a handful of designers to be made a chevalier of France's Legion of Honor, the country's most elite decoration for contributions to the glory of France (other American designers who have received the honor include Ralph Lauren). At the end of the ceremony, which falls on the first day of Paris Fashion Week, she'll be showing her fall 2017 collection in a short film online. She calls it an ode to Paris. "When I heard about the honor, I think I was actually in shock, because I didn't grow up as a French designer. I'm an American designer," she said. "But I did grow up with an integral part of my life being attached to Paris and France." "I have had five lives here. Maybe seven," she continued. "There's been so much history for me in this city that sometimes it's hard to come back, because glimpses of what my life once was and will no longer ever be again still affect me." Ms. Wang, who grew up in Manhattan, first visited Paris at age 6. Her parents bought her a pair of charcoal gray patent leather Mary Janes. The shoes opened worlds. "I was a typical kid: I got my school shoes in the fall and I got my Easter shoes in April. And I looked at my feet and I was just mesmerized by them," Ms. Wang said. "They were shiny and to me, fancy," she said. "It was my first feeling of being intrigued by fashion. By clothing. By things you wear. It was raining that night and I remember looking down at my feet and I suddenly just had this awakening or something." Fast forward to her junior year abroad. Ms. Wang was dating a fellow professional figure skater, Patrick Pera, who was on the French national team. She traveled around France attending his competitions. In Paris, she would buy fragrances at Guerlain on the Champs Elysees; go to the movies at Trocadero and clubbing at New Jimmy's, owned by the Parisian nightclub queen Regine, and Chez Castel, owned by the French soccer star Jean Castel. "I was not a member. My boyfriend was," she said. "It was so sophisticated. It was the mix." "It was like Studio 54," she added. "You would see Alain Delon there. You would see Jean Paul Belmondo." "That was a good year," she said, noting (with some understatement), "I did not live the life of a typical exchange student." She spent her days strolling on the Avenue Montaigne, Rue du Faubourg Saint Honore and Avenue Victor Hugo. She would shop at Kenzo, near the Place des Victoires in the Second Arrondissement, then pop into the tiny Louis XIV restaurant nearby for lunch. "I looked for it, but it's gone," she said. That year, she lived on the Rue Spontini, down from what was then Yves Saint Laurent's shop. Her mother would visit, and when her mom walked the dog, she "would see him coming to work at 10 at night," Ms. Wang said. "My mother, who always loved fashion, would say: 'That boy is too skinny. He works too hard.'" When her father visited, he'd stay at the Hotel Plaza Athenee. "He'd call it the most expensive coffee shop in the world because he'd have a hamburger and a cup of coffee," Ms. Wang said. He bought her a white cotton double breasted smoking. She said she loved it, then spilled red wine on it by accident. "I remember crying," she said. "I don't usually cry over clothes. That's how much fashion had come to mean to me by then." Her art history class at the Sorbonne would visit the Jeu de Paume; its Impressionist collection is now in the Musee d'Orsay. The teacher, Mademoiselle Vanel ("Always Mademoiselle, like Chanel," Ms. Wang said) "slept one night with Picasso. Probably among thousands of women. And she never married, and she never forgot it. She used to tell us a story of how one night with Picasso was worth a lifetime alone." That's when Ms. Wang met a woman who worked as an editor at Paris Vogue. "I just went crazy, and I said: 'When I go back to New York, when I finish college, Sarah Lawrence, then I want to be that. That's what I want to do,'" Ms. Wang said. She did, eventually spending 16 years as an editor at Vogue. Then, in 1982, when she was 33, she left Vogue and moved back to Paris for a year to catch her breath. "Paris has always been a place that I've run to it's always been my escape," she said. She bought an apartment in the 16th Arrondissement. (She has since sold it.) "It's not the commercial Paris, l'Opera or St. Germain des Pres. This is my 'hood," she said. She went for long runs in the Bois du Boulogne, dated an art gallerist and reinvented herself. When she returned to New York, she segued into working as a design director for Ralph Lauren. In 1990, she opened her own bridal boutique, and then started ready to wear. Her brand is now sold in 28 countries. Which is how she ended up back in Paris. "It takes great courage to just live when you've kept yourself busy," Ms. Wang said. "My own country has always been about career: getting it done, always worrying but not wasting time, trying to be efficient. But Paris taught me how to live."	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Children who begin their vehicular life on tricycles typically migrate to 2 wheelers by the time they start kindergarten, eventually graduating to 4 wheelers. Now some grown ups are returning to their 3 wheel roots, though without the pedals this time around. New models and a variety of designs are breathing life into a category that was largely abandoned. These machines can deliver the thrills of a vintage sports car and the excitement of a motorcycle, without the risk of tipping over at stoplights. Three wheelers may also be an attractive alternative for riders with some types of disabilities, or whose spouses are anxious about the hazards of the road. In the United States 3 wheelers are typically classified as motorcycles and do not have to meet federal safety standards that apply to cars. Recent entries like the Can Am Spyder and Polaris Slingshot use two wheels at the front and one at the rear to create a stable chassis. The Harley Davidson Freewheeler Trike, using the more traditional format of a single wheel at the front, is marketed as a symbol of simpler times.	N24News: A New Dataset for Multimodal News Classification	Automobiles
Ahead of November's election, American intelligence officials and others are on high alert for mischief from Russia's Internet Research Agency. The Kremlin backed group was identified by American authorities as having interfered in the 2016 election. At the time, Russians working for the group stole the identities of American citizens and spread incendiary messages on Facebook and other social media platforms to stoke discord on race, religion and other issues that were aimed at influencing voters. To avoid detection, the group has since evolved its tactics. Here are five ways its methods have shifted. When Congress released examples of Facebook ads that the Russian troll farm bought several years ago, many of the ads had misspellings and grammatical errors. Some captions in the ads omitted or misused "a" or "the" because indefinite articles aren't used in Russian. Now Russian operators are trying to avoid detection by copying and pasting chunks of texts from other sources directly into their posts. When Facebook took down 50 accounts linked to the Internet Research Agency in October, many of the posts featured text copied from Wikipedia, as well as from The Atlantic and other outlets, said Ben Nimmo, a researcher at Graphika who investigates disinformation. The troll farm's posts were wordy and included many hashtags. A Facebook post from the Russian backed social media account Being Patriotic, which was started in 2015 and promoted nationalism. Facebook took down the account in 2017. Computer programs are getting better at processing vast amounts of text a task called natural language processing which means they are better at ferreting out telltale social media manipulation signals such as semantic errors and common hashtags. As a result, the troll farm is now using less text in posts and fewer hashtags. In October, when Facebook removed the accounts with ties to the Russian group, researchers pointed out the group's posts had minimal text of block letters overlaid on top of images. Instead of writing its own text, the troll farm now also posts screenshots of tweets created by real Americans. Computer programs typically do not scan images for text. The Russian group tried to build large followings on Facebook and Instagram. From 2014 to 2017, the troll farm ran Facebook accounts with overt pro American, pro black and pro Southern culture themes. The names of the accounts mimicked brands. Their reach was vast. One Facebook page that the group operated, Blacktivist, which focused on black activism, collected over 360,000 followers by September 2017. This surpassed the followers on the verified Black Lives Matter Facebook account, which at the time had just over 301,000. Now, themed accounts with politically divisive content and lots of followers are considered suspicious. So the Russians appear to be working harder at hiding, using accounts that have fewer followers. When Facebook took down some Instagram accounts that showed links to the Russian troll farm last year, more than half had fewer than 5,000 followers. One account that was removed, progressive.voice, had just over 2,000 followers. The one with the most followers had about 20,000. The troll farm stamped images with watermarks and logos. One common trait among troll farm posts in the past was that its images were stamped with watermarks a logo, text or pattern superimposed onto another image as a way for the group to build followers for its Facebook pages. More recently, the group has used the same images but removed the logo or blurred it out, and sometimes it changed the captions by using different typefaces. That helped to disguise that it was behind the posts, said Samantha Bradshaw, a researcher at the Oxford Internet Institute. "Now that many of the known Russian pages have been identified, using watermarks is a double edged sword, since it can also help content moderators track and shut down larger networks of disinformation," she said. The troll farm created accounts on Facebook to sow discord in the U.S. The Russians seem to be using local people and media to post stories on Facebook.	N24News: A New Dataset for Multimodal News Classification	Technology
JACKSON HOLE, Wyo. The Federal Reserve chairman, Ben S. Bernanke, delivered a detailed and forceful argument on Friday for new steps to stimulate the economy, reinforcing earlier indications that the Fed is on the verge of action. Calling the persistently high rate of unemployment a "grave concern," language that several experts described as unusually strong, Mr. Bernanke made clear that a recent run of tepid rather than terrible economic data had not altered the Fed's will to act, because the pace of growth remained too slow to reduce the number of people who lack jobs. The federal government said on Wednesday that the economy expanded at an annual rate of 1.7 percent in the second quarter, slightly higher than its initial estimate of 1.5 percent but lackluster in normal times. A measure of consumer confidence hit a three month high on Friday, but that, too, was impressive only in comparison with the immediate past. The government will release a preliminary estimate of August job growth next week; it is expected to show that the unemployment rate remains above 8 percent. Mr. Bernanke said that the Fed's efforts over the last several years had helped to hasten economic recovery, that there was a clear need for additional action and that the likely benefits of new steps to stimulate growth outweighed the potential costs. "It is important to achieve further progress, particularly in the labor market," Mr. Bernanke said. "Taking due account of the uncertainties and limits of its policy tools, the Federal Reserve will provide additional policy accommodation as needed to promote a stronger economic recovery and sustained improvement in labor market conditions in a context of price stability." In setting the stage for action when the Fed's policy making committee meets in two weeks, Mr. Bernanke appeared to defy political pressure from Republicans to refrain from new measures. Mitt Romney, the Republican presidential nominee, has said such action would be counterproductive, and has pledged to replace Mr. Bernanke at the earliest opportunity. "Policies from Congress, not more short term stimulus from the Fed, are the ingredients necessary for restoring growth in the American economy," Senator Bob Corker, Republican of Tennessee, said in a statement after Mr. Bernanke's speech. On the other hand, Democrats welcomed Mr. Bernanke's remarks. There is little prospect that Fed action will lift the economy before the election, but party officials fear the opposite possibility that inaction could undermine economic confidence and so they greeted the speech with relief. Senator Charles E. Schumer, Democrat of New York, said Mr. Bernanke "should not let any political backlash deter him from following through and doing the right thing." Mr. Bernanke did not announce any new steps in his speech, delivered here before an annual monetary policy conference organized by the Federal Reserve Bank of Kansas City. Nor did he indicate which steps were most likely, a reticence that reflects his desire not to give details ahead of the Federal Open Market Committee, which convenes in two weeks. Some analysts expect the Fed to announce a new round of asset purchases after that meeting, further expanding its holdings of Treasury securities and mortgage backed securities to reduce borrowing costs and spur investment. Others expect that it will instead announce its intent to keep its benchmark interest rate near zero beyond its current forecast of late 2014. Jan Hatzius, chief United States economist at Goldman Sachs, said he was now convinced that the Fed would extend its forecast, because Mr. Bernanke described benefits but not costs of that approach. He said he also expected the Fed to announce new asset purchases, but not necessarily in September. The speech, he said, made the Fed's intentions clear, "but it still doesn't really tell you the timing." Stocks fell slightly after the release of Mr. Bernanke's remarks, then climbed again. Commodities like gold and oil also increased. Mr. Bernanke devoted much of his speech to asset purchases. He said past rounds of purchases had produced "economically meaningful" benefits, contributing to lower borrowing costs for corporations and a general rise in stock prices. He cited one study that found that the combined effect of the Fed's three rounds of asset purchases raised output by 3 percent and increased employment by two million jobs. He provided a shorter description of the benefits of policy forecasts. In both cases, after reviewing the costs of existing actions and the potential consequences of doing more, Mr. Bernanke rendered a clear verdict on the balance. "The costs of nontraditional policies, when considered carefully, appear manageable, implying that we should not rule out further use of such policies if economic conditions warrant," he told the audience of central bankers, fiscal policy makers and academic economists gathered at the Jackson Lake Lodge in the middle of Grand Teton National Park for the annual policy conference. The Fed has sent signals in recent months that it is preparing to take new action to stimulate the economy. Its policy making committee said after its most recent meeting in early August that it would "provide additional accommodation as needed." Since that meeting, the depressed housing market has shown signs of modest revival. But worries about fiscal policy have intensified, and Europe remains on a low boil. Mr. Bernanke's verdict on Friday was unambiguous: "The economic situation obviously is far from satisfactory," he said. And his description of the high unemployment rate as a "grave concern" drew particular notice from his well versed audience. "It goes well beyond normal central bank expressions of the need to bring unemployment down," said Alan S. Blinder, an economics professor at Princeton University and a former Fed vice chairman. "It is an interesting question for someone to research if any central banker has ever made a statement that strong" about unemployment. In addition to asset purchases and forward guidance, the account of the most recent meeting mentioned two other options. The Fed could lower the interest rate it pays banks on reserves kept at the Fed, which might push some money into circulation. It could also seek to provide low cost financing for certain kinds of lending, like mortgage loans, emulating a program recently begun by the Bank of England. Several Fed officials have said they would like to replace the time horizon for current policy with a trigger tied to economic data, declaring, for example, that the Fed is likely to keep interest rates near zero until the unemployment rate falls below a specified level, or until economic output exceeds a certain threshold. The internal debate underscored a striking contrast with Mr. Bernanke's speech at this same conference in 2010, when he gave the first indication that the Fed would embark on a second round of asset purchases. Then, Mr. Bernanke devoted most of his remarks to establishing the need for action, largely taking for granted that the Fed had the power to improve the economy. On Friday, it was the need for action that Mr. Bernanke took for granted. The question now is how much more the Fed can do.	N24News: A New Dataset for Multimodal News Classification	Economy
SAN DIEGO Colton T. Sudberry pointed to the center of a vast field of gravel that is like a crater inside the suburban style neighborhood of Mission Valley. "That's where the stream will go, in the middle of the park," said Mr. Sudberry, the president of Sudberry Properties, indicating a spot occupied by a lone bulldozer. The stream and the park are central to Civita, a 2 billion mixed use development that San Diego officials and its developers, a partnership led by Sudberry, are calling a high water mark in sustainable community building and a glimpse into the city's future. San Diego, with 1,307,402 residents, grew nearly 7 percent in the last decade, according to the census. Civita embodies a concept in the latest version of the San Diego General Plan called "a city of villages." The idea calls for pedestrian oriented neighborhoods made up of compact development, all within walking distance of transit stops, said Brian Schoenfisch, a senior planner for the city. "Civita serves as a perfect model for the future growth of the region," Mr. Schoenfisch said. The "city of villages" concept is the San Diego's effort to create a desirable pattern of growth in a fast growing city. The idea of walkable "villages," he added, is to make comparatively dense communities like Civita attractive and convenient to the residents in this traditionally low density city. Concentrating homes and commercial space near rail stations has the added benefit of taking some pressure off San Diego's overtaxed freeways. And city officials expect the adjacency of housing to transit stations to build ridership for the underused trolley line. The master plan calls for 4,780 living units with 37 acres of parks and trails, all of which are oriented around the future park and the streambed, actually a drainage conduit that will flow only when it rains or the grass in the park is watered. Construction began in 2010, and is expected to continue for the next 12 to 15 years. Pedestrian orientation is central to Civita's efforts to create a "green" neighborhood: The developers plan 900,000 square feet of retail space and offices to encourage residents to shop in the development and stay out of cars. Model units opened in January on the first residences in Civita, a 360 unit apartment complex called Circa 37, being built by Sudberry, with completion expected in April. Another developer, Shea Homes, is building Origen, a 200 unit condominium on a different spot in the master plan. The first condos are to be completed in June, while the remaining units are to be built on a flexible schedule, based on sales. Civita started in 2003 as a joint venture between Sudberry and the Grant family, which has operated the quarry on which the project is being built since 1937 and which recently moved its operations to a corner of the site. Large projects are often slow to win approval; Civita required nearly six years to pass muster with public agencies. The project received a building permit in 2008. Scale was one reason for the long approval time: At 230 acres, Civita is one of the country's largest examples of "urban infill," which is the development of vacant or underused city sites. Another reason for the slow approval process was the problem of building a community of 8,000 people in the middle of several existing middle class neighborhoods. Both nearby residents and city planners insisted that new traffic be minimized and that the scale match existing single family neighborhoods. The northernmost part of Civita is to be single family homes, to help the development blend in. The design goal for Civita is for a "real" neighborhood that "combines topography, walkability and the ability to live, work and play in the same place," said Gordon Carrier, an architect and design principal with Carrier Johnson Culture, which designed the master plan. Accordingly, the design intends to make it convenient for residents to walk or ride bicycles rather than use cars, by locating shopping, parks and recreation facilities within walking distance of their homes, Mr. Carrier said. The project has a long list of green building practices. To provide shade, the developers are installing more street trees than required by the city. Sudberry has also specified low energy LED lights for traffic signals and street lighting. Photovoltaic panels are planned atop carports, and are expected to provide 80 percent of the energy needed for common facilities like meeting rooms. The developer has also promised to start a car sharing program for residents. The entire project is a short walk from the Mission Valley station of the San Diego Trolley, a commuter rail line that connects Civita to downtown San Diego. To encourage people to walk, the master plan rearranges the steeply sloping site as a series of terraces. Each terrace contains housing and a level footpath to and from the central park and stream, which are expected to be among the most heavily used parts of the development.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Dozens of employees at the New Museum in Manhattan voted on Thursday to join a union, capping a tense few weeks during which museum management had argued that such an action could be detrimental. The measure to join the national autoworkers union, which represents employees at some other New York City museums, was adopted 38 8, according to Dana Kopel, a senior editor and publications coordinator at the museum. "We're so excited about what this means for us as employees and for what it means for the future of the museum," she said. "This could be a harbinger of really profound change." In a written statement Thursday the museum said: "The eligible employees considered the pros and cons of unionization and decided in favor of a union. We respect their decision, and will move forward in good faith."	N24News: A New Dataset for Multimodal News Classification	Art & Design
It was a question that dogged biologists, Agustina Gomez Laich recalls: Why the neck? Imperial cormorants, lanky, long necked creatures that live on the southern coasts of Argentina and Chile, spend much of their time immersed in the frigid waters of the ocean. They dive to chilly depths in the colony Dr. Gomez Laich studies, up to 80 meters, or 240 feet to hunt fish. But the cormorants have neighbors: Magellanic penguins. Their stout, well insulated bodies seem like a much better choice for hunting in this unforgiving environment, while the slender, exposed necks of cormorants are like gloveless hands in January. "They would lose heat," says Dr. Gomez Laich, who is a researcher at the Instituto de Biologia de Organismos Marinos in Argentina. "So what's the advantage?" As it turns out, she and her colleagues have found that long, flexible necks offer real benefits when you hunt like a cormorant, according to a paper just published in Proceedings of the Royal Society B. While cormorants shed heat in the ocean, this energy loss may be offset by being able to move only their head, not their whole body, when they snap up prey. The team mounted two accelerometers, which record movement, on each bird's head and body. Then they let the penguins and cormorants go hunting, collecting data on how they moved over the course of each dive. Penguins spot their prey from far away and swoop in at high speed before the fish can react. Their heads and bodies move together, the researchers saw. Cormorants, on the other hand, prowl among the rocks and see their prey only when they are very close, their heads shooting out to grab it. It was clear from the accelerometer readings that their heads and bodies did not move as one. That neck was allowing them to hold their bodies still while their heads reached out to snatch fish. The researchers found that a cormorant uses half as much energy by just moving her head and not her whole body. A long neck does mean a certain amount of heat is lost, and the cormorant's gawky profile is not as streamlined as a lightning swift penguin's form. But in a species that moves a bit slower than penguins, the benefit of being able to hunt more efficiently may outweigh these downsides. Studying the energy costs of particular animal movements can help researchers understand not only how present life works, but past life as well. For example, why plesiosaurs had such long necks is a topic of much discussion, the researchers note. "It opens that door to think more about 'why would that animal have such a long neck?'" Dr. Gomez Laich says. "You can think about this in terms of energy savings for temperature regulation."	N24News: A New Dataset for Multimodal News Classification	Science
They posted swastikas and praised Hitler in chat rooms with names like "National Socialist Army" and "Fuhrer's Gas Chamber." They organized last weekend's "Unite the Right" rally in Charlottesville, Va., connecting several major white supremacy groups for an intimidating display of force. And when that rally turned deadly, with the killing of a 32 year old counterdemonstrator, they cheered and discussed holding a gathering at the woman's funeral. For two months before the Charlottesville rally, I embedded with a large group of white nationalists on Discord, a group chat app that was popular among far right activists. I lurked silently and saw these activists organize themselves into a cohesive coalition, and interviewed a number of moderators and members about how they used the service to craft and propagate their messages. I also asked Discord executives what, if anything, they planned to do about the white nationalists and neo Nazis who had set up shop on their platform and were using it to spread their ideology. Several said they were aware of the issue, but had no concrete plans to crack down on any extremist groups. On Monday, Discord finally took action, banning several of the largest alt right Discord communities and taking away one of the white nationalist movement's key communication tools. "We unequivocally condemn white supremacy, neo Nazism, or any other group, term, ideology that is based on these beliefs," said Eros Resmini, Discord's chief marketing officer, in a statement announcing the bans. "They are not welcome on Discord." The alt right, as the loose constellation of far right political groups that includes white nationalists and neo Nazis is known, uses many mainstream tech platforms to distribute its message: Twitter, Facebook, and YouTube for recruiting and public broadcasting, Reddit and 4Chan for lighthearted memes and trolling, and, until Monday, Discord for private group communication. Many of these companies resisted efforts to cut off the activists, arguing that as long as their activities weren't illegal, they were simply using the tools as any others would. But that dynamic has taken a sharp turn in recent weeks. The industry has been clashing with the alt right over free speech, and companies now appear further galvanized by the violence in Charlottesville, perhaps realizing that remaining neutral on hateful movements is no longer a viable option. In recent days, large tech companies like GoDaddy, Google and Airbnb have taken action to remove white nationalists and neo Nazis from their services. Others, like Twitter and Facebook, have banned individual users who have threatened violence or contributed to hate movements. Partly, these are self preservation instincts kicking in no company wants to end up like Reddit, which has struggled to shake its reputation as a den of toxicity but it is also indicative of an emerging consensus around the moral responsibilities of tech platforms. Like most platforms, Discord never meant to become a virtual home of the alt right. It started in 2015 as a chat app for video gamers, where fans of games like World of Warcraft could form teams and talk about strategy. Over the next several years, as gamers invited their friends to the app, it became one of the hottest start ups in Silicon Valley, growing to more than 45 million members and raising nearly 100 million from top tech investors. But Discord also attracted far right political groups, whose members were drawn to the app's privacy and anonymity features. Discord allows users to form private, invitation only chat groups invisible to those outside the app, and it allows a high degree of anonymity, making it an ideal choice for people looking to avoid detection or surveillance. Perhaps most importantly, it is largely self policed administrators of servers, as Discord's group chat rooms are known, set their own rules and are responsible for keeping their members in line. Leaders like Richard Spencer, who is credited with coining the term "alt right," and Andrew Anglin, the editor of the neo Nazi website The Daily Stormer, used Discord to discuss current events and debate movement strategy. These discussions were not always harmonious, and often featured infighting and disagreement over tactics and cooperation with older and less internet savvy groups like the Ku Klux Klan and Vanguard America. But Discord became a private sounding board for the movement, and over time, Discord groups devoted to far right politics including one where newcomers were required to show proof of Caucasian skin before being given posting privileges swelled to thousands of members. In the days leading up to the "Unite the Right" rally, Discord proved that it could be an indispensable organizing tool. White nationalists used alt right Discord servers to form car pools to Charlottesville and arrange local lodging. On the eve of the protest, one Discord user posted a poem written to commemorate the gathering, titled "The Fire Rises." (Sample stanza: "A brotherhood of white man's will / against Jews and their disguises. / And we will march on Charlottesville / as the fire rises.") And on Saturday, after the protest had ended with three people dead and more injured, the moderator of one Discord server declared the rally a success, posting: "Hail victory! Hail our people!" "It's become a central communication interface for the white nationalist and neo Nazi movements," said Keegan Hankes, an analyst with the Southern Poverty Law Center, a nonprofit that studies right wing extremist groups. "It's pretty unavoidable to be a leader in this movement without participating in Discord." For months, Discord's executives and board members debated what to do about the alt right's presence on its platform. Some favored stricter controls and banning hateful speech entirely. Others took the view that since these rooms were private, Discord's responsibility extended only as far as removing illegal content when it was flagged to them. Discord's community guidelines prohibit "sharing content that is directly threatening someone's physical or financial state," but the company also takes pains to reassure users that their messages will stay private, saying that "we do not actively monitor and aren't responsible for any activity or content that is posted." Josh Elman, a Discord board member and investor with Greylock Partners, told me before the Charlottesville rally that Discord was analogous to a chat app like Skype or iMessage, and said that it had fewer responsibilities to patrol for hateful content than a public facing social network. Reached after Discord's decision to ban alt right groups, Mr. Elman said, "I believe every communication channel public or private has a responsibility to investigate and take action on any reports of misuse including harassment, inciting violence or hate, and other abuse." What happened in Charlottesville? On Aug. 12, 2017, there was a white supremacist rally, called "Unite the Right," in Charlottesville, Va., in protest against the planned removal of a statue of Robert E. Lee, The event saw participants clash with counterprotesters and culminated with the death of one woman. Were there any criminal cases? Four white nationalists were sentenced to jail for beating a Black man. Several protesters and counterprotesters were convicted on various charges, including assault. James Fields Jr., a neo Nazi, was sentenced to multiple life sentences in federal prison for killing Heather Heyer when he drove his car into a crowd. What is this civil case? This trial takes aim at the organizers of the rally with plaintiffs seeking damages for the injuries they sustained. Lawyers are relying on a federal law from 1871 designed to protect the rights of free slaves against the Ku Klux Klan. Who are the plaintiffs? The nine plaintiffs include an ordained minister, a landscaper and several students. They are seeking damages for injuries, lost income and severe emotional distress. Who is being sued? The defendants in the Charlottesville rally civil case are drawn from a range of white nationalist or neo Nazi organizations, and include far right figures like Richard B. Spencer, Jason Kessler and Christopher Cantwell. They do not have a uniform defense. Why does this case matter? The trial will revisit one of the most searing manifestations of how hatred and intolerance that festers online can spread onto the streets. The plaintiffs say they decided to act after there was no broader federal or state effort to hold the organizers accountable. Discord wouldn't say how many groups it banned in total, but users told me that dozens of alt right affiliated servers seemed to have vanished, or closed themselves to new members. The company said on Twitter that it would not "actively search through messages" for evidence of abuse in the future, but would respond to reports of content that violated its terms of service. Some white nationalists see Discord's actions as part of a greater "no platform" movement, in which tech companies systematically take away the digital tools that activists use to generate attention and organize their activities. In response to being kicked off services like PayPal and Patreon, a crowdfunding site, several far right groups have begun creating alternative platforms, where extreme views will be tolerated. One moderator of an alt right Discord server that was banned on Monday, Nathan Gate, who goes by the username TheBigKK, told me that Discord users were "leaving in droves" in search of a more hospitable platform. "Discord started out as a great service but unfortunately it looks as though we will have to move," he said. Another right wing Discord moderator, who goes by Based, said that his server, a large pro Trump group called "Centipede Central" that is still active, would have to be more careful to police its users going forward. "We're a little on pins and needles," he said, "because Discord has shown they're willing to nuke servers."	N24News: A New Dataset for Multimodal News Classification	Technology
A televised charity golf match between Tiger Woods and Phil Mickelson, who will be joined in the contest by Tom Brady and Peyton Manning, is planned for next month, Turner Sports announced on Wednesday. The location of the event was not disclosed, and a spokesperson for the PGA Tour, which would need to approve the competition for Woods and Mickelson to participate, said discussions were continuing about the safety of staging such a match during the coronavirus pandemic and about other logistics. It is expected that the event, which is to air live on TNT, will be held without spectators, and golf courses in Florida have been discussed as possible sites, according to people with knowledge of the deliberations who were not authorized to speak publicly about them. Gov. Ron DeSantis of Florida said last week that he supported the return of sports contests during the pandemic and mentioned a potential Woods Mickelson match.	N24News: A New Dataset for Multimodal News Classification	Sports
"We are not doing it to the level or extent that it should be done," said Steve Adler, the mayor of Austin, echoing the view of many state and city leaders. "There are three main reasons. One is the sheer number of people, the second is the delay in getting test results back, the third is the wide community spread of the disease." The goal of contact tracing for Covid 19 is to reach people who have spent more than 15 minutes within six feet of an infected person and ask them to quarantine at home voluntarily for two weeks even if they test negative, monitoring themselves for symptoms during that time. But few places have reported systemic success. And from the very beginning of the U.S. epidemic, states and cities have struggled to detect the prevalence of the virus because of spotty and sometimes rationed diagnostic testing and long delays in getting results. "I think it's easy to say contact tracing is broken," said Carolyn Cannuscio, an expert on the method and an associate professor of family medicine and community health at the University of Pennsylvania. "It is broken because so many parts of our prevention system are broken." Tracking those exposed is so far behind the virus raging in most places that many public health officials believe the money and personnel involved would be better spent on other resources, like increasing test sites, helping schools prepare for reopening and educating the public about mask wearing. Some public health experts now believe that, at the very least, testing and contact tracing need to be scaled back in places with major outbreaks. In some places, they say the effort may never succeed. "Contact tracing is the wrong tool for the wrong job at the wrong time," said Dr. David Lakey, the former state health commissioner of Texas who helped oversee the Ebola response in Dallas in 2014. "Back when you had 10 cases here in Texas, it might have been useful," said Dr. Lakey, who is now the chief medical officer for the University of Texas System. "But if you don't have rapid testing, it is going to be very difficult in a disease with 40 percent of people asymptomatic. It is hard to see the benefit of it right now." Dr. Thomas R. Frieden, a former director of the C.D.C. who is a strong advocate for robust contact tracing programs, largely agreed that it is impossible to do meaningful or substantial contact tracing with huge numbers of cases. He noted that when testing results lag as much as they have, it becomes almost impossible to keep up with the high volume of infected individuals and those who have been in contact with them. "At some point when your cases are very high, you have to dial back your testing and contact tracing," said Dr. Frieden, who now runs Resolve to Save Lives, a nonprofit health advocacy initiative. "We may be in that situation in some parts of the country today." Others argue that contact tracing efforts around the country are still nascent, and many workers fanning out in particular zones are still too inexperienced to call it quits. These experts contend that tracking remains an important mechanism that can help as flare ups continue over the next year and beyond. Crystal Watson, a risk assessment specialist at the Center for Health Security at the Johns Hopkins Bloomberg School of Public Health, said she had hoped more contact tracers would be trained and in place before states started reopening. For now, she expects it to be feasible only in Massachusetts, New York, North Dakota and the District of Columbia. Massachusetts, where the nonprofit group Partners in Health leads the efforts, has done particularly well. The C.D.C. has sent about 11 billion in relief funds to states and local jurisdictions for expanding coronavirus testing and contact tracing. A survey of state health departments by National Public Radio last month found they had roughly 37,000 contact tracers in place, with an additional 31,000 in reserve for when they would be needed. The work force a mix of government employees, volunteers and contract workers hired by outside companies or nonprofit organizations still falls short of the 100,000 people that the C.D.C. has recommended. Who should get a booster shot? It depends, Dr. Scott Gottlieb says. Virginia's new lieutenant governor elect says she won't force vaccines. The contact tracers, whose training varies considerably in length and content depending on what state they are in, have struggled to keep up with the rising number of cases. "The challenge is that we are not dealing with ones and twos," said Fran Phillips, a deputy Secretary for Public Health for Maryland, a state that has largely kept the virus in check but still faces over 900 new cases daily. For every new case, there are several if not dozens of people to contact, especially in large cities, which further strains the system. Contact tracing generally works best, public health experts say, when a disease is easily detected from its onset. That is often impossible with the coronavirus because a large percentage of those infected have no symptoms. "When you have a situation in which there are so many people who are asymptomatic," said Dr. Anthony Fauci, the director of the National Institute of Allergy and Infectious Diseases, at a recent Milken Institute event, "that makes that that much more difficult, which is the reason you wanted to get it from the beginning and nip it in the bud. Once you get what they call the logarithmic increase, then it becomes very difficult to do contact tracing. It's not going well." Perhaps most harmful to the effort have been the persistent delays in getting the results of diagnostic tests. Often by the time an individual tests positive, it's too late for the health care workers tracking that person to do anything. "It's a race against time," Ms. Phillips said. "And if we have lost days and days of infectious period because we didn't get a lab result back, that really diminishes our ability to do contact tracing." In Maryland, like many states, some labs are taking as long as nine days to turn around results. "We are getting some assurances from national manufacturers this lag is short term," she said. "I am not confident." In contrast, when sports teams and staff of the White House test people constantly, with fast turnarounds, contact tracing is instant and effective. Even as health care workers leap over these hurdles, they are also finding that it can be difficult not just to reach people who were potentially exposed to the virus but to get them to cooperate. Sometimes there is no good phone number, and in the cellphone era, unrecognized numbers are often ignored; 25 percent of those called in Maryland don't pick up. Others, suspicious of contact tracers or fueled by misinformation about them, decline to cooperate, a stark contrast with places like Germany where compliance with contact tracers is viewed as a civic duty. In Florida's Miami Dade County, contact tracers employed by the state have reached only 18 percent of those infected over the last two weeks, according to Mayor Dan Gelber of Miami Beach; many of the others were never even called. Mr. Gelber wrote a letter to Gov. Ron DeSantis on Monday decrying the state of the program. "You think it's a natural situation where people will say, 'Oh of course, I'll cooperate,'" Dr. Fauci said. "But there's such pushback on authority, on government, on all kinds of things like that. It makes it very complicated." Dr. William Foege, a former director of the C.D.C., said recently that effective tracers should be "psychiatrists, detectives and problem solvers all at once," and that will also take time for many who are new to the job. But in the meantime, Dr. Plescia said, even finding a fraction of cases through contact tracing will help slow the virus's spread. "We don't have to strive for perfection on this," Dr. Plescia said. "It's a heavy lift and it's going to take some time. We need to hang in there and keep at it."	N24News: A New Dataset for Multimodal News Classification	Health
Peter Asher smiled beatifically as he sat in the sleek living room of his Midtown pied a terre, and flashed back almost 50 years to his very first trip to the United States. It involved a gig at the 1964 World's Fair when he was half of the mop topped British pop duo Peter and Gordon. Mr. Asher was and is the pixieish one with the glasses and the carrot colored hair. "We played by the Unisphere," he said. "There was a stage and there was water in front of it, and then there was the audience. And all the teenage girls jumped in and swam across. To be rushed at by women at such an early age it was fantastic. I'm getting quite nostalgic," said Mr. Asher, 69, who after his days as a teen idol produced hugely successful records for Linda Ronstadt, Neil Diamond, James Taylor, Bonnie Raitt and Cher, among others, winning a couple of Grammy Awards along the way. "I knew then that I'd love New York." But for years, career demands kept him on the West Coast. It wasn't until the mid '90s, when he became a senior vice president of Sony Music, that he was required to spend considerable time in the city he knew he'd love, even if the screaming fans had long since grown up and moved on. Still, there were domestic issues to sort out: how much time would Mr. Asher have to spend away from his base in Los Angeles? Would it be necessary to uproot his wife, Wendy Worth Asher, and their young daughter, Victoria? "It turned out I was spending an awful lot of time back in L.A. anyway, because that's where most of the studio work is," Mr. Asher said. "We kind of decided not to decide about moving, so I rented on Sutton Place. Then we decided that was kind of silly and that maybe we should think about buying something small somewhere close to Sony."	N24News: A New Dataset for Multimodal News Classification	Real Estate
What We Saw at London Fashion Week Men's LONDON The arrival of the new year has done little to quell the nerves about a London in flux. The economic and political future of Britain remains uncertain, and the battle over how the country should leave the European Union continues to rage. It has prompted an identity crisis that spilled over into the first of the coming round of fashion shows, which began on Friday with London Fashion Week Men's. After all, the old narrative of London as a global metropolis was an identity deeply woven into its designs. So it was of little surprise that, last weekend, passionate questions around authentic presentations of self and voice, as well as explorations of artifice and mirage, were front and center on the runway. Here's what shone through. Case in point: Charles Jeffrey Loverboy. The latest collection, entitled "Darling Little Sillies" and showcased in a dilapidated Victorian power station on the banks of the River Thames, was inspired by a first edition of "The Story of Peter Pan," with a heady dose of 1920s cabaret culture thrown in. Amid prancing actors, shattered chandeliers and bathtubs filled with books, came bold, oversize tartan suits and exquisite embroidered coats; colorful graphic mohair sweaters; and dramatic scarlet evening gowns, either one shouldered with a dropped waist or sleeveless with a full tiered skirt. Mr. Jeffrey's prodigious talent was visible in both cut and construction, as was an effort to make his often outrageous styles more accessible. The same could not be said of Art School, the gender non binary collective that this season graduated from the bosom of Fashion East, a talent incubator. The designers Eden Loweth and Tom Barratt said they had been picturing models on the way to the opera, but it was still hard to imagine the exuberant explosion of silk slips, wobbly stilettos, hacked up sweatshirts and bottom skimming metallic tuxedos as actual clothes. More commercial was Edward Crutchley, who showed a highly appetizing collection he termed "business wear with bite" and "expensive elegance." Think sleek tailored evening looks for both sexes including pinstriped suits and luxurious cashmere knits, printed lounge pajamas and silky cigarette pants; all careful, considered and admirably grown up. And then there was Samuel Ross of A Cold Wall, the most recent recipient of the Fashion Award's prize for British Emerging Men's Wear Designer and one of the most watched names on the London scene. Like Mr. Jeffrey, Mr. Ross has stepped things up a notch while looking to the news cycle. His show was inspired, in part, by the immigration crisis and the movement of people across bodies of water in Europe. Models came down a runway adrift in inky black water, surrounded by growling dogs and dancers who slinked and sighed in the shadows. Constantly looking over their shoulders, they wore versions of the sportswear that has become this brand's signature hoodies, macs, protective utility vests and tailored tracksuits in muted tones with reflective piping and compasses sewn into garments. "Fashion has overdone nostalgia in an attempt to cash in on your impossible longing for a perfect you and perfect time, that doesn't exist now and actually never did." So read the show notes of Liam Hodges, a London men's wear favorite, whose kaleidoscopic collection of tracksuits and T shirts was inspired by the growing pains of "modern day cyborgs," touching on ideas around evolving online and offline identities. It was a theme also plumbed by Cottweiler, designed by Matthew Dainty and Ben Cottrell. Their latest collection, presented 12 levels down in a dank East End car park alongside moss covered urinals, was a lament about the decline in face to face interaction (specifically cruising in parks), thanks to the rise of social media. Techy tracksuits and multipocket outerwear in verdant hues, laden with cheeky touches like open flies, midriff hints and bottom skimming zips, were framed by a 10 piece capsule collection of sleek raincoats made with the Italian label Allegri. Hussein Chalayan, who celebrates his 25th anniversary in the fashion business this year, embraced his own next stage with tailoring experimental origami style folds and wide cut padded jackets with kimono sleeves as well as tongue in cheek, class infused active wear from the worlds of equestrianism and apres ski. It needn't all be bad, these clothes seemed to say, at a time when nothing is quite as it appears. "Pretense healthily lifts us away from our reality," Mr. Chalayan said, "adding a richness to the monotony of our lives." Also adding richness: Craig Green's return to the schedule after a brief Florentine sojourn at Pitti in Italy in June. His beautiful designs rooted around timeless, nomadic men continue to earn him admiration (he won British Designer of the Year men's wear at the Fashion Awards in December for the third year in a row). Belted trench coats in black, blues and earthy reds had an enveloping, cocoon like quality, while a series of long sleeved tees and trousers in tightly elasticated plastic scales came with billowing hoods to match. The point being traditions did not need to be forgotten there were ancient knitwear techniques woven into almost every look even if the focus remains moving forward. Staples of his utilitarian street wear aesthetic, like typhoon suits, oversize khaki parkas and patchwork tracksuits, were shown in new and innovative materials on an army of models. There were also collaborations: with Range Rover (premium sunglasses) and Margot Vaaderpass, a fellow Royal College of Art designer (roll neck knitwear made from recycled yarn), to demonstrate the power in numbers. David Beckham, an owner of Kent and Curwen, the British heritage men's wear brand, wheeled out his wife, Victoria; his eldest son, Brooklyn; and other key members of the clan for a slap up breakfast on Sunday morning, the better to debut a capsule collaboration with the BBC television series "Peaky Blinders." There were classic three piece tweed suits, signature collarless shirts, and peg leg wool trousers all in autumnal tones alongside a motley mix of rugby shirts, Crombie coats, argyle sweaters and striped skinny suits. Also flat caps, which, Mr. Beckham admitted, "I got from my granddad. I wore his from a very young age." And now? "Brooklyn has taken it on as well."	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
No one irritates Donald Trump quite like Barack Obama. Trump's run for president was in part triggered by his enmity for Obama, his desire to one up him, and he has performed his presidency as a singularly focused attempt at Obama erasure, dismantling what he can of what Obama built and undoing policies Obama instituted. Obama is everything that Trump is not: intellectual, articulate, adroit, contemplative and cool. He also happens to be a black man. The fact that he could not only ascend to the height of power but also the heights of celebrity and adoration vexed Trump. Trump set about to demonstrate that none of that mattered, none of it could supersede the talents of a confident counterfeit. He convinced himself that Obama was the convenient recipient of affirmative action adulation from a world thirsty for racial recompense, an assuaging of white guilt. Trump has held this view well before anyone heard the name Barack Obama. In 1989, Trump said in an NBC News interview, "A well educated black has a tremendous advantage over a well educated white, in terms of the job market." Trump went so far as to say that "I've said on occasion, even about myself, if I was starting off today I would love to be a well educated black because I really believe they do have an actual advantage today." This was not a compliment. Trump adheres to the theory of unearned black privileges at the expense of white effort, that there is a hand me out meritocracy specifically for black people, a form of cultural welfare. This made Obama an early target for Trump. He questioned Obama's birth and his heritage, his abilities and educational pedigree. He questioned his leadership and his work ethic. Trump knew the terrible legions of flaws he possessed and was incredulous that this black man could be devoid of any. So, he feverishly searched for error, sometimes inventing it, moreover projecting his own error onto Obama. Obama became Trump's foil for personal reasons of racial and cultural insecurity. But Trump's view of him perfectly aligned with a larger phenomenon: A significant swath of white America grated at the uppityness of this black man who would set the tone for how Americans should behave, and his black wife who would lecture them about what to eat. Obama wasn't on the ballot in 2016, but in a way he was. Trump wasn't only running against Hillary Clinton whom conservatives revile, whom Vladimir Putin reviles, whom the patriarchy reviles he was also running against the black shadow of a black man. These voters chose the opposite of Obama, they chose the moral and intellectual antithesis, someone who could arrest the advance that Obama represented: an ascension of multicultural power and a coming erasure of white advantage and the dominance of white culture, all of which establishment forces had either allowed or encouraged. Trump was elected to restore the cultural narrative of the primacy of whiteness. Now, with the colossal disaster of his Covid 19 response threatening his re election prospects, Trump is attempting to draft Obama once again as his primary opponent. No president would have wanted this pandemic to happen on their watch. There would be death and suffering regardless. But, it is hard to imagine another president handling the situation as poorly as Trump has, which has led to far more death and suffering than was necessary. Where we are with this virus was not inevitable. It is the direct result of Trump's failed policies. Trump has tried for months to do what he has always done: invent an alternate reality, lie, blame and brag, deny responsibility and claim victory. But that simply doesn't work as well when the coronavirus has claimed more American lives in a few months than the Vietnam War claimed in a decade. It doesn't work when tens of millions of Americans are out of work and the economy is teetering on a depression. So, Trump is reaching past Joe Biden in his basement for an opponent who evokes a more visceral disdain from his base: Obama. He has cooked up an Obamagate conspiracy, claiming that the former president committed "the biggest political crime in American history, by far!" Of course, there are no crimes other than the ones Trump himself has committed. But, this is a familiar territory for Trump, projection and deflection. By using sleight of hand to turn the focus to Obama on a phony scandal, he hopes to make people look away from the mountain of dead bodies on which he is now perched.	N24News: A New Dataset for Multimodal News Classification	Opinion
I keep a file on my phone labeled Wellness. It's got zero fitness tips and no meditation advice. It's full, instead, of stuff about Gwyneth Paltrow movies. Like how, in "A Perfect Murder," she buys Viggo Mortensen a fancy espresso maker and tells him, " You could use a little civilizing ." I called my Paltrow file Wellness because, last year, I thought it'd be amusing to find some overlap between her acting and Goop, her lifestyle brand. How many times had a Paltrow character tried to upgrade the lives of the people around her, just as a matter of taste, like that espresso machine or the matchmaking she tries to do in "Emma"? But I had to stop, because eventually and I mean after two movies it was clear that the average Paltrow character doesn't get to make anybody's life much better because somebody's always making hers worse. Imagine playing a pregnant woman who sits around a dingy apartment, as Paltrow does in "Se7en," while Morgan Freeman and Brad Pitt hunt the psycho who, at some point, removes your head then boxes it up like it's a hat from eBay. Imagine playing the girlfriend of suspiciously missing Jude Law and having to run for your life, as Paltrow does in "The Talented Mr. Ripley," because Matt Damon knows that you know he killed your man? And "A Perfect Murder"? It's supposed to be hers! Now, there's a kind of person who'd remember her decapitation and feel kittens on the internet happy, because there's a kind of person who just doesn't like Gwyneth Paltrow. This person probably would have felt this way before there was ever a Goop. The tearful, gushing (utterly sincere) Oscar speech from 1999 would have set this person off. As well as the comedy about the loser who loves a fat version of Paltrow because he can see her true, beautiful inner self, and she's skinny Gwyneth. And the fact that she famously dated Pitt and Ben Affleck, that she married the guy from Coldplay and named their first child after orchard fruit. Maybe that kind of person dislikes the permanent pout of her mouth or her mild patrician drawl, the private school privilege of it all. Maybe her brightness and ambient affluence are too "debutante" for them. I am not that kind of person. I'm the kind of person who, when Paltrow collapses on her kitchen floor, gandered gravely at his watch (We're only eight minutes in?); who, when she's pronounced dead a minute later, seriously searched for the nearest exit and this is a Soderbergh movie, one with Damon, Law, Kate Winslet, Marion Cotillard, Laurence Fishburne and Sanaa Lathan. So, no: I am some other kind of person, the kind who believes that Paltrow was, for a while, the best young American actor in Hollywood. She's still among the very last generation of movie performers including Cotillard and Cate Blanchett, Winslet and Nicole Kidman for whom stardom and skill seem scarily, thrillingly natural. I love the whine in Paltrow's flirtation, the shock of her rage, how she can go from luminous to lost just like that, how she's able to summon worry, misery and rue 70 different ways in a single performance . I was drawn to her intelligence and her radiance and the swings of her mood, improbably perhaps, but not really. Lots of the women she's played tend to exist on estates, in mansions and academia, but hers isn't the acting of entitlement, the brattiness of privilege. If she laughed, I laughed. If she ached, I did, too. Damn the gentry. If Jessica Lange or Matt Damon is coming after her, I'm calling the police. The end of the 1990s and start of the 2000s was High Paltrow. Everybody knew she was going to be major. They knew not because Harvey Weinstein , who made a string of Miramax movies with her , willed it but because people who went to the movies said so. Noting that she made 15 films in five years is more weather report than adulation. But she made great weather partly cloudy in "Sliding Doors," partly sunny in Alfonso Cuaron's "Great Expectations," hazy in "Hush," stormy in "The Royal Tenenbaums," perfectly clear in "Shakespeare in Love." These were movies people liked (mostly). People seemed to like her in these movies. They gave her an Oscar for that last one, and something about that moment seemed to alter the forecast. Could it have been all the crying in the speech and the princess pink Ralph Lauren dress? Or the idea that she beat Blanchett and Fernanda Montenegro, who complained to the Brazilian press that Paltrow won for being a "romantic figure, thin, pure, virginal"? Or the idea that Weinstein had manufactured her a win that came too soon, whatever that would even mean? Either way, something had changed. That Wellness file of mine was a shallow excuse to write about a favorite performer who, in the last decade or so, appeared to lose her zest for performing. I, at least, had trouble making do with her alongside Robert Downey Jr.'s Iron Man, playing Pepper Potts, his assistant then partner then wife then co Avenger then widow. She was breezy with him but where was the beef? Between Marvel movies, I'd take what I could get. That meant watching her, on the Goop site, slice pork with Jon Favreau, drink margaritas with Seamus Mullen; fry chicken with John Legend well, he fried his; she baked hers. Was Paltrow hiding, taking a vacation, retiring, making absurdly savvy business decisions? She's got a good part, as a mansion dwelling mommy with a secret life, on a new Netflix show called "The Politician." The middle has gone out of the movies. And the middle was where Paltrow lived. Where else, besides streaming, would she even go now? Still, how could a person who seemed to act all the time, and at the height of her talent, gradually stop acting? Were there no roles that challenged her? She's 47 now : Were there just no roles? But last week, I finished "She Said," a stressful new book by Jodi Kantor and Megan Twohey about, in part, how they broke the Weinstein sexual harassment story for The New York Times. In an epilogue there is a gathering of a dozen very different women (lawyers, a fast food worker, Christine Blasey Ford) at Paltrow's home where they talk about their experiences surviving and fighting back against a range of men . Among these women, she discloses the discovery that, even though she resisted him, Weinstein had been exploiting her success to prey upon women: How do you think Gwyneth has what she has? "That has by far been the hardest part of this," she tells the group, "to feel like a tool in coercion of rape." Weinstein's effect on the many women he's alleged to have harassed, assaulted and worse remains largely private. For the actors, maybe he actively cost them work. Maybe what he did to them changed their relationship to their work. I've spent two years wondering whether Paltrow's taste for acting had diminished because of that man, whether having his company seem synonymous with some of her strongest, most popular work compelled her to start a company of her own, one where the work concerned not acting but being, being whole, being better, being ridiculously better . How much power does a female actor truly have in Hollywood? Not just autonomous power, but the power to completely protect yourself from predation? Why not build something that doesn't control you because it's yours? Intelligence is an essential component of Paltrow's screen self. She rerouted that intelligence into the kind of workplace some people wish they had. But I've spent a couple of years wondering about the work, too, her old work. I went back to a lot of it. And that dopey Wellness file became a catalog of the ferociously unwell. Melancholic widowhood in "Bounce." Manic depression in "Proof." It's true that somebody was always trying to kill Paltrow. But then she started trying to kill herself. Suicidal depression in "The Royal Tenenbaums." Suicide in "Country Strong." Drug addiction with suicidal depression in "Two Lovers." A molten incarnation of Sylvia Plath in "Sylvia." It's true that she was funny in her minute or so as Dixie Normous in "Austin Powers in Goldmember" and that she tried (too hard) to be, as a flight attendant in "View From the Top." It's also true that the dark parts were juicy and played to her capacity for making the most vivid music out of fraying psychological noise. Paltrow won that Oscar basically for playing the sun. But she's even more astonishing in black holes. But maybe you get tired of all that darkness, of the suffering, of the being made to suffer. Maybe you really do just want the lightness of celebration, the benefit of salves and powders and whatever a jar of ashwagandha purports to do for you. Looking for personal clues in somebody's acting is probably a folly. The words are a writer's. And the direction usually comes from someone else. But I kept wondering anyway. Was this woman working through working against something else? I'm that kind of person, the kind who hears a theater full of people cheer half her face being covered by scalp and wants to cry. The excellence in her acting even as a corpse is a key in the lock of my humanity. It's hard to watch her suffer. It's hard to know she's suffered and that suffering has always felt bigger than any one character or, really, any one actor. It's felt representative. In "The Talented Mr. Ripley," Paltrow plays Marge, a 1950s coed, who starts off with some of Grace Kelly's glamour and exits with lots of Kelly's disillusionment. The movie is a Hitchcock ian potboiler, a Weinstein production directed by Anthony Minghella, adapted from Patricia Highsmith's novel and set in the poshest parts of Italy. At some point, Marge's boyfriend, Dickie, vanishes, and she becomes increasingly certain that his creepy pal, Tom, is responsible. She discovers proof off camera and disturbs Tom's bath to angrily confront him. He receives her wrapped in a towel, yells at her to shut up and when he tries to grab her, he drops the towel and exposes himself. She jumps and gasps. One hand covers her eyes, the other an ear. He retreats to put on some clothes . But she stands there, her mouth still hidden by the fist she's making, like a shocked little girl who's seen a young man explode into a monster. She attempts to leave. Tom tries to talk her into staying, by bad mouthing Dickie, by telling her that he loves her, better even than he loved Dickie, better than Dickie loved her. She backs into the door, and the closer he moves, the more terrified she becomes, weeping and shivering at the same time. His boyishness becomes psychotically serene. "Can I hold you? Will you let me hold you?" he asks, moving closer in. It's a scenario reminiscent of so many accounts by Weinstein's accusers, including the one that Paltrow has told the isolation, the menacing persistence, the terror. And here's a cinematic version of it. Except Marge is saved when her friend, Peter, opens the door: "Get me out of here!" Who knows what Marge will do after a boat drags her out of the movie, away from trying, uselessly, to beat a confession out of Tom? But she knows the truth. And the world doesn't care. These are 15 of the best, most suspenseful minutes of Paltrow's career. And they could stand in for all the shrewd, magnetic, unhinged work she's done. There's a kind of person who'll remember her in this movie and maybe behold her on "The Politician" and hope it's work she still believes is worth doing.	N24News: A New Dataset for Multimodal News Classification	Movies
The flu comes every year and this year's strain has hit early and hard. The Times's Donald G. McNeil Jr. says plenty of people are sick, but don't just blame influenza. Deaths in the current flu season have officially crossed the line into "epidemic" territory, federal health officials said Friday, adding that, on the bright side, there were also early signs that the caseloads could be peaking. Officials from the Centers for Disease Control and Prevention, speaking on a telephone news conference, again urged Americans to keep getting flu shots. At the same time, they emphasized that the shots are not infallible: a preliminary study rated this year's vaccine as 62 percent effective, even though it is a good match for the most worrisome virus circulating. That corresponds to a rating of "moderately" effective the vaccine typically ranges from 50 percent to 70 percent effective, they said. Even though deaths stepped barely into epidemic territory for the first time last Saturday, the C.D.C. officials expressed no alarm, and said it was possible that new flu infections were peaking in some parts of the country. "Most of the country is seeing a lot of flu and that may continue for weeks," said Dr. Thomas R. Frieden, the C.D.C.'s director. New outpatient cases a measure based on what percentage of doctor visits were for colds or flu dropped off slightly from the previous week, to 4 percent from 6 percent. The trend was more pronounced in the South, where this year's season began. Dr. Frieden cautioned that the new flu figures could be aberrations because they were gathered as the holiday season was ending. Few people schedule routine checkups then, so the percentage of visits for severe illness can be pushed artificially high for a week or two, then inevitably drop. Deaths from pneumonia and the flu, a wavy curve that is low in summer and high in winter, typically touch the epidemic level for one or two weeks every flu season. How bad a season is depends on how high the deaths climb for how long. So far this season, 20 children with confirmed flu tests have died, but that is presumably lower than the actual number of deaths because not all children are tested and not all such deaths are reported. How many adults die will not be estimated until after the season ends, said Dr. Joseph Bresee, the chief of prevention and epidemiology for the C.D.C.'s flu branch. Epidemiologists count how many death certificates are filed in a flu year, compare the number with normal years, and estimate what percentage were probably flu related. Many people are getting ill this year because the country is also having widespread outbreaks of two diseases with overlapping symptoms, norovirus and whooping cough, and the normal winter surge in common colds. Flu shots have no effect on any of those. Spot shortages of vaccines have been reported, and there will not be enough for all Americans, since the industry has made and shipped only about 130 million doses. But officials said they would be pleased if 50 percent of Americans got shots; in a typical year, 37 percent do. Nevertheless, more Americans now routinely get flu shots than did then, and doctors are much quicker to prescribe Tamiflu and Relenza, drugs that can lessen a flu's severity if taken early. The C.D.C.'s vaccine effectiveness study bore out the point of view of a report released last year by the University of Minnesota's Center for Infectious Disease Research and Policy. It said that the shot's effectiveness had been "overpromoted and overhyped," said Michael T. Osterholm, the center's director. Although the report supported getting flu shots, it said that new vaccines offering lifelong protection against all flu strains, instead of annual partial protection against a mix and match set, must be created. "But there's no appetite to fund that research," Dr. Osterholm said in an interview Friday. "To get a vaccine across the 'Valley of Death' is likely to cost 1 billion," he added, referring to the huge clinical trials that would be needed to approve a new type of vaccine. "No government has put more than 100 million into any candidate, and the private sector has no appetite for it because there's not enough return on investment." At the same time, he praised the C.D.C. for measuring vaccine effectiveness in midseason. "We're the only ones in the world who have data like that," he said. "Vaccine effectiveness" is a very different metric from vaccine virus match, which is done in a lab. Vaccine efficacy is measured by interviewing hundreds of sick or recovering patients who had positive flu tests and asking whether and when they had received shots. Only people sick enough to visit doctors get flu tests, said Thomas Skinner, a C.D.C. spokesman, so the metric means the shot "reduces by 62 percent your chance of getting a flu so bad that you have to go to a doctor or hospital." During the telephone news conference Friday, Dr. Frieden repeatedly described the vaccine as "far from perfect, but by far the best tool we have to prevent influenza." Most vaccinations given in childhood for threats like measles and diphtheria are 90 percent effective or better. But flu viruses mutate so fast that they must be remade annually. Scientists are trying to develop vaccines that target bits of the virus that appear to stay constant, like the stem of the hemagglutinin spike that lets the virus break into lung cells. During the 2009 swine flu pandemic, many elderly Americans had natural protection, presumably from flus they caught in the 1930s or '40s. "Think about that," Dr. Osterholm said. "Even though they were old, they were still protected. We've got to figure out how to capture that kind of immunity which current vaccines do not." At Friday's news conference, Dr. Bresee acknowledged the difficulties, saying: "If I had the perfect answer as to how to make a better flu vaccine, I'd probably get a Nobel Prize."	N24News: A New Dataset for Multimodal News Classification	Health
Just as fashion blogging was beginning to take off in 2007, so too was a more plain speaking online community one that gave rise to some of today's most recognizable fashion voices and figures. Created on Sept. 29, 2007, by a user called lolmodelbitch, Fashin Fags was a style focused offshoot of the popular celebrity gossip blog Oh No They Didn't, on the LiveJournal platform. It was where anonymous users could scrawl graffiti on fashion's bathroom wall, posting hilariously catty comments about a model's career or the latest Prada collection. Though its glory days spanned only four years, the community played witness to the creation of the blogger Bryanboy, Hari Nef's transition from super user to model and actress, and Jeffree Star's pivot from singing to cosmetics. It paved the way for the fast fashion news cycle, creating an appetite for trade sites like Business of Fashion (which started as a blog) and the instant catwalk images of Nowfashion. For better or for worse, it was instrumental in the democratization of fashion as we know it. It was also full of "the meanest, but funniest, people I've ever met," the former model and member Marc Sebastian Faiella, 26, said. "Everyone was so unabashedly mean, but they would do it in such a funny way." Those comments, whether or not they were about him, he said, "were just so funny that you couldn't really be mad at anyone." The blog's name changed to Fashin sometime in 2009. "People realized the name was maybe a little offensive," said Kevin Tu, 28, who took on moderating duties after lolmodelbitch granted him privileges before she disappeared without a trace. "The attitude on the community was that people were speaking their minds, not really being afraid. A lot of it did have to do with the fact that the creator was essentially an anonymous troll." One former member, Dana Kruspe, recalls that "it wasn't all catty and horrible." "I learned a lot there," Ms. Kruspe continued. "The content I was creating for it was just fueled by the people who I knew would enjoy it." At its peak, this LiveJournal community became a platform for erudite, acid tongued fashion fans to school each other on modeling's fresh new faces, advertising campaigns and histories of the biggest brands. Adding to that conversation could be a formative education. Before publishing a comment, users had to be sure their knowledge of the topic was up to scratch, or face a grand jury of fashion experts. Ms. Kruspe often created in depth posts on the percentage of nonwhite cover stars on any issue of any edition of Vogue (18 percent in 2010), and an examination of how often a publication would photograph an item of clothing from a certain brand. (By her count, Balmain's heavily borrowed FW 2010 gold dress appeared on eight fashion covers internationally.) "People used to make tallies of which models would walk what show," Mr. Faiella said. "They used to make tallies of what soundtracks were on which runways, which shows. There used to be blogs where someone would upload pictures before there was anything like Nowfashion. I learned so much from that blog." A lot of Fashin's former members went on to be employed by the industry. Mr. Tu, previously at Models.com, now works at the Society management, a talent agency that handles the careers of Kendall Jenner, Adriana Lima and Lottie Moss. Mr. Faiella left modeling for a career in television. David Siwicki, another former member, now does public relations for the of the moment brand Vetements. Hari Nef appears on the television show "Transparent," and was most recently featured in a L'Oreal campaign. "There isn't a place to care about fashion as much as we used to," Mr. Faiella said. It was really important, he said, that the blog "gave everyone a platform to talk about how they felt about fashion, what their feelings were and in what direction they thought fashion should head." "Now," he continued, "everyone has a platform, everyone has an Instagram, Twitter, a YouTube channel." Mr. Tu agreed. "I don't think I'd be here today if any of that never really happened," he said. "It really did help people in the same way it helped me to find their way through the fashion industry."	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
When John Cage and Morton Feldman, experimental composers of contrasting styles but compatible temperaments, met in the Carnegie Hall lobby on Jan. 26, 1950, it began a lasting association. Their chance encounter came full circle in 2001, when the vocalist and composer Joan La Barbara initiated "When Morty Met John," a three year cycle of Carnegie Hall concerts devoted to Cage, Feldman and their colleagues of the New York School, including Earle Brown and Christian Wolff. Fittingly, those concerts produced their own serendipitous byproduct: Ne(x)tworks, an ensemble devoted to preserving and extending practices and philosophies fostered by Cage and Feldman, including graphic notation and chance operations. The group, an unorthodox cadre of improvising composer performers, included Ms. La Barbara and two of her "When Morty Met John" associates, the violinist Cornelius Dufallo and the violist Kenji Bunch, as well as the trombonist Christopher McIntyre and the pianist Stephen Gosling. The core lineup coalesced in 2006 with the arrival of Shelley Burgon, a harpist and sound artist, and Miguel Frasconi, a protean musician whose arsenal includes glass objects and electronics. The fledgling band developed a tight bond early on with Issue Project Room, an East Village performance space opened in 2003 by Suzanne Fiol, a visual artist and upstart presenter, and followed her to three successive Brooklyn locations. The association continued after Fiol's death in 2009. By 2012, though, Ne(x)tworks had lost members to relocation, competition and career change. Rather than fading away without remark, the group is mounting a grand finale on Oct. 24, at Issue's present home, which members of the ensemble christened in 2010 with a rapt account of Feldman's six hour String Quartet No. 2. For this farewell concert presented in conjunction with "Suzanne Fiol: Ten Years Alive," an exhibition of Fiol's visual art marking the 10th anniversary of her death Ne(x)tworks rounded up former colleagues and longtime collaborators to play compositions by its members, Cage and other kindred spirits. On a recent morning in a lounge at New York University, Mr. Dufallo, Mr. Frasconi, Ms. La Barbara and Mr. McIntyre gathered to reflect on the group's life span, its association with Fiol and Issue, and why the time has come to say goodbye. Here are edited excerpts from the conversation. CORNELIUS DUFALLO I was in the Flux Quartet, and Joan was curating the "When Morty Met John" festival at Carnegie Hall. We collaborated on Earle Brown's "Folio and Four Systems," and that, for me, was an incredible moment. Fast forward a year or two: I was completing my doctoral thesis on indeterminacy in the violin repertoire. Writing about open scores and graphic notation, and thinking I really would like to play these pieces, I emailed Joan, saying, "What would you think about getting together to do something?" How did you connect with Suzanne Fiol and Issue Project Room? CHRISTOPHER McINTYRE I had already been there, when it was on Sixth Street. She knew of us or members of us and said, "Of course you can come and play here." JOAN LA BARBARA It was an office during the day, for a magazine called Issue, so we couldn't start until the office stopped. I remember it as almost a garage space there was no real entrance. DUFALLO But it became our home, and Suzanne was like our mom. And the concerts were like parties. That was the vibe. When it moved to Brooklyn, you followed. LA BARBARA We'd lost our home, and then she showed up again: "I've found this great place on the Gowanus Canal." McINTYRE She was worried about people making the schlep, and how to deal with that: Maybe if there was a residency idea, some kind of regularity, and professionalizing the organization more than it had been? So she talked to us about, "Would you guys come and do this?" And I think we realized that we were better off when we had a kind of focused energy. This group has always been populated with people doing 100,000 other things. LA BARBARA Which is one of the wonderful things about it. It brought so many different points of view and perspectives to it. There were no boundaries, no barriers. McINTYRE Whatever practice you were a part of, you could bring it to the material, because it had an openness to it specifically dealing with historical open forms, but what we made ourselves, as well. The last concert of the first Issue residency was an auspicious night; we had formed a real band at that point. And every year we had at least one concert that was only pieces by us. So I'm writing, "This is for Neil, this is for Joan, this is for Miguel" that kind of Ellingtonian thing, where you're writing for people, rather than a sort of generic ensemble. Miguel, how did you find your way into this mix? MIGUEL FRASCONI I joined in 2006, but I had heard Ne(x)tworks for years without realizing they were Ne(x)tworks. I went to their Earle Brown show, simply because it was Earle Brown. DUFALLO When Miguel and Shelley joined, at that point I felt like we had a Ne(x)tworks sound that was new and different.	N24News: A New Dataset for Multimodal News Classification	Music
Arriving from Holland, Hauer made his American film debut in 1981 , as a remorseless terrorist in the Sylvester Stallone thriller "Nighthawks," At first glance Hauer might have looked like just another in a long line of European musclemen who steadily found work in Hollywood throughout the 1980s, ready to play their share of killer robots, stoic soldiers and disposable blond henchmen. But Hauer brought to this particular killer robot a mixture of physical menace, regal charm and psychic anguish. He moved with melancholy grace, his eyes alternately darting and serene. The character, we're told, has a lifespan of only four years, and probably even shorter if the film's protagonist, the gruff cop Rick Deckard (Harrison Ford), has anything to say about it. What's only implied, and then suggested through performance, is that Roy Batty will cram into that short period the existential journey of an entire human life. So, in his early scenes, he speaks in clipped, hesitant tones. Batty has clearly researched his predicament he knows he doesn't have long to live, and he has ideas about all the scientific methods that could be used to prolong his existence but he sputters the words out, as if saying them for the first time: "EMS recombination," "a repressive protein." That childlike nervousness evokes genuine pathos, even as we witness the violence he's capable of. When he finally viciously kills his creator, the scientist businessman Eldon Tyrell, rage, sadness, fear and exaltation all dance across Batty's face. And are those tears in his eyes, or just the ever present sweat caused by "Blade Runner's" apocalyptic climate? Is there even a difference? This world is as broken as the humans and near humans who populate it.	N24News: A New Dataset for Multimodal News Classification	Movies
It's strong stuff, conversationally lively and expressive. Apt on the spot paraphrase abounds: "In his famous in flight news conference coming back from Rio" Francis "seemed to indicate an interest in the remarriage issue, offering a positive seeming mention of Eastern Orthodoxy's practice on divorce. ... But the furor over gay priests and Who am I to judge?' overshadowed these remarks." And then, as Douthat reaches what he sees as the heart of the matter the Vatican synods on marriage and the family in 2014 and 2015 his culture warrior tendencies stir fully to life. He casts the synods as a battle: warring factions, attacks and frontal assaults, purges and collaborators. Francis' openness to the German cardinal Walter Kasper's proposal to relax the ban on divorced and remarried people in Germany receiving Communion at Mass is framed as a liberal pope's "crusade to change the church." Although Francis has invited free discussion more than any previous pope, his efforts to shape the synod's outcome (he is the pope, after all) are seen as "stage managing" and "deck stacking." The synod fathers' disputes are rolled down the slippery slope and deemed a "full scale theological crisis" in which the hope that Francis would foster unity and renewal is undone by the supposed liberals' supposed desire to accommodate "the sexual revolution and all its works." Douthat's own position is traditionalist cum literalist: Any relaxing of the Catholic teaching on marriage one man, one woman, one time means that core teachings can be changed; if core teachings can be changed, the Catholic Church is no longer the Catholic Church; and if the church is not the church, all hope is lost. From this fixed position, he slyly derides other positions, especially the liberal outlook. As a first draft of history, "To Change the Church" is a high wire act, an effort to maintain a balance between theology and polemics for a wide public. And yet the air is thin up there, the wire narrow and tight. From above, Douthat, seeing every act as a tactical move in the culture wars, pushing every hypothesis to its limit, ignores human experience. Left out is the prospect that Francis called a synod about marriage and family not because he wanted to fly the flag of the sexual revolution but because marriage and family are where so many people in our time encounter the paradoxes of body and soul, self fulfillment and self sacrifice. Left out is the fact that Catholics don't skirt the church's teaching on marriage just to make things easier for themselves; they say, "By what right do those child abuse indulging clerics tell me that my marriage is adulterous while twice divorced, thrice married Newt Gingrich is now a Catholic in good standing, living in Rome as the spouse of his ex aide/girlfriend who is the United States ambassador to the Vatican?" Left out are the signs that the traditionalists don't want to tamp down divorce so much as bar the door to same sex marriage. Left out is the truth that sexual behavior is more fluid than the culture war schema allows: that there are conservative libertines as well as liberals who live marriage faithfully (even chastely). Left out are people like Gabby, who live off the grid of the culture wars as does Douthat himself, a conservative whom liberal institutions have educated, sponsored and let thrive. Left out, especially, is the home truth that the Catholic Church has changed already. Vatican II was at once the church's response to a crisis and the perpetuation of it. In less than five years the council fathers made changes whose number and scale dwarf the modest proposals floated in Francis' pontificate made them over the objections of Bill Buckley and other pundits who styled themselves as more Catholic than the pope. The biggest change had to do with the church's relationship to Judaism, other churches and other religions. In a few strokes, Jesus' hard saying "No one comes to the Father except through me" and its Catholic expression ("Outside the church there is no salvation") were softened and qualified. The change was profound and tradition defying. Ever since, the church has affirmed the integrity of other faiths; ever since, Catholics have had to ask themselves, "Why be Catholic, when other ways are O.K., too?" Ever since, there has been no one clear answer. This is not to say that people entering into Catholic marriage shouldn't fully grasp the church's understanding of the sacrament and its obligations. It is to say that the view of marriage as a marker in a culture war a doctrinal asymptote, a line that may be approached but not crossed is itself a greatly diminished view of marriage. Fidelity is going into new forms; like it or not, Catholics, right up to the pope, have to work out the implications as we go. The slope is slippery now and forevermore. Truly, it has been all along.	N24News: A New Dataset for Multimodal News Classification	Books
He is officially the longest tenured cast member at "Saturday Night Live," who over 16 seasons has become a steadfast and reliable impersonator of Steve Harvey and the Rev. Al Sharpton, and portrayed all manner of talk show and game show hosts. So, what does Kenan Thompson do next? He's getting his own NBC comedy series, and one that evidently won't require him to part ways with "S.N.L." NBC said on Friday that it had given a series order to "The Kenan Show," a new family comedy series that will make its debut next season. In a news release, NBC said the show will focus on Thompson's character as he "strives to be a super dad to his two adorable girls while simultaneously balancing his job and a father in law who 'helps' in the most inappropriate ways." The cast also includes the siblings Dani and Dannah Lockett as his daughters and Andy Garcia (of the "Ocean's Eleven" films) as the father in law. Lorne Michaels, the creator and longtime executive producer of "S.N.L.," will serve as an executive producer of "The Kenan Show," as will Chris Rock (an "S.N.L." alumnus), who will also be a director on the series.	N24News: A New Dataset for Multimodal News Classification	Television
A year ago, Apple stirred controversy by striking special deals with some of pop music's biggest stars. Now Spotify is under fire for dealings with artists who, in a sense, do not exist at all. For the last week, the music industry has been buzzing over the accusation that Spotify's playlists are dotted with hundreds of supposedly "fake" artists, with names like Amity Cadet and Lo Mimieux, who are racking up tens of millions of streams yet have no public profile no Facebook page, no Twitter feed, not even a face. Spotify has also been accused of secretly controlling the rights to these songs atmospheric, wordless tracks on mood focused playlists with titles like "Deep Sleep" and "Peaceful Piano" an arrangement that, if true, would allow the company to reduce the amount of money it pays in royalties to record labels and "real" artists. The reality, however, may be more complicated. Spotify denies that it owns the rights to the music under question, although the company may well pay lower royalty rates for these tracks than it does for more standard pop fare. And the pseudonymous creators of the tracks real composers and producers, whose work appears under numerous made up names do not want to be called fake. Peter Sandberg, a 27 year old composer in Sweden who has created a number of tracks on these playlists, called the term unfair. "I'm a composer trying to find a way to grow and spread my work," Mr. Sandberg wrote in an email relayed through an intermediary, "and to be called fake is not something I appreciate." (Mr. Sandberg, who records music under his own name as well, does have a social media presence, making him a less anonymous figure than many of the other creators of this music.) For Spotify, the issue could damage its already strained relationships with artists and record labels as the company prepares to go public. Streaming may now contribute a majority of the revenue for the record business, but many artists still have doubts about the format's underlying financial model. The suggestion that Spotify's system is unfair would exacerbate the problem. "Generally, folks are excited to see growth in the legitimate digital marketplace," said Kevin Erickson, the national organizing director of the Future of Music Coalition, an advocacy group. "To the extent that artists will have lingering questions about whether they are going to meaningfully share in that growth, incidents like this will add to their skepticism." The idea that Spotify was commissioning its own music was first reported last summer by the online publication Music Business Worldwide; the issue gained renewed attention after an article last week in Vulture. Since then, Music Business Worldwide has been listing dozens of what it says are fake artists on Spotify whose work has generated more than 500 million streams. Many of these tracks, it turns out, were made by a small group of professional producers and songwriters in Sweden, some of whom have worked with pop stars like Kelly Clarkson and the Pussycat Dolls. About 50 of these composers, including Mr. Sandberg, are represented by Epidemic Sound, a Swedish company that specializes in music for television and film. (Spotify and Epidemic Sound share an investor, the European venture capital firm Creandum.) Oscar Hoglund, the chief executive of Epidemic Sound, said in an interview that as part of an mieffort to "soundtrack the internet," his company also supplies background music for YouTube and Facebook videos, which he said had garnered 10 billion views a month. Stocks rise after President Biden says Jerome Powell will stay atop the Fed. Retail earnings and Black Friday: the week in business. The company has put nearly 1,500 songs on Spotify, Mr. Hoglund said, but has no role in placing the songs on the service's playlists. Jonathan Prince, Spotify's global head of strategic initiatives, said in an interview that the unexpected popularity of its mood based playlists "Peaceful Piano" has 2.9 million followers has created a demand for more of that material, which the company has actively worked to satisfy. "We've found a need for content," Mr. Prince said. "We work with people who are interested in producing it." By Spotify's standard royalty rates, 500 million streams would be worth about 3 million money that the company could theoretically save if it owned the material that generated those streams. That amount may be minuscule for a company that last year had 3.3 billion in revenue. But as Spotify readies itself for a public offering, it has made lowering content costs a priority. "These guys are in a big fight with the music business right now over how much they pay creators," said Matt Pincus, the chief executive of Songs Music Publishing, whose roster includes Lorde and the Weeknd. "The more controversies they have that have a moral underpinning to them, the more of a problem they will have in the bigger fight." This spring, Spotify signed a new licensing deal with Universal Music, which agreed to a lower royalty rate in exchange for more control over how its music appears on the service. Spotify may be close to signing a similar deal with Sony. As some in the business see it, the "fake" controversy could endanger future deals, although many labels, big and small, have protections in their licensing contracts that forbid Spotify from owning content or deliberately driving customers to lower cost songs. Mr. Prince did not deny that the songs may cost Spotify less to play. But he said that the placement of all songs on its playlists was determined only by their popularity among listeners. "This is a marketplace, and not all content is priced the same," he said. "These are legit deals between us and labels that everyone feels comfortable with." If Spotify has arranged a lower royalty rate for these tracks, those 500 million streams could cost it much less than 3 million. For some musicians, that may still be plenty. Mr. Hoglund, the Epidemic Sound chief, said that his company typically purchased the rights to music from its composers for a flat fee, but that for music on Spotify it split additional royalties evenly with its composers.	N24News: A New Dataset for Multimodal News Classification	Media
In the Bones of a Buried Child, Signs of a Massive Human Migration to the Americas The girl was just six weeks old when she died. Her body was buried on a bed of antler points and red ocher, and she lay undisturbed for 11,500 years. Archaeologists discovered her in an ancient burial pit in Alaska in 2010, and on Wednesday an international team of scientists reported they had retrieved the child's genome from her remains. The second oldest human genome ever found in North America, it sheds new light on how people among them the ancestors of living Native Americans first arrived in the Western Hemisphere. The analysis, published in the journal Nature, shows that the child belonged to a hitherto unknown human lineage, a group that split off from other Native Americans just after or perhaps just before they arrived in North America. "It's the earliest branch in the Americas that we know of so far," said Eske Willerslev of the University of Copenhagen, a co author of the new study. As far as he and other scientists can tell, these early settlers endured for thousands of years before disappearing. The study strongly supports the idea that the Americas were settled by migrants from Siberia, and experts hailed the genetic evidence as a milestone. "There has never been any ancient Native American DNA like it before," said David Reich, a geneticist at Harvard Medical School who was not involved in the study. The girl's remains were unearthed at the Upward Sun River archaeological site in the Tanana River Valley in central Alaska. Ben A. Potter, an archaeologist at the University of Alaska, discovered the site in 2006. It was apparently home to short lived settlements that appeared and disappeared over thousands of years. Every now and then, people arrived to build tent like structures, fish for salmon, and hunt for hare and other small game. In 2010, Dr. Potter and his colleagues discovered human bones at Upward Sun River. Atop a hearth dating back 11,500 years were the cremated bones of a 3 year old child. Digging into the hearth itself, archaeologists discovered the remains of two infants. The Healy Lake Village Council and the Tanana Chiefs Conference agreed to let scientists search the remains for genetic material. Eventually, they discovered mitochondrial DNA, which is passed only from mother to child, suggesting each had different mothers. Moreover, each infant had a type of mitochondrial DNA found also in living Native Americans. That finding prompted Dr. Potter and his colleagues to begin a more ambitious search. They began collaborating with Dr. Willerslev, whose team of geneticists has built an impressive record of recovering DNA from ancient Native American bones. Among them are the 12,700 year old Anzick Child, the oldest genome ever found in the Americas, and the Kennewick Man, an 8,500 year old skeleton discovered in a riverbank in Washington State. Questions over his lineage provoked a decade long legal dispute between scientists, Native American tribes and the Army Corps of Engineers. Living Native Americans descend from two major ancestral groups. The northern branch includes a number of communities in Canada, such as the Athabascans, along with some tribes in the United States like the Navajo and Apache. The southern branch includes the other tribes in the United States, as well as all indigenous people in Central America and South America. Both the Anzick Child and Kennewick Man belonged to the southern branch, Dr. Willerslev and his colleagues have found. So he was eager to see how the people of Upward Sun River might be related. But the remains found there represented a huge scientific challenge. The search for DNA in the cremated bones ended in failure, and Dr. Willerslev and his colleagues managed to retrieve only fragments from the remains of Yelkaanenh T'eede Gaay, the youngest of the infants. But the researchers had better luck with Xach'itee'aanenh T'eede Gaay. Eventually, they managed to put together an accurate reconstruction of her entire genome. To analyze it, Dr. Willerslev and Dr. Potter collaborated with a number of geneticists and anthropologists. Xach'itee'aanenh T'eede Gaay, they discovered, was more closely related to living Native Americans than to any other living people or to DNA extracted from other extinct lineages. But she belonged to neither the northern or southern branch of Native Americans. Instead, Xach'itee'aanenh T'eede Gaay was part of a previously unknown population that diverged genetically from the ancestors of Native Americans about 20,000 years ago, Dr. Willerslev and his colleagues concluded. They now call these people Ancient Beringians. Beringia refers to Alaska and the eastern tip of Siberia, and to the land bridge that joined them during the last ice age. Appearing and disappearing over the eons, it has long been suspected as the route that humans took from Asia to the Western Hemisphere. There has been little archaeological evidence, however, perhaps because early coastal settlements were submerged by rising seas. Thanks to her unique position in the Native American family tree, Xach'itee'aanenh T'eede Gaay has given scientists a clear idea how this enormous step in human history may have happened. Her ancestors and those of all Native Americans started out in Asia and share a distant ancestry with Chinese people. In the new study, the scientists estimate those two lineages split about 36,000 years ago. The population that would give rise to Native Americans originated somewhere in northeast Siberia, Dr. Willerslev believes. Archaeological evidence suggests they may have hunted for woolly rhino and other big game that ranged over the grasslands. "It wasn't such a bad place as we kind of imagine it or as we see it today," he said. In fact, Siberia appears to have attracted a lot of genetically distinct peoples, and they interbred widely until about 25,000 years ago, the researchers determined. About a third of living Native American DNA can be traced to a vanished people known as the ancient north Eurasians, known only from a genome recovered from the 24,000 year old skeleton of a boy. But the flow of genes from other Asian populations dried up about 25,000 years ago, and the ancestors of Native Americans became genetically isolated. About 20,000 years ago, the new analysis finds, these people began dividing into genetically distinct groups. First to split off were the Ancient Beringians, the people from whom Xach'itee'aanenh T'eede Gaay descended. About 4,000 years later, the scientists estimate, the northern and southern branches of the Native American tree split. According to Ripan Malhi, an anthropologist at the University of Illinois and a co author of the new study, these genetic results support a theory of human migration called the Beringian Standstill model. Based on previous genetic studies, Dr. Malhi has argued that the ancestors of Native Americans did not rush across Beringia and disperse across the Americas. Instead, they lingered there for thousands of years, their genes acquiring increasingly distinctive variations. But while the new study concludes early Native Americans were isolated for thousands of years, as Dr. Malhi had predicted, it doesn't pinpoint where. "The genetics aren't giving us locations, with the exception of a few anchor points," said Dr. Potter. Indeed, while the co authors of the new study agree on the genetic findings, they disagree on the events that led to them. Dr. Potter, however, argues that the lineage that led to Native Americans started splitting into three main branches while still in Siberia, long before reaching Alaska. Pointing to the lack of archaeological sites in Beringia from 20,000 years ago, he believes it was too difficult for people to move there from Asia at that time. "That split took place in Asia somewhere somewhere not in America," Dr. Potter said. If he is right, the mysterious earliest settlers of this hemisphere didn't arrive in a single migration. Instead, the Ancient Beringians and the ancestors of the tribes we know today took separate journeys. "Even if there was a single founding population, there were two migrations," he said. But these scenarios all depend on timing estimated from changes in DNA, which "can be very sensitive to errors in the data," Dr. Reich cautioned. More tests are required to be confident that the Ancient Beringians actually split from other Native Americans 20,000 years ago, he said. And while the new study reveals the existence of the Ancient Beringians, it doesn't tell scientists much about their ultimate fate. But knives and other tools found at the Upward Sun River site belong to a tradition, called the Denali Complex, that endured until at least 7,000 years ago. The people who made those tools elsewhere in central Alaska may have been Ancient Beringians. If so, they survived for nearly 13,000 years after splitting from the ancestors of other Native Americans. "The archaeology fits with them lasting for quite long," said Dr. Potter. The Native Americans who today live around the Upward Sun River site belong to the northern branch of the genetic family. The new study indicates that their ancestors returned north at some point to Alaska, perhaps replacing or absorbing the Ancient Beringians. If the latter, and if geneticists are able to sequence more DNA from northern branch tribes, then they may stumble across living proof of an ancient North American people that no one knew existed. "My answer to the question, 'What happened to the Ancient Beringians?' is: 'We don't know,'" said Dr. Potter. "And I like that answer."	N24News: A New Dataset for Multimodal News Classification	Science
Annika Levitt initially resisted the fertility clinic's suggestion that only one embryo rather than the usual two or more be transferred to her uterus because she was too small to risk carrying more than one baby. "You go through all that and you put only one back in?" she recalled thinking, fearing it would lower her chances of becoming pregnant. But her embryos had been tested for chromosomal abnormalities, giving a fair degree of confidence that the chosen one was healthy. "Knowing that it was the strongest of the strong was reassuring," she said. Ms. Levitt, who lives in Morris County, N.J., gave birth to a girl from that embryo and is now pregnant from another single embryo transfer. The chromosomal testing is one of the techniques now coming into use to help fertility clinics answer one of their most vexing questions: Which test tube embryo or embryos will give a woman the best shot at having a baby? Another new technique uses time lapse imaging to study the development pattern of the embryo. Both techniques can potentially provide more information than the approach now used to judge an embryo's fitness, which is to look at its shape under a microscope. That could increase the sometimes frustratingly low efficiency of in vitro fertilization. And if clinics can be nearly certain that an embryo is fit, they might feel more comfortable transferring only one embryo rather than two or more, as is common practice. That would reduce the chances of producing twins or triplets, which face greater health risks than single babies. "What's really good about this is we get high rates with singletons," said Dr. Richard T. Scott Jr, clinical and scientific director at Reproductive Medicine Associates of New Jersey, where Ms. Levitt went. But some experts say the new techniques, which can add thousands of dollars to the cost of in vitro fertilization, are being heavily promoted without data supporting that they truly improve pregnancy rates. For some women, they say, chromosomal testing, an invasive procedure, might even worsen their chances of getting pregnant. "A significant portion of women may actually be hurting themselves by doing that," said Dr. Norbert Gleicher, medical director of the Center for Human Reproduction, a fertility center in Manhattan. The chromosomal testing is called preimplantation genetic screening, or P.G.S. This is different from a related technique called preimplantation genetic diagnosis, which tests embryos for specific mutations with the goal of preventing the birth of a baby with a genetic disease. With the chromosomal screening, the goal is mainly to improve birthrates, not influence the traits of the baby. Ms. Levitt, who is 33, initially sought in vitro fertilization to avoid having babies with a genetic disease for which she and her husband carry mutations. Despite some doubts, use of the new techniques seems to be expanding rapidly. "We doubled the volume in 2013 over 2012," said Dr. Santiago Munne, director of Reprogenetics, a laboratory that does embryo screening for fertility clinics. Other laboratories that do this include Genesis Genetics, Reproductive Genetics Institute and Natera. Dr. Scott's clinic developed its own test, which it also performs for other clinics. Illumina, the largest manufacturer of DNA sequencing machines, is also making a push into the arena. It acquired BlueGnome, a British company that sells DNA chips used by some laboratories to do the testing. Illumina also recently introduced a system that uses sequencing for embryo screening. On time lapse imaging, Auxogyn, a Silicon Valley start up, just received clearance from the Food and Drug Administration to market a computerized system that predicts the fittest embryos. It will face off against Unisense FertiliTech, a Danish company that sells a time lapse system called the EmbryoScope. At 39, Christine Peixoto had three embryos transferred, without testing. Her daughter, Brianna, is now 21 months old. P.G.S. can add 4,000 or more to the price of a cycle of in vitro fertilization, which usually costs at least 10,000 to 15,000. Time lapse imaging can add several hundred dollars to 1,500 or more. Insurance might not pay for such testing. Even for younger couples, as many as half the embryos created in a test tube have chromosomal abnormalities, a major reason embryos fail to implant in the uterus or result in miscarriages. So it seems logical that weeding out the defective embryos would increase the chances of a successful pregnancy. But that has proved illusory once already. An earlier generation of P.G.S. was used for about 10 years until a randomized clinical trial in 2007 showed that testing actually decreased the chance of getting pregnant. How could that be? One likely reason was that the testing itself damaged some embryos. Also, the test could assess fewer than half of the 23 chromosome pairs, so it was not very accurate in determining if an embryo was normal. Proponents of P.G.S. say that has now changed: The new techniques can assess all the chromosomes. Also, the old technique involved removing one cell from a three day old embryo containing only eight cells. The new testing is generally done on five day old embryos, which have more than 100 cells. That makes it safer to remove multiple cells, giving a more accurate result than if only one cell is tested. Still, critics say, if the test is at all inaccurate, some good embryos might be thrown out or defective ones chosen. A study presented at the European Society of Human Reproduction and Embryology meeting on June 30 found that different testing techniques can yield different results for the same embryo, suggesting that not all the tests are accurate. "It improves pregnancy rates substantially more than anything that is out there, and without invasion," said Dr. G. David Adamson, chief executive of Advanced Reproductive Care, a network of fertility clinics, who has been a consultant to Auxogyn. So far, however, there has been no published data showing that use of the system improves pregnancy and live birthrates. There is a study showing that the Eeva test is better than embryo shape alone in predicting which 3 day old embryos will survive to five days in the incubator. Presumably those would do better in the womb as well. FertiliTech's EmbryoScope leaves it to each clinic to analyze the time lapse images. Niels Birger Ramsing, the company's chief scientific officer, said that clinics differ in how they culture embryos, so the timing of cell division events can differ. That makes it difficult to develop an algorithm that would work for all clinics, he said.	N24News: A New Dataset for Multimodal News Classification	Health
In 2014, for the first time, the nation's student body from kindergartners to 12th graders was majority minority. And the change is spilling out into the nation's colleges and the country over all. Census data predicts that by 2050 the United States will be majority minority as well. As I see these changes, I continue to ask, Are our college and university faculties ready to teach a diverse student body? Unfortunately, I don't think so. Faculty members receive little, if any, training on teaching, and even less on diversity issues. This makes for a troubling situation around learning in the near future. For nearly two decades, I have been studying the innovative strategies for student success used by the nation's minority serving institutions, or MSIs, which include historically black colleges and universities, Hispanic serving institutions, tribal colleges and universities, and Asian American, Native American and Pacific Islander serving institutions. Most recently, with Clifton Conrad, a professor at the University of Wisconsin Madison, I wrote a book on this topic, "Educating a Diverse Nation" (Harvard University Press). Our book details the lessons from minority serving institutions that all faculty members can benefit from and use in the classroom. First, MSIs assume success on the part of students rather than seeing students of color from a deficit perspective. Second, MSIs teach in ways that focus on what the student needs to learn rather than what is convenient for the professor. Third, MSI faculty members work together to co construct classes and curriculums that empower students. Fourth, MSI faculty members allow students to bring their full identity to the classroom and capitalize on all aspects of a student's identity in the learning process. And last, MSIs give students the opportunity to participate in culturally relevant assignments that speak to the issues in the communities from which they come.	N24News: A New Dataset for Multimodal News Classification	Education
It was like a moment from a Disney movie. Mike Karas, a tourist from Honolulu, had his camera pointed toward an exquisite view of Yosemite when a bride and her groom stepped onto a rocky ledge high above a valley. She turned to him as the sun burst into an apricot hue on the horizon. "It was like wow, that's amazing," Mr. Karas, 31, said. He snapped a photo. But the mystery couple vanished down a trail before he could flag them down. Later, he posted the image to Instagram, where it spread like crazy and inspired reports as far away as New Zealand. It also fueled an effort to identify the couple that stretched for days. Then, late Tuesday, the mystery was solved.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
, 32, is the president of the Evo Real Estate Group, which manages and leases office buildings. ; her father, Ira Fishman; and two other principals founded the company after buying Winoker Realty, whose founder, David Winoker, had died. Q. It's a rather sad story how Evo came about. A. Ira and I had our own business, ID Real Estate Partners. We had both previously been at Winoker. I started my real estate career there in 2002 as a leasing broker. Ira was there for 10 years, and he was David's partner for seven of those 10 years. We were in the midst of growing ID and actually had a lease out to take more space. After David's passing in June of 2012, we thought it might be better to buy the company and have that existing platform and infrastructure. They had about three million square feet about 30 buildings that they did the leasing and management for. Q. How did you come up with the new name? A. The name Evo is about evolution, and it was the evolution of Winoker Realty and what we were doing at ID Real Estate Partners. ID Real Estate no longer exists. Q. So how do your duties at Evo differ from those of your father, who is the chief executive? A. He's more out there with clients client relations, looking for new acquisitions and development possibilities. I'm more on the oversight of the leasing division of the brokerage division and the overall day to day operations of the company. I also oversee the buildings we have an interest in. Q. Is he planning to retire anytime soon? A. It's a question that is frequently asked. However, I don't really see him ever retiring. He may be able to take some more vacation time and have a more flexible schedule. Q. What are your plans for expanding Evo? A. Retail is something that we feel that we can really do a lot more with, and we're making a big push for that and are in talks to recruit some high level retail brokers. We have about 37 employees right now 20 are brokers. I'd like to see us expanding the services we have and really be seen as a full service company. I'd like to have a strong presence with tenant representation and retail and add more buildings to our portfolio, have more acquisitions where we can bring in the leasing and management and recruit some brokers in the peak of their careers. Q. You mentioned that you oversee the buildings that your company has an interest in. How many are there? Q. And what are some of the buildings you manage? A. 1450 Broadway is a building that we have the managing agency for; 45 West 34th Street is a building that we have the leasing agency for Sleepy's just put a store there. We have 320 Fifth Avenue. We just leased the remainder of the space, so we're 100 percent leased there. It's a mix of leasing assignments, management assignments, and then there are buildings that we control both. Q. What's the average occupancy rate for the buildings that you represent, as well as rental rates per square foot? A. We're probably somewhere around 95 percent occupied. In our buildings that are avenue buildings or in the Fifth Avenue corridor, we've done some deals that are around the 50 mark. Some of our properties that are more on the West Side, west of Eighth Avenue, were in the mid to upper 30s. Q. How is Evo's business over all? A. Business is good we're on an upswing. From February until now, things have really picked up. We have a lot of velocity in the leasing. We actually signed a lease for new office space for Evo, and we'll be moving in the spring.	N24News: A New Dataset for Multimodal News Classification	Real Estate
An uneasy calm suffuses "12 Days," a documentary set at the juncture of personal liberty and the law. An opening title card offers some context: Since 2013, patients in France who have been involuntarily committed to psychiatric hospitals must be "presented to a freedom and detention judge" within 12 days and then, if needed, every six months. That's pretty much all the background that the director Raymond Depardon provides in this movie, which suggests that the line between mental illness and health is sometimes determined by who tells your story and how. For those who have long been silenced and often remain so being able to tell those stories is clearly monumental. The documentary largely consists of patient judge interviews, which take place in small, nearly identical looking institutional rooms. The spaces are sterile and anonymous, and the exchanges insistently informal; no one wears a suit and tie or announces the judges. The patients are accompanied by an advocate or two who speak on their behalf, at times sharing medical reports. Occasionally, other men and women quietly sit behind the patients; perhaps, you intuit, these are nurses or orderlies. The judges polite, direct yet reserved ask and at times answer questions.	N24News: A New Dataset for Multimodal News Classification	Movies
Suzanne Farrell, right, the originator of the lead role in Balanchine's "Diamonds," shows Sara Mearns a move at a New York City Ballet studio. Suzanne Farrell, the sublime ballerina and creator of many lead roles for the choreographer George Balanchine, was back in the studio where he made many of his masterworks for New York City Ballet. On this mid April afternoon, she was coaching Sara Mearns and Russell Janzen in Balanchine's "Diamonds." "We're parting the molecular structure of the air here," Ms. Farrell said as the couple made their slow entrance toward each other in paths. "We're coming together." This was the third and final day of rehearsals; Ms. Farrell had already gained the dancers' trust. As the long, slow, high drama pas de deux progressed, she drew Ms. Mearns's attention to a repeated raising of the crook of the elbow: "We're developing a motif here it doesn't occur in any other ballet." After an hour with this couple, Ms. Farrell went on to work with Maria Kowroski and Tyler Angle on the same roles. All this proceeded like straightforward dance business, but the occasion was momentous. Ms. Farrell, 73, was an exemplary leading light at City Ballet for decades before her retirement from the stage in 1989. These rehearsals were her first work with the company in 26 years. Her return caps a new phase of City Ballet history. The company's first 35 years (1948 1983) were shaped by Balanchine; the next 35 years were shaped by his successor, Peter Martins. Gradually, from the mid 1980s onward, Mr. Martins thinned his rehearsal staff of most figures whose Balanchine experience surpassed his own; even when rare ballets were revived that could have profited from their insights, he seldom invited such alumni back to work with the company. Since Mr. Martins's resignation last year, the company has brought back a number of those former stars Mikhail Baryshnikov, Patricia McBride, Mimi Paul, Edward Villella to coach roles they either created or performed at length. What makes Ms. Farrell so important? Her place in Balanchine history is central: She inspired him to make some of his most radically modernist works; opened up fresh torrents of Romanticism in him; showed how old roles could be transformed. She combined grandeur, musicality, wit, fervor and acumen to phenomenal degrees. "Diamonds," one of the signature works Balanchine made for Ms. Farrell, displayed the heroic scale of her dancing; though the role has Imperial Russian qualities, she often seemed to be dancing it with unparalleled freedom in infinite space. Set to Tchaikovsky's Symphony No. 3, it is usually shown as the closing ballet of the pure dance trilogy "Jewels." Jonathan Stafford, City Ballet's recently appointed artistic director, first reached out to Ms. Farrell to coach "Diamonds" before the "Jewels" revival in fall 2018, when he was the company's interim leader. The summer timing didn't work out, but with the company's coming revival of "Diamonds," Mr. Stafford tried again. "Maria and Sara have been dancing the lead role for years," he said, "but they were both so keen to work with Suzanne if at all possible." Though exiled from Balanchine's company, Ms. Farrell never quit Balanchine. She established a company of her own, the Suzanne Farrell Ballet (2000 17) in Washington; staged Balanchine ballets from Moscow to London; and taught. Her reputation as a source of Balanchine wisdom never faded; while the roles she originated gained stature as pinnacles of ballet repertory, the reputation of her insights as a teacher and coach kept rising. As she said in a 2017 interview, "Balanchine is my life, my destiny." During Mr. Martins's leadership tenure at City Ballet, many dance critics and Balanchine alumni noted that much about the company's dancing had changed considerably, as had details of its versions of Balanchine choreography. Talk of Ms. Farrell's being invited back began immediately after Mr. Martins's departure. A factor that helped to swing her return was a letter from Ms. Kowroski, the company's senior principal, in the fall. Now in her 40s, she has been dancing Balanchine Farrell roles since the 1990s several for longer than Ms. Farrell herself danced them. She wrote to tell Ms. Farrell how much it would mean to her, now nearing the end of her own career, to have Ms. Farrell's guidance in "Diamonds" and other historic roles. The significance of having Ms. Farrell back in a City Ballet studio escaped no one there. "I'm learning so much," Andrew Litton, the company's music director, told Ms. Farrell in front of the dancers and other staff before discussing aspects of tempo and phrasing with her. In an email a few days later, she said, "It was wonderful to live in the 'world' of 'Diamonds' for a few days," in the studio where it "first came into being." She showed no nerves; she seemed the calmest person in the room. "I'm here for you," she stressed to the dancers. She corrected details of floor patterns: Diamonds should keep recurring in terms of diagonals and edges. She also drew their attention to aspects of the music and the options these gave the dancers in how they accentuated them. And she corrected specific steps and configurations. Though she has called herself a shy person who has had to learn in adult life to use the spoken word, her talk seemed, on this occasion as on others, effortlessly eloquent, moving between wit, poetry, analysis and metaphor. She observed to Ms. Mearns: "Mr. B. said, 'Small things can be beautiful, too. The perfume of lilies of the valley can be beautiful, too.'" To Mr. Janzen she called out: "Don't look like you're trying to catch the swan! Don't follow her let her go. It's not 'Swan Lake' at all." "Was that weird?," Ms. Kowroski asked about her own account of one passage in the finale. Ms. Farrell paused before saying softly, "It was uncommitted." "Suzanne is the epitome of how I think Balanchine wanted his ballets danced," Ms. Mearns said in an email a few days later, adding in another note: "Her intelligence and imagination help to free up mine and understand mine better." Ms. Kowroski, also by email, said that for her, at this stage in her career, working with Ms. Farrell felt like a "renaissance." "It is one thing to know someone from afar and know their body of work and their career and experience them like an artifact in a museum," she wrote. "It is another to be in the room and have direct contact with the person. This is not to say I have not been in contact with many many people directly connected to Balanchine before but suddenly now I have this new treasure trove." Ms. Farrell, Ms. Mearns said, "really thought about what we're doing it's like it's ingrained in her." She added: "It's part of her DNA. We've been taught to listen to the music just the one way but she hears other things, and gives us the freedom to open up to what we hear." Will Ms. Farrell be invited to make other contributions to City Ballet? In an email, Mr. Stafford said Ms. Farrell's knowledge of the Balanchine repertory was "of incomparable value" and that, while there were no immediate plans to have her back, "Wendy Whelan and I are both hopeful that there will be many opportunities for Suzanne to return to our studios." Over the past 20 years, Ms. Farrell has specialized in staging Balanchine ballets for companies learning them from scratch. So what was it like to teach these dancers who arrived with many years' experience in these roles? "It has pluses and minuses," she said. "They've got their old way so much in their body that it's hard for them to adapt. But it's within their realm. They've told me everything I've said makes complete sense." Ms. Kowroski recalled that Ms. Farrell began their first rehearsal by asking her how she saw the two dancers in their pas de deux. "I said I imagined them as king and queen," she said. "But Suzanne said 'No, there's room for vulnerability here.' That's changed the whole meaning of it for me."	N24News: A New Dataset for Multimodal News Classification	Dance
The editorial board is a group of opinion journalists whose views are informed by expertise, research, debate and certain longstanding values . It is separate from the newsroom. The deal the Trump administration signed with the Taliban on Saturday is a ticket out of Afghanistan for American troops who've been there far too long. It is a quiet end to a conflict that began with vibrant clarity, if not strategic vision, and descended into bloody ambiguity. The Afghan government was not involved in the negotiations, there's no formal cease fire and the agreement is only a step toward opening negotiations between the Taliban and other Afghans on a power sharing agreement, a long shot at best. Afghanistan will take its place in American history alongside Vietnam as a symbol of endless conflict and futile foreign entanglements. Different as the conflicts were, the echoes of Vietnam are clear President Richard Nixon struck a deal with North Vietnam in January 1973 to pull American troops out of a prolonged, needless and very costly war. That is not to say either deal was wrong. On the contrary, recognizing when a fight has become useless is the right thing to do. Americans have long run out of good reasons to continue dying and killing in a land whose many tribes make it notoriously difficult to govern and whose mountainous terrain renders it all but impossible to conquer. American soldiers deployed to the country as recently as last night had trouble articulating what their mission there was, short of making it home in one piece. President Trump has made no secret of his aversion to foreign military entanglements, and he pledged to get the troops out. It's an election year, but the politics of the moment should not obscure the fact that ending American involvement in the war is the right thing to do. And, unlike the precipitous withdrawal of American troops from northern Syria, this pullout catches no one by surprise. By November, the number of American troops remaining in Afghanistan should be well down from the current 12,000 or so, and the Taliban will most likely still be abiding by the deal to make sure the staged withdrawal continues until all the foreign troops are gone. Though not involved in the talks, the Afghan government has been aware of the negotiations, and, under the agreement, the Americans will continue funding and supporting the Afghan military. That the military is in shambles after 18 years of American tutelage, and that the government of Afghanistan is deeply corrupt and bitterly contested since a disputed election, only underscore that brute military force by an outside power is helpless against deep seated ethnic and ideological divisions. And propping up an Afghan government was not the reason the United States went to war there. The reason was the 9/11 terrorist attacks, and the pressure to go after those responsible for so horrific an outrage. Afghanistan, much of it controlled by the staunchly Islamist Taliban, had provided sanctuary for Osama bin Laden, and so that is where American troops headed to wage President George W. Bush's "war on terrorism" and to seek retribution. But the mission soon became fuzzy. By the time Bin Laden was hunted down in May 2011 in Pakistan, and not in the Tora Bora caves of Afghanistan where Al Qaeda and Taliban had their strongholds Al Qaeda was already a much weaker force, and the Taliban had been long driven from power. Yet American and allied forces remained. The full futility of that effort was revealed in documents obtained by The Washington Post late last year from an investigation by the Special Inspector General for Afghanistan Reconstruction. They showed how for years, even as American government officials were claiming successes in building a democratic government in Afghanistan, the military and civilian officials on the ground acknowledged the obvious that it was an extraordinarily expensive roughly 2 trillion over 18 years and pointless exercise. Their unvarnished pronouncements, withheld from the public, were devastating: "I have no visibility into who the bad guys are," wrote Donald Rumsfeld, the secretary of defense when the war began, in 2003. Twelve years and many billions of dollars later, Gen. Douglas Lute, an Army general who served in the Bush and Obama administrations, told the inspector general, "We didn't know what we were doing." Those revelations only confirmed what any honest assessment of the conflict had long ago concluded: American victory was never an option. The new agreement offers no guarantee that the Taliban will not return to power, and the immediate reaction from the group was to declare victory. The major achievement for the United States was assurances that the Taliban would not give sanctuary to terrorist groups like Al Qaeda. A joint U.S. Taliban monitoring body in Qatar will be charged with monitoring compliance with the agreement, and Mark Esper, the secretary of defense, who was with Afghan officials in Kabul while the withdrawal agreement was being signed in Doha, Qatar, in the presence of Secretary of State Mike Pompeo, emphasized that "the United States would not hesitate to nullify the agreement." But it is really for the Afghans to find ways of living in peace. It is in the next round of negotiations that the Taliban, other Afghan groups and the government will be called on to find ways of sharing power and to prevent a return to the fundamentalist Taliban rule that, among other things, banned girls and women from attending school or participating in public life. That is also where Afghans are to find ways to replace the "reduction in violence" called for in the agreement for a full cease fire. It would be good to believe that the tens of thousands of Americans who served in Afghanistan, and the more than 3,500 American and allied troops who laid down their lives there, and the untold thousands of Afghans killed in the war, did accomplish something positive in the end. That may be too much to hope, and there will be those who will denounce the Doha agreement as an election year ploy and a sellout to the Taliban. But with so little to show after all these years, it is hard to see what wiser path America could follow. "Everyone will agree that it is more honorable to end the fighting than to continue a conflict that has brought so much suffering," we wrote in 1973 of the Vietnam War agreement. "In that sense it is a 'right kind of peace,' deserving support in the hope that its calculated ambiguities can be transformed in time into the reality of an enduring settlement."	N24News: A New Dataset for Multimodal News Classification	Opinion
The United States Open men's doubles final lacked drama, but the victors' celebrations were enthusiastic: Mate Pavic collapsed to the ground on his back as Bruno Soares screamed his name. When Pavic rose, the two hugged enthusiastically before embracing each other and shaking hands with their opponents across the net. Without facing a single break point, Soares and Pavic beat Nikola Mektic and Wesley Koolhof, 7 5, 6 3, to win their first Grand Slam title together. The fraternizing looked as if it were any other year, but this has not been a normal year, of course. As tennis has billed itself as the ultimate sport for socially distant physical activity during the coronavirus pandemic, the camaraderie of doubles has challenged those notions. In the trophy ceremony Thursday, each team had its own microphone stand on the court. Instead of being handed the trophy by a tournament official, the winners were instructed to pick it up off a table themselves. "It was actually pretty bad, from my side," Koolhof said. "I didn't feel anything at all today. Yeah, hopefully next year is a better one." When Soares and Pavic arrived for their news conference, they were seated about eight feet apart on the podium and were wearing masks. Both reflexively tried validating the title they had won under these conditions by saying that "a Grand Slam is a Grand Slam." "It's always a special feeling," Pavic said. "To be honest, it does feel a bit strange because of the circumstances. But still, we had a very tough tournament, very tough five matches." It normally takes six matches to win a men's doubles title at a Grand Slam, but the draw was halved to 32 teams to reduce the number of people on site. Several changes intended to keep teammates socially distant from each other, including instructing them not to high five or otherwise touch between points, also affected players on the court. But Jean Julien Rojer and Horia Tecau, who lost to Soares and Pavic in the semifinals, have kept their connection close on the court by touching and high fiving as many as three times between points. Tecau said that having to remember to tap rackets instead of high fiving felt "mechanical." "The natural instinct is to high five, to be close," Tecau said. "During Cincinnati, it was on my mind a lot when I was playing, and I don't want to have other things on my mind when I'm playing," he said, referring to the Western Southern Open. That tournament precedes the U.S. Open and is normally held in Ohio but was moved to New York this year. He continued, "But from match to match, I adjusted more to it." Rojer said that tennis players "in general are the best at adapting and changing," which has slowly made the on court communication feel less awkward. "It's something you can easily get used to, but it's definitely weird," Tecau said. "We spend a lot of time off the court together, and then you get on the court and you're not allowed to touch." Rojer has also stopped holding balls in front of his mouth as he talks to Tecau between points, which he would normally do to stop opponents from reading his lips. With more awareness of the risk of contagion, Rojer believes he may stop doing that for good. "When you think about it, Covid or no Covid, it's probably not the nicest thing to do," Rojer said. "Everybody's touching those balls." Precautionary measures also affected communication during stoppages in play, as players' seats on the sidelines were spaced farther apart. "Normally on changeovers, we're trying to talk and communicate strategy, and right now we can't really do that," said Hayley Carter, who reached the women's doubles quarterfinals with her partner, Luisa Stefani. "That's the trickiest part, I think. It's now quiet meditation time on the sidelines, where usually it's more talking." After Carter stood up from her seat in front of the camera to allow Stefani to follow her onto the Zoom call, a tournament official first sanitized the area. Soares, who said he had tested positive for coronavirus last month in Brazil but had developed few symptoms, said last week that he thought the efforts to keep partners safe from one another were likely futile.	N24News: A New Dataset for Multimodal News Classification	Sports
Even With All Those Seats, the Driver Is Left Out INFINITI'S advertising tagline is "Inspired Performance." And the mission statement of the Nissan luxury brand has long been clear: performance means taking whacks at BMW, and inspiration typically means undercutting BMW's prices, especially with the estimable G sedan and coupe. Soft, sluggish and boring is the antithesis of that formula. But that's the fate of the JX35, a crossover that tries so hard to mimic other brands' family values while still being "different" that it ties itself into a knot. The JX's targets are clear: the Acura MDX and Lexus RX, deserved favorites for shuttling late for school children and overpriced organic produce. The Infiniti's three rows of seats and squeezed minivan proportions also recall two previous also rans, the Chrysler Pacifica and Mercedes R Class. Yet the Infiniti misses the easiest targets. Its bland, pasteurized performance makes the Acura and Lexus feel like sport sedans by comparison. While the JX's second and third rows offer reasonable space no great feat considering its huge overall footprint the same can be said for haulers that drive better and cost less, like the Ford Flex and Explorer, the Buick Enclave and the Dodge Durango. Most strangely, this Infiniti doesn't even offer the pretense of sportiness long associated with the brand; apparently that mission falls to the smaller FX, which is based on a rear drive platform. Instead, the JX is all about maximum grocery getting, a squishy soft ride and a surfeit of electronic gadgets. I understand the philosophy behind these high priced pseudo minivans: many moms and dads who refuse to settle for a minivan are willing to sacrifice some practicality for the sake of style or sporty performance. Yet with the JX, Infiniti left out both the style and performance. The undisciplined design is a riot of swoops and lines that go everywhere and nowhere, fronted by the whalelike grille from the bigger QX45. Toward the rear, with its weirdly kinked side windows, there are so many tortured surfaces that Amnesty International should be on the case. The attenuated roof and forward canted rear glass also detract from utility. I'm 5 foot 11, and I twice bumped my head on the raised tailgate something I can't recall happening in any other vehicle this large. The interior fares better, though the hard plastic upper dash and flat, slippery seats with too glossy leather and ineffectual lumbar support don't uphold the luxury vibe. As in the similarly styled M sedan, the maple accents are glossy and the switches well crafted. I appreciated the enormous moonroof over the second and third rows (part of a 2,550 deluxe touring package). A storage cubby ahead of the center console kept my smartphone in check. Where many infotainment systems flaunt screen based, voice driven functions, the Infiniti opts for the human touch: a 24 hour live concierge service called Personal Assistant, accessed via Bluetooth phone and complimentary for the first 12 months. The assistant can offer emergency help, directions or directory assistance; make dinner or travel reservations; and provide movie times, weather forecasts and more. There is plenty of room in the split second row, whose seats recline and slide forward and backward. For maximum access to the third row, the seat cushions flip up against the seatbacks in a smart clamshell arrangement. The second row seat also tilts and slides simultaneously, allowing third row entry even when a child seat is installed; it's probably the Infiniti's neatest feature. Yet even where this Infiniti should be at its best providing a surfeit of utility there are issues. That second row is easy on the knees but hard on the toes, with too little space for feet under the chairs in front of you. The second row also doesn't fold fully flat, making it harder to slide and secure long cargo. And as in so many minivan substitutes, the third row is largely a no trespassing zone for adults. My head met the ceiling and my knees pointed at the sky. Outward views were blocked by tall second row headrests and by thick roof pillars with protruding speakers. It didn't help that my test model featured dark brown seats with a gray green exterior paint that reminded me of goose droppings. Like its more affordable cousin, the 2013 Nissan Pathfinder that goes on sale later this year, the JX is built on a stretched version of the Nissan Murano's platform. Along with other crossovers in the Nissan family, the JX is powered by a 3.5 liter V 6 that makes 265 horsepower. A continuously variable transmission helps to lift fuel economy to an estimated 18 miles per gallon in town and 24 on the highway, or 18/23 with all wheel drive. If you think those specs sound workaday for a vehicle that can brush 55,000, you'd be right. Nissan's V 6 has a supple powerband, but still takes 8.3 seconds to propel this roughly 4,400 pound wagon to 60 miles per hour about a second slower than the Lexus RX, which is itself no rocket. The pluses are a supersoft ride and a quiet interior. But aside from that, I can't recall a more off putting, sleepwalking driving experience in a luxury crossover. Put it this way: challenged to an on track duel, and given the choice of a Honda Odyssey or this Infiniti, I'd take the Honda minivan. The Infiniti seems to have numbing gel in its steering and mushy peas in its suspension. To make sure, I aimed the JX into a few fast downhill esses on the Taconic Parkway. The body pitched and the tires howled, so I gave up and started trolling for Kenny G on satellite radio. Yet the brakes did feel strong and sensitive. With no joy to be had at the wheel, the driver must settle for Infiniti's electronic nannies many bundled into expensive option packages that ratchet up the price from a base of 41,400 ( 42,500 with all wheel drive) to 50,000 and more. Nissan's Around View Monitor wraps the vehicle in a 360 degree bird's eye view. That monitor now detects objects approaching from the side. To that, add lane departure and blind spot warnings and interventions (the latter lightly applies individual brakes to nudge you back into a lane), forward collision warning and intelligent cruise control with braking assist. Infiniti's latest is an industry first called backup collision intervention: If a reversing driver doesn't spot a car or pedestrian approaching from the side, the JX flashes a warning, then pushes back against the driver's throttle foot and finally brakes to prevent an accident. An Infiniti commercial shows the JX automatically stopping for a child who crosses its path in a kiddie car. But the radar and sonar based system flunked in my hands.	N24News: A New Dataset for Multimodal News Classification	Automobiles
Bonnie Blue Edwards had long fantasized about taking over her three bedroom apartment in Crown Heights, Brooklyn, where she has spent 10 years living with roommates. But when both of her roommates moved out in March one departure was planned, the other wasn't it was far from a dream scenario. It was the height of the coronavirus pandemic, and Ms. Edwards, 31, had been furloughed from her job as a content producer for a creative agency for theaters and museums when the venues shut down. More people seemed to be fleeing the city than looking for room shares. Anticipating the long days ahead that would be spent almost entirely in the apartment and considering that one of her roommates had moved out following a disagreement about social distancing Ms. Edwards didn't want to just take the first person who showed up with a check. "It's more than just finding someone to pay the rent. It's someone you're going to be in isolation with," she said. Potential roommates also seemed hesitant to move in with a stranger. When she posted the larger of the two empty bedrooms on Listings Project in April, noting that the rent was flexible, she received no responses. Given the circumstances, her landlord agreed to a generous discount, dropping the rent to 2,400 a month for as long as Ms. Edwards is living there alone. (The new rent is several hundred dollars less than the pre virus total, but substantially more than Ms. Edwards was paying when she split the amount with roommates.) "I'm lucky to have a nice landlord who's been understanding, and some income coming in," said Ms. Edwards, who is able to cover the rent with money from a part time tech support job, her stimulus check and savings. But the situation is not sustainable. If she doesn't find full time work or at least one roommate by the time her lease is up in August, she will likely have to move out. Until then, she has decided to make the most of her situation, reorganizing the apartment, tackling home improvement projects and taking advantage of having, however briefly, a three bedroom apartment to herself. "I've tried to think creatively and ignore the fact that I'm now covering the cost of the apartment," she said. "It's been interesting to reimagine this space I've shared with roommates for the last 10 years." Occupation: Filmmaker and content producer for a creative agency that works with theaters and museums When she told her landlord her roommates had moved out: "He was understanding, for sure," she said. "Whenever my lease is up for renewal, if he tries to raise the rent, I try to talk him down, and he negotiates. We have a happy rapport." Low cost improvements: Besides repainting the apartment, Ms. Edwards has been ordering inexpensive frames from Etsy to display items she had previously propped up or taped to the wall. If her finances improve: She would also like to replace some furniture, a hodgepodge of items her mother drove up from Alabama in a U Haul, odds and ends left behind by previous tenants and thrift store finds. The first change she made was turning the smallest bedroom at the back of the apartment, where a friend had been staying short term after a breakup, into a space to sort and store P.P.E., which she has been delivering as a volunteer for a neighborhood group. With requests starting to ebb, she is now reconfiguring it as a guest room, as she anticipates friends might need a place to stay in the near future. Then she moved into the other back bedroom, which has a window that opens onto the roof. She has always had the bedroom at the front of the apartment, and because the only roof access is through the back bedrooms, it's the first time she has been able to use the outdoor space regularly. Finally, Ms. Edwards has turned her old bedroom into a living room. The previous living room was a glorified alcove off the front door, with barely enough space for a love seat, bookcase and TV. She always wished the apartment had a proper living room. Now, it does. She likes the setup so much that if she is able to return to her job this summer, she plans to keep the two bedroom configuration. Rearranging the space, however, did call attention to how rundown and shabby some things were. Moving wall hangings and furniture revealed faded paint and once white windowsills that were now gray. When she asked the super for paint to spruce up the apartment, he sent an assistant who replastered and painted the walls while she tackled the trim and windowsills. "Part of me laughs at the fact I'm doing this, because it is so unclear whether I will renew," Ms. Edwards said. "But I do so almost in thanks to the apartment for being my home." It was her first place in the city. She had been looking for several months when she spotted it on Craigslist. By then, she had started to despair that she would ever find a good apartment with a good landlord. "I'd see a place I liked, and then the management company would have terrible reviews, or the landlord would be arguing with tenants in the hall," Ms. Edwards said.	N24News: A New Dataset for Multimodal News Classification	Real Estate
MILPITAS, Calif. When Kevin Jenkins wanted to teach his fourth grade students at Spangler Elementary here how to use the Internet, he created a site where they could post photographs, drawings and surveys. And they did. But to his dismay, some of his students posted surveys like "Who's the most popular classmate?" and "Who's the best liked?" Mr. Jenkins's students "liked being able to express themselves in a place where they're basically by themselves at a computer," he said. "They're not thinking that everyone's going to see it." The first wave of parental anxiety about the Internet focused on security and adult predators. That has given way to concerns about how their children are acting online toward friends and rivals, and what impression their online profiles might create in the minds of college admissions officers or future employers. Incidents like the recent suicide of a freshman girl at South Hadley High School in Massachusetts after she was bullied online and at school have reinforced the notion that many children still seem unaware how the Internet can transform typical adolescent behavior cliquish snubs, macho boasts, sexual flirtations, claims about drinking and drugs into something not only public, but also permanent. The South Hadley case is leading some states to re examine their laws against bullying; while more than 40 states address the issue, they tend to focus on punishment, not prevention. Mr. Jenkins this year began using lessons from Common Sense Media, which cautions students to consider their online behavior before they get into trouble. Financed largely by foundation money, Common Sense will offer a free curriculum to schools this fall that teaches students how to behave online. New York City and Omaha have decided to offer it; Denver, the District of Columbia, Florida, Los Angeles, Maine and Virginia are considering it. "You want to light a fire under someone's fanny?" said Liz Perle, editor in chief of Common Sense Media. "Have your child post something that is close to a hate crime." And the Internet is where children are growing up. The average young person spends seven and a half hours a day with a computer, television or smart phone, according to a January study from the Kaiser Family Foundation. Considering that the time is mostly outside of school, the results suggest that almost every extracurricular hour is devoted to online life. Common Sense's classes, based on research by Howard Gardner, a Harvard psychology and education professor, are grouped into topics he calls "ethical fault lines": identity (how do you present yourself online?); privacy (the world can see everything you write); ownership (plagiarism, reproducing creative work); credibility (legitimate sources of information); and community (interacting with others). Raquel Kusunoki, a sixth grade teacher at Spangler, recently asked Mr. Jenkins, now an educational technology specialist for the school district, to teach Common Sense classes to her students. The class listened as Mr. Jenkins read a story about a girl who got annoyed when her parents quizzed her about details from her online journal. Lucas Navarrete, 13, asked, "What's their right to read her personal stuff?" Sixth grade students, from left, Aren Santos, Vicky Huynh and Carlos Duran, participating in an activity on digital citizenship at Anthony Spangler Elementary in Milpitas, Calif. Heidi Schumann for The New York Times "O.K., O.K., if it was a personal diary and they read it, would you be happy?" Lucas asked. "They have no right, see?" Mr. Jenkins asked the class if there is a difference between a private diary on paper and a public online diary. But the class could not agree. "I would just keep it to myself and tell only people that were really, really close to me," Cindy Nguyen said after class. "We want to have our personal, private space." That blurred line between public and private space is what Common Sense tries to address. "That sense of invulnerability that high school students tend to have, thinking they can control everything, before the Internet there may have been some truth to that," said Ted Brodheim, chief information officer for the New York City Department of Education. "I don't think they fully grasp that when they make some of these decisions, it's not something they can pull back from." Common Sense bases all its case studies on real life, and insists on the students' participation. "If you just stand up and deliver a lecture on intellectual property, it has no meaning for the kids," said Constance M. Yowell, director of education for the John D. and Catherine T. MacArthur Foundation, which has provided financing. But some media experts say that in focusing on social issues, Common Sense misses some of the larger, structural problems facing children online. "We can't make the awareness of Web issues solely person and relationship centered," said Joseph Turow, a professor at the Annenberg School for Communication at the University of Pennsylvania. Children should learn things like what a cookie or a Web virus is, and how corporations profit from tracking consumers online, he said. In San Francisco, the Schools of the Sacred Heart, related boys' and girls' schools, met with parents earlier this year to discuss their Common Sense pilot program with Sister Anne Wachter, the head of the girls' school. "The messes they get into with friends, or jumping onto someone's site and sending a message," she said. "They don't know, sometimes, how to manage the social, emotional stuff that comes up."	N24News: A New Dataset for Multimodal News Classification	Education
Like the 1995 picture "Dead Man Walking," "Trial by Fire" was created by filmmakers who believe that capital punishment is barbaric both as policy and in practice. This fact based film takes the argument a step further in its details: While "Walking" was about a confessed killer who sought spiritual redemption, "Trial by Fire" details the state killing of a man many believe to have been innocent of the crime for which he was convicted. The man was Cameron Todd Willingham, who was found guilty of killing his three daughters by arson in 1991. Some time before his execution in 2004, various authorities were presented with evidence that the fire had not been set by Willingham and that his protests of innocence were sincere. Directed by Edward Zwick ("Glory," "The Last Samurai," and more recently, "Jack Reacher: Never Go Back") from a script by Geoffrey Fletcher ("Precious"), the movie is based on a New Yorker article by David Grann. The story as told by Grann is detailed and linear, in a prose style both spare and refined. The dramatization hems and haws, incorporating flashbacks, fantasy sequences and other features intended to add intrigue to the narrative and depth to the characterizations. They wind up feeling like window dressing, though.	N24News: A New Dataset for Multimodal News Classification	Movies
A conversation with Dr. R. Malcolm Smith, chief of orthopedic trauma service at Massachusetts General Hospital. Dr. Smith talks about treating the injured after the Boston Marathon Bombing Attack. BOSTON For years, Dr. Michael J. Weaver, an orthopedic trauma surgeon, went to meetings of his professional society and heard surgeons from the military describe what they had learned treating blast injuries. Then he would return to his practice at Brigham and Women's Hospital in Boston, where he mostly treated people injured in auto accidents or falls. All that changed on Monday when victims of the bombings at the Boston Marathon arrived. "We've seen similar injuries, but never of this magnitude," Dr. Weaver said. "This is completely different." The military experience, he added, "has been phenomenally helpful." But doctors said they had also prepared for a disaster, with regular drills. At Massachusetts General Hospital, for example, part of the emergency department's disaster preparedness included bins of special wristbands to identify disaster patients. "We can't sit there and write names of patients" on wristbands, said Dr. R. Malcolm Smith, chief of the medical center's orthopedic trauma service. Instead, medical personnel in the emergency department slapped wristbands on patients that identified them with special disaster numbers. The bands said simply, Disaster Victim 001, Disaster Victim 002, and so on. Patients' names were added later. It turns out to be an art and a delicate balancing act to treat people with blast injuries that can pulverize muscle and rip blood vessels, that can drive pieces of metal into soft flesh and shatter bones. Trauma surgeons call it damage control, and say the military experience showed how important it is. The idea is not to try to solve all of a patient's medical problems at once, but instead to deal with the urgent and life threatening ones immediately. Patients often have to return to the operating room again and again as their injuries are successively repaired. The first priority for those who were severely injured was to prevent them from dying, often from bleeding to death. Many had tourniquets on their legs when they arrived at the hospitals. But that was just a temporary measure to slow the bleeding. They needed immediate surgery to get their bleeding under control and prevent muscles and nerves from dying for lack of blood. That requires a vascular surgeon to repair the torn blood vessels and restore blood to legs and feet that may no longer have a blood supply. To do those repairs, surgeons often sew in part of a vein from the other leg, if it is uninjured, or from an arm. Or they use a synthetic tube. Meanwhile, an orthopedic surgeon must stabilize a bone that might be flopping because it is fractured in several places. Surgeons do that with a temporary solution they drill into the bone from outside the leg and attach pins that they screw into a metal bar also outside the leg. Plastic surgeons clean the wound. In this case, blast victims had BBs or nails or debris embedded in their legs and feet. Everything the surgeons took out of the wounds was placed in plastic bags for the F.B.I., said Dr. Samuel J. Lin, a plastic surgeon at Beth Israel Deaconess Medical Center who helped care for blast victims. "The crime scene extends to the hospital," Dr. Lin said. Patients then are sent back to intensive care or their hospital rooms for the next few days while doctors wait to assess the damage to muscles and nerves and blood vessels. "With a blast injury in particular, we can't always be sure how widespread the soft tissue injury is," Dr. Smith said. Badly injured, dead tissue needs to be removed to avoid infection. And that may mean repeated visits to the operating room. But there are no other options. "If we leave dead tissue in place, it gets infected," Dr. Smith said. And if the soft tissue dies, a leg might have to be amputated. The next priority is repairing soft tissue muscle and nerves and skin. "Everything depends on soft tissue repair," Dr. Smith said. "If you don't have healthy soft tissue, bone will not survive." That means that plastic surgeons have to close what may be gaping wounds. Wound healing has been revolutionized by a vacuum device, Dr. Lin said. Patients with large wounds used to just be bandaged and have their dressings changed several times a day. Now, doctors put a black sponge over the wound, cover it with a thin sheet of plastic wrap, and attach it to a vacuum hose. Wounds heal faster, and patients are in less pain. A big advance, Dr. Weaver said, whose value was proved by the military, is taking tissue from smaller areas to close a large open wound. Surgeons used to take big chunks of muscle along with blood vessels from a person's abdomen or back and move it to the wound to repair the injury. Now, he said, they take much smaller pieces of tissue from places like the forearm or thigh. It means a smaller surgery and fewer complications. But uncertainty about the fate of soft tissue surrounding a wound can remain for days after a repair. If it dies, and if further attempts to trim the dead tissue and repair the wound fail, patients face amputations. When it comes time to repair shattered bones, orthopedists make use of stabilizing metal plates developed over the last decade or so that are vast improvements over earlier ones, Dr. Weaver said. They still have to attach the plates directly to the bone, where they will remain for the rest of the patient's life. But the new plates are designed to fit exactly against the shape of the bone, making the bone more stable. "To restore the function of a knee or ankle, you have to put the pieces of bone together like a jigsaw puzzle," Dr. Weaver said. The military also greatly improved reconstruction, prosthetics, and rehabilitation for those who need amputations. Of course an amputation is still devastating, but now, with the improved prosthetics, many patients can walk, run and enjoy essentially normal lives, Dr. Weaver said. For many of the blast victims, the path to recovery will be long and arduous, with weeks in the hospital and rehabilitation lasting as long as a year. While bones can heal, patients may be left with stiffness from torn muscles, bad scars from the operations, and, if a joint was severely damaged, arthritis in it. The victims, Dr. Smith said, were mostly younger people who were watching the race. The blasts went off behind them, ripping the backs of their legs. Some know what they are facing in the months to come, Dr. Weaver said. But others, he added, do not. "Many who are critically ill in intensive care are still waking up," he said.	N24News: A New Dataset for Multimodal News Classification	Health
Spotify has hired Dawn Ostroff, a veteran television and video executive, as its new chief content officer, a move that may signal the music service's wider ambitions in media. Ms. Ostroff, who had been president of Conde Nast Entertainment, the publisher's video studio, will join Spotify in August, the company announced on Tuesday. She will report to Daniel Ek, Spotify's chief executive, and be responsible for its content and editorial divisions, as well as the creator services side of Spotify's business, which handles the detailed data reports it makes available to artists. Spotify has long been searching for ways to expand its offerings beyond music, which tends to offer lower profit margins than video or podcasts. But its efforts have been fitful. Spotify first promised a major move into video in 2015 at a celebrity filled news conference on the eve of Apple Music's introduction with minimal results, and a series of high profile personnel changes have followed. The content chief's job has been vacant since January. In filings before Spotify's listing on the New York Stock Exchange in April, the company also hinted that it was interested in working directly with recording artists, in a challenge to what it presented as the outmoded "gatekeeper" model of traditional record labels. Those suggestions, and recent reports that Spotify has been pursuing deals with independent artists, have been met with an angry response from the major labels.	N24News: A New Dataset for Multimodal News Classification	Media
Why should we be worried by President Trump's naming Vice President Mike Pence to coordinate the government's response to the coronavirus? Mr. Pence has an established and proven record in the scientific field. Many of us remember that Mr. Pence wrote: "Despite the hysteria from the political class and the media, smoking doesn't kill." He is also a longtime climate change denier. And, of course, he has denigrated the theory of evolution while championing creationism. As governor of Indiana, when H.I.V. started its rampage, Mr. Pence's proposed solution was to have those seeking assistance change their sexual behavior. He initially refused to open needle exchange programs to stop the spread of the virus. Instead, he said the most important thing we can do is "pray." Mike Pence has succeeded already, because that is exactly what I am doing now. Not only for myself and my family but for my country.	N24News: A New Dataset for Multimodal News Classification	Opinion
The pop star Ariana Grande is engaged to the luxury real estate agent Dalton Gomez, she announced on Instagram on Sunday. Sharing photos of herself with Mr. Gomez (and a diamond and pearl ring), she captioned her post, "forever n then some." Ms. Grande had hinted at her relationship with Mr. Gomez over the past year, tucking photos with him into stacks of images shared on Instagram. Along with its "unapologetically and sometimes humorously libidinous lyrics," Ms. Grande's most recent album, "Positions," which was released in the fall, has "occasional slips of vulnerability that reveal the giddiness and anxiety of new love," The New York Times wrote in its review. Mr. Gomez, a real estate agent at the Aaron Kirman Group in Los Angeles, was born and raised in Southern California, according to his profile on the agency's website. He has worked in luxury real estate for five years, overseeing sales of homes like Pierre Koenig's Case Study No. 21 in Los Angeles, which served as the set of "Charmed." Shortly after the release of Ms. Grande's 2018 album, "Sweetener," her ex boyfriend, the rapper Mac Miller, died of an accidental overdose. He had collaborated with Ms. Grande on her hit song, "The Way," in 2013. "I adored you from the day I met you when I was nineteen and I always will," she said of Mr. Miller in a post on Instagram after his death. At the time of Mr. Miller's death, she had been engaged to the comedian Pete Davidson for only a few months. Ms. Grande called off their engagement shortly thereafter. Mr. Davidson attributed their split to Mr. Miller's death, telling the radio host Charlamagne Tha God in an interview that "I pretty much knew it was over after that." In December 2018, Mr. Davidson shared a troubling post on Instagram: "I really don't want to be on this earth anymore," he wrote. A police officer checked on him at the Manhattan studios of "Saturday Night Live," where he is a cast member, and NBC contacted the Police Department to say that he was fine, the police said at the time. In the deleted post, he said: "I'm doing my best to stay here for you but I actually don't know how much longer I can last. All I've ever tried to do was help people. Just remember I told you so." Ms. Grande, 27, gained prominence as Cat Valentine on the Nickelodeon show "Victorious," which aired from 2010 to 13, but it was her music career that gave her international stardom. Her song "Positions" peaked at No. 1 on the Billboard Global 200.	N24News: A New Dataset for Multimodal News Classification	Music
If the premise of "Russian Doll" sounded familiar a woman lives through the same night of her life, over and over and over again, to her frustration and eventual enlightenment the actual show was anything but. This Netflix comedy series, which stars Natasha Lyonne as Nadia, the protagonist caught in an inexplicable time loop, and which she created with Leslye Headland and Amy Poehler, was a heartfelt and idiosyncratic tribute to the uncertainties of middle age, to the East Village and to Lyonne's own life, whose details are encrypted throughout the show. Here's what happened at the 2019 Emmy nominations See a list of Emmy nominees. On Tuesday, "Russian Doll" received 13 Emmy Award nominations, including one for outstanding comedy series and one for Lyonne as lead actress in a comedy. It's the second acting nomination for Lyonne, who was previously nominated as a guest actress on "Orange Is the New Black," and who apparently cannot help but be herself in any conversation. Lyonne spoke by phone on Tuesday afternoon about "Russian Doll" and the growing community of female created shows that it belongs to. These are edited excerpts from that conversation. How are you? she begins to sing the "Entertainment Tonight" theme song I really want to thank Leeza Gibbons. I'm not sure what's happening. I'm gonna black out. The "Entertainment Tonight" theme song is playing, and it was almost the song we went with instead of Harry Nilsson as the restart song. It was really between the two. And "Gotta Go to Mo's Modell's." It was those songs, but we went with Harry Nilsson. That's what we landed on in the edit. All those other songs were too expensive. "Russian Doll" received 13 Emmy nominations today. That must be very exciting. It's bananas. It's really insane. We're still all going to die, is the revelation. Everybody on "Game of Thrones" whoever didn't die on the show is still going to die in real life. But hopefully not for a while. In the here and now, what a wonderful way to assess the hard work. And how nice. We worked so hard, I really thought that my brain was going to implode, and my soul. I really felt the weight, the albatross of making sure that that show would sing and communicate all things that I had hoped for. It was a heavy toll, and arriving on the other side with some sort of celebration is pretty extraordinary. It's very affirming on a creative level, to keep plugging away.	N24News: A New Dataset for Multimodal News Classification	Television
1459 Taylor Avenue (between Archer Street and the Cross Bronx Expressway) A private investor has bought this 24,185 square foot five story 1930 walk up with 30 apartments 12 two bedrooms including the super's apartment and 18 one bedrooms. The yearly net operating income comes to 256,100. Hudson Charles, a West Village butcher shop, has taken a 10 year lease for its second location in an 800 square foot space on the ground floor of this 13 story Upper West Side co op built in 1918. It will be just a few doors away from Barney Greengrass when it opens in November. Schatzie the Butcher previously occupied the space.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Beyonce, an artist known for dominating R B and pop charts, performed at the Country Music Awards in Nashville on Wednesday, causing a few of the genre's fans to scratch their heads and all of her fans to go into the usual paroxysms of delight. It was not just because of the much discussed performance of her song "Daddy Lessons" with the Dixie Chicks, but also because of her appearance in yet another of what is fast becoming her signature look: quasi naked, highly beaded and very diva on the half shell. But this time, it came with a twist (possibly to reflect the twist of her showing up at the C.M.A.'s).	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
For a third week in a row, Drake easily held the top spot on the Billboard album chart, his huge streaming numbers holding off a new entry by Wiz Khalifa. Drake's new album, "Scorpion," had the equivalent of 260,000 sales in the United States last week, according to Nielsen, a figure that includes 290 million streams and 29,000 copies sold as a full album. Last week the CD version of "Scorpion" finally went on sale, although it sold only 13,000 copies and, for such a blockbuster, it was barely visible in New York City stores a sign of just how dramatically CD sales have plummeted, and how record companies have instead made streaming their highest priority. Wiz Khalifa's "Rolling Papers 2" opened with the equivalent of 80,000 sales, which included 84 million streams and 14,000 copies sold as a full album. Much of the rest of the Top 10 has been only slightly reshuffled from recent weeks: Post Malone's "Beerbongs Bentleys" is No. 3, XXXTentacion's "?" is No. 4 and Cardi B's "Invasion of Privacy" holds at fifth place.	N24News: A New Dataset for Multimodal News Classification	Music
Is a screening of a play just as powerful the play itself? The Royal Shakespeare Company plans to use heart monitors to try to find the answer. Starting Wednesday night, the company is to monitor the heart rates of 10 selected audience members at its blood soaked production of "Titus Andronicus" in Stratford upon Avon, and then do the same for a cinema screening of the production in August. The theater's aim is to measure the emotional experience of each viewing method and explore whether Shakespeare still shocks modern audience members, who are perhaps desensitized to violence onscreen. Becky Loftus, the Royal Shakespeare Company's head of audience insight, said that "Titus Andronicus" lends itself particularly well to this experiment, given the intensity of scenes showing the title character Titus's hand being chopped off and the aftermath of the rape and mutilation of Lavinia, another character. "Pretty much every night there's somebody who faints or is sick," she said in an interview. "We want to see how the audience reacts physically to the production."	N24News: A New Dataset for Multimodal News Classification	Theater
Built by the United Arab Emirates, and lifting off from Tanegashima Space Center in Japan, the Emirates Mars Mission is the first of three missions headed to the red planet this summer. You'll be hearing a lot about Mars in the weeks to come this summer. Three missions are launching toward the red planet, taking advantage of the way Earth and its neighbor get closer every 26 months or so, allowing a relatively short trip between the two worlds. If they launch successfully, the spacecraft will arrive at Mars early next year. The first of the three missions, built by the United Arab Emirates, lifted off on Monday morning from a launch site in Japan (it was the end of Sunday afternoon in the United States). Carried into calm skies by a Mitsubishi H IIA rocket, the spacecraft separated from the rocket about an hour later and began a journey to Mars that will last until February. The trip to the red planet begins a bold entry into interplanetary exploration by a small country that has previously only sent a few small satellites to orbit. What is the U.A.E. sending to Mars and what will it do? The Emirates Mars Mission, also known as Hope, is an orbiter that will study Mars from above the planet. It will join a fleet of six other spacecrafts studying the red planet from space, three operated by NASA, two by the European Space Agency (one shared with Russia) and one by India. Each contains different instruments to help further research of the Martian atmosphere and surface. The Hope orbiter is carrying three instruments: an infrared spectrometer, an ultraviolet spectrometer and a camera. From its high orbit varying from 12,400 miles to 27,000 miles above the surface the spacecraft will give planetary scientists their first global view of Martian weather at all times of day. Over its two year mission, it will investigate how dust storms and other weather phenomena near the Martian surface speed or slow the loss of the planet's atmosphere into space. How extensive is the Emirati space program? The Emirates previously built and launched three earth observing satellites, gaining experience from a collaboration with a South Korean company. The country also has a nascent human spaceflight program. Last year, its first astronaut, Hazzaa al Mansoori, who completed an eight day stay at the International Space Station, was carried there aboard a Russian rocket. For the Mars mission, the country took a similar approach to the earlier satellites by working with the Laboratory for Atmospheric and Space Physics at the University of Colorado, where Hope was built before being sent to Dubai for testing.	N24News: A New Dataset for Multimodal News Classification	Science
It is a fitting irony that the term "fake news" has become itself fraudulent, appropriated, by Donald Trump and his imitators, to dismiss legitimate reporting that they deem damaging, disrespectful or insufficiently flattering. But before there was this fake news, there was real fake news, an ecosystem of rumors, conspiracy theories, frauds and hoax stories, some of which were deployed in 2016 to boost President Trump's campaign. It's this modern weapon that is the subject of HBO's "After Truth: Disinformation and the Cost of Fake News," a broad but darkly engrossing documentary that airs Thursday. "After Truth," directed by Andrew Rossi and executive produced by CNN's Brian Stelter, makes clear that fake news is not something invented in 2016 or limited to partisan politics. It is abetted by modern information technology, but the root of this evil is opportunism and cynicism. The voice of that root, opening the documentary and reappearing throughout, is Jack Burkman, a conservative political operator and unashamed fake out artist. "What is truth?" he asks, echoing the mantra of such paragons as the "Simpsons" lawyer Lionel Hutz. "If you study philosophy, there's no reality, only perception." In Burkman's view, disinformation is like a chemical weapon: It's poisonous, but it works, so you might as well use it before the enemy does. "After Truth" sets out a history, albeit a brief and recent one, that shows how the miasma of lies was growing well before the 2016 election. Its first case study is the 2015 panic driven by actors like Alex Jones's Infowars tinfoil hat media empire that Jade Helm, a U.S. military exercise planned for the American southwest, was a cover for a plan to round up political dissidents and imprison them in former Walmart stores. As ludicrous as that story may seem, it also became consuming, and "After Truth" interviews not just experts and journalists (some from The Times) but also people in the affected communities. Troy Michalik, a gun store owner in Bastrop, Tex., recalls how the rumors agitated conservative neighbors, already whipped up to mistrust the Obama administration, into "making puzzle pieces fit together." And a lack of commonly agreed on facts doesn't help. "I don't know what's real and what's fake," Michalik says. All this mistrust, of course, has its own origins and antecedents. The paranoia about President Obama didn't come from nowhere; he was the subject of hoaxes and frauds from early on (including the big one, birtherism, espoused by his successor). And decades of mistrust sowing by partisan media and politicians helped create the free for all in which everyone feels entitled to bespoke facts. "After Truth" doesn't do much historical delving. Instead it presents a reel of fever swamp highlights: the Pizzagate fiction that convinced a gunman that a Washington, D.C., restaurant was a front for an elite pedophilia ring; the wild theories about the attempted robbery murder of Seth Rich, a Democratic National Committee staffer, that Fox News's Sean Hannity amplified; the adoption of fake news tactics by activists on the left in the 2017 Alabama senate election; and the resistance of social media companies, especially Facebook, to do anything to halt the spread. If you follow the news and God bless you if you do these stories may seem largely familiar, if horrifying in aggregate. "After Truth" picks up when it gets a behind the scenes look as Burkman partners with the conservative fabulist Jacob Wohl. In 2018, the two produced a sexual misconduct smear against Robert Mueller to discredit his election interference investigation. Burkman and Wohl are so brazen in their plot, and so inept as it falls apart, that it would play as a comedy if the implications weren't so disturbing. ("We have to prove that Bob Mueller is a sex offender, and I think we're going to do that," Burkman tells Wohl.) You could imagine a version of "After Truth" that focused on this one operation in order to illustrate the larger problem: Fyre Festival, meet Liar Festival. In other places "After Truth" plays more like a survey, something that might have made an hourlong feature on CNN. But its strongest animating idea is that fake news is not simply a political abstraction. It's a real offense that harms real people, from the parents of school shooting victims maligned by Infowars to the threatened staff and customers of a pizza place. For that matter, the film argues sympathetically, disinformation hurts the people who believe in it and are sometimes moved to act drastically on it. But of course, the obstacle to any solution is built into the film's premise. Even if any of these true believers somehow end up watching "After Truth," they can always declare it more fake news.	N24News: A New Dataset for Multimodal News Classification	Television
Fans of "Game of Thrones" flooded the internet with japes about a scene in Sunday night's episode that showed an out of place coffee cup in the show's fantasy world, but now HBO has rewritten Westerosi history. Less than 48 hours after Episode 4 of Season 8 dropped, the cup was edited out of the scene on HBO's streaming platform, a spokeswoman confirmed. (Future rebroadcasts on cable TV will also exclude the cup.) That's right. While the big, bad Night King failed to "erase the memory of Westeros," as Bran Stark put it, HBO was able to do so using the magic of digital editing. Read our ultimate guide to "Game of Thrones." Sign up for our Watching newsletter for film and TV recommendations.	N24News: A New Dataset for Multimodal News Classification	Television
Digital calendars impress users with appointment alerts and the ability to sync events across a multitude of platforms, but for checking the date at a glance, or casually contemplating the week ahead, old fashioned calendars still have an edge. "It's quick to look at and it's always there," said Marion Weiss, an architect and a founder of the New York firm Weiss/Manfredi, whose many projects include the Brooklyn Botanic Garden Visitor Center and Hunters Point South Park in Long Island City. That's one of the reasons a paper calendar Ms. Weiss designed for herself remains central to organizing her day. Pasted into the back of her sketchbook, it's populated with handwritten symbols. "A star for a major presentation, an X for a meeting," she said. "Boxes are shaded, crossed out or colored in when they're done." Not every calendar needs to hold so much data; in terms of aesthetics and organization, it all comes down to personal preference. But in a room full of people with smartphones, she added, "my ability to go to the calendar and see what's going on is actually faster than anybody else, every time."	N24News: A New Dataset for Multimodal News Classification	Real Estate

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