Split (2)

train · 585k rows

text stringlengths 1 39.7k	original_task stringclasses 8 values	original_label stringclasses 35 values
Review: Rage and Ritual in 'What to Send Up When It Goes Down' The phrase crackles with both a deep visceral charge and an elegant precision. These words are only three among many used by the playwright Aleshea Harris to characterize her truly sui generis, truly remarkable new work, "What to Send Up When It Goes Down," which opened on Monday at A.R.T./New York Theaters. In writing about this Movement Theater Company production, which has been created to honor the black lives lost to "racialized violence," Ms. Harris has also described it as a ritual, a dance party and, above all, "a space in the theater that is unrepentantly for and about black people." But it is "anger spittoon" that best captures the paradoxical plainness and poetry, utility and sophistication of what Ms. Harris has created here. If "What to Send Up" is a receptacle for the rage that is part and parcel of life for many African Americans, a piece that encourages its audience to respond with cathartic yells and tears, it is also shaped by a rarefied theatrical intelligence. You may not be entirely aware of its artistry until after it's over, or realize that the show you've seen is also a very good play. The experience begins in the brightly lighted lobby of the Jeffrey and Paula Gural Theater, which has been transformed into a portrait gallery. More than 200 photographs adorn the walls, close ups of faces with those bright, hopeful smiles with which most people consciously address a camera. At least some of the names will be familiar to you. They include Tamir Rice, Sandra Bland and Trayvon Martin. Most of them are obscenely young. They are all dead, many of them at the hands of American law enforcement officers. We are soon reminded that the list embodied by this display keeps growing. We enter the theater, an open space (designed by Yu Hsuan Chen and lighted by Cha See) and are instructed to assemble in a circle. On the night I attended, a stately master of ceremonies (the actor Kambi Gathesha) asked us to repeat the name Jemel Roberson a security guard shot and killed earlier that week by a police officer in suburban Chicago one time for each of the 26 years he was alive. That's one of several exercises in which the audience members are asked, though not required, to participate. We are led in exercises of synchronized breathing, singing and screaming. We are asked to write, if we choose, "kind words" we might want to share "with a black person living in an anti black society." Though I have been writing "we," and participated in all of the above, I am not properly part of the collective being addressed, celebrated, stirred and consoled here. I am a white man. In his prefatory remarks, Mr. Gathesha makes it clear that while people who are not black are welcome here, this evening is not for them. At the same time, "What to Send Up," which features a protean cast of eight expertly directed by Whitney White, is inevitably, in part, about white people. In what follows the opening "workshop" section, the relationships between white and black Americans are acted out in a series of songs, soliloquies and dialogues. Some are devastatingly funny satires; others are soul shredding lamentations. Each is performed as a fugue, with strategic variations in tone and tempo. In one vignette, a woman (Denise Manning) tells a friend (Naomi Lorrain) about a white co worker who told her that he "doesn't see color." The friend hoots in riotous incredulity and asks Ms. Manning's character how she responded. Her answer: "I politely leaned forward in my chair ... and took his mouth. Off his face. I removed his mouth." What did it look like? "A little fish flopping around." As she demonstrated in her play "Is God Is," an electric riff on the classic western revenge flick seen at Soho Rep this year, Ms. Harris has a gift for pushing the familiar to surreally logical extremes. Another running sketch, which borrows from and then explodes Jean Genet's "The Maids," finds a white woman, Miss (played by a male actor, Ugo Chukwu, in lace gloves and pearls), dealing with her servants. One of them is an ingratiating man, "afraid of being sucked into the margins," played by Beau Thom. He is obedient, sycophantic and scared. The other is a woman identified as Made (a priceless Rachel Christopher), a homonym that suits "a woman of her own devising." As Miss asks patronizing questions ("in a Southern dialect not unlike Paula Deen's," we are told), Made occupies herself with tasks like sharpening a machete. She is especially riled by Miss's insistently asking her about her children. She doesn't have any, Made keeps telling her employer. Only toward the show's end, in a harrowing monologue in which Ms. Christopher strips the skin off the melodrama style posing, do we understand why Miss's question torments her. A young man (Javon Q. Minter) wanders among and between these plays within a play, wearing a stricken gaze and a fear of attracting attention. That his fate is predetermined doesn't lessen the impact when he falls to the ground, looking like a corpse in a crime scene photo. Then there's the evolving monologue, delivered with exquisite sorrow and contempt by Alana Raquel Bowers, that begins, "Remember when I tried to love you?" The attempt she describes is futile, "like riding a bike without a chain." The "you" in this case is white people. If you belong to that race, and the idea of listening to such a declaration makes you squirm, you may want to skip "What to Send Up." It wasn't written with you in mind. But if you're a lover of theater, looking for signs of fresh and original and in the moment life on the American stage, you need to see "What to Send Up." That's regardless of skin color.	N24News: A New Dataset for Multimodal News Classification	Theater
ST. PETERSBURG Madness, Murder, and Art on the Banks of the Neva By Jonathan Miles Illustrated. 592 pp. Pegasus Books. 29.95. To walk the streets of St. Petersburg, Russia, on a clear evening during the white nights of June is one of the world's more sublime urban experiences. The sun will not set in this former imperial capital until 10:25, and before it drops you can wander a city suffused with radiant light and take in a density of landmarks whose beauty and historical significance rival those of Paris: The czars' Winter Palace, now part of the vast Hermitage Museum. The Summer Garden on the Neva River, where, in 1811, America's first ambassador to Russia, John Quincy Adams, strolled with Czar Alexander I. And across the Neva, the imposing walls and 400 foot, golden cathedral spire of the Peter and Paul Fortress, the first major structure planned by Peter the Great when he established the city in 1703. A city of this stature deserves a book to match, and so the Paris based cultural historian Jonathan Miles has set out to write a sweeping account of a metropolis whose tumultuous, bloody past and dazzling cultural heritage mirror that of Russia as a whole. Miles, whose previous books include "The Nine Lives of Otto Katz" and "The Wreck of the Medusa," has conducted extensive research and has gotten some things right, most notably the rich architectural and artistic legacy of a city that was home to such luminaries as Gogol, Dostoyevsky, Shostakovich and Nureyev. Miles dishes up the A to Z of St. Petersburg's history: The brutal, westward looking Peter the Great commanding his subjects to drain and fill the swamp to give Russia a great city on the Baltic. ("Sooner or later," a 19th century French visitor wrote, "the water here will get the better of human pride.") The succession of rulers including the empire building Catherine the Great and the ineffectual last czar, Nicholas II whose stable of European architects created St. Petersburg's handsome neo Classical facade. The sorrows of a city that spawned the Russian Revolution and endured the 900 day German siege during World War II. And the trials of Soviet era Leningrad, which gave us its native son, Vladimir Putin, now dragging St. Petersburg and Russia halfway back to their authoritarian past.	N24News: A New Dataset for Multimodal News Classification	Books
Over the next four weekends children will help save endangered species, prevent a jetliner from crashing, rescue girls from forced marriages and even marshal a revolt against a sitting president (but not the one in the White House). All these deeds will take place onscreen as the New York International Children's Film Festival brings works from more than 30 countries including a new program of Spanish language short films to theaters in Manhattan, Brooklyn and Queens. But even though some of the cinematic actions are fictional, the 18 feature presentations and 93 shorts add up to an overwhelming celebration of young people taking charge. "We are always looking for films that show kids who are empowered to make change," said Nina Guralnick, executive director of the 23 year old festival. But along with the recent global rise in youthful activism, she added, "we were seeing movies that reflected that trend." One of the most striking is the French documentary "Forward: Tomorrow Belongs to Us," which has its first of three festival screenings on Saturday. Its director, Gilles de Maistre, profiles seven young activists, including Aissatou, 12, who in the course of the film (and with police assistance) actually interrupts a marriage procession in Guinea to inform the 14 year old bride to be of her rights. The movie also includes Hunter, 11, who helps rehabilitate rhinos in South Africa, and Jose Adolfo, who at 13 won the 2018 Children's Climate Prize for a bank he founded in Peru: Young people establish accounts by being paid for the recyclables they collect. (He will lead a post screening Q. and A.) Young moviegoers can find fictional characters who are just as forward thinking in titles like "Fritzi: A Revolutionary Tale" and "Rocca Changes the World." The animated "Fritzi," from the German filmmakers Ralf Kukula and Matthias Bruhn, follows an East German 12 year old girl who is caught up in the fall of the Berlin Wall. "Rocca" concerns the breaking of different kinds of barriers as it focuses on an intrepid 11 year old whose father is an astronaut. Directed by Katja Benrath, who will visit the festival on March 7 for a Q. and A., this German feature begins as the aeronautically savvy Rocca (Luna Marie Maxeiner) calmly lands a plane whose crew has food poisoning, and then skateboards away. But that is not the end of her resourcefulness. She also combats bullying and homelessness. "It's like a modern Pippi Longstocking story," Benrath said in a telephone conversation from Hamburg. She noted that the film's message was simple: "It's easy to change the world. Everybody can. Just start with themselves." The annual festival, which begins on Friday night with "Children of the Sea," the Japanese director Ayumu Watanabe's manga inspired animated feature about three adolescents with a mystical connection to ocean life, has always been a pioneer, too. It consistently offers titles for teenagers as well as for younger audiences. It is also one of the few children's film festivals that is Oscar qualifying: The shorts that win prizes from its adult jury can compete for Academy Awards. (That jury's longstanding members include the filmmakers Sofia Coppola and Taika Waititi, who just won a screenwriting Oscar for "JoJo Rabbit.") "We're really trying to complete a circle, and go from our audiences and what they need and what they've been asking for, to our filmmakers and what they need," said Maria Christina Villasenor, the festival's programming director. Some of those filmmakers have created works that might initially seem disturbing for young audiences. But the festival does not shy away from subjects like death and divorce. "If you're not shaken up a little, you shouldn't be doing it," Villasenor said about her role as programmer. "That's what art should do, and it doesn't matter how old you are." One film she at first found unsettling starting with its title was "The Club of Ugly Children," a Dutch feature adapted from Koos Meinderts's 1987 book. Set in a rigidly ordered dystopia whose motto is "Keep It Clean," the movie concerns an autocratic president who decides to intern all children he finds unattractive. After a boy escapes, a youth led underground rebellion starts. The film is "like a celebration of diversity," said Jonathan Elbers, the director, speaking by phone from Amsterdam. "There is not a stand on what is pretty or what is not. The kids are just kids." That approach, said Elbers, who will take part in a festival Q. and A. on March 7, puts the focus on "Who are you to decide I don't belong in this society?" The festival also addresses revolutions that are less political than personal. The shorts programs "Girls' POV" and "Boys Beyond Boundaries" explore and expand gender roles. Geraldine Charpentier's "Self Story," an animated Belgian short, is screening in both programs because its subject, Lou, is nonbinary. An American film in the "Boys" slate, "Grab My Hand: A Letter to My Dad," by Camrus Johnson and Pedro Piccinini, delves deeply into grief. Johnson conceived the film after the unexpected death of his father's best friend. Memorializing the older men's bond, it urges male viewers not to leave love unspoken. "Express what you feel," Johnson said, "because sometimes you can make someone's day or someone's life." The festival, however, is not all weighty themes. Aardman Animations' latest Shaun the Sheep comedy, "Farmageddon," and "NYCIFF Rocks," a new all ages shorts program that celebrates music, are among the lighter fare. Teenage rockers can also expect humor and plenty of beats in Kenji Iwaisawa's "On Gaku: Our Sound," about Japanese high school musicians, and Simon Bird's "Days of the Bagnold Summer," a British movie with Earl Cave (son of Nick) and an original score by the indie band Belle and Sebastian. Villasenor expects that title to continue a festival tradition of engaging grown ups as much as their offspring. "I've had conversations with people who have adult children now, and they talk wistfully about the festival," she said. "And they tell me, almost as a little secret, that they want to come back this year." The New York International Children's Film Festival Through March 15 at various locations; 212 349 0330, nyicff.org.	N24News: A New Dataset for Multimodal News Classification	Movies
Vice Tries to Turn the Page by Making Content for Others LOS ANGELES Danny Gabai was used to being ignored. For years, he ran what may have been Vice Media's most uncool business the production of feature films, made to be shown in theaters. Whatever, dude. We do digital stuff here. "We were seen as a redheaded stepchild," Mr. Gabai said, "if our existence was acknowledged at all." But that was the old Vice, the one that functioned less as a company and more as an out of control frat party. The new Vice, which started to take shape last year, with the arrival of a new chief executive, Nancy Dubuc, has decided to turn Mr. Gabai's operation into an anchor division, one she hopes can help Vice overcome difficulties elsewhere in its empire. "It's a tremendous opportunity for us," she said, noting the proliferation of streaming services and their "more, more, more" need for original movies and series. In some ways, Vice's heightened focus on its studio is an acknowledgment of the shifting tides in media. Upstart online media companies like Vice and BuzzFeed that became darlings during the digital advertising boom have lately been retrenching. Online ad spending has become increasingly controlled by Facebook, Google and Amazon. "Vice has found itself dependent on a terribly difficult advertising environment," said Mike Vorhaus, a longtime digital media consultant. Vice laid off 10 percent of its work force this year and recently folded a half dozen sites into its core Vice.com, a streamlining the company explained as benefiting both advertisers and audiences. Last week, the Walt Disney Company, which owns about 27 percent of Vice, revealed in a securities filing that it had taken a 353 million write down on its stake. Disney had previously written off 157 million. But the studio business is thriving. Companies that make films and television shows old media have been awash in money from streaming services. Netflix, Amazon, Hulu, Apple and Disney Plus will spend roughly 15 billion combined on original content next year, according to Rich Greenfield, a media analyst at BTIG Research. Vice Studios, which includes a British production company, Pulse Films, has had five shows premiere this year, including "1994," a docuseries about a pivotal year in Mexican politics, on Netflix . Vice has 15 additional shows in production, including the scripted "Gangs of London," a big budget action drama commissioned by HBO's Cinemax and Sky, the British pay television service. Mr. Gabai said the studio had more than 60 series in development worldwide. Many are unscripted, and some are based on Vice articles. Vice Studios employs 69 people and has overseas production hubs in London and Singapore. Vice produced films include documentaries like "Fyre: The Greatest Party That Never Happened," which was a recent hit for Netflix, and the coming "AKA Jane Roe," described as an expose about Norma McCorvey, the anonymous plaintiff in Roe v. Wade. It will roll out at fall festivals. Vice's partnership with HBO, where "Vice News Tonight" runs on weekdays, has been more fruitful. The show, aimed at young adults, attracts about 560,000 viewers per episode. HBO is expected to make a renewal decision this year, however, and some of the program's advocates at HBO are no longer there namely Richard Plepler, the channel's former chief executive, who decamped in February. Asked to assess her turnaround efforts at Vice, Ms. Dubuc said: "We've made quite a bit of progress in a short amount of time. The last two quarters have been very strong." She noted that the company's in house advertising agency, Virtue, brought in 20 new clients last year, including Google Chrome and Marriott Rewards. Vice raised 250 million in debt financing this month from a group of investors including the Soros Management Fund. "It was a free for all, but a fun one," he said. By 2017, when Vice Studios was officially formed, Mr. Gabai had pushed through films like "Fishing Without Nets," a foreign language drama set in Somalia, and the well reviewed documentary "Jim Andy: The Great Beyond." It looked at Jim Carrey's transformation into the comic Andy Kaufman in the biopic "Man on the Moon." Ms. Dubuc wants Vice Studios to focus more on television and less on risky art films. Vice's most recent movie, "The Beach Bum," directed by Harmony Korine ("Spring Breakers") and starring Matthew McConaughey, took in a feeble 3.5 million at the box office. "We're really proud of that film, though," Mr. Gabai said. "It's exactly the Vice brand audacious, bold, not dictated by algorithm."	N24News: A New Dataset for Multimodal News Classification	Media
Since Harvey Weinstein's unraveling, the list of cultural heavy hitters accused of sexual misconduct has been growing at a dizzying clip, particularly in Hollywood. Enter Rotten Apples: a searchable database introduced on Tuesday that informs users which films or television shows are connected to those accused of sexual harassment or worse. "It's an easy way to single out those individuals," said Tal Wagman, an associate creative director at the advertising company Zambezi, based in Los Angeles, and one of the four creators of the website. Mr. Wagman and the other creators all work at Zambezi, which is not affiliated with this "passion project," as the team put it, but is supportive. The team said it is not trying to make any money off Rotten Apples. The site offers a search bar in which users can enter the name of any television show or movie. The results will either say that the TV show or movie "has no known affiliation to anyone with allegations of sexual misconduct against them." Or users will see a list of individuals involved in a project who have been accused of misconduct, along with their role in the production. Each result is linked to a news article about the accusations. On Rotten Apples, an "individual" is defined as a cast member, screenwriter, executive producer or director. For example, a search for volumes one and two of "Kill Bill" turns up results for the brothers Bob and Harvey Weinstein, both executive producers. Dozens of women have claimed that Harvey Weinstein sexually harassed or assaulted them. While Harvey Weinstein has admitted that his behavior "has caused a lot of pain," he denies that he sexually assaulted women. His brother, Bob Weinstein, has admitted to participating in some payoffs to some of his brother's accusers and denied others. A search for "House of Cards" turns up a result for Kevin Spacey, who faces sexual misconduct allegations he apologized for one incident and has not responded to other claims. Netflix has since halted production on "House of Cards." 15 minimum wage for federal contractors will take effect Jan. 30. Jeff Bezos gives 100 million to the Obama Foundation. The tool is purely informational and is not intended to condemn entire projects, said Mr. Wagman, who likened it to Rotten Tomatoes and IMDB. The four creators of Rotten Apples, from left: Justice Erolin, Annie Johnston, Bekah Nutt and Tal Wagman. "We're definitely not advocating for boycotting anyone's films," he said. The team instead wants the tool to help people make "ethical media consumption decisions." Bekah Nutt, a user experience designer at Zambezi and a team member, hopes that the tool can shed light on how pervasive the problem of sexual misconduct is. "It became interesting to think about the wide reaching careers of those facing allegations," she said. "Every article would spotlight the big projects everyone knows about." This tool, she said, allows users to see "the full range of their careers." As the dominoes inevitably continue to fall, the creators of Rotten Apples hope to perpetually update the website. Still, they anticipate that the site may eventually be forced to shut down. "We don't know the wide ranging legal power that supports Hollywood," Mr. Wagman said, adding that they are reassured by the fact they are only linking to reputable news organizations.	N24News: A New Dataset for Multimodal News Classification	Media
It took me a while to understand that the reaction I was having to "Dr. Ride's American Beach House," which opened on Tuesday at Greenwich House, wasn't bewilderment but its shy cousin, pleasure. Once I did, I couldn't stop grinning, partly because Liza Birkenmeier 's play is so witty and partly because it's so weird. Both are welcome these days. Mind you, wit is not the same as humor, though the play, an Ars Nova production, gets its share of big laughs. Wit comes in the form of ideas so angular, they take several extra beats to land. There's also the way Birkenmeier and the terrific cast, under Katie Brook 's direction, stay so far ahead of the plot, they seem to be taunting you to keep up. For the first 15 of the play's 90 minutes, I worried there might not be enough to keep up with. Bypassing back story or even a stab at introductions, Birkenmeier drops us onto a St. Louis roof on a hot day in June 1983 when nothing seems to be happening. Almost incidentally, we learn that Harriet (Kristen Sieh ) and Matilda (Erin Markey ) are there for the weekly meeting of the Two Serious Ladies Book Club , which they apparently named for the Jane Bowles novel and is pretty much defunct. Mostly they drink beers and carp idly, in the coded manner of lifelong friends now in their 30s. "If one of us is brilliant, maybe it's not you," Matilda tells Harriet amiably. Though each has an M.F.A. in poetry, they work as waitresses and no longer do much with words except flick them like flies. They are not otherwise alike. Harriet is peevish and high minded; she doesn't care for the "riverboat aesthetic" of a nearby McDonald's. Matilda is a sly, deliberate enigma, the one "every single person who walks into the restaurant is fascinated by." At least in part, the enigma is sexual. Though she has a husband as well as a child and Harriet has a boyfriend somewhere the play soon starts to drop clues that the two women are closer to each other than they are to their men. For one thing, Harriet doesn't seem to have much use for hers. When she tells a long story about having sex with a bearded motorcycle guy while visiting her mother in a Florida hospice, the question of betrayal never comes up. And Matilda says, "I'm going to fantasize about it for weeks." Is that snark or a sideways allusion to the women's own chemistry? If so, it's a chemistry that otherwise goes unacknowledged, even as Matilda straddles Harriet on a chair, their faces nearly touching while Harriet spins her story. Only when a wholeheartedly out lesbian named Meg arrives, for what she thinks is a meeting of the book club, does the subtext fully emerge; her big butch charm so jangles the other women's suppressed energy that jealousies spark in every direction. (The performance artist Marga Gomez is charming in the role.) And when Meg announces that Sally Ride, the physicist and astronaut, is a lesbian even though she's married to a man, it's a revelation that stirs a revolution. Ride is the organizing principle here. All three women are in awe of her talent: Harriet says she has "every skill" and Matilda says she has "too many." Because the play is set on the evening before the June 18 launch of the space shuttle Challenger, they try to imagine what she's doing at the NASA beach house where astronauts are quarantined in preparation for flight. "I love her because she's going away," Harriet says. If all this sounds a bit twee and blurry, that's deliberate. "Dr. Ride's American Beach House" is interested in the moment when women who are only vaguely aware of their misfit emotions begin to imagine "going away" from their preprogrammed lives. Meg, with her crew cut and work boots, never had the option of not knowing herself, and thus achieved full personality liftoff long before 1983. But if Meg is airborne, Harriet and Matilda are barely on the runway, a difficult state of being to enact onstage. Nevertheless, in contrasting ways, the two leads do it beautifully. Sieh, so fearsomely disappointed as the wife of a feckless schmo in "The Band's Visit," all but drops her skin here; you can see her Harriet fitfully trying to create a new identity in real time. As the winningly awful Matilda, Markey, a rising star of the avant garde, has the tossed off braininess and comic polish of a Julia Louis Dreyfus, bending phrases into philosophical riddles, and not just for the fun of it. I admit I was surprised to realize that a play whose story develops in what seem at first like listless whorls is actually tightly plotted; when new ideas are born, sometimes their form, of necessity, looks strange. Here, Birkenmeier is exploring the power women achieve when they make themselves the subject of their stories instead of the object. Not that anything is theoretical: If most plays of liberation involve trite slogans and metaphorical pickets, it's bracing to see one that's a drama instead of a diorama. Great daring is needed to keep that going; Brook's direction never loses its nerve in a story that dispenses with so much of theater's traditional way finding apparatus. (The lighting design by Oona Curley and sound design by Ben Williams are especially helpful in grounding the action.) Which is not to say that everything about "Dr. Ride's American Beach House" feels finished: A subplot involving Harriet's sour landlady treads dangerously close to the whimsy line, though the character is amusingly handled by Susan Blommaert . And I'm not sure the play would holler if some of its loose ends were tied up tighter. But like many young playwrights, Birkenmeier wants to display all the different things she can do. (In a New York Times review last year, Elisabeth Vincentelli described her Off Off Broadway play "The Hollower" as "aggressively quirky.") I don't know whether that means she, like Ride, has "too many skills"; time will tell. But for this, her terrific Off Broadway debut, she has every skill she needs.	N24News: A New Dataset for Multimodal News Classification	Theater
BUENOS AIRES Since his 2015 election, President Mauricio Macri has pushed to reconnect Argentina to the global financial system, after years of isolation. His approach emphasizing lower tariffs, accurate economic data, trade pacts and the freer flow of capital was largely aimed at coaxing foreign investment back to Argentina and ending the economic exile that followed the country's default in 2001. But over the last week, Argentina has been reminded that when capital is free to flow in, it can also flow out, creating profound economic implications. With foreign investors pulling their money en masse, Argentina's central bank was forced to take drastic action to stabilize the country's currency. On Friday, policymakers lifted the benchmark interest rate to 40 percent after days of intervening heavily in financial markets. While it helped settle the markets, the move will weigh on the prospects for the president's ambitious economic overhaul. It also has the potential to crimp growth, adding to political discontent. The rate increase, a day after the Argentine peso fell 8.5 percent against the dollar, was the third in a week. The central bank said it would use "all the tools at its disposal" to slow inflation, which in March was up 25 percent from a year earlier, to 15 percent this year, a goal most analysts now see as unrealistic. In parallel, officials announced that they would cut government spending, and reduce the primary budget deficit to 2.7 percent, from the earlier goal of 3.2 percent. Their decision was seen as a response to criticism from investors that Mr. Macri's government had not been cutting spending quickly enough. Mr. Macri was sworn into office in December 2015. Argentina had been closed to international markets for more than a decade amid a long running legal fight with bondholders that followed a default on its debt. Early on, Mr. Macri's policies were greeted with widespread optimism by financial markets, which gobbled up the country's newly issued bonds. In a show of market confidence, prices for the country's government bonds rose, pushing interest rates lower. Those lower rates helped to stimulate economic growth. "There was overconfidence on the part of policymakers about how much could be done given the constraints they had," said Alvaro Vivanco, a strategist covering Latin American bond and currency markets for the Spanish bank BBVA. But doubts about the government's ability to quickly push through the changes have emerged in recent months. In January, Argentina's central bank cut interest rates and increased its inflation target, a decision interpreted by some as weakening the government's commitment to getting consumer prices under control. "The central bank was cutting, with inflation expectations deteriorating," said Gabriel Gersztein, head of Latin American strategy at BNP Paribas. "And this was a wake up call for international investors." The global economic backdrop has also been changing. With the United States economy on solid footing, its short term interest rates have been rising. That has put upward pressure on the United States dollar, and has resulted in a slide for the peso. That decline in the peso has accelerated in recent days, as foreign investors began to see their returns vaporized by the falling currency. 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. People moved to the exits, in part because of a new income tax on foreign investors. As more and more investors pulled out, Argentina was suddenly facing a currency run. Argentine officials have struggled to shore up the currency. Since March, Argentina has spent more than 7.7 billion of its international reserves, with the pace speeding up late last week. Governments have a few tools they can use to stem the outflow of capital. One of them is to sharply raise interest rates. Those higher rates translate into potentially stronger returns for investors. As such, they can attract money into an economy, which helps prop up a currency. But it's a tricky play to pull off. Brazil raised interest rates sharply to stop an outflow of capital in the late 1990s, ultimately pushing benchmark interest rates to roughly 40 percent. More recently, in 2014, Turkey suddenly ratcheted up a key central bank rate to 10 percent from 4.5 percent in order to stop a sell off in the lira. That same year, the central bank of Russia pushed interest rates sharply higher to 17 percent from 10.5 percent to keep the ruble from collapsing in response to sanctions over the annexation of Crimea and a sharp drop in oil prices. Russia also has one of the biggest interest rate jumps on record, when in 1998 its rates reached 150 percent in an effort to stem another impending collapse of the ruble. But high interest rates have economic costs. They make it particularly difficult for businesses and consumer to borrow money. The lack of spending, in turn, can slow growth and ultimately spark a recession. The key for Argentina will be to keep rates high just long enough to inspire confidence that policymakers have halted the currency run, but not so long that the increase drains the economy. "This was done in order to stop the bleeding," Mr. Gersztein of BNP Paribas said. "It's like you have someone in the E.R. You need to take very short term, bold decisions. "Then once you stabilize the patient," he added, "you need to take different decisions in order to make the patient get better and recover." Politically, it all puts Mr. Macri in a more precarious position. In recent months, his popularity has declined. In an April poll of Argentines by Synopsis, a local consultancy, 43 percent said they had a negative view of the government, compared with 34 percent with a positive view. That was a sharp shift from November, when nearly 52 percent said they had a positive image of the government and Mr. Macri's allies did better than expected in midterm elections. The president is now balancing the concerns of a restive population and the needs of international investors and they don't necessarily want the same thing. International investors want assurance that Mr. Macri will continue to cut spending and stick with other parts of his plan. But those same efforts are frustrating certain constituencies at home. Unions are worried that workers are losing purchasing power amid high inflation and a broad increase in public utility rates, part of the government's efforts to decrease spending by slashing subsidies. Hundreds gathered on Friday in downtown Buenos Aires outside the National Electricity Regulator for a union protest against recent increases in utility prices. Last month, thousands took to the streets to protest the hikes. The higher utility costs are hitting the manufacturing sector hard, particularly companies that compete against imported goods. Ancers, a tableware manufacturer in Buenos Aires, has seen its gas bill soar by 48 percent while electricity costs have doubled since the beginning of last year. During that time, the number of employees has declined by 25 percent, said Angel Vazquez, the company's founder and president. "We may very well have to close soon," Mr. Vazquez said. "I don't know if we can hold out for another year." What happens next with the economy may translate into whether Mr. Macri's coalition will win the presidential election next year or whether discontent will give rise to an interventionist government that will undo many of his changes. Although the economy as a whole is growing expanding 5.1 percent in February, on the year the latest measures are prompting some analysts to revise their forecasts downward. "The government so far has not been able to show big victories, and it's obvious that if it is going to take unpopular measures, its popularity will suffer," said Fausto Spotorno, the chief economist at Orlando Ferreres Asociados, a local consultancy. "But it has rushed many of the measures so that it can avoid bad news next year."	N24News: A New Dataset for Multimodal News Classification	Economy
It may have been an irresistible headline: Radiohead sues Lana Del Rey! The old guard versus the new. Lawyers ganging up on an artist. Copyright litigation gone amok. The reality is more complicated. But only slightly. On Sunday, Ms. Del Rey confirmed a report in a British newspaper that Radiohead was considering suing her over her song "Get Free," arguing that it sounded similar to Radiohead's breakthrough 1993 hit "Creep." The band was said to want songwriting credit, money or both. "It's true about the lawsuit," Ms. Del Rey wrote on Twitter. The band had rejected her offer of 40 percent of the song's publishing royalties, she claimed, demanding 100 percent. "Their lawyers have been relentless," she added, "so we will deal with it in court."	N24News: A New Dataset for Multimodal News Classification	Music
Hugh Jackman is a shape shifting master of showbiz: as the big screen Wolverine, ripped and brooding; as a charismatic song and dance man, ripped and Broadway. Arena concert tours, though, are their own special beast, and in the vastness of Madison Square Garden on Friday night, where he performed with a 22 piece orchestra and a team of acrobatic dancers, he never did fit all those thousands of fans in the palm of his hand . "We're going to get to know each other a little better by the end of the night," Mr. Jackman promised a couple of numbers in, before he cast off the jacket and bow tie that went with his body hugging tux pants. But for all his razzle dazzle over two and a half hardworking hours starting with a pair of percussive pop numbers from the 2017 movie musical "The Greatest Showman," in which he starred as P.T. Barnum there was an inescapable sense of being kept at a distance, of Mr. Jackman holding himself in reserve. He was a little awkward speaking about his own life, even in scripted patter; slipping into a character's skin, he appeared much more at ease. But he also seemed conquered by the scale of the room, uncertain how to make the electric connection of live performance when so many of us were so far away. Fortunately even thrillingly he had some guest artists who knew how to pull that off. The tour, titled "The Man. The Music. The Show.," touched down at the Garden for three performances and continues across the United States before heading to Mr. Jackman's native Australia in August and returning to North America in October. Packed with musical highlights from his idiosyncratic career, it borrows from two of his stage shows, "The Boy From Oz" for which he won a 2004 Tony Award as the Australian composer and entertainer Peter Allen, a high camp role he also inhabits here and "Hugh Jackman, Back on Broadway." It draws most rewardingly, though, from "The Greatest Showman," and from his relationship with that film's songwriters, Benj Pasek and Justin Paul. The night's first moving moment arrived with a song from their Tony winning musical "Dear Evan Hansen." With Mr. Jackman playing piano at the start of "You Will Be Found," the number deepened into a startling gorgeousness when the New York City Gay Men's Chorus joined him onstage. (Having already performed a tribute to his wife, plucking her out of the audience for a couple of kisses, Mr. Jackman identified himself emphatically as an ally.) But "This Is Me," the movie's Oscar nominated anthem, proved the evening's one true blazing number. With Mr. Paul at the piano and Mr. Pasek onstage nearby, the magnificent Keala Settle who played Lettie, the bearded lady, in the film entered in a sparkling jumpsuit and set the arena on fire through the force of her voice and presence. Mr. Jackman never reached that level. With jumbo screens flanking the stage, he seemed to play less to the audience than to the cameras that tracked him. It was like watching the taping of a movie musical or variety show. In close ups on those screens, Mr. Jackman sometimes looked like a man feeling the pure joy of performing music he loves. But he also had red rimmed eyes; if that was a sign of fatigue, who could blame him? Physically, the show is hugely demanding, which could be why he at times came across as rotely professional. Maybe he was rationing his energy. The disconnect made me wish I were nearer and in that sense, this show is a superb advertisement for the intimacy of Broadway. You'd never feel so far away in one of its theaters. Luckily, Mr. Jackman is scheduled to return there next year in "The Music Man." It's a safe bet that we'll feel his considerable magnetism then, turned up to its full power. Hugh Jackman: The Man. The Music. The Show. Performed on Friday and Saturday at Madison Square Garden, Manhattan.	N24News: A New Dataset for Multimodal News Classification	Theater
First, President Trump ignored the coronavirus, dismissing its threat to the public. Then briefly he took it somewhat seriously. He gave an address from the Oval Office, followed by one of the more sober minded news conferences of his administration. A day later, he was back to his usual antics, attacking the press, amplifying propagandists and spreading misinformation. He has even promised a miracle cure. Now, as it becomes clear that this is not a momentary crisis that the economy may have to come to a standstill to keep the disease from overwhelming the country Trump appears ready to quit altogether, even if it costs thousands upon thousands of American lives. "WE CANNOT LET THE CURE BE WORSE THAN THE PROBLEM ITSELF," the president said (or screamed) on Twitter late Sunday night. "AT THE END OF THE 15 DAY PERIOD, WE WILL MAKE A DECISION AS TO WHICH WAY WE WANT TO GO!" Subsequent reporting from Jonathan Swan of Axios confirmed that the administration is looking to relax guidelines for public gatherings, in order to bring the economy back online: "Amid dire predictions for jobs and the economy, the White House is beginning to send signals that there's light at the end of the tunnel that the squeeze from nationwide social distancing won't be endless." If the United States had the strict testing regime of South Korea or Taiwan if it knew the full extent of the outbreak and had the resources to selectively quarantine the sick and the contagious then you could imagine a return to normalcy in the next month or so, as most people began to go back to work and the vulnerable stayed home. But that is an unlikely, best case scenario, more dream world than reality. What is actually happening is that we don't know how many Americans are sick or how many are asymptomatic. We aren't quite flying blind, but without more tests we can't see very clearly either. What we do know is that we have a fast growing caseload that implies that there are many more infections than what's in the official numbers so far. To relax restrictions in this environment is to guarantee greater spread of the disease and higher death tolls With a fatality rate of 1 percent, we can expect nearly 1 million deaths if 30 percent of Americans come down with the virus. Of course, the fatality rate isn't fixed. Among other things, it depends on the capacity of the health system. If local hospitals aren't able to handle a flood of coronavirus patients if they can't treat everyone then the fatality rate will go up. In Italy, where hospitals are straining to treat the sick, the fatality rate among confirmed cases is closer to 9 percent. The economy will collapse under an extended social lockdown. It will also collapse in the face of a million or more coronavirus deaths, as people refuse to work or spend time in public spaces lest they risk infection. Both choices are bad, but one will save lives while the other will sacrifice them for the sake of illusory gains. That's why the administration's own experts have urged the White House to continue social distancing and other protective measures. But neither Trump nor many of his allies appear to care that much about the human toll. Or at least they've convinced themselves that an extended lockdown is more harmful than anything the virus can do. Trump, The Washington Post reports, is "fixated on the plummeting stock market, is chafing at the idea of the country remaining closed until the summer and growing tired of talking only about the coronavirus." Key officials within the administration like Steven Mnuchin, the secretary of the Treasury are pushing the president to get the economy back on track. "The president is right. The cure can't be worse than the disease," Larry Kudlow, director of the White House National Economic Council, said on Fox News on Monday. "And we're going to have to make some difficult trade offs." I suppose it is possible that when Trump and Kudlow say this, they are thinking of service employees and blue collar workers, of people who live from paycheck to paycheck. But their mutual fixation on the stock market Trump's shift from apathy to attention came in the wake of a breathtaking sell off makes this unlikely. The "trade off" here isn't lives for prosperity again, coronavirus will dampen economic activity with or without social distancing it's lives for shareholder value. There's another issue as well. The only way to sustain an economy in lockdown is unconditional government support for individuals, families and communities. It's social democracy, if only for a while. And that amount of redistribution from top to bottom, from creditors to debtors is unacceptable to the president and his allies. Remember that the Trump administration is still trying to repeal the Affordable Care Act and end food assistance for 700,000 Americans. Marxists have a turn of phrase that dates back to the late 19th century: "Socialism or barbarism." It comes from the German journalist and philosopher Karl Kautsky, who in 1892 wrote, "As things stand today capitalist civilization cannot continue; we must either move forward into socialism or fall back into barbarism." Two decades later, in a 1915 pamphlet, "The Crisis in German Social Democracy," the Polish revolutionary Rosa Luxemburg recapitulated the idea, attributing it to Karl Marx's lifelong friend and collaborator Friedrich Engels. "Bourgeois society stands at the crossroads," she wrote while a generation of European men marched to their doom in the First World War, "either transition to socialism or regression into barbarism." You don't have to be a revolutionary socialist to understand the sentiment. In the face of disaster, the only path forward is solidarity and mutual concern. Reject it, and all that's left is a cold and selfish disregard for human life. "America will again and soon be open for business," the president said on Monday. "Very soon, a lot sooner than three or four months that somebody was suggesting. A lot sooner." In other words, Trump will sacrifice Americans to coronavirus if it will save the market and his prospects for re election. Which is to say that given the choice between solidarity and barbarism, Trump will choose barbarism. We'll see, in November, if the rest of the country follows suit. The Times is committed to publishing a diversity of letters to the editor. We'd like to hear what you think about this or any of our articles. Here are some tips. And here's our email: letters nytimes.com. Follow The New York Times Opinion section on Facebook, Twitter ( NYTopinion) and Instagram.	N24News: A New Dataset for Multimodal News Classification	Opinion
J. D. Salinger working on "Catcher in the Rye" during World War II. Mr. Salinger died in 2010, but newly discovered manuscripts could greatly increase the value of his estate. MICHAEL JACKSON and J. D. Salinger would seem to have had little in common beyond being famous, reclusive (to different degrees) and the subject of much speculation about their personal lives. But in death the King of Pop and the author of "The Catcher in the Rye" have become sources of fascination and speculation among estate lawyers and the people charged with putting a price on hard to value assets, like royalties that continue paying after they are gone. Mr. Jackson, who died in June 2009, had revenue from his songs and his share in a music catalog; Mr. Salinger, who died in January 2010, had the royalty income from his books, which continue to be read and taught in schools. But the speculation arises over what may not have been known or calculated at the time of their deaths. Mr. Jackson's death was good for his earning potential his estate now receives hundreds of millions of dollars a year, according to an analysis by Forbes. As for Mr. Salinger, a new documentary film claims that he had five finished manuscripts that will be published starting in 2015 and are likely to sell well. In both instances, it would have been hard to know the value of those assets when their creators died, particularly in Mr. Jackson's case. He had not had a successful record in many years, and the value of the record catalog was lower at the end of the recession than it is today. But trying to divine such values, however difficult, is an important part of settling any estate and avoiding the ire of the Internal Revenue Service. It also applies more broadly than many people think. "The appraisal process is more of an art than a science," said Richard A. Behrendt, director of estate planning at the financial services firm Baird and a former I.R.S. inspector. "When I was auditing returns, more than half the issues were valuation issues because of the speculative nature of appraisals. It's very common." Property like a privately held small business, a big art collection, a share in rental properties or intellectual property like television or movie credits, patents or even Web site domain names are not as easy to value as, say, a stock portfolio. Executors of estates for people who owned small businesses, particularly in service areas like law, accounting or medicine, where the revenue is reliant upon the owner, often face the opposite problem of the Salinger and Jackson estates: the values plummet when their owners are gone, but the I.R.S. still assesses a tax on the value at the date of death. "My husband and I own a law firm, and part of the appeal of our law firm is us," said Kelly Phillips Erb, a lawyer outside Philadelphia who has blogged on the tax matters related to the Jackson estate. "If we're not around the next day, the value of the firm isn't worth as much. The I.R.S. doesn't care, and that presents a challenge for small business owners." She said keeping detailed records, like minute books, and updating stock certificates helps in establishing a case for a certain valuation. An estate can also ask the I.R.S. to use an alternate valuation date that is six months after the date of death to take into consideration a loss of value. Another debate occurs when the valuations are far apart. This happened in the Jackson case. When he died in June 2009, the recession seemed to be dragging on and his reputation was in tatters from years of lawsuits and accusations of molesting children. After his death his reputation markedly improved and his music began selling again. The following year, in September 2010, the National Bureau of Economic Research declared that the recession had actually ended the previous June, around the time of his death, so in hindsight the future value of his record catalog was higher. Yet the values assigned by the appraisers for Mr. Jackson's estate and those for the I.R.S. were so far apart that the I.R.S. filed suit asking for 700 million in estate taxes and penalties. The issue now turns on whether Mr. Jackson's estate was worth nearly as much in the moment before he died as the I.R.S. contends it was worth after. Lance S. Hall, president of FMV Opinions, an appraisal firm that lost a bid to value the Jackson estate, said such wide disparities were becoming common, because the I.R.S. uses the higher value as a negotiating tactic. "Suppose the real value of an estate is 20 million, and suppose the taxpayer's expert comes in at 17 million," Mr. Hall said. "The I.R.S.'s valuation engineer is likely to come in at 40 million. That's going to scare the living daylights out of a person. But in the negotiation, the I.R.S. might get more because they could settle on 28 million." Mr. Hall said that there were not always ways to prevent such a dispute, but that he encouraged clients being audited to persist to the appeals stage, where the auditors either have to settle the case or bring in an outside appraiser who might have to defend his valuation in court. The problem for the Salinger estate may be closer to what happens to people whose patents or other intangible property have zero value at death but a far higher value in the years to come. Sarah T. Connolly, a partner at Nixon Peabody in Boston, said she dealt with many professors at the cutting edge of research who held patents that might be worth something only if others built on their work. She calls these "building blocks." "Say our decedent has block 'E' and he knows it's going to be important one day," she said. "It doesn't have any value on the date of death, but it could explode in the future if someone comes up with blocks A to D and F to J." As long as people list that asset and the I.R.S. does not challenge the value assigned to it before the three year statute of limitation has expired then they should be fine, Ms. Connolly said. The mistake people make is not listing something in the estate tax filing, which could open them up to an I.R.S. audit after the statute of limitations because they filed an incomplete report. Yet there are areas where the I.R.S. is more understanding with taxpayers. One is when it allows a so called blockage discount. Mr. Behrendt said one of the best known cases involved David Smith, the sculptor, who had 425 pieces of his own work when he died in 1965. Had they all been sold at once, their value would have been far less, so the I.R.S. allowed a lower valuation. This can also apply to people who own large blocks of publicly traded stock. "I've seen it happen a couple of times with Berkshire Hathaway stock," Mr. Behrendt said. "It trades over 100,000 a share. If you had 100 shares, it's going to be tough to sell, so you get a lack of marketability discount." That discount is generally 3 to 5 percent, he said. The same holds true for a minority interest in a business or even a rental property, which would be valued lower because of lack of control. More difficult still would be valuing a collection. Ms. Erb said her father had a room filled with Coca Cola memorabilia. "It's not worth what you think it is or even what you paid for it," she said. "You'd have to find a niche buyer, and no one is walking around saying: 'You know what I want? A room filled with Coca Cola stuff.' " Yet she said she would advise someone with an obscure collection to get it valued for estate tax purposes and to establish a basis for when the items would be sold. Some figure they can coax an appraiser into lowering a valuation for them, but the I.R.S. has gotten wise to that. Mr. Behrendt said that when he was an auditor in the 1990s, the value of lake properties in Wisconsin was exploding but their valuations on estate tax returns remained low. So he called a local appraiser and asked, "Can you do something on the low end for me?" Mr. Behrendt said the appraiser replied: "Oh, sure. I do that all the time." The I.R.S. now has penalties for appraisers who come in with artificially low valuations. But for people needing a valuation for an estate or other purposes, like a divorce or a business lawsuit skimping on a qualified appraiser carries risks. Chris M. Mellen, president of Delphi Valuation Advisors, pointed out that three of the 11 adequate disclosure regulations had to do with establishing the credentials of the appraiser to even assign a value to something. "If you don't follow all of the adequate disclosure rules and the I.R.S. catches a technicality, then the statute of limitations is gone and the client could be audited past Year 3," Mr. Mellen said. "You need to know the rules of the game, given the purposes of the valuations." If the appraiser doesn't, the other side could prevail without any negotiation.	N24News: A New Dataset for Multimodal News Classification	Your Money
The team fired its manager, A.J. Hinch, and general manager, Jeff Luhnow, after they were suspended for one year. Carlos Beltran also resigned as the New York Mets' manager, and the Red Sox dismissed and then rehired Alex Cora. For the third time in five years, the Houston Astros are in the World Series. So much for being the pariah of baseball. But the scorn of opposing fans and players still hangs over the franchise less than two years after Major League Baseball sanctioned the Astros for a sign stealing scheme that reverberated across the sports pages, through stadiums across the country, and on Twitter. Here is what we know about the cheating scandal. What penalties were handed down? The Astros fired Manager A.J. Hinch and General Manager Jeff Luhnow in January 2020 after Major League Baseball fined the club 5 million and docked several top draft picks over the scheme. Both had been suspended for one year by Robert D. Manfred, the baseball commissioner, who has been intensely criticized for not punishing any of the players and not vacating the Astros' World Series title from 2017. (Hinch's exile from baseball did not last long. He was named manager of the Detroit Tigers on Oct. 30, 2020, less than 72 hours after his suspension expired.) Then, the Boston Red Sox parted ways with Manager Alex Cora only to rehire him less than a year later after the M.L.B. report implicated him in the scheme from his time as the Astros' bench coach in 2017. The next domino to fall was the newly hired manager of the New York Mets, Carlos Beltran, who resigned before he ever managed a game for the team. He was an outfielder for the Astros during the 2017 season. Is it just the fans who care? No. Players around the league wondered whether they had been robbed of baseball immortality because of Houston's cheating ways. Aaron Judge, the New York Yankees slugger known for giving diplomatic answers, didn't mince words at the start of spring training in 2020. He finished second to Jose Altuve of the Astros for the American League Most Valuable Player Award in 2017, the year that Houston defeated the Yankees in seven games in the American League Championship Series. "I was pretty mad, pretty upset," Judge said. "To hear that you got cheated out of that opportunity, that's tough to kind of let go." 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. Judge added, "I was sick to my stomach." Cody Bellinger of the Los Angeles Dodgers, the team that lost to Houston in the World Series in 2017, amplified the criticism of the Astros in February 2020. "I think what people don't realize is Altuve stole an M.V.P. from Judge in '17," Bellinger said. "Everyone knows they stole the ring from us." Will the Astros have to forfeit their World Series trophy? No. Manfred has said he thought about stripping the Astros of their 2017 title, which culminated with their victory in the World Series over the Dodgers in seven games. But during a news conference at spring training in 2020, Manfred said he was concerned about the extraordinary precedent of vacating the title of the Astros, who have now won the American League pennant in three of the past five seasons. "Once you go down that road of changing what happens on the field, I just don't know how you decide where you stop," Manfred said. Manfred didn't do himself any favors when he referred to the Commissioner's Trophy, which is made by Tiffany Company and given to the World Series winner, as a "piece of metal" in an interview with ESPN in February 2020. The commissioner later apologized for his remarks, but was criticized by baseball players and even LeBron James. It was the bottom of the ninth inning of Game 6 of the American League Championship Series in 2019, with the score tied at 4 between the New York Yankees and the Astros. Altuve was ahead in the count, two balls and one strike against the Yankees' hard throwing closer Aroldis Chapman, when Altuve turned on an 84 mile per hour slider for a home run over the left center field wall, sending the Astros to the World Series. As Altuve rounded third base and his teammates were about to mob him at home plate, he motioned for them not to tear off his jersey. The video of the curious reaction is baseball's version of the Zapruder film. Fans of opposing teams and even some rival players have questioned whether Altuve was wearing a buzzer underneath his jersey that alerted him of Chapman's pitch selection. A batter would have been more likely to get a fastball in that count. Manfred has said that Major League Baseball found no evidence that could corroborate that the Astros players used buzzers as part of their sign stealing ruse. At the same time, the commissioner also said that he couldn't be 100 percent certain that they didn't. For their part, the Astros players, including Altuve, have insisted that they did not use buzzers. Chapman characterized Altuve's actions as "suspicious." For more than a century, baseball players have been trying to decode the unspoken cues exchanged by pitchers and catchers over what pitch to throw next and the location: a practice known as sign stealing. The biggest advantage a pitcher has over a batter is the element of surprise. For a fastball, a catcher will usually put down one finger as his sign. Two fingers is the signal for an off speed pitch like a curveball. Catchers will relay multiple sets of signs if there is a runner on second base or if they think someone is trying to steal the signs. Pitchers will sometimes shake off catchers if they disagree on the pitch selection. There was even a scene in the movie "Bull Durham" in which Nuke LaLoosh, played by Tim Robbins, shook off his catcher, Crash Davis (Kevin Costner), who then tipped off the batter that he would get a fastball. The batter hit a home run. Some of the earliest accounts of sign stealing go back to the 1870s, when the Hartford Dark Blues, a charter member of the National League whose fans included Mark Twain, were accused of using a shed and a telegraph pole outside the ballpark to steal opponents' signs, according to the book "The Hidden Language of Baseball: How Signs and Sign Stealing Have Influenced the Course of Our National Pastime" by Paul Dickson. Before the 2018 season, Joe Torre, then the league's chief baseball officer and now a special assistant to the baseball commissioner, issued a warning to all teams that they could not use the video replay system or electronic devices to steal signs. The directive stemmed from another episode, involving the Red Sox in 2017, when the team used videos to relay stolen sign information to an athletic trainer in the dugout who was wearing a smartwatch. M.L.B. fined the Red Sox an undisclosed amount, with Manfred warning that future violations by teams would lead to penalties against managers and general managers.	N24News: A New Dataset for Multimodal News Classification	Sports
In January 1928, Claude McKay mailed an audacious letter to the director of the Compagnie Fabre, one of the oldest shipping lines in France. He asked the director to intervene in the case of Nelson Simeon Dede, a Nigerian whom McKay had gotten to know while living among a community of black sailors, dockers and drifters in Marseille, the vibrant Mediterranean port city. At the end of 1926, Dede had tried to stow away on a Fabre steamer en route to New York, but he was discovered and for the remainder of the journey detained in a frigid water closet. His feet were severely frostbitten, and upon his arrival at Ellis Island had to be amputated. Fabre negotiated a financial settlement and sent him back to France. But when Dede arrived in Marseille, the company had him arrested for his stowaway attempt, charging him with "clandestine embarkation." Identifying himself as a novelist published by Harper Brothers in New York, McKay informed Fabre's director that he intended to center his next book on the "vagabond and romantic means of existence" of the "Negroes from all over the world" whom he had met in Marseille. He wanted to include Dede, McKay wrote, but he was no "opportunist propagandist" and was hoping to write a "happy story." Yet he would only be able to do so if Dede were "speedily and unconditionally released" and repatriated to Africa. The ruse was apparently successful: Later that month, Dede was let out of jail. And when McKay did go on to write a fictionalized version of the affair, the fascinating ROMANCE IN MARSEILLE (Penguin Classics, paper, 16), edited by Gary Edward Holcomb and William J. Maxwell, he included a scene in which a French Caribbean Communist labor organizer named Etienne St. Dominique similarly pressures a shipping company manager to release a jailed stowaway here called Lafala by displaying a magazine article he has written about the black population in Marseille. "Now don't go away and write anything bad about the company," the manager says pleadingly. "I couldn't now," St. Dominique replies, smiling. Unpublished during McKay's lifetime, "Romance in Marseille" is the second novel by the author to appear recently, following the 2017 publication of "Amiable With Big Teeth," a book written in 1941 that remained completely unknown until the scholar Jean Christophe Cloutier stumbled upon the typescript in an archive a decade ago. Together, the books signal a remarkable revival for a writer who, when he died in 1948, had seen all the work he published during his lifetime, including four poetry volumes, three novels, an autobiography and a major study of black life in Harlem, fall out of print. 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. McKay has long been celebrated as one of the most distinguished voices of the Harlem Renaissance his 1922 poetry collection "Harlem Shadows" is often cited as one of the books that inaugurated the movement but much of his legacy is still underappreciated. Part of the challenge is the sheer breadth of his activity, as a poet, political activist and social critic as well as a novelist. Although he corresponded and collaborated with some Harlem intellectuals, McKay, who was born in Jamaica, spent most of the 1920s outside New York and moved in much broader circles: He met with George Bernard Shaw and worked for Sylvia Pankhurst in London; he saw Isadora Duncan dance in her studio in Nice; he haunted cafes in Tangier with Paul Bowles and Henri Cartier Bresson. As W. E. B. Du Bois put it, more than any other black intellectual of the era, McKay invented himself as an "international Negro." From today's vantage point, McKay looks all the more like the harbinger of a global era. "Amiable With Big Teeth," which is set in 1935 36 amid efforts by the Harlem intelligentsia to raise money in support of Ethiopia after it had been invaded by Mussolini's Italy, is an unsparing satire of the shenanigans of self appointed backdoor diplomats and manipulators of public opinion a historical novel with newfound contemporary resonance. "Romance in Marseille," like his sprawling 1929 classic "Banjo," also set in the south of France, shows McKay presciently grappling with the destinies of those he calls the "outcasts and outlaws of civilizations" migrants in thriving port cities central to the flow of global commerce and with the violent upheavals and desperate striving that deposited them there. If McKay's two Marseille novels take place during the 1920s "era of the high seas black stowaway," as Holcomb and Maxwell note in their introduction, the books' more footloose stories of black vagabonds McKay's preferred term from around the world washing up together on the shores of Europe forecast the confusion and anguish of what has, nearly a century later, erupted into a global migration crisis. McKay's political critique remains biting: In their brutality, his Marseille books insist that, then as now, it is always "the poor, the vagabonds, the bums of life" who pay the heaviest price "for banditry in high places." Although it features the story of a stowaway who loses his legs, "Romance in Marseille" cannot be described as a book about disability as such, except in the sense that, as McKay wrote to his agent in 1929, "the colored man has especial handicaps to meet with under the worldwide domination of occidental civilization." Above all, McKay seems to be struck by the inherent irony of Dede's predicament as a metaphor for the broader ironies of race in a racist world: the "enormous tragic joke" that the amputation of Lafala's legs leads to a financial windfall and thus to a sort of mobility. In this respect, as well as with its (even today) startling sexual frankness, what is remarkable about McKay's fiction is its rejection of sentimentality of any stripe. Unlike some of his peers in the New Negro Renaissance, McKay refuses to make his fiction "decorous and decorative" in order to paint a flattering portrait of black life, opting instead for what he admitted could be a "crude realism." This is especially noticeable with the gay and lesbian couples unceremoniously depicted in "Romance in Marseille." There is no agonizing over sexual identity, as in the work of Radclyffe Hall, and none of the surreal innuendo and euphemism of the elliptical fictions of Richard Bruce Nugent, Charles Henri Ford and Parker Tyler. In "Romance in Marseille," queer desire is simply a fact an acknowledged part of the social landscape in a way that makes the book seem all the more ahead of its time. The sex is not explicit, but the couplings are impassioned: sometimes vicious, sometimes tender, sometimes vulgar, but above all raw. As McKay explained, he wrote his characters "without sandpaper and varnish." McKay's Marseille novels preserve a part of that city that no longer exists. In February 1943, fearing that Resistance cells would take advantage of the cramped and labyrinthine streets of the popular neighborhood known as le Panier (the Breadbasket), the occupying Nazi authorities expelled 20,000 residents sending hundreds of Jews and foreigners to concentration camps and dynamited more than 34 acres along the Quai du Port. The photos of the destruction are staggering images of a gaping wound: an entire flank of the harbor reduced to rubble. In 2015, the city installed an inconspicuous plaque on one of the limestone buildings that went up when the neighborhood was rebuilt in the 1950s, christening a covered shopping promenade the "Passage Claude McKay." Back in 1929, McKay told a journalist that it would take readers another 30 or 40 years to understand his fiction "in its true light." His hubris should be taken with a grain of salt, but perhaps he underestimated what Cloutier has called the belated timeliness of his art. It seems fitting that, nearly a century later, McKay's name takes its place as part of the cityscape, as a landmark nailed quietly above the hustle and bustle at the water's edge.	N24News: A New Dataset for Multimodal News Classification	Books
"At Extell, we're constantly looking for new techniques to help us sell our buildings," said Tamar Rothenberg, a vice president of marketing. "One57 was quite innovative for the way we displayed real time views from future units before the tower existed." According to Ms. Rothenberg, the challenge posed by One Riverside was finding the best way to convey the feel of an entire neighborhood that has been evolving for 10 years but is, with the multifaceted Riverside Center coming to fruition with a park, school and retail, about to take off. "There's only so much you can do in a sales center, but if a picture is worth a thousand words, we like to think a hologram is worth a million words." In other words, 3 D beats 2 D. The hologram presentation includes an overview of the waterfront neighborhood (the five Extell buildings on the Riverside South plaza unfurl in succession like a time elapse cocoon to butterfly birth simulation), a trip inside the new complex, now 85 percent sold with remaining units ranging from 3.6 to 25 million, and a dazzling display of its amenities. "Instead of just saying we have a 75 foot swimming pool, the hologram makes it seem like there's someone actually swimming across the room," Ms. Rothenberg said. "It brings everything alive, and it's all controlled by an iPad." Karen Duncan, the sales director for One Riverside, said the experience is so immersive "that we've had children who were apartment shopping here with their parents go racing up to the wall to touch what they think they're seeing they want to know where the swimmer went. It's such a big visual that it literally draws people in; it's like being in a small Broadway theater. The technology is so effective that you can see into every layer of the building, into the duplex penthouse, and see views that are both simulated and real time." Visitors who find themselves so thoroughly immersed in the presentation that they opt to buy an actual piece of the picture occupancy is scheduled to begin in late 2015 are ushered downstairs to the sales center, where they can study specific floor plans and revisit views and finishes. At the conclusion of the sales cycle, the holograms, which have attracted repeat viewers, will likely be recycled, not retired.	N24News: A New Dataset for Multimodal News Classification	Real Estate
The day after Kevin Spacey apologized following an accusation that he made a sexual advance on a 14 year old boy in the 1980s, Netflix announced that the next season of his show "House of Cards" would be its last. Netflix and Media Rights Capital, the studio behind the show, said in a statement Monday they were "deeply troubled by last night's news concerning Kevin Spacey." "Executives from both of our companies arrived in Baltimore this afternoon to meet with our cast and crew to ensure that they continue to feel safe and supported," the statement said. "As previously scheduled, Kevin Spacey is not working on set at this time."	N24News: A New Dataset for Multimodal News Classification	Media
The fanciful colored markings of poison dart frogs are a warning to predators: If you eat me, you'll regret it. These tiny, colorful creatures secrete bitter toxins in their skin, and birds have come to associate their distinctive markings with danger. The frogs' chemical defenses can cause swelling, paralysis and sometimes even death. Their markings are so distinctive that it seems any frog trying out a new look would be running a serious risk. And yet, new markings do crop up. Dyeing poison dart frogs in one part of French Guiana usually are blue and black with yellow markings. But in the nearby Mont Grand Matoury nature preserve, they have white stripes. Scientists curious about how this alternative coloration was working out ran a series of experiments, and reported some surprising results last week in Proceedings of the National Academy of Science. The white striped frogs were not as effective at scaring off predators as their yellow brethren, they found. But they still managed to avoid being outcompeted by the fitter, more threatening yellow striped frogs, perhaps in part because of their location. The researchers began by setting out more than 2,000 clay models of frogs some white striped, some yellow striped and some that were solid colored in both the Matoury nature preserve and in the Kaw Mountains, about 30 miles away, where a population of yellow striped frogs lives. When they collected the models later, they looked for gouges and scrapes that indicated a bird attack. They expected that birds in the Matoury preserve would avoid white striped frogs while birds in the Kaw Mountains would steer clear of the ones with yellow stripes. They were surprised to find that this was not the case. In Matoury, the white striped frogs were attacked most, while in the Kaw Mountains frogs of all patterns were attacked about equally. "This had us scratching our heads," said J.P. Lawrence, a postdoctoral researcher at the University of California, Irvine, and an author of the new paper. Hoping to get more insight into the results, the researchers trained chicks in the lab to associate images of either white striped or yellow striped frogs with bitter, unpalatable mealworms. They found that the chicks came to dislike yellow striped frogs much more quickly than white striped frogs. Once they had learned to be skeptical of yellow frogs, the birds were more cautious about any new color. That fit with the findings from the forest, Dr. Lawrence said. In the Matoury preserve, white striped frogs were attacked more because birds had difficulty learning to associate white with a negative experience. In the Kaw Mountains, however, where birds had already learned to avoid yellow striped frogs, they were equally skeptical of the newcomers with white stripes. Indeed, past research had shown that birds respond most strongly to warm colors like yellow, orange and red; white just doesn't make the same impression. If the white striped frogs were failing to scare off predators with their colors, were they deadlier or at least more distasteful when caught? Using a test pioneered by Bibiana Rojas, a researcher at the University of Jyvaskyla in Finland and an author of the new paper, the researchers mixed oats with extracts of the frogs' skin and fed them to chickens. They found that the white striped frogs were less noxious than the yellow ones. In nearly every way that matters when it comes to surviving the ravages of natural selection, the white striped frogs appeared to be failing. Yet they have a healthy, lively population. The researchers believe that at least two factors are in play: The two populations of frogs appear to have no contact with each other, judging from limited genetic data. If they lived together, the white frogs would likely be outcompeted. But because they do not, the fact that the yellow striped frogs are more successful has no effect on the survival of the white striped frogs. As long as their gene pools do not mix, even a less fit version can survive. The other factor is a reminder that appearance isn't everything. While the team was out collecting frogs in the forest, they noticed a key difference.	N24News: A New Dataset for Multimodal News Classification	Science
One Fifth Avenue, the 27 story Art Deco apartment tower built in the late 1920s at the corner of Eighth Street, has a reputation as a Hollywood building. The directors who've called it home include Brian De Palma, Paul Mazursky, Ira Sachs and Tim Burton. It's no wonder that Peter Newman, a film producer and a professor at New York University, and Antonia Dauphin, a casting agent who is about to direct her first feature, are so comfortable there. However, there is nothing conventionally glamorous about the couple's four bedroom apartment besides its stellar address and panoramic view of the arch in Washington Square Park. "If Antonia squints, she can pretend she's in Paris, where she grew up," Mr. Newman said. "The apartment is very basic. It has the spirit of a dormitory." The couple "met cute," as screenwriters say, at the Deauville American Film Festival in 1984. Mr. Newman was with Robert Altman, on whose "Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean" he had been a production executive. Ms. Dauphin was with her mother, Ruda Dauphin, a festival director. "Bob said, 'Ruda's daughter is really cute, you should go introduce yourself.' " Getting up from the Paul McCobb dining table at the far end of the airy, sparsely furnished living room, Mr. Newman reached for a framed snapshot on the crammed bookcase. "This was taken the exact second we met," he said, grinning. "We were both too shy to talk to each other." Cut to 1988 when they got married in Bedford, N.Y., and moved from Mr. Newman's one bedroom bachelor pad at 1 Fifth to a two bedroom apartment on a higher floor. A decade later, when Ms. Dauphin was pregnant with their third child, they persuaded their next door neighbor to move elsewhere in the building so they could expand into her space. Mr. Newman explains that 1 Fifth was built as an apartment hotel with service pantries, so when they combined the back to back kitchenettes they ended up with a modest galley kitchen. Next to the front door, the kitchen functions like a hallway leading to the windowless family room decorated with movie posters. "It's where the kids did their homework," Ms. Dauphin said. "We call it the Dumpster." It connects to three of the four bedrooms via the back hall, which loops back to the living room and foyer. Mr. Newman affectionately describes the kitchen as "our tragedy." Ms. Dauphin says their 15 year old daughter, Rommily, "complains about it daily." Nevertheless, it's where Rommily taught herself to cook beginning at age 9. "She got tired of my cooking or lack thereof," her mother recalled, "and took it on herself." "Now, she's a celebrity chef," said Mr. Newman, grabbing his iPad to back up his claim with a video clip from the Food Network. "She was the youngest contestant to ever appear on 'Chopped,' when she was 13," he said, noting that New York magazine recently named her one of the up and coming "teen chefs with adult tastes." The couple have made up for the apartment's prosaic kitchen by sending Rommily to cooking schools in Paris, Ireland and Tennessee, where they've just built a vacation home at Blackberry Farm, an agritourism resort in the Great Smoky Mountains. Mr. Newman discovered the property when he and his younger son, James, 21, went to Knoxville for a football game. "James had become obsessed with the University of Tennessee team," he explained, "and we had dinner at Blackberry Farm and told Antonia and Rommily they would love it. When a piece of land there became available, we decided to build a house. Knoxville is an hour and 40 minute flight from LaGuardia. It's easier to get to than Montauk." Ms. Dauphin, who has the dreamy demeanor of a poet and seems the antithesis of a "tiger mom," says her children have an obsessive streak. "They are very self motivated, but I don't know why," she said. "They were overstimulated from an early age, and growing up in the Village with all the cultural offerings was really wonderful for them. We always felt comfortable letting them wander around the neighborhood. We put a lot of trust in them." The couple explained that James plans to be a professional sports agent, having already been a TV star and a competitive boxer. "He was training for the Golden Gloves at 17 when his brother encouraged him to audition for the MTV series 'Skins,' " Mr. Newman said, "and he had to give up boxing because his contract forbid him from messing up his face." Their supporting roles as doting parents have not hindered their careers. Mr. Newman, who is producing a biopic of Janis Joplin, is the founder and director of a dual degree program at N.Y.U. through which students pursue an M.B.A. and an M.F.A. in filmmaking simultaneously. "It's the only one of its kind in the country," he said. "And lucky me, I have the world's best commute I just walk across Washington Square Park." Ms. Dauphin, whose casting credits include "The Sopranos" and who works from a small desk next to their bed, is preparing for her directorial debut in February, an adaptation of the 1999 French film "An Affair of Love." The cast includes Maria Bello, Dan Stevens from "Downton Abbey" and Zosia Mamet from "Girls." She is hoping to shoot some of the movie at Sean MacPherson's Marlton Hotel, which recently opened cater corner to their apartment. "It has that old Greenwich Village feel," said Ms. Dauphin, who laments the loss of the Italian coffee houses that used to dot the neighborhood. "But Eighth Street has changed for the better. There are only three shoe stores left! Now there are good restaurants Greenwich Project, Neta, Stumptown." For Mr. Newman, the best change in the neighborhood is the renovation of Washington Square Park. "It used to be noisy and open all night," he said. "Now they close the gates at midnight. It's better for us, but whatever was left of the counterculture is gone. I don't think you will find the next Bob Dylan playing there." The couple acknowledge that the apartment is overdue for remodeling, but its laissez faire style was by design. "I wouldn't want to live in an apartment where you'd be upset if a kid or a dog ruined something," Mr. Newman said. "There is nothing here that is not replaceable. Nothing is precious other than our memories."	N24News: A New Dataset for Multimodal News Classification	Real Estate
J. J. This is Henry Abrams's first interview ever . HENRY I'm nervous, but I will do my best. Nick Lowe, the editor of this comic, reached out about 10 years ago. More recently we began to develop an idea: a new and different and exciting take on Spider Man. J. J. Nick had been pressing me to do a book with him. A year or so ago, I started talking about it with Henry and it sort of happened organically. And that has been the joy of this. Even though I've been talking to Nick for a long time, weirdly, this feels like it just sort of evolved from the conversations of Henry and I, having ideas that got us excited and Nick being open to the collaboration. Were you both comic book fans growing up? HENRY Most of my exposure to comics came when I was super young: Calvin and Hobbes, Tintin, Spy vs. Spy. I did have a Marvel compendium when I was 6 or 7 that I adored and I would always land on this page of Spider Man, not knowing anything about the character or the back story or the powers, but connecting with the visual designs of Steve Ditko. I didn't really start reading him until I was 11 or 12. And at that point, I realized that this is a character that I see myself in and that was probably the first time I ever felt that way with any fictional character. J. J. I remember working in a comic store in high school and there was the Amazing Fantasy comic that Spider Man first appeared in that they had under glass. It really wasn't until that job that I started to get into comics. And while I've never been the die hard comics fan that Henry is, I've always appreciated the way that an emotional and weirdly relatable story is being told through this extraordinary circumstance. How was it to work together on this? J. J. I told him he has to say it's great! HENRY I feel like I've developed not just as a writer, but someone that can appreciate stories more . Spider Man is one of those superheroes where the more you read about him, for me at least, the less I understand him. He's so anti everything that you'd expect from a hero. I think Stan Lee said something about putting the human in superhuman. That is what we're trying to do.	N24News: A New Dataset for Multimodal News Classification	Art & Design
CHANGSHA, China China is slowing down, but the buildings keep going up until now. China is home to 60 of the world's 100 tallest buildings now under construction. But the skyward aspirations of Changsha, the capital of Hunan province, have inspired incredulity tinged with hostility. Broad Group, a manufacturer based here in Changsha, has been planning to erect the world's tallest building here this winter, and in record time. The 202 story "Sky City" is supposed to be assembled in only four months from factory built modules of steel and concrete early next year on the city's outskirts. The digging of foundations began on July 20. But the project's scale and speed have set off a burst of national introspection in recent days about whether Chinese municipal leaders and developers have gone too far in their increasingly manic reach for the skies. "The vanity of some local government officials has determined the skylines of cities," an editorial in the People's Daily newspaper, the Communist Party's mouthpiece, said on Aug. 12. On Tuesday, the tycoon behind the project said in a telephone interview that he had ordered a pause in work at the site while waiting for further approvals from regulators in Beijing. "It's because of all the concern in the media and on the Internet, the government is a little wary and has slowed down the process," said Zhang Yue, the chairman of the Broad Group. But he vowed to finish the building, saying that he expected a delay of no more than two to three months, with completion of the building in June or July next year instead of the original plan of finishing it in April. Workers have already dug a large hole in the ground for the foundations and have just laid a four lane road to the site to bring in heavy equipment. "No matter how high the obstacles, I will for certain overcome them to make sure this project is completed," Mr. Zhang said. He declined to identify who in Beijing had delayed his project, but said that he had not been asked to make any adjustments to the design. David Scott, a prominent structural engineer in London who has worked on many extremely tall buildings, said that regulatory delays were a periodic problem for such projects all over the world, but could usually be overcome. Local officials here say that while they have transferred the land for Sky City to Broad Group and have been installing electricity and water lines for the project, final approval for the project is still "in progress" from building safety experts in Beijing. The blueprints for Sky City call for a stack of long, skinny rectangles that taper to a narrow top, like a very tall and angular wedding cake. It bears a blocky resemblance to the 110 story Willis Tower in Chicago, formerly the Sears Tower, which was the world's tallest building until 1998 but is now being left in the shade by numerous rivals. Beijing, Shanghai, Shenzhen, Guangzhou and Chongqing, each similar in population to metropolitan New York, are now finishing one building apiece that will top the Willis Tower. Wuhan, the size of greater Houston, is erecting two buildings taller than the Willis Tower and Tianjin, the size of metropolitan Chicago, is constructing three, according to the Council on Tall Buildings and Urban Habitat, the Chicago nonprofit that tracks skyscraper bragging rights. "If you let the market decide, I don't think a lot of these tall buildings would proceed," said Chau Kwong Wing, a professor of real estate and construction at Hong Kong University. Despite public concerns, there is no sign so far that any of the many very tall buildings under construction in China has been canceled by regulators in Beijing, he and Mr. Zhang both noted. Sky City is the most ambitious project of all, and so it has become the lightning rod for criticism of the trend. Chinese media have been openly skeptical about the project, questioning its safety, construction speed and the wisdom of relying on prefabricated modules. But work nonetheless continued earlier this month at the site. Bulldozers sliced slabs of earth and six drilling rigs bored holes for a drainage system. Mr. Zhang said in an interview at his headquarters here on Aug. 7 that he had all the approvals needed to start work, and he and other executives said that it was common in China to keep working pending further approvals. If built as planned, the building would be only 10 meters, or 33 feet, taller than the 2,722 foot Burj Khalifa in Dubai, the world's tallest building since 2010. Sky City would cram 39 more floors into its height than the Burj Khalifa, partly because Sky City would be mostly apartments, which do not need the same hollow spaces under the floors as offices require for wiring and cooling. At Sky City, the ventilation shafts, electrical wiring and even indoor floor tiles will also be packed into the modules while they are still at the factory. The bottom 15 floors would include offices, a school with kindergarten through eighth grade and clinics. A schematic from Broad Group shows a hotel near the top and a restaurant and coffee shop at the apex. Mr. Zhang insisted that the local government in Changsha is not bankrolling his project. But he said for the first time in the interview at his headquarters on Aug. 7 that while Broad Group remains the official owner of the building, he has negotiated deals in recent months for the sale of practically the entire building to "four or five" investment companies. He said then that not all of these deals have been completed; on Tuesday, he declined to comment on whether the delay would affect his financing. He declined to identify the buyers except to say that they were in the private sector, not part of the government, and were spending their own money instead of relying on bank loans. That would be an extremely unusual combination in China, where most large real estate developments depend on low rate loans that politically connected companies and individuals obtain from state owned banks. Mr. Zhang made his first fortune selling energy efficient central air conditioning systems. He then moved into construction four years ago, setting up what are now six factories here. Each factory is the length of five football fields laid end to end, and manufactures 13 foot by 51 foot modules for the assembly of high rises. Mr. Zhang is trying to sell franchises for building module factories to construction companies and steel mills around the world. Mr. Zhang exudes confidence that Sky City tower will be built soon, even at the risk of immodesty. "Things that I envision are definitely going to get done, no doubt," he said in an interview at his headquarters. "Ordinary people do not know the challenges and issues I face every single day. There are so many issues, 24 hours in a day are not enough for me to deal with all of them." People's Daily was more glum, noting that the Empire State Building, completed in 1931, took about two decades to fill and become a commercial success and was initially nicknamed the "Empty State Building."	N24News: A New Dataset for Multimodal News Classification	Real Estate
A genre exercise, the detective movie "Small Town Crime" relies on the usual time tested ingredients: the boozy loner lawman, the beautiful female victim and the reliably mysterious, invariably competent villains. The directors and brothers Eshom Nelms and Ian Nelms have obviously made a study of the genre, both in its old and more recent iterations, and while they're happy to play around with the form, they pretty much leave the basics intact. By far their smartest, most inspired move is to have cleared room for John Hawkes, one of those actors who are more often seen nibbling at the edges of a scene, leaving perfect little teeth marks that sometimes give a movie its primary texture. Mr. Hawkes plays Mike Kendall, a former cop. He lives alone in a Utah town in nice house with a white picket fence that he's flattened, doubtless after a hard night. He's halfheartedly looking for work, but all he seems to want to do is drink and pal around with his brother in law (Anthony Anderson). So Mike drinks and drinks some more, tossing back beer until he staggers, stumbles and blacks out. He doesn't seem otherwise affected by his prodigious consumption and, for some reason, the filmmakers seem amused by it. He looks healthy enough, even when lifting weights between sips. One morning, Mike finds a badly beaten woman (Stefania Barr) near a field that he's slept in after another soused night. She's an enigma and soon his possible redemption, a sacrifice to the story gods that lets him play lawman again. With a cheap business card and an equally cheap jacket and tie, he smilingly ambles it into the shamus role, knocking on doors and sniffing out leads among all the yammer and serviceable visuals. Before long he is chasing down a familiar dark tale of very young women and very bad men, and trading patter with both a silky rich cat (Robert Forster) and a smooth pimp (Clifton Collins Jr.), who rolls up with a scowl, pummeling first, asking questions later. The supporting players slide into their types just fine, though for the most part they remain little more than satellites orbiting Mike or, rather, Mr. Hawkes. Even Octavia Spencer, who plays Mike's sister and, as a performer, can overpower her scenes, never manages to wrest even the tiniest corner from Mr. Hawkes's firmly relaxed grip. The Nelmses don't make enough of their more intriguing ideas (Mike's familial history) and end up right where you expect they would, bang bang. But Mr. Hawkes keeps you tethered, whether he's navigating the movie's uneven tones or peeling down one of cinema's lonely highways in a muscle car so lovingly shot it deserves a co star credit.	N24News: A New Dataset for Multimodal News Classification	Movies
While this year's N.H.L. draft was virtual, it may have produced some very real talent for the three franchises in the New York metropolitan area. The Rangers selected the consensus top prospect, Alexis Lafreniere, first over all and made another first round pick after they traded up three slots. The Devils had three first round selections, including the No. 7 pick, the Swedish wing Alexander Holtz. The Devils did not qualify for the postseason, and the Rangers were the first team eliminated. The Islanders, who reached the conference finals, were without a pick in the first two rounds. The draft was originally scheduled for June in Montreal, which would have been fitting as Lafreniere became the first Quebecois player selected No. 1 since Pittsburgh took goalie Marc Andre Fleury in 2003. But the coronavirus pandemic forced suspension of play in March, delaying the playoffs until the summer and necessitating a virtual draft as fans also saw in the N.F.L., W.N.B.A. and Major League Baseball. Despite the deferral, the first pick was a dream realized for Lafreniere and the Rangers. The Rangers, who had not selected first since the expansion era began in 1967, added a polished prospect with the skill and poise to compete at the top level immediately. "For us to have one of those once in a lifetime types of picks, it's almost dramatic," John Davidson, the Rangers' president, said. He added: "When he put that jersey on, it just looked like it fit him; it was perfect. He's a pro already in a lot of ways." In the four drafts from 2013 to 2016, the Rangers did not have a first round pick. Since then, they have averaged two first round selections over the past four drafts. Last year, they selected wing Kaapo Kakko second over all. Draft standing, however, hasn't always translated to success, as evidenced by the Rangers' decision to cut ties with center Lias Andersson, the No. 7 pick in 2017. He spent three tumultuous and unproductive seasons in the Rangers' organization and is currently playing in Sweden. The team traded Andersson to the Los Angeles Kings for the 60th pick in this year's draft. They used it to select Will Cuylle, a wing with imposing size and a quick release on his shot. The Rangers also moved up to No. 19 from No. 22 to add the right shot defenseman Braden Schneider, who has the mobility and sound breakout passing ability of a modern blue liner but the ruggedness and mean streak of a throwback. The Islanders made their first selection in the third round, drafting Alexander Ljungkrantz, a wing who plays a game grounded in energy and effort. They also added Merrimack College's Alex Jeffries, a wing with a complete offensive game; William Dufour, a wing with a deceptive shooting motion; Matias Rajaniemi, a 6 4 Finnish defenseman with offensive upside; and Henrik Tikkanen, a 6 8 Finnish goalie with a limited body of work. "We got three forwards, all scoring individuals, and a defenseman that has a high upside," Lou Lamoriello, the Islanders' general manager, said. The Devils were one of two teams in the first round with three selections. They have invested two No. 1 overall picks in centers, Jack Hughes last year and Nico Hischier in 2017. They now seek to complement those players with finishers on the wing, one of which they hope is Holtz. While he may not have blinding speed, Holtz's hands are more than capable of freeing him to unleash a shot that was considered by some scouts as the best among draft eligible players. "I'm a goal scorer; I love scoring goals," Holtz said, adding that he looked forward to developing chemistry with the Devils' creative centers. Holtz will probably spend at least one more year with his club team in Sweden he currently is on its top line and top power play unit as Devils General Manager Tom Fitzgerald said none of his three first rounders were expected to be in training camp with the team. The other two were center Dawson Mercer at No. 18 and defenseman Shakir Mukhamadullin at No. 20. Mukhamadullin, 6 4 and 185 pounds, with strong mobility and a booming shot, rose up the board on draft night, as few projections had him going in the first round. Mercer has patterned his game after Boston Bruins center Patrice Bergeron, and the similarities have shown at the junior level. Mercer was a leader offensively for his junior team, but thrived in a defensive role for Canada's junior national team. He has also developed a variety of fakes and misdirection moves. "Details are a big thing, not just in hockey but in life in general," Mercer said. "It could be in the gym working out or in the classroom. All the little details add up to pretty big results in the end." On Thursday, the Devils made a move by placing the veteran goalie Cory Schneider on waivers for the purposes of a buyout. Schneider had two years remaining on his contract at an average annual value of 6 million. Schneider had hip surgery two seasons ago and had struggled since, though Fitzgerald said Wednesday that he felt positive about how the long off season would benefit Schneider. The nebulousness of next season could also influence activity after the draft, with free agency set to start at noon on Friday. The Devils and the Rangers both have well over 20 million in salary cap space. The Islanders have less than 10 million and two key players who are restricted free agents center Mathew Barzal and defenseman Ryan Pulock. But all three teams' ability to make moves, whether to add talent or create cap flexibility, could be affected by a volatile market. Two people familiar with ongoing contract talks who were given anonymity to discuss active negotiations said there were conditions that could make for a robust trade market: intense trade chatter between general managers, the potential availability of heretofore untouchable players and creative negotiations involving varying goals and multiple teams. However, constraints imposed by cautious owners, a flat salary cap and the expansion draft looming after this coming season the Seattle Kraken will become the N.H.L.'s 32nd franchise in 2021 22 have combined to temper trade activity. "The problem is no one knows what's going to happen next year," the player agent Allan Walsh said. "Teams are reluctant to take on any money. Players coming with term impact expansion strategy in a year. In situations like these, many N.H.L. teams default to being conservative."	N24News: A New Dataset for Multimodal News Classification	Sports
Mark Zuckerberg in Barcelona, Spain, in 2016. Switching to a subscription model wouldn't fix all of Facebook's problems overnight, but it would make Mr. Zuckerberg's network harder to exploit. Each week, Kevin Roose, technology columnist at The New York Times, discusses developments in the tech industry, offering analysis and maybe a joke or two. Want this newsletter in your inbox? Sign up here. You know those weeks when crazy things happen at work, your entire schedule goes haywire and the concept of a good night's sleep starts to resemble a hazy and futile dream, like full employment or healthy pizza? Well, folks, this was one of those weeks. On Friday night, when Facebook published a blog post saying that it had suspended Cambridge Analytica for misappropriating user data a post that was intended to pre empt articles by The New York Times and The Observer of London about that very subject, which were published the next day it became clear that this was a new kind of Facebook privacy scandal. It has already led to congressional inquiries and user revolts, thrusting the company into the kind of chaos it had not seen in its 14 year history. On Wednesday, after a five day silence and lots of speculation about his whereabouts, Mark Zuckerberg, Facebook's chief executive, finally re emerged with a Facebook post and an interview with my colleague Sheera Frenkel and me, among others. You can read the transcript of our interview here, and read our article about Facebook's horrible week here. We had only about 30 minutes on the phone with Mr. Zuckerberg, but we managed to get him to address several important topics: the Cambridge Analytica mess, Facebook's lax data policies, its plans to clamp down on third party developer access and notify users whose data was misused, election interference (including previously unreported Macedonian attempts to interfere in last year's Alabama special election) and Facebook's broader responsibility as a global power. But Mr. Zuckerberg's responses also raised more questions. Here, for example, is how he answered a question about Facebook's business model, which is based on selling advertisers and developers the ability to target Facebook users based on their personal data. Roose: Is the basic economic model of Facebook, in which users provide data that Facebook uses to help advertisers and developers to better target potential customers and users do you feel like that works, given what we now know about the risks? Zuckerberg: Yeah, so this is a really important question. The thing about the ad model that is really important that aligns with our mission is that our mission is to build a community for everyone in the world and to bring the world closer together. And a really important part of that is making a service that people can afford. A lot of the people, once you get past the first billion people, can't afford to pay a lot. Therefore, having it be free and have a business model that is ad supported ends up being really important and aligned. Now, over time, might there be ways for people who can afford it to pay a different way? That's certainly something we've thought about over time. But I don't think the ad model is going to go away, because I think fundamentally, it's important to have a service like this that everyone in the world can use, and the only way to do that is to have it be very cheap or free. Narrowly, it may be true that being free and ad supported helps Facebook achieve its goals of connecting billions of people to its services. Facebook has developed a number of ways to make itself cheaper and easier to access including, in some countries, effectively subsidizing use through its Free Basics program, which allows people to use Facebook without its counting toward their data plans. But it's not clear this approach has served society well. Especially in countries like Myanmar, where Facebook was recently blamed by United Nations investigators for fueling ethnic violence against the Rohingya, it's possible that having a slightly higher barrier to entry would be a net good, even if it cost Facebook some users in the short term. (And it's not even clear that it would. People already pay for their cellphones and data plans all over the world, and might be willing to part with a small fee to keep using their favorite social network.) Switching to a subscription model wouldn't fix all of Facebook's problems overnight. There would still be foreign actors trying to interfere in elections, false news and divisive content intending to sway public opinion, and innumerable other issues. But moving away from an ad supported model would make the network harder to exploit. (Bot networks are less effective on subscription platforms, for example.) And it would lessen the company's incentive to sell out its users' privacy to advertisers. Facebook has already shown a willingness to try new models. WhatsApp, for example, makes money by charging businesses for an enterprise product that lets them message their customers. And this week, in an announcement immediately buried by an avalanche of other news about the company, Facebook said it was experimenting with a subscription model that would allow popular creators to charge 5 per month for access to their posts. What if all of Facebook cost 5 per month to use, and certain types of divisive and exploitable ad categories and behaviors were removed from the network entirely? Would users revolt en masse, and decide to colonize some other free social media app? Would Facebook collapse without a pipeline of advertising dollars? Maybe. But being smaller might not be a bad thing. If we've learned anything from this year's troubles, it's this: Facebook's platform problems multiply as it gets bigger and more complex, but its ability to deal with those problems stays fairly constant. Zuckerberg might be dedicated to fixing Facebook's problems, but unless he addresses its biggest problem of all its enormous scale, paired with a business model that requires the company to monetize its users' private data to the greatest extent possible there's only so much he can do. Kevin Roose writes a column called The Shift and is a writer at large for The New York Times Magazine. You can follow him on Twitter here: kevinroose.	N24News: A New Dataset for Multimodal News Classification	Technology
Our guide to plays and musicals coming to New York stages and a few last chance picks of shows that are about to close. Our reviews of open shows are at nytimes.com/reviews/theater. 'ALL THE NATALIE PORTMANS' at the Robert W. Wilson MCC Theater Space (previews start on Feb. 6; opens on Feb. 24). May the Padme Amidala be with you. In C.A. Johnson's magical realist play, a young queer woman, Keyonna, leads an active fantasy life with her muse, Natalie Portman. Then reality impinges. Kate Whoriskey directs; Kara Young stars as Keyonna, with Joshua Boone as her brother Samuel and Elise Kibler as Natalie. 212 727 7722, mcctheater.org 'ANATOMY OF A SUICIDE' at the Atlantic Theater Company at the Linda Gross Theater (previews start on Feb. 1; opens on Feb. 18). Alice Birch ("Revolt. She Said. Revolt Again.") wants to know if trauma can be inherited. In this triptych, which won the Susan Smith Blackburn Prize, she organizes a grandmother, a mother and a daughter in conjoined stories across seven decades or so. Lileana Blain Cruz directs a cast that includes Carla Gugino, Celeste Arias and Gabby Beans. 866 811 4111, atlantictheater.org 'BLUES FOR AN ALABAMA SKY' at Theater Row (previews start on Feb. 4; opens on Feb. 18). The Keen Company presents the long delayed New York premiere of Pearl Cleage's ensemble drama, set among a group of artists in the waning days of the Harlem Renaissance. Alfie Fuller stars, as the lounge singer Angel, alongside Jasminn Johnson, John Andrew Morrison, Khiry Walker and Sheldon Woodley. LA Williams directs. 212 239 6200, keencompany.org	N24News: A New Dataset for Multimodal News Classification	Theater
PARIS The old story of the American ingenue who moves to Paris, succumbs to the city's sensual pleasures (usually by way of a French lover) and masters its hardened customs (never smiling at strangers) is a perennial crowd pleaser if the crowds are American, that is. Parisians, however, like to rail against the cliches about their city as the world's epicenter of romance. So as soon as Netflix released a minute long trailer for"Emily in Paris," a series created by Darren Star and starring Lily Collins that is being billed as the Gallic themed heir to "Sex and the City" and that will premiere on Oct. 2, some French commentators went on the attack. "Between the beret, the cocktail dresses and the impeccable streets, Parisians had a hard time recognizing their everyday life," RTL, the French radio station, wrote on its website. Les Inrockuptibles, a French magazine that likes to hate American popular culture, wrote that Parisians were already laughing at the show. But when I showed excerpts from 10 episodes to more than a dozen Parisians from the ages of 22 to 81, they elicited more nuanced impressions. Slightly more nuanced. The overwhelming response was "ridicule" French for ridiculous and absurd, as well as comical and amusing. "Ridicule" that Emily Cooper, a 20 something social media wiz from Chicago, played by Ms. Collins, would unexpectedly find herself responsible for teaching a Parisian luxury marketing firm (clients: a perfumer who is a thinly disguised Frederic Malle and a couturier who is a cross between Karl Lagerfeld and Christian Lacroix) how to improve their Instagram and Twitter game. "Ridicule" that Emily arrives to every scene in a different pair of stiletto heels and flashy pret a porter ensemble that couldn't possibly fit onto the streets of Paris or into her budget. "Ridicule" that Philippine Leroy Beaulieu, who plays Sylvie Grateau, the head of the firm, publicly insults and belittles Emily with artful malevolence, not, as many French might do, behind her back. And most "ridicule" of all, that Emily speaks no French, and relied on a translation app on her cellphone. "They never work," said Caroline Valentin, the owner and director of an atelier that creates hand embroidered and beaded costumes for the theater. "The cliches are so many and so concentrated that they pile up like a collection of little stories that become comical in their exaggeration," said Philippe Thureau Dangin, 65, the owner and director of Exils, a small French book publishing firm. "Maybe the creators of the series are trying to mimic Moliere. Moliere also exaggerated and created impossible situations for comic effect." Mr. Thureau Dangin chuckled when the middle aged outgoing director of the French company greets Emily with a warm "bise" kiss on each cheek. "That bise would never happen in an office of professionals on a first meeting," he said. "It's a little too direct, no?" The director also happens to be smoking a cigarette. "And smoking without asking permission?" Mr. Thureau Dangin added. "That would never happen either, especially as you can't smoke in French offices anymore." Another thing viewers thought would never happen: an advertising shoot of a lean blond Serbian model strutting across the Alexandre III bridge for a perfume campaign. She is naked, except for the scent she wears. Emily, acutely aware of the MeToo movement, objects to the campaign's sexism. The French perfumer, backed by Emily's female boss, calls it, rather, "sexy." "I could never, ever imagine a shoot of a naked woman on a bridge over the Seine," Mr. Bigiaoui said. "This really sucks!" France's version of MeToo, BalanceTonPorc ( ExposeYourPig), has made advertisers and marketers more cautious about how they use sex as a selling tool. "I wouldn't try to sell perfume with a video showing a naked woman trying to excite men," said Florence Coupry, a 33 year old executive in a top French strategic communications firm. "This has nothing to do with being French. A campaign like this would backfire." Still, Ms. Coupry believes the exaggeration of the stereotypes was intentional "This is a series about extreme cliches, cliche after cliche," she said. "Whoever made this is clearly having fun with the cliches. As viewers, we're being played with here." For Ms. Coupry, the series is a feed of color saturated Instagram posts come to life. "Remember, the word 'cliche' means picture, and Emily is the queen of Instagram pictures, of online 'likes,'" Ms. Coupry said. "She is obsessed with wanting to be 'liked' in real life, even by her very mean boss." Yet one thing about that mean boss rang true for many viewers: When Emily asks Sylvie why she doesn't want to get to know her, Sylvie replies, "You come to Paris. You walk into my office. You don't even bother to learn the language. You treat the city like it's your amusement park. And after a year of food, sex, wine and maybe some culture, you'll go back to where you came from." There is a certain native reluctance to befriend Americans who come and go. Parisians can be sticklers for accuracy, and some viewers were quick to point out factual mistakes. Among them: Emily's 120 watt vibrator may have short circuited the electricity in her apartment but would never have shut down the power in the entire neighborhood; her apartment is not, as portrayed, a standard, cramped, 100 square foot chambre de bonne (maid's room) in the attic, but a generous space on the floor below. And no one raised on aged, marbled American beef from the Midwest would ever call a French steak "surprisingly tender," no matter how rare it was cooked.	N24News: A New Dataset for Multimodal News Classification	Style
The sales offices that woo buyers while condominium projects are still clanging construction sites are generally tucked inside other structures, whether office towers, art galleries or storefronts. But in West Chelsea, in a bold and expensive effort, a sales office has been built from scratch. At 508 West 20th Street, next to the High Line park, the narrow single story glass fronted building is the place where brokers pitch 500 West 21st Street, a 32 unit condo that Sherwood Equities is developing around the corner. The office was built on the site of a failed condo project that cost Sherwood 7.3 million in 2011. The firm spent 1.7 million on the new building, which has 3,900 square feet of interior space and was designed by Mark Zeff. That price tag may seem indulgent for the marketing of just 32 homes, but Sherwood has longer term plans. Once the condo sells out which at the current sales pace could happen by the fall, said Jeffrey Katz, Sherwood's chief executive the sales office, whose facade rolls up like a garage door, will be leased to an art gallery or a restaurant. Some of its details are familiar: Buyers can mill around stage set versions of future apartments and inspect stained white oak kitchen cabinets and herringbone pattern marble floors. But in a gesture that would be hard to replicate in a more typical retail space, Sherwood has created a soaring mural of trees across a 30 foot wall. This provides a glimpse of what the view would look like, full of birches and locusts, from a unit on a lower floor. That the wall makes its point like a billboard may not be surprising: Sherwood owns several buildings in Times Square that are hung with huge ads for M M's, Samsung and Coca Cola. Splashy head turning visuals can work, said Mr. Katz, who added that buying based on pictures in a brochure seems to hold appeal only for investors. "People who are buying to actually live there are a lot more careful," he said. "Clearly a sales office that helps articulate what you're building is a big, big help." The condo units, most of which have two or three bedrooms, are priced at an average 2,500 a square foot. If a restaurant moves in after the sales office closes, it might be drawn to an aspect of the building not being deployed for condo sales: a 2,000 square foot limestone lined terrace, whose ringside seat view of the High Line has few peers in the area. And as Ryan Nelson, Sherwood's senior vice president for development, pointed out, there aren't many places to sit down for a meal on the blocks between 10th and 11th Avenues, which the High Line runs through. (Mr. Nelson says Sherwood expects to generate about 800,000 a year in commercial rent.) But don't expect to be able to order a martini. Immediately next to the sales office, at 512 West 20th Street, is a Jehovah's Witnesses church, and state laws forbid the sale of hard liquor within 200 feet of a house of worship; only beer and wine are permitted. The sales building has already helped shape the neighborhood. Its location in a special zoning district called the High Line Transfer Corridor meant that its owner had the right to sell air rights to other developments in West Chelsea, and not just adjacent buildings, as is the case elsewhere. Realizing that projects were yearning for extra floors, Sherwood did exactly that, making 9.2 million in the process. Among the buyers was SR Capital, which paid 6 million for rights at 551 West 21st Street, a 44 unit condo it is developing near the West Side Highway.	N24News: A New Dataset for Multimodal News Classification	Real Estate
The other day, I took a tour around Nrityagram. This small community near Bangalore, in southern India, is an oasis of calm and utter devotion to an ancient art: classical Indian dance. Birds were calling, and around the low, earth colored buildings containing dance studios, living quarters and a small temple, stood hundreds of vibrantly green trees, dripping with moisture. (It is the end of the wet season.) As I rounded a bend in the path, I saw little girl wearing bright orange and yellow, daydreaming in a banyan tree. She slid down from her perch and joined the walkabout. This early morning scene the trees, the gray sky threatening rain, people sitting at breakfast unfolded as I peered into a screen on my phone late at night in my New York apartment. The tour was virtual, conducted on WhatsApp. That is more or less the only way you can visit Nrityagram these days, since it closed its doors to the outside world at the beginning of the pandemic. The virus has spread widely in India. As I write this, it is second only to the United States in total number of cases, its official death toll surpassing 100,000. But within the 10 acres that make up Nrityagram, life has remained remarkably unchanged. Even before a general lockdown was declared in India, Nrityagram limited access. The dance students nearly 150 from nearby villages and as far as Bangalore attend classes have been asked to stay away, for fear of introducing Covid 19 into this small, intimately entwined community. Because there is so little communication with the outside world, the people who live within this self contained hamlet don't wear masks, and training continues unperturbed, in studios that are open on the sides to the elements, allowing the breeze to blow through year round. The only people who come and go are a small group of women from the nearby village, who help with daily chores. Upon arrival, they are asked to change into clothes that have been washed on site and to don masks. The form practiced by Ms. Sen and her dancers is Odissi, which originated in the eastern state of Odisha. It is one of India's eight official classical dance forms, with movements and shapes that evoke the sculptures and bas reliefs on medieval temples. In its origins, it is a devotional form, dedicated to the deity Jagannath, whose name means lord of the universe. "The idea is that you submit yourself to a universal something," Ms. Sen said. Her works have extended the form, while remaining true to its underlying drive, the search for transcendence. Ms. Sen and her dancers devote most of their waking hours to perfecting this art, refining and strengthening their bodies through exercise, and perfecting their dancing through technique classes and rehearsals in which they learn traditional Odissi choreography as well as new works by Ms. Sen. For now, the group is all women; the sole male dancer returned to Mumbai to visit his family early on in the pandemic and has not yet returned. Life here has continued to follow a routine. For this piece, we asked the dancers to document their day, from dawn to dusk, capturing moments and places with disposable cameras. At 6 a.m., they rise for a morning run. Then, each woman is responsible for cleaning some part of the hamlet and for placing flowers on the small altars in the dance studios. These rituals are "part of the practice, part of giving back to the guru," or teacher, "and to the school." And "it's part of their training," said Lynne Fernandez, Nrityagram's executive director. Next, they warm up by doing yoga or practicing the Indian martial art form Kalaripayattu. At 10:30 a.m., dance class begins, starting with exercises that target one kind of movement and then another sharp and fast, slow and supple, low to the ground, up in the air, and more. In its gradual, almost scientific progression from one part of the body to the next, it is not dissimilar to a ballet class. After lunch "our favorite moment of the day!" one of the dancers, Abhinaya Rohan, said during our WhatsApp tour they return to the studio for another three or four hours, more if Ms. Sen is creating a new dance. In the evenings, they teach. These days, that happens over Zoom, though everyone agrees that it's not good for conveying the nuances of dance. "It's not the same kind of energy," said Pavithra Reddy, who has been at Nrityagram for 30 years. "And we have to slow down a lot, so that the dancers can understand what we're looking for." Still, it's something. That makes for at least six hours of dancing each day (except Mondays, their day off), plus conditioning. It sounds exhausting, but Ms. Rohan said: "The strange thing about dance is that it energizes you. I never feel tired." Besides the dancers and Aishani Dash, the little girl in the tree, there are six other members of the community, whose work allows the dancers to devote themselves to their art: Two office workers and two volunteers who are helping to set up a Food Forest, a haphazard looking but productive and low maintenance agricultural system that produces most of the community's food; And there are Ms. Fernandez and her mother, whom everyone refers to as nani, or grandmother. Nani makes meal plans and prepares pickles to last them through the year. Usually, Nrityagram survives almost exclusively on performance fees brought in by its dance ensemble, which tours the world for several months each year and has been a not infrequent visitor to New York. (The dance classes are priced too low to bring in significant income.) With all performances canceled for the foreseeable future, that income has disappeared completely. Recently, they were forced to hold an emergency fund raiser online. "We discovered her dancing by herself when she was 4 or 5," Ms. Sen said after the class. "She was making up her own dances to the music coming from the studio. So we had her join the weekend class with the other kids." In their absence, she has graduated to working with the adults. One day, she said, she hopes to become a professional dancer. No longer able to tour or hold performances for locals, the dancers have taken to performing for one another. "It helps us keep that performance drive," said Dhruvatara Sharma, a member of the ensemble. "Actually, there is even more pressure. You have to be perfect, because you're performing for a really well educated audience." Afterward, they talk into the night, offering minute critiques and observations. It's something they would normally have neither the time, nor the occasion, to do. This has been true for the other dancers as well. For one, they've had much more uninterrupted, concentrated time to work with their guru but also to think about their dancing outside of the pressure of preparing for a performance. "The fact that you are able to do it in an environment of sheer focus and consistency, it brings a certain purity to it," Ms. Sen said. "There is the sense of extending yourself beyond just yourself." What the dancers of Nrityagram have gained, most of all, is time. Even here, the dimension of time has changed in the pandemic, opening up spaces in the dancers' schedule and their minds.	N24News: A New Dataset for Multimodal News Classification	Dance
The World Health Organization rang a global alarm over the Zika virus on Thursday, saying that the disease was "spreading explosively" in the Americas and that as many as four million people could be infected by the end of the year. The global health agency will convene a special meeting on Monday to decide whether to declare a public health emergency. It is moving swiftly to combat this outbreak after widespread criticism that it had allowed the last major global health crisis, Ebola, to fester without a coordinated, effective strategy. Since last spring, more than 20 countries have reported locally acquired cases of Zika, which is transmitted by mosquitoes and may cause birth defects. The focus of concern is the growing number of cases of microcephaly, a rare condition in which infants are born with abnormally small heads and damaged brains. Reports of babies born with microcephaly have been rising sharply in Brazil as Zika spreads. Experts say it is too early to tell whether Zika is the cause of the condition, but there are indications that the two are linked. The government of El Salvador has gone so far as to advise women to refrain from becoming pregnant until 2018. Even as international health authorities sounded strong warnings, health officials in the United States sought to reassure Americans, saying that the vast majority of those exposed to the virus never have symptoms and that the risk of a homegrown outbreak is very low, largely because of more effective mosquito control. "For the average American who is not traveling to this area, there is nothing they need to worry about," said Dr. Anne Schuchat, principal deputy director of the federal Centers for Disease Control and Prevention. Still, health officials in the region and internationally say it is urgent to stop the virus now. Zika's rapid rise and the specter of associated birth defects have major repercussions in a warm region with struggling economies and vast flows of tourists, all ingredients for further spread of the virus. Brazil is preparing to host the Olympics this summer, and Zika has cast a long shadow over those plans. The C.D.C. has advised pregnant Americans to avoid travel to the region. Dr. Thomas R. Frieden, the director of the disease centers, briefed President Obama this week, and a team of experts from the C.D.C. is in Brazil working with the authorities. The Pan American Health Organization, or PAHO, the W.H.O.'s regional office responsible for the affected area, has been tracking cases since May. Some experts complained that the agency's head office in Geneva had been slow to act, echoing the agency's tepid reaction at the outset of the Ebola epidemic in 2014. Officials sought to dispel that impression. "The aim here is to ensure that we are ahead of the curve," Marcos Espinal, director of the Department of Communicable Diseases and Health Analysis at PAHO, said in an interview this week. Global health authorities face the delicate task of alerting the world to the dangers of Zika without provoking panic. They are trying to mobilize a forceful response in an effort to avoid the failures of flawed intervention that hobbled the fight against Ebola in West Africa. Monday's meeting could clear the way for a much more aggressive response. But the diseases are very different. Ebola was incredibly deadly, and it spread through contact with bodily fluids. Zika is not known to be fatal, and it has mild symptoms. With inconclusive evidence that the virus is the cause of the birth defects and other ailments like a temporary form of paralysis called Guillain Barre syndrome, health officials are cautious about drawing too dire a picture. The biggest unresolved question is whether infection by the Zika virus can cause microcephaly. "Based on the information so far, there is more and more concern that there may be a causal relationship, but a lot of the work so far is to rule out other possible causes," Dr. Aylward said. Numbers released by Brazil on Wednesday heightened the confusion. The Health Ministry said it had examined over 700 reported cases of microcephaly and found Zika in only six of the infants, though what that means exactly is unclear. Infectious disease specialists caution that Brazil's testing methods are outdated and may miss many Zika cases. They also say that in some cases, the mother may have had Zika, causing microcephaly in her baby, even if the virus is never detected in the infant. "The level of concern is high, as is the level of uncertainty," Dr. Chan said. "Questions abound. We need to get some answers quickly." Many Americans have roots in Latin America, and with the rapid pace of modern travel, there will be many people who come to the United States with the virus. At least 31 cases of the virus have been reported in 11 states and the District of Columbia, but all of those patients were infected in other countries, Dr. Schuchat of the C.D.C. said. Additionally, New York State reported several cases Thursday. But that is different from a broad public health epidemic, which experts said was unlikely. The United States, like other developed countries, is good at breaking transmission of the virus. Windows have screens, and homes have air conditioning, keeping infected mosquitoes away from people. They also keep mosquitoes from contracting the virus from infected people and spreading it further. The small clusters of infections from a related virus dengue that have popped up in recent years in the continental United States did not spread. "As long as we are on the ball, if somebody is sick they get removed from proximity to mosquitoes," said Dina M. Fonseca, an entomology professor at Rutgers University New Brunswick. She added that her state, New Jersey, has a plan in place for chikungunya, another related virus, that includes testing mosquito pools, and if any are positive, taking action, which could include spraying. If someone is infected locally not during travel to another country that also prompts mosquito control, she said. She expected similar plans to be laid for Zika by summer. The virus was first identified in 1947 in Uganda, but for decades it afflicted mainly monkeys. In 2007, the first outbreak was documented in the Pacific islands, in the Federated States of Micronesia. Then, in May 2015, Brazil reported its first case of Zika virus disease. Since then, the disease has spread within Brazil and to more than 20 other countries in the region, the W.H.O. said.	N24News: A New Dataset for Multimodal News Classification	Health
RIVERSIDE, Calif. Rick Ruzzamenti admits to being a tad impulsive. He traded his Catholicism for Buddhism in a revelatory flash. He married a Vietnamese woman he had only just met. And then a year ago, he decided in an instant to donate his left kidney to a stranger. In February 2011, the desk clerk at Mr. Ruzzamenti's yoga studio told him she had recently donated a kidney to an ailing friend she had bumped into at Target. Mr. Ruzzamenti, 44, had never even donated blood, but the story so captivated him that two days later he called Riverside Community Hospital to ask how he might do the same thing. Halfway across the country, in Joliet, Ill., Donald C. Terry Jr. needed a kidney in the worst way. Since receiving a diagnosis of diabetes related renal disease in his mid 40s, he had endured the burning and bloating and dismal tedium of dialysis for nearly a year. With nobody in his family willing or able to give him a kidney, his doctors warned that it might take five years to crawl up the waiting list for an organ from a deceased donor. "It was like being sentenced to prison," Mr. Terry recalled, "like I had done something wrong in my life and this was the outcome." As a dawn chill broke over Chicago on Dec. 20, Mr. Terry received a plump pink kidney in a transplant at Loyola University Medical Center. He did not get it from Mr. Ruzzamenti, at least not directly, but the two men will forever share a connection: they were the first and last patients in the longest chain of kidney transplants ever constructed, linking 30 people who were willing to give up an organ with 30 who might have died without one. What made the domino chain of 60 operations possible was the willingness of a Good Samaritan, Mr. Ruzzamenti, to give the initial kidney, expecting nothing in return. Its momentum was then fueled by a mix of selflessness and self interest among donors who gave a kidney to a stranger after learning they could not donate to a loved one because of incompatible blood types or antibodies. Their loved ones, in turn, were offered compatible kidneys as part of the exchange. Chain 124, as it was labeled by the nonprofit National Kidney Registry, required lock step coordination over four months among 17 hospitals in 11 states. It was born of innovations in computer matching, surgical technique and organ shipping, as well as the determination of a Long Island businessman named Garet Hil, who was inspired by his own daughter's illness to supercharge the notion of "paying it forward." Dr. Robert A. Montgomery, a pioneering transplant surgeon at Johns Hopkins Hospital, which was not involved in the chain, called it a "momentous feat" that demonstrated the potential for kidney exchanges to transform the field. "We are realizing the dream of extending the miracle of transplantation to thousands of additional patients each year," he said. The chain began with an algorithm and an altruist. Over the months it fractured time and again, suspending the fates of those down the line until Mr. Hil could repair the breach. Eventually, he succeeded in finding needle in a haystack matches for patients whose antibodies would have caused them to reject organs from most donors. Until now, few of the donors and recipients have known one another's names. But 59 of the 60 participants consented to be identified by The New York Times and to tell the stories, each with distinct shadings, that ultimately connected them. Despite an intensely bitter breakup, a Michigan man agreed to donate a kidney for his former girlfriend for the sake of their 2 year old daughter. A woman from Toronto donated for her fifth cousin from Bensonhurst, Brooklyn, after meeting him by chance in Italy and then staying in touch mostly by text messages. Children donated for parents, husbands for wives, sisters for brothers. A 26 year old student from Texas gave a kidney for a 44 year old uncle in California whom he rarely saw. In San Francisco, a 62 year old survivor of Stage 4 Hodgkin's lymphoma donated for her son in law. On Aug. 15, Mr. Ruzzamenti's kidney flew east on a Continental red eye from Los Angeles to Newark and was rushed to Saint Barnabas Medical Center in Livingston, N.J. There it was stitched into the abdomen of a 66 year old man. The man's niece, a 34 year old nurse, had wanted to give him her kidney, but her Type A blood clashed with his Type O. So in exchange for Mr. Ruzzamenti's gift, she agreed to have her kidney shipped to the University of Wisconsin Hospital in Madison for Brooke R. Kitzman's transplant. It was Ms. Kitzman's former boyfriend, David Madosh, who agreed to donate a kidney on her behalf despite their acrimonious split. Mr. Madosh's kidney flew to Pittsburgh for Janna Daniels, a clerical supervisor, who got her transplant at Allegheny General Hospital. And her husband, Shaun, a mechanic, sent his kidney to Mustafa Parks, a young father of two at Sharp Memorial Hospital in San Diego. On and on the chain extended, with kidneys flying from coast to coast, iced down in cardboard boxes equipped with GPS devices and stowed on commercial aircraft. Only a third of transplanted kidneys come from living donors, but they are coveted because they typically last longer than cadaver kidneys. For kidneys transplanted in 1999, 60 percent of organs from live donors were still functioning after 10 years, compared with 43 percent of organs from deceased donors. Although other living tissue can be transplanted slices of pancreas, liver and intestine, bone marrow and lobes of lung kidneys are uniquely suited because donors have a spare and the operations are almost always successful. A reason there are not more live kidney donations, however, is that about a third of transplant candidates with a willing donor find that they are immunologically incompatible. Some, because of previous transplants, blood transfusions or pregnancies, may have developed antibodies that make them highly likely to reject a new kidney. Using a blood filtering technique known as plasmapheresis, doctors can now lower the odds that a recipient will reject an incompatible kidney. But the procedures are taxing and expensive. Domino chains, which were first attempted in 2005 at Johns Hopkins, seek to increase the number of people who can be helped by living donors. In 2010, chains and other forms of paired exchanges resulted in 429 transplants. Computer models suggest that an additional 2,000 to 4,000 transplants could be achieved each year if Americans knew more about such programs and if there were a nationwide pool of all eligible donors and recipients. Such transplants ultimately save money as well as lives. The federal Medicare program, which pays most treatment costs for chronic kidney disease, saves an estimated 500,000 to 1 million each time a patient is removed from dialysis through a live donor transplant (the operations typically cost 100,000 to 200,000). Coverage for kidney disease costs the government more than 30 billion a year, about 6 percent of the Medicare budget. Dialysis, which in the United States is almost always administered in outpatient clinics, saps the productivity of caregivers as well as of patients. Nearly two years ago, Kent Bowen, 47, of Austin, Tex., gave up his job hanging gutters, and much of his freedom, so he could provide dialysis at home to his mother, Mary Jane Wilson. Although the first live kidney was transplanted in 1954 in Boston, three decades passed before a Stony Brook University surgeon named Felix T. Rapaport first theorized about kidney swaps in a 1986 journal article. Korean surgeons completed the first exchanges in 1991, but they were not successfully attempted in the United States for nearly another decade. Simple swaps among two pairs, with the operations performed at the same hospital on the same day, quickly evolved into complex exchanges among three pairs and then four and then six. Then in 2007, a transplant surgeon at the University of Toledo Medical Center, Dr. Michael A. Rees, had a forehead slapping insight. If an exchange began with a Good Samaritan who donated to a stranger, and if the operations did not have to be simultaneous, a chain could theoretically keep growing, limited only by the pool of available donors and recipients. Dr. Rees reported in 2009 that he had strung together a chain of 10 transplants. Mr. Hil seized on the idea and set out to build an algorithm that would enable even more transplants. Nowadays, his pool typically consists of 200 to 350 donor recipient pairs. That is enough to generate roughly a googol 10 to the 100th power of possible chains of up to 20 transplants if all of the pairs are compatible, said Rich Marta, the registry's senior software designer. The program quickly eliminates matches that will not work because of incompatible blood types or antibodies, or because a transplant candidate insists that a donor be under a certain age or a close immunological match. It then assembles up to a million viable combinations at a rate of 8,000 per second. The algorithm ranks the possible combinations by the number of transplants they would enable, with weight given to chains that find kidneys for hard to match patients and those who have waited a long time. There are several registries like Mr. Hil's, each with a distinct approach. Largely unregulated by government, they invite sensitive questions about oversight and ethics, including how kidneys are allocated. A number of medical societies are convening in March to seek consensus on that and other issues related to paired exchanges. Mr. Hil knows the patients in his pool only by code names and leaves all personal interactions to the hospitals. He keeps several chains running at a time, and says tending to them is like playing three dimensional chess. Chain 124 even included one pair that was immunologically compatible. Josephine Bonventre, a 40 year old real estate agent from Toronto with Type O blood, could have donated a kidney directly to a fifth cousin, Cesare Bonventre, a 27 year old tile worker from Brooklyn with Type B. But a second level of matching requires the synching of six antigens, a series of proteins that determine compatibility. By joining the chain and donating down the line, on Dec. 6 at NewYork Presbyterian Hospital, Josephine enabled Cesare to get a stronger match three antigens instead of one. Her donation as a valued Type O then set off the final 11 transplants. The registry did not charge transplant centers for its services until 2010, when Mr. Hil imposed fees to help cover costs. Hospitals now pay membership dues and a charge of 3,000 per transplant that is reimbursed by many private insurers but not by Medicare. The transplant recipients must be insured. Each year, the registry's chains have grown longer, with Chain 124 topping the previous record by seven transplants. "We've just scratched the surface," said Mr. Hil, who wears gold kidney shaped cufflinks. Long transplant chains save more lives than short chains. But they come with trade offs because the longer they grow, the higher the risk that a donor will renege or that a link will break for other reasons. The record breaking chain survived its share of logistical setbacks. On Aug. 29, after the first five transplants, Mr. Hil lost a link because a donor could not take the necessary two to four weeks away from work. Later that day, he lost another when a transplant coordinator informed him that a potential recipient was an illegal immigrant and therefore could not be covered by Medicare. The doctors and social workers did not know what to make of Mr. Ruzzamenti at first. He had a flat affect and an arid wit, and did not open up right away. As the hospital's transplant coordinator, Shannon White, pressed him about his motivations and expectations, he explained that his decision seemed rather obvious. "People think it's so odd that I'm donating a kidney," Mr. Ruzzamenti told her. "I think it's so odd that they think it's so odd." The hospital wanted to make sure that he was not expecting glory, or even gratitude. Mr. Ruzzamenti stressed that no one should mistake him for a saint. He had, after all, been a heavy drinker in his youth and had caroused his way through the Navy. He could be an unsmiling presence at work, where he helped manage a family electrical contracting business. He admitted that he did not visit his parents or grandmother enough. Despite his occasional surliness, Mr. Ruzzamenti said he felt driven to help others when possible. And as he considered the relative risks and benefits of organ donation, particularly to relieve a whole chain of suffering, it just made so much sense. "It causes a shift in the world," he said. Perhaps, he said, there was some influence from a Tibetan meditation he had practiced when he was first drawn to Buddhism six years ago. It is known as Tonglen. "You think of the pain someone's in, and imagine you take it from them and give them back good," he said. Mr. Ruzzamenti said he was in a position to donate only because the economy had dried up so much of his work. He was essentially unemployed and could take time off to recuperate. The 30 kidney recipients, he observed dryly, could "all thank the recession." When Mr. Ruzzamenti told his wife, My Nhanh, about his plans, she made it abundantly clear, despite her rudimentary English, that she would leave him and return to Vietnam if he followed through. She had immigrated only eight months before, after a marriage largely arranged by the Buddhist temple where Mr. Ruzzamenti volunteered as a groundskeeper. If he died on the table, she demanded, how would she get by in a country where she felt so out of place? "I wanted to scare him," Ms. Ruzzamenti, who is known as Lucy, said as she combed her husband's close cropped hair with her fingers. "And to tell him that it scares me." Mr. Ruzzamenti was impressed by his petite wife's ferocity "She's a bully," he said but he disregarded her threat. He knew research showed that the risk of death from kidney retrieval surgery was 3 in 10,000 and that people with one kidney live as long as those with two. To him, there was little doubt that any good he created would far outweigh any temporary discomfort to him or his wife. As it happened, Mr. Ruzzamenti experienced an unusual level of pain during his recuperation at Riverside. It sometimes left him balled up in agony, and the Demerol only made him hallucinate. He did not really want company. But when the pain stirred him awake at night, he could see Lucy sleeping in the hospital bed beside his. There were other love stories along the way. Gregory Person and Zenovia Duke, both now 38, had been junior high prom dates in 1987 in Astoria, Queens. They lost touch and then reconnected on Facebook after each had divorced. They saw each other occasionally, but he lived in Queens and she near Albany, so the relationship never got serious. Not long after they reconnected, Mr. Person's half sister died of kidney failure and he pledged to help someone else beat the disease if ever given the chance. Then Ms. Duke learned that she needed a transplant. On Aug. 31, Ms. Duke received a kidney from a woman in California and Mr. Person sent his to Ohio. As they recuperated at NewYork Presbyterian, Mr. Person found himself regularly hobbling down to her room. Once they were both back on their feet, they started dating more regularly. At the end of the cluster were Keith Zimmerman, 53, a bearish, good humored man with a billy goat's beard, and his older sister, Sherry Gluchowski, 59. She had recently moved from California to Texas but returned to donate her kidney. The siblings had always been close, although family members marveled at their ability to bicker for 15 minutes over the proper way to construct a peanut butter sandwich. Their mother, Elsa Rickards, remembered teaching them as children "that they might not have their mommy and daddy all the time, but they will always have each other." Mr. Zimmerman, who runs a repossession firm with his wife in Santa Clarita, had been given a diagnosis of kidney disease 25 years ago. With the help of a nutritionist, he had managed to avoid dialysis until the very last day before his transplant, when his doctor said the procedure was needed to clear his body of excess fluid. In his hospital room before surgery, with seven family members shoehorned into every nook, Mr. Zimmerman calmed his nerves by listening to Aaron Neville on his iPod. He said he considered himself "the lottery winner" in the chain because his kidney would be coming from a healthy 28 year old, Conor Bidelspach of Bend, Ore. The surgery to remove a kidney, known as a nephrectomy, is remarkably bloodless these days. With Mr. Bidelspach on the table, Dr. Peter G. Schulam cut four dime sized incisions on the left side of the abdomen. Through tubes inserted in the openings, the surgeon and his team maneuvered their cauterizing scalpels and a laparoscopic camera, which relayed images of Mr. Bidelspach's insides to monitors overhead. The scalpel's superheated pincers clamped down like crab claws, searing the kidney from surrounding tissue. There was no need to cut any muscle. Once the kidney was free of connective tissue, Dr. Schulam clamped and snipped the renal artery and vein and ureter. He captured the kidney in a plastic bag, cinched it shut, and withdrew it quickly through a finger length incision along the pelvic line. The doctor poured the kidney into a bowl of ice and drained it of remaining blood. The slush in the blue bowl turned fruit punch pink. As others stitched up Mr. Bidelspach, Dr. Schulam wheeled the kidney on a cart into an adjoining operating room, where Mr. Zimmerman was already anesthetized. After stretching a hole in Mr. Zimmerman's midsection with a metal retractor, Dr. Jeffrey L. Veale lowered the kidney into place and sewed in the renal artery and vein. As soon as he unclamped them, the kidney pinked up with blood flow. Before attaching the ureter to the bladder, he gently massaged the tip of the narrow tube between two fingers and watched it spurt a few drops of urine. "No more dialysis for Mr. Zimmerman," Dr. Veale declared. "This total stranger's kidney is making him pee." He left Mr. Zimmerman's own kidneys to shrivel harmlessly in place (removing them would add to surgical risk). Meanwhile, Dr. Schulam was in yet another operating room removing Ms. Gluchowski's kidney. He placed it in a plastic bag filled with a preservative solution and knotted it shut, like a goldfish brought home from the pet store. It was packed in a plastic tub, topped with ice, and loaded into a cardboard box marked "Left Kidney Donated Human Organ/Tissue for Transplant Keep Upright." A courier in one of Quick International's big red vans drove Sherry Gluchowski's kidney through stop and go traffic on Interstate 405 to the Los Angeles airport. Cynthia Goff, an operations supervisor for the courier company who had volunteered to accompany the kidney to Chicago, rolled the box into the terminal strapped atop her carry on with a bungee cord. A pit bull, waiting to be placed in its travel kennel, strolled by and sniffed. After security agents checked the box with a desktop scanner, Ms. Goff rolled the kidney down the concourse, past a currency exchange and a store selling Elmo dolls for Christmas. Escorted onto United 564, an overnight flight that would land in Chicago at 5 a.m., she stowed the box in the business class closet, next to a flight attendant's overcoat. Airplanes carrying donor organs are granted special status, allowing them to move to the front of takeoff lines and ahead of air traffic. Mr. Hil, who tries to avoid routing kidneys on connecting flights and always schedules backups, said none of his registry's transplants had been held up by transportation problems.	N24News: A New Dataset for Multimodal News Classification	Health
"I've said before and will say again, I'd rather be poked in the eye with a burning stick than tweet," admitted recently. She was responding to Tomi Adeyemi, who had tweeted a picture of Roberts's thriller, "Of Blood and Bone" which debuts this week at No. 2 next to a picture of her own Y.A. novel, "Children of Blood and Bone." In the Nov. 27 tweet, Adeyemi wrote, "It would be nice if an artist could create something special without another artist trying to shamelessly profit off it." Roberts, who says she was "gutted" to have been accused of plagiarism, spoke to Adeyemi and explained that "Of Blood and Bone" had been titled and delivered to her publisher fully a year before "Children of Blood and Bone" came out. In addition, book titles cannot be copyrighted. On Nov. 28, Adeyemi tweeted, "Nora was kind enough to reach out explain that today was the first she'd heard of my book. After talking to her, I believe our titles were created in isolation. I'm grateful she explained I've apologized."	N24News: A New Dataset for Multimodal News Classification	Books
2020 FORESIGHT Talking books with Ann Patchett is like playing Ping Pong with a pro: You serve up a title and she volleys it back with a quick, clever and occasionally wicked spin. She is not afraid to tell you what she thinks or to gently call you out on a book you mentioned just to impress her: "Did you really make it all the way to the end?" No, you have to admit, you did not. Patchett is not only a veteran author her eighth novel, "The Dutch House," is in its 12th week on the fiction best seller list she is also the co owner, along with Karen Hayes, of Parnassus Books in Nashville. So what's it like there right now, in the wake of what Patchett describes as the "blinding crush" of holiday shopping? She says, "We're picking up the champagne glasses and sweeping up the paper plates and napkins. We're taking the party hats off the books. There's a shopping spree vibe; gone are the people who have come to buy presents for someone else and here come the people who have come to buy presents for themselves." Many of these people are teachers spending gift certificates given to them by students. ("That's a beautiful thing, seeing piles of cards collected from all different kids.") And Patchett already has a recommendation teed up: "Late Migrations," by Margaret Renkl, a Nashville author who is equal parts Annie Dillard and Anne Lamott with a healthy sprinkle of Tennessee dry rub thrown in. (Renkl is a contributing opinion writer for The Times.) Patchett says this memoir is the ideal book for the waning days of 2019 because "it's about connecting to your community, to your life and to the small patch of ground you stand on." As for the inaugural read of 2020, Patchett hopes customers will return on Jan. 21 to buy Jeanine Cummins's "American Dirt," a much anticipated novel about an Acapulco bookstore owner on a desperate quest to escape Mexico with her son after the rest of their family is killed by a drug cartel. Patchett says, "There's a quote on the cover that calls it a 'Grapes of Wrath' for our times. I just got goosebumps saying that sentence."	N24News: A New Dataset for Multimodal News Classification	Books
BOOK CLUB Residents gather in the library of Toren condominium in downtown Brooklyn, one of a growing number of buildings with an in house library. WHEN Martin Semjen first looked at the Stanton, a co op at Broadway and 94th Street, he was delighted by the sauna and fitness room. His wife, Lynn Schnurnberger, on the other hand, fell hard for an unpretentious basement library that doubles as a meeting room and is lined on three sides with floor to ceiling wood bookcases. Residents can choose volumes on law and art, popular novels like "The Da Vinci Code" and "Atonement" and, fittingly enough, a biography of the building's namesake, Elizabeth Cady Stanton. "I really don't use the fabulous gym equipment, but I do go and look at the old books," said Ms. Schnurnberger, the co author of, among other novels, the bestseller "Botox Diaries." "The existence of the library spoke to the fact that this was more than a building. It was a community of people who still read." Granted, in New York residential buildings, barbells carry far more weight than books. "The gym is still one of the most important amenities, and after that are things like roof decks or other outdoor space," said Tami Shaoul, a senior vice president of the Corcoran Group. "No client has ever told me 'I must have a library.' But when we go somewhere and do a tour of the amenities, their eyes do light up if they actually see one," she added. "It makes them feel good about the building because they imagine themselves having that quiet space." In the highly competitive New York marketplace, where developers of residential buildings seem to be engaged in an amenities arms race cold storage, wine cellar, gym, pool, hot tub, children's playroom, 'tween playroom, party room the library is a low cost frill. "You don't need a lot of space to create a small reading room. It can be carved out of the lobby," said Kathy Braddock, an owner of Rutenberg Realty. And even though in this age of eBooks a library can seem like an anachronism, some of New York's glossiest and highest profile new developments boast of having one. The library "may be a marker of luxury. It's like having that fourth kid," said Roy Kim, a senior vice president of design at Extell, whose condo project One57 on West 57th Street, scheduled to open in late 2013, will have a library. So will the Touraine, an Upper East Side condo by Toll Brothers opening earlier that year. "It's an experiment on our end," said David von Spreckelsen, a division president of Toll Brothers. "The demographic at the Touraine is a little older some empty nesters or couples with a pied a terre. They're not people who are working 9 to 9. Weekends and nights, they'll come home and may have time to go to the library to read and have a glass of wine by the fire. We'll see how it goes." On the most practical level, a library in a New York building is the equivalent of a bonus room in a sprawling suburban house. At the Battery Park City condominium 1 Rector Park "the residences are not large," said James Lansill, a senior managing director of Corcoran Sunshine, the sales and marketing agents for the building. Consequently, its library, known as Bar and Books, can be a retreat "while the housekeeper is vacuuming, or to get away from the nanny and the children," he said. The lounge chairs and mohair sofas have helped turn the space into a second living room for some owners. As Ms. Braddock puts it, "a library increases the square footage of your own apartment because it gives an extra quiet place in the building you can get away to. That's a big deal in New York. Whether residents read the books on the shelves is irrelevant." About those books. The developer generally seeds the collection, but often it grows in an organic fashion as residents cull their own shelves. Such was the case at Manhattan House on East 66th Street, where coffee table tomes on design got the ball rolling. Similarly themed titles have made their way from personal collections to the rooftop library, a building spokesman said. At 1 Rector Park, volumes on art, architecture, travel and fashion were the first arrivals, Mr. Lansill said. "Now that people have moved in and regularly used the library," he said, "the collection has slowly grown. Residents are especially comfortable borrowing children's books and adding their own. Our most shared titles, without a doubt, come from the Harry Potter series." At the Caledonia, a condo on West 17th Street, the library is called the Assouline Culture Lounge, a nod to its cache of design, fashion and photography books from Assouline, the high end publishing company. The library, which has club chairs and a fireplace, "is an invitation to culture," said Daria Salusbury, a senior vice president of Related Companies, the building's developer. There, culture seems to be narrowly defined; Assouline's are the only books on the shelves. In any case, beach book castoffs are not encouraged. "I don't want to have 17 versions of Agatha Christie paperbacks," Ms. Salusbury said firmly. "That's not the purpose of this. The purpose is to give a very sophisticated perspective on culture." And, she added, "It's been received very nicely." So nicely that the idea has been extended to another Related property, Tribeca Tower, a rental building on Duane Street. A slice of the lobby has been carved into a "gathering space" with selections from the Assouline list. According to Joanna Rose, a spokeswoman for Related, the developer picked up the tab for the books, viewing the relationship with the publisher as "a branding opportunity." Assouline also supplied the books for the library at New York by Gehry, the highly publicized rental in the financial district. The seventh floor room with leather sofas and accent chairs is a hit, according to Clifford Finn, the president of new development marketing for Citi Habitats, leasing agents for the building. "I've never been in the library when I haven't seen people sitting in chairs reading," said Mr. Finn, who like Ms. Salusbury does not welcome unsolicited additions to the shelves: "It's not really in keeping with the feel of the room. "A lot of the books in our collection are very expensive," he continued. "It's nice that residents have access to them. Sometimes they borrow them, but they return them. I can't say we never have a book that doesn't come back, but it's an uncommon occurrence." No librarians or other authority figures patrol the bookshelves in any of these buildings. There is no mechanism for checking out books they are borrowed at will with no penalties for those who take their sweet time reading them. Guilt and good manners keep the collections intact. As part of a two year sponsorship, Lincoln Center provided an extensive list of performing arts themed books for the Avery condominium, its neighbor on Riverside Boulevard. Titles like "101 Stories of the Great Ballets," The Columbia Encyclopedia of Modern Drama, "Celluloid Power" and three dozen others were duly purchased, said a spokeswoman for Extell, the condominium's developer. A spokeswoman for Lincoln Center declined to discuss its arrangement with Extell. The library shelves at Toren, a new condo in Brooklyn, were populated with the help of the Strand bookstore in Greenwich Village, according to the building's sales manager, Marco Auteri. "We requested a variety of books based on quality and content," he said. "We wanted to create a real library and to have a wide variety of genres." Thus, browsers can find among the 500 plus volumes everything from "Ulysses" to test prep guides. "Since residents began contributing to the library," Mr. Auteri added, "they've increased the contents by 50 percent. And now, in addition to books, we also have DVDs and games." In older buildings, things are considerably more casual; the collections are crowd sourced from the start. At the Ardsley on Central Park West, a few shelves in the combination community room/playroom constitute the library a mix of fiction ("The Fountainhead"), poetry ("The Iliad") and nonfiction donated and alphabetized by residents. Meanwhile, the collection at 924 West End Avenue housed, as in many buildings, on several open shelves in the laundry room, includes "The World According to Garp" and "Ragtime." "Some people will come down and do their wash and while they're waiting read one of the books," said Raymond Hoey, the president of the building's co op board. In a few buildings, like the Knickerbocker on East 72nd Street and 170 East End Avenue, the in house libraries serve up more than biographies and bestsellers; they serve breakfast. "People will come down and read while they have bagels and pastries," said Burt Wallack, the managing agent for the Knickerbocker which hires an outside service to do the catering. "A lot of residents know their neighbors because of the library." Orin Wilf, the president of Skyline, the developer of 170 East End Avenue, compared the building's library to a town square. Residents have cocktail parties and birthday parties there, said Mr. Wilf, who lives in the building. He and his neighbors donate the books that make up the library's collection; the concierge monitors the offerings to make sure they are suitable. "We leave it to her discretion," Mr. Wilf said. The collection is heavy on finance, history and parental advice because, he said, "we're a family friendly building. "I'm a big James Patterson fan and I usually leave his books in the library when I finish them," he continued. "And sometimes someone will beat me to the punch. I'll go down there and actually find a Patterson I haven't already read."	N24News: A New Dataset for Multimodal News Classification	Real Estate
China covered up the initial coronavirus outbreak in December for several weeks and then tried to divert attention from its biological Chernobyl through trumpeting its success in containing the illness (the numbers remain dubious), offering international assistance (some in the form of defective masks and tests), and propagating the wild conspiracy theory that the plague did not start in Wuhan but was cooked up in an American military lab and delivered by the United States team attending the Military World Games in Wuhan last October. The lesson is not, as China would have it, that despotic regimes deal more effectively with disaster but that they incubate the fear that made it impossible for doctors and authorities in Wuhan to communicate rapidly the scale of the threat. A series of tweets last month from the Chinese Embassy in France lauding China's and Asia's superior response to the virus due to the "sense of community and citizenship that Western democracies lack" was grotesque. Li Wenliang, who died in February, and Ai Fen, who appears to have disappeared, are the whistleblower doctors of Wuhan whom humanity must never forget. Trump tweeted on March 29, as Americans died, that "President Trump is a ratings hit." His daily Covid 19 reality TV show, which he called his "coronavirus updates," had "an astounding number" of viewers, "more akin to the viewership for a popular prime time sitcom." If you want a quick definition of obscenity, that's it. This is the mentality, or rather the mental affliction, that compounded the Chinese cover up with a Trump authored American confabulation that lost another six weeks in dismissal of the pandemic as a hoax. The world is leaderless. Every country for itself. Swirling in lies and rumors. Schoolyard petulance, like Mike Pompeo, the worst American secretary of state in a long time, insisting on calling this coronavirus "the Wuhan virus." This is Trump's world, and Xi's. It is hard now, here in New York, everywhere really. Reading the numbers. Trying to make sense of them. Seeing the triage tents and portable morgues. Watching small businesses close. The millions suddenly without jobs. The people dying alone, without their loved ones because of the risk of infection. Discarded blue and white latex gloves on a street. Insomnia. Choppers over the city at night. The Zoom gatherings that console but also recall that touch is beyond technology. The way people veer away from a passer by, the coronavirus swerve. The sirens. The silence that makes the sirens louder. All this has happened before, not quite like this, but yes. My sister's photographs are also a memento mori. And the world has come through. Because of people like Craig Smith, the surgeon in chief at NewYork Presbyterian/Columbia hospital who wrote of Covid 19 patients in a moving dispatch to his medical troops, "They survive because we don't give up." It's coming apart. Take care of it. We don't give up. There are no strangers here. The Times is committed to publishing a diversity of letters to the editor. We'd like to hear what you think about this or any of our articles. Here are some tips. And here's our email: letters nytimes.com. Follow The New York Times Opinion section on Facebook, Twitter ( NYTopinion) and Instagram.	N24News: A New Dataset for Multimodal News Classification	Opinion
LAS VEGAS At the MGM's Bellagio hotel and casino, patrons are welcomed with branded pouches stocked with hand sanitizer, face masks and a stylus they can use to push elevator buttons. At the Cosmopolitan's elevated pool, an L.C.D. screen flashes the message, "Face masks are the new tan lines." In typical Las Vegas style, the hospitality industry is going overboard to make sure visitors feel safe, and to make the precautions the pandemic requires feel luxurious. Visitors can check in using their phones and take advantage of hand washing stations. On the gambling floors, chips, cards and dice are disinfected between players. Hotel rooms are being deep cleaned. Most properties have made their hygiene plans pages upon pages of procedures, including frequent sanitation of high traffic surfaces and public areas available to the public. After 78 days of mandatory closures, it was a relief to see the Las Vegas Strip pulse back to life this month. At the height of the shutdown, hotel occupancy in Nevada sank to 3 percent. At one point, 28 percent of Nevadans were out of work, the highest state unemployment rate ever recorded. So for my community, the stakes of this reopening are high, and success depends upon carrying it out safely. A resurgence of coronavirus cases here would be devastating for those who will be unemployed if the casinos have to close down again, not to mention those who are still waiting to be called back to work at restaurants and attractions that haven't yet reopened. But casinos' lax rules for entry combined with cavalier attitudes on the part of patrons give those of us who live here cause for concern. Although casino employees are required by the state to wear face masks, they have only been "strongly encouraged" for guests, and based on what I've seen, the majority are ignoring the suggestion. After videos from the reopening weekend showed crowds gathered in casinos without wearing them or practicing social distancing, and after strong pushback from locals, the Nevada Gaming Control Board finally tightened the rules, but just slightly. Face masks will now be required, but only for guests playing at tables that don't have barriers separating the dealer from players. Visitors who aren't playing these games for example, those who are sitting at slot machines or walking around casinos are still allowed to be mask free. The state's "Road Map to Recovery" limits casino operations to 50 percent occupancy, and the board does require casinos to submit "adequate" Covid 19 mitigation plans as a prerequisite for reopening, but safety precautions aren't standardized enough. Culinary Workers Union Local 226, which represents over 60,000 casino workers in the state, created a website to compare casinos' Covid 19 prevention standards, and the lack of uniformity and information is concerning. "We want the Gaming Control Board to have mandatory requirements for all hospitality workers in Nevada, union and nonunion," said the local's secretary treasurer, Geoconda Arguello Kline. "We have a lot of casino properties, and everyone should have the same standards, particularly mandatory testing." If masks and social distancing are just suggestions and visitors can move from one casino to another without being subject to consistent safety requirements, it's fair to wonder if the precautions are doing much to control the spread of the virus. The dousing of surfaces in sanitizer may seem comforting, but it's just the newest Vegas show. According to the C.D.C., it's close person to person contact, not surface transmission, that remains the biggest threat. Meanwhile, at a time when caution about air travel means a higher percentage of visitors are expected to come from nearby states, coronavirus cases are rising in Arizona, California and Utah. A few days after casinos reopened, cases in Nevada spiked. Last week, Nevada reported its largest one day increase in virus cases. While it's true that the higher numbers could reflect increased testing in the state, we know the virus is still spreading in Clark County, where Las Vegas is situated. If there is a continued rise, hospitals here say they have enough beds and ventilators. But that's little comfort to front line workers who have an increased risk of exposure. Many of the people arriving in Las Vegas with plans to gamble and relax came here to escape the drudgery of life under stay at home orders. Wearing a face mask and staying six feet apart while doing that doesn't seem like too much to ask of visitors, but the reality is that this city has always branded itself as a place to indulge in vice and rebellion. With the casino's limited precautions, the safety of us who live and work here is at the whims of the tourists. Whether they're responsible about preventing the spread of the virus or not, we can't survive without them. The Times is committed to publishing a diversity of letters to the editor. We'd like to hear what you think about this or any of our articles. Here are some tips. And here's our email: letters nytimes.com. Follow The New York Times Opinion section on Facebook, Twitter ( NYTopinion) and Instagram.	N24News: A New Dataset for Multimodal News Classification	Opinion
Twitch, the livestreaming platform, said on Monday that it was suspending President Trump's channel for "hateful conduct," in what appeared to be the first deliberate suspension of one of Mr. Trump's social media accounts. The site, which is owned by Amazon, said two recent streams on Mr. Trump's channel violated its rules. One stream was of a rebroadcasted 2015 campaign event in which Mr. Trump made comments about Mexico sending drugs, crime and rapists over the border. The other was of his recent rally in Tulsa, Okla., where he talked about a "very tough hombre" breaking into a woman's house at 1 a.m. "Hateful conduct is not allowed on Twitch," a Twitch spokeswoman said in a statement. "In line with our policies, President Trump's channel has been issued a temporary suspension from Twitch for comments made on stream, and the offending content has been removed." It was unclear how long the suspension would last. With its move, Twitch went further than other social media platforms. In recent months, some tech companies have become more proactive in handling speech issues by Mr. Trump and his supporters. Twitter began adding labels to some of the president's tweets; Snap has said it will stop promoting Mr. Trump's Snapchat account; and Reddit on Monday said it would ban "The Donald" community, which had been a highly influential digital gathering place for Mr. Trump's acolytes.	N24News: A New Dataset for Multimodal News Classification	Technology
Burdened with a 90 minute commute from Newark, a teacher scours Harlem and the Bronx for a place with outdoor space and a shorter trip to work. After he moved to New York in 2001, Darrell E. Roberson bounced around the Bronx and Harlem, often sharing an apartment with roommates. "People were moving in and out of town, or people had life happening, and that caused me to shift my plans," he said. Eventually he moved out to New Jersey and found himself living in Teachers Village, in downtown Newark a new development primarily for educators paying 1,420 a month for a one bedroom. From there, he commuted to the South Bronx, where he works as a middle school special education teacher. It wasn't until he first made the 90 minute trip that he realized how burdensome it was going to be. With a walk to Newark Penn Station, a ride on either New Jersey Transit or the PATH train, and a switch to the subway in Manhattan, "the commute was really killing me," said Mr. Roberson, who is originally from Oakland, Calif. "You are on pins and needles: Am I going to get to work on time? Coming home could be even longer. I started thinking, 'Is this really worth it for me?'" "I like having access to outside without going totally downstairs," he said. "I want to know what the weather is doing." His price range was 1,600 to 1,900 a month. But in Harlem, the one bedrooms he liked rented for the low 2,000s. In the past, broker fees had typically been one month's rent; this time around, he noticed, they were higher. "The Bronx is just a hop, skip and jump away," he said to himself. "I don't need to live in Harlem. I am coming back to the Bronx." He considered a one bedroom in an older, six story building on Cedar Avenue in University Heights. Rents started at around 1,400, but the apartments lacked outdoor space and the building was closer to the Metro North train than any subway line. Parkchester, the massive housing development on 129 landscaped acres, was an obvious option, where one bedrooms also started in the 1,400s. Mr. Roberson had friends who lived there and knew it well, but he decided that laundry was a problem. With no machines on site, he would have to make a trek to a laundromat. Mr. Roberson considered a one bedroom in a six story building in University Heights, but it lacked outdoor space and was closer to the Metro North train than the subway. Katherine Marks for The New York Times Mr. Roberson, who has two graduate degrees in education, provides early intervention services for children after school hours. One client, Julie Barreto, lived with her two young sons in a one bedroom in the Lafayette Boynton Apartments in Soundview, a neighborhood, like Parkchester, to the east of the Bronx River Parkway. The four building complex, built in 1969 as part of the Mitchell Lama development program, has nearly 1,000 apartments. "I know the Bronx well, but for some reason, this side I wasn't too familiar with," said Mr. Roberson, who worked with Ms. Barreto's older son. He started arriving early to their appointments, taking the time to walk through the neighborhood and nearby Soundview Park. The Barretos' one bedroom was spacious, with a balcony and a dining room. Mr. Roberson appreciated the unobstructed Manhattan views, even taking some photos from their balcony. "There was something within me that said, 'I think this is going to be home,'" he said. Ms. Barreto has lived in her apartment for nearly eight years. "I'm new here," she said. Some of her neighbors have been there for decades. "We started to talk about his life, about our life," Ms. Barreto said. "I knew he was planning to move because he told me he was waiting to finish his lease. I said, 'You know, the office is just down the block.' I encouraged him to move here because it was really convenient for him." Mr. Roberson saw several one bedrooms before choosing one on a high floor. Some had shared balconies, partitioned in the middle, but he has his own. His view is slightly obstructed, but it includes the World Trade Center, the George Washington Bridge and La Guardia Airport. The bathroom is small, the closets are large, and the laundry is in the basement. His rent is 1,615. (The application fee is 50 per adult.) "He saw the added value of living here," said Steve Seltzer, the general manager of the complex. "It is so much more expensive in Harlem." Mr. Roberson arrived in the summer. "We met in the street the day he moved," Ms. Barreto recalled. "I said, 'Wow, we are going to be a neighbor!'" Mr. Roberson's apartment is near a garbage chute, so he can hear the trash thundering down. And on Saturdays he catches noise from two additional rental buildings currently rising at the complex. But all things considered, he finds his new home sufficiently quiet.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Members of the Royal Danish Ballet in "The Unsung." Three members of the troupe will perform the work at the Joyce with members of Limon Dance. The future of American modern dance and the issue of who will carry on the torch is very much an open question, particularly since the death of Merce Cunningham in 2009 and the closing of his company. What happens when the founding genius, the original voice, is gone? Martha Graham died in 1991, but her troupe survives, thanks to "contextual" presentations and new works by living choreographers; Paul Taylor, still actively producing work, is 85. His company, too, is making moves to widen its repertory. But the dance world often overlooks another company that has quietly gone about its business for decades in the absence of its founding choreographer, Jose Limon. In October, the Limon Dance Company will celebrate the start of its 70th season, the 44th since the death of its founder, with a two week festival at the Joyce (Oct. 13 to Oct. 25). More than a dozen works will be performed, and dancers from companies as far afield as the Royal Danish Ballet, Coreoarte in Caracas and the University of Taipei will take part. It is a very big deal for this small, scrappy troupe, which over the years has seen its share of lean times. The festival is also the beginning of a long farewell for the troupe's artistic director, Carla Maxwell, who has been at the helm since 1978. Ms. Maxwell, who joined at 19, plans to retire once a suitable replacement has been found. "I'm tired of the problems," she said of the struggle for funding, bookings and space, "but never of the work." It is a time of fresh starts for the company. After 14 years of traipsing from one rental space to another, Limon has a new home. Last year, Dance Theater of Harlem extended an invitation to share its headquarters, in an arrangement that benefits both companies. Over the summer, the Limon dancers and administrators moved into their new digs. "It's wonderful just to have a locker and showers, and our own studio," said Kristen Foote, a striking dancer with an air of mystery who has been in the company since 2000. (At the festival, she will perform two solos "Maenad" and "Primavera" from a late work, "Dances for Isadora," a tribute to Isadora Duncan, whom Limon considered his "dance mother.") The match between Dance Theater of Harlem and Limon makes perfect sense: Both companies were created by pioneers in their field, a black man and a Latin American claiming their rightful place within a mainly white, European dance tradition. Limon, born in Culiacan, Mexico, just before the Mexican Revolution, emigrated with his family to the United States when he was 7. (A stray bullet had killed his maternal uncle while the family was eating breakfast. That and the constant threat of violence convinced the family that it was time to leave.) One of his most powerful childhood memories was of being mocked at a school in Tucson for his Spanish accent. "I was an alien," he wrote in his memoir, "an exile." His style, perhaps as a result, reflects a distinctly universalist bent, a concern with man's nobility of spirit in a chaotic world. (Limon was a self proclaimed atheist, but many of his works have a quasi religious dimension.) Like Martha Graham's sometimes over the top dramatic pitch, this lofty tone is the most recognizable feature of Limon's dances, and also one of the things that can give them a dated feel. Like Limon's aesthetic aspirations, the technique, absorbed in part from his teacher and mentor Doris Humphrey, is based on elemental ideas: bending, curving, falling, rebounding. "It delivers what is missing in ballet," explained Ivan Liska, the artistic director of the Bavarian State Ballet, whose dancers will perform "The Exiles," a 1950 duet, at the festival. "A connection to the earth, a sense of opposition, a struggle in the mind." It's also what draws dancers to his work. It delivers moral clarity, a higher purpose. After a company rehearsal uptown, Francisco Ruvalcaba, one of Limon's senior dancers, remembered learning "Missa Brevis" (1958) soon after beginning his studies at Juilliard: "We were holding each other up. Everyone was essential. And that's what dance should be." It made him want to join the company. "Missa Brevis," set to Zoltan Kodaly's choral piece of the same name, is still on the syllabus at Juilliard, where Limon taught for two decades. Every first year student learns it. (At the festival, Juilliard students will perform in "Missa Brevis" alongside Limon dancers, and, independently, in "Concerto Grosso," a large scale work from 1945.) During a recent Limon technique class at the school, the dancers were encouraged to "root" down into the ground, expand to the full width of their bodies (rather than pull upward, as in ballet), and use gravity, rather than muscular tension, to carry them through space. The 15 works at the festival span the length of Limon's career, from the sober, introspective 1942 solo "Chaconne" (set to Bach) to dances created months before his death from cancer almost 30 years later. Some, like "The Moor's Pavane," a distillation of themes from Shakespeare's "Othello," are quite familiar (it has been taken into the repertory of several ballet companies, including American Ballet Theater). Others, like "The Unsung" (1971), an all male ensemble set to the sound of the dancer's footfalls and breath, and inspired by the spirit of Native American chiefs like Geronimo and Sitting Bull, haven't been seen in the United States for years. The dance was revived in 2010 by the Royal Danish Ballet; three of the Danish dancers have been invited to perform at the Joyce alongside members of Limon.	N24News: A New Dataset for Multimodal News Classification	Dance
Marilyn B. Young, a leftist, feminist, antiwar historian who challenged conventional interpretations of American foreign policy, died on Feb. 19 at her home in Manhattan, where she was a longtime professor at New York University. She was 79. The cause was complications of breast cancer, said her son, Michael. Professor Young's political consciousness was rudely awakened when, as a Brooklyn teenager in 1953, she defied her father and watched from the fire escape of her family's East Flatbush apartment as thousands of mourners gathered for the funeral of Julius and Ethel Rosenberg, who had been executed two days before at Sing Sing Prison for conspiracy to commit espionage. The government's aggressive pursuit of Soviet spies and her father's trepidation set her on a course from which she never deviated: writing editorials for the Vassar College newspaper against red baiting and favoring civil rights for blacks and political opportunities for women; researching a doctoral thesis that re evaluated historic United States relations with China; and laying an anticolonial foundation for her opposition to the wars in Vietnam and Iraq. Describing the United States as "a nation dedicated to counterrevolutionary violence," she wrote in The New York Times Book Review in 1971 that "the most agonizing problems of recent American foreign policy have concerned not our ability to reach accommodation with acknowledged big powers, but our persistent refusal to allow revolutionary change and self determination in smaller ones."	N24News: A New Dataset for Multimodal News Classification	Books
As Donald J. Trump emerged early Wednesday as the winner of the presidential election, newspapers across the globe scrambled to create front pages befitting the day's place in history. Here's how several publications reacted to the stunning upset. You can scan more pages at the Newseum's daily collection of front pages.	N24News: A New Dataset for Multimodal News Classification	Media
How Much Watching Time Do You Have This Weekend? None No matter how much free time you have this weekend, we have TV recommendations for you. Come back every week for new suggestions on what to watch. This Weekend I Have ... a Half Hour, and I Need Closure 'Fresh Off the Boat' When to watch: Friday at 8:30 p.m., on ABC. The series finale of "Fresh Off the Boat" finds Eddie (Hudson Yang) ready to head off to college or not, because he would rather go to culinary school. His dad is supportive, his mom predictably less so, especially because Eddie did so well on his SATs, and she's pushing, perhaps too hard, for him to go to Harvard. "Boat" has had a solid six season run, but the magic has waned somewhat, and this seems like a good ending point all around. ... an Hour, and Stress Nourishes Me 'Better Call Saul' When to watch: Sunday at 10:05 p.m., on AMC. Make sure your DVR is set: The fifth season premiere of "Saul" is airing Sunday night before the show moves into its regular time slot, Mondays at 9 p.m., starting the 24th. We again begin with an extended black and white flash forward, but then it's back to Albuquerque, where Jimmy (Bob Odenkirk) is really starting to embrace his new, somewhat sleazy Saul Goodman persona, no matter what that does to his relationship with Kim (Rhea Seehorn). Despite its frequent depictions of violence and extreme behavior, "Saul" is still TV's most obsessive chronicler of mundanity and tedium, a show in which cleaning up takeout containers is a significant declaration of love. ... Several Hours, and I'm Not Afraid of the Dark Creatures do their thing in "Night on Earth." 'Night on Earth' When to watch: Now, on Netflix. Majestic nature documentaries abound, but this one focuses on the literal dark side of things, with a lot of night vision cameras and moody evening predators. It's also written with a strong sense of menace within its marvel, encouraging viewers not just to be amazed by angry scorpions but also to fear the mouse who is immune to their poisons. The ocean episode is for only the truly brave, those unbothered by fish who have very humanoid overbites. The night is there to cloak their hideousness! I was not meant to behold this terrible visage!	N24News: A New Dataset for Multimodal News Classification	Television
COMPANIA IRENE RODRIGUEZ at the Joyce Theater (Jan. 18, 8 p.m.; Jan. 19, 2 and 8 p.m.; Jan. 20, 2 and 7:30 p.m.). As a child growing up in Havana, Rodriguez would slip out of ballet class to secretly study Spanish dance instead. She rose through the ranks of the Spanish Ballet of Cuba before forming her own company in 2012 to express her brand of contemporary flamenco theater. Rodriguez isn't a purist she draws from many forms, including fandango, bolero and Afro Cuban and contemporary dance as evidenced by the title of her Joyce program, "Mas Que Flamenco" ("More Than Flamenco"). She will be joined onstage by an ensemble of dancers, singers and musicians, but her captivating intensity will likely be front and center. 212 242 0800, joyce.org MERCE CUNNINGHAM at Anthology Film Archives (Jan. 21, 7:30 p.m.). As part of this year's extensive celebrations of the centennial of Cunningham's birth, the Anthology presents a weekly screening of his works through Feb. 18. Cunningham, who died in 2009, used technology inventively throughout his career; for the works in this series, the camera is not an impartial observer but an active participant. On Monday, the featured films will be "Fractions I" from 1978, in which four video monitors join dancers onstage, and "Channels/Inserts" from 1982, which employs creative editing and animation techniques. Both were collaborations with the video artist Charles Atlas, who will present the program. 212 505 5181, anthologyfilmarchives.org	N24News: A New Dataset for Multimodal News Classification	Dance
Linda Manz in a scene from "Days of Heaven." Her voice over was a last minute addition. "I just watched the movie and rambled on," she said years later. Linda Manz, an artfully sullen actress who won glowing reviews as the narrator and the little sister in Terrence Malick's haunting 1978 film, "Days of Heaven," died on Aug. 14. She was 58. A GoFundMe page set up by her son Michael Guthrie to pay for funeral expenses said she had lung cancer and pneumonia. He did not say where she died. "Days of Heaven," which takes place in 1916, follows two streetwise Chicago lovers, Bill and Abby (Richard Gere and Brooke Adams), who pose as brother and sister while working in the wheat fields of a rich Texas farmer. The deception leads to a dangerous romantic triangle. Ms. Manz, who was 4 foot 10 and played Bill's little sister, was 15 when she was cast and 17 when the film opened. (Mr. Malick took his time editing.) In a review from 1997, the critic Roger Ebert concluded that the film which won an Oscar for best cinematography and the best director award at the Cannes Film Festival was really the teenage girl's story, not that of the adult characters. It was a last minute decision by Mr. Malick to have Ms. Manz do the voice over narration, without a script. Years later, she told interviewers, "I just watched the movie and rambled on," adding, "They took whatever dialogue they liked." Mr. Malick described Ms. Manz at the time as "the heart of the film" and "a sort of street child we had discovered at a laundromat." Many news articles reported that a teacher had told Ms. Manz about the casting call. Linda's mother had show business ambitions for her daughter, and sent her to dancing and acting classes in addition to public school. Linda went along, but theirs was a contentious relationship. "For a long time, I was always asking people to adopt me," Ms. Manz told People magazine in 1979. In the same interview, she announced: "Acting is in my blood. I hope it lasts forever." After "Days of Heaven," she appeared in "The Wanderers" (1979), a teenage gang drama based on Richard Price's novel of the same name, and starred in a short lived CBS series, "Dorothy," alongside Dorothy Loudon. Ms. Manz went to make a searing impression in 1980 in Dennis Hopper's cult drama "Out of the Blue," playing a rebellious daughter who worshiped Elvis Presley and liked to shout, "Kill all hippies!" on her CB radio. There was no dramatic walking out on Hollywood story, Ms. Manz insisted. There were just a lot of new, young people in the business. "I kind of got lost in the shuffle of being in the movies," she told The Village Voice in 2011, "because I didn't have an agent at the time, and things were slow, and I don't know." She married and had children, living north of Los Angeles. Mr. Korine compared Ms. Manz to a silent screen legend. "It was like the way I felt about Buster Keaton when I first saw him," he told Index magazine in 1997. "There was a kind of poetry about her, a glow. They both burned off the screen." She took a small role in David Fincher's "The Game" (1997), with Michael Douglas and Sean Penn. Her last screen appearance was as herself in "Along for the Ride," a 2016 documentary about Mr. Hopper. In addition to her son Michael, Ms. Manz is survived by her husband, Robert L. Guthrie, who was a film industry camera operator in the 1970s and '80s; another son, William; and three grandchildren. A third son, Christopher, died in 2018. The performance she was proudest of, she said in a 2014 interview with T: The New York Times Style Magazine, was as the punk daughter in "Out of the Blue." Her acting style for the role was inspired by James Dean's. "A lot of people used to tell me back then I looked like the female James Dean," she said. "I'll always be that character. I'm just a tough little rebel."	N24News: A New Dataset for Multimodal News Classification	Movies
Credit...Frances F. Denny for The New York Times After "Freshwater," Akwaeke Emezi's critically acclaimed debut novel, came out in 2018, publishers were eager for more from the Nigerian writer. Emezi, 32, was ready , having already sold "Pet," a young adult novel, to Make Me a World, a diversity focused imprint of Penguin Random House, and signing a lucrative two book deal with Riverhead. The first, "The Death of Vivek Oji," is expected to come out next year. But this productivity came at a cost. "I had a little bit of a crisis," said Emezi, who uses the pronoun they. "I stopped journaling. I stopped writing for pleasure because I was just like, if I'm not getting paid for it, what's the point?" That's why Emezi decided to slow down this year, taking periodic breaks from writing and unwinding with gardening and Netflix baking shows. It's a pace that's become a necessary way to cope with the whiplash of newfound success : not just the book deals, but the enthusiastic response to "Freshwater" and a television deal to develop it for FX with their friend and creative partner, Tamara P. Carter. As Emezi prepared for this week's release of "Pet," about a transgender teenager named Jam living in a world where adults refuse to acknowledge the existence of monsters, they discussed self care, the pressures black authors face and the challenges of writing a book for teenagers. These are edited excerpts from the conversation. "I want to cast a spell where a black trans girl is never hurt," Akwaeke Emezi said of their Y.A. book "Pet." "She's not in danger. She gets to have adventures with her best friend. And I hope that that's a useful spell for young people." It's been about a year since "Freshwater." What has your post debut novel experience been? I did not know how stressful it would be. No one talks about how brutal and exhausting it is. I tried to tour three times. Every single tour got cut short because I became too suicidal to continue. In the middle of it, everyone's just like, your life must be so great, your book is being well received, you're getting rave reviews. And I'm just like, I'm trying not to die, though. I ended up in the emergency room a few months after "Freshwater" came out because I was having severe muscle spasms. I couldn't walk, I couldn't talk, I couldn't swallow. It was horrific. 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. People who were seeing my life on social media were just like, everything's going great for you, and I'm just like, tell that to my now chronic pain and tell that to all these limitations. Every good thing that happened came with something really difficult. And so that kind of became the thing of this year, recovering from how brutal last year was. I had a good year of figuring that stuff out before "Pet" comes out, before "Vivek" comes out, and finding some balance. Because last year, there was just no balance. What has recovering and finding that balance looked like for you? A big part of it was not writing any more books. I wrote four books in four years and sold them all. I realized that I was getting kind of obsessive with the idea of finishing books and was putting myself under a lot of pressure. And all these deadlines were completely arbitrary, because there was no rush to do any of it. And also separating from this culture of having to be the best. You want to be a successful writer, and for black writers, we feel like the only way we can do it is to become exceptional, and in this context, exceptional means you win all the awards. "Freshwater" won none, and I was mad salty about it. There's a little bit of confronting ego, if awards are validation from your peers or from the industry, and I was just like, O.K. sweetie, you wrote a book that's pretty anticolonial and based in indigenous West African ontology. This is America. laughs Makes sense. I had to remember why I was making this work. I wasn't making it for institutional validation. I was making this work for specific people all the people living in these realities feeling lonely and wanting to die because they're like, this world thinks I'm crazy and I don't belong here. All the little trans babies who are just like, there is no world in which my parents will love me and accept me. There's a mission to all of this. With "Freshwater," a lot of the interpretations or the readings of it have had to do with mental health and multiple personality disorder, but you've always spoken about it in the context of West African belief systems. At first, I did a lot of work to kind of shift the center ... I was like, it's a book about this. I am not moving. It's not a metaphor. It's autobiographical fiction. Then after a while I got annoyed, and I was just like, but can you analyze why you're interpreting it that way? What are the influences that make this reality in the book, this Igbo ontology, not real to you? Because it's probably colonialism. Why do you think these indigenous realities aren't true? White supremacy. One of the reasons I leave space for people who say "Freshwater" is about mental health is that multiple things can be true at the same time. "Freshwater" does talk about mental health, but that's not the center. The book is about embodiment. So like in "Freshwater," you could say Ada is depressed and suicidal. But she's depressed and suicidal because she's a spirit trapped in flesh. And so it's not one replacing the other. Both exist at the same time. Tell me about "Pet." How did you get the idea? I thought about what I would want to read if I was in my teens now, in this current climate what I would be worried about or could possibly be stressful for me. I was looking at what's happening in the world now, and I'm like, oh, this is a lot of people not calling things what they are, not calling monsters monsters, not calling evil evil, or not calling white supremacists white supremacists. And I thought, well, what does it look like if you're a young person and it's this mass gaslighting, where everyone's just like everything's fine, nothing to look at here and you're like, but did you see what I just saw? So I decided to write to them and write this young girl who lives in what's supposed to be a better world, but there's a thing happening, it's not being acknowledged yet, but it not being acknowledged doesn't change the fact that it's happening. What do you do if you're a young person stuck in that gap? Do you wait for everyone to acknowledge it before you do something? Do you play along with them? How was writing for young adults different from writing for adults? All my adult books, every single one of them, has multiple narrators, multiple perspectives; that is actually my default. And with Y.A., I was just like, how about you have one protagonist and the book goes linearly, in a chronological order. Living on the edge here. laughs I also wanted to veer away from some of the things that showed up in my adult books more. I was like, what does it look like to write a book that doesn't have sex in it? What does it look like to write a teenager who's not sexual? Because I was not at all as a teenager. I was just like, I love my books and Jesus. What does it look like to write a black girl like that especially because I think a lot of the times teenage black girls are so sexualized. I wanted to write this tender, shy, nonsexual black girl. Those were kind of the challenges: Take sex out, take some of that darkness that comes with my adult books. Write something that's a little more distilled, a little clearer, a little more innocent in some ways, and write it in a straight line with one protagonist. You'd think that would be easier, but it's not. Can I ask you about the decision to make Jam, the protagonist of "Pet," transgender? Chris Myers, who started Make Me a World told me his kind of philosophy about books, which is that books are spells that you put into the world. And he likes to think about, like well, what impact is your spell having on the world? How is it changing the world? When it comes to trans characters, especially black trans girls, black trans women, when they're being amplified, it's usually because someone died. Trans people are already living their reality. So I was like, if I'm writing something for black trans kids, what spell do I want to cast? I want to cast a spell where a black trans girl is never hurt. Her parents are completely supportive. Her community is completely supportive. She's not in danger. She gets to have adventures with her best friend. And I hope that that's a useful spell for young people. I hope that's a spell where someone reads that and they're like, this is like what my life should be like. This is a possibility. Follow New York Times Books on Facebook, Twitter and Instagram, sign up for our newsletter or our literary calendar. And listen to us on the Book Review podcast.	N24News: A New Dataset for Multimodal News Classification	Books
Rafael Nadal, After a Late Night at the French Open, Will Face Diego Schwartzman in the Semifinals Diego Schwartzman had to play for more than five hours to defeat the third seeded Dominic Thiem in five sets at Roland Garros, while Rafael Nadal required just three sets to beat Jannik Sinner, an unseeded 19 year old Italian. But Nadal and Schwartzman, who will play in the semifinals on Friday, both had to overcome significant obstacles during the longest session of tennis ever at the French Open. It began on Tuesday morning and ended Wednesday at nearly 1:30 a.m. Paris time as Nadal finished off Sinner with a leaping overhead, 7 6 (4), 6 4, 6 1. By then, Schwartzman was back in the players' hotel near the Eiffel Tower, recovering from his grueling duel with Thiem. For quite some time, Schwartzman kept cracking. With Thiem serving at 4 5 in the second set, Schwartzman had a straightforward forehand near the net that he would typically have smacked for a winner to take a 15 40 lead and give himself two set points. Instead, Schwartzman missed into the net and Thiem went on to hold and even the match at one set apiece. Schwartzman also served for the third set at 5 3, only to be broken at love, making four unforced errors. "I was so nervous," Schwartzman said. "I saw a chance today, and I didn't take it in the second and third sets." It looked as though he might not be able to break the bad habit when he served for the fourth set at 5 4 and took a 40 love lead. Thiem saved all three set points, the last with a forehand winner on the run, and broke Schwartzman's serve. But Schwartzman, often frustrated with himself and his team after Tuesday's earlier disappointments, smiled through the pain this time. "He played three unreal points, amazing points, because he's one of the best and he can do it," Schwartzman said of Thiem. "At that time I was thinking, 'OK, come on, today is not going to happen.' I had a lot of opportunities, easy, tough ones, hard. Every single opportunity was different. I didn't take it." That premonition proved false. Schwartzman recovered and fought back to win the fourth set tiebreaker after Thiem was two points from winning the match with a 5 4 lead. He then broke Thiem's serve twice in the fifth set, and the friendly rivals were soon chatting and grinning at the net, their 5 hour 8 minute test complete. "I just told him that he deserves it," Thiem said. So there will be no U.S. Open French Open double champion in singles for this unique season. Thiem, a finalist at Roland Garros the last two years, tried to recover from his breakthrough victory in New York by taking two weeks off before the French Open, which was postponed from its usual dates in May and June because of the coronavirus pandemic. But Thiem was pushed to five sets in the fourth round by the French wild card entry Hugo Gaston and was pushed even harder by Schwartzman in cool, heavy conditions that made clean winners a challenge. Thiem at times looked as weary as a man who had finished a marathon rather than one who was still in the middle of one. "To be honest, I was over the limit today," Thiem said. "Maybe I would have recovered. Even though I'm physically and mentally on the edge, you never know in a Slam, especially with Wednesday and Thursday off, two full days to recover. You never know what's happening. But at the end, I gave everything I had out there. It was an amazing match." This year at Roland Garros, it will be up to Schwartzman, not Thiem, to face Nadal, whom Schwartzman defeated for the first time in the Italian Open last month. Nadal, the 12 time French Open champion, is a creature of ritual, but this year's autumnal edition of his signature tournament has pushed him far outside his comfort zone. With a roof on the main Philippe Chatrier Court, as well as floodlights, night matches are now possible. The conditions have blunted some of the pace of Nadal's whipping forehand and left it bouncing on average three and a half inches lower than in 2019, according to Tennis Channel. On Tuesday, that often put the ball right in the gifted Sinner's strike zone during the first two sets, and the teenager held his own for nearly two hours. He served for the first set and won a surprising share of the baseline duels with his clean, relatively flat hitting. His feathery footwork and ability to open up the court with power and sharp angles were all remarkable. Collins, a fiery competitor and a two time N.C.A.A. singles champion at the University of Virginia, was a surprise semifinalist at the 2019 Australian Open. Now she is a surprise quarterfinalist at another major, after falling back in the rankings in the past year. On Wednesday, she will face Sofia Kenin, the American No. 4 seed and the highest ranked player remaining in the women's draw. Kenin won her first Grand Slam singles title at the Australian Open this year.	N24News: A New Dataset for Multimodal News Classification	Sports
How could a Bloomberg nomination possibly happen, given that he has not appeared in the debates and isn't competing in the early states? The recent rise of Sanders in the polls points to the most likely scenario. Bloomberg's best hope is for one of the strong progressives Sanders or Warren to win both Iowa and New Hampshire. Even better for Bloomberg would be if Sanders and Warren finish one two in both states. The relative moderates Biden, Buttigieg and Klobuchar would then be damaged. But there would still be many moderate Democratic voters anxious about beating Trump and looking for a candidate. And Bloomberg has some advantages. He is one of the few candidates in the race to have held a major executive post in government. He also has shown arguably the strongest commitment to fighting climate change, as New York magazine's Jonathan Chait in a piece titled "Maybe Nominating Bloomberg for President Isn't a Crazy Idea" points out. In The Washington Post this week, John Ellis, formerly of The Boston Globe and Fox News, predicted: Democrats across the country will soon find themselves with a newfound appreciation for the virtues of one Mike Bloomberg. ... Bloomberg is going to spend an astronomical amount of money on this race. Probably at least 1 billion. Maybe twice that. Possibly even more. Numbers like that upend every model of every presidential race in history. He can buy every news adjacency on cable and local television stations from now until November and not make a dent in his net worth. ... If Democrats nominate anyone besides Bloomberg, they will be outspent in the general election by 2 to 1 or even 3 to 1. If they nominate Bloomberg, he will outspend Trump at least 5 to 1 and dramatically improve the party's chances of winning seats at every level of governance. I don't think this scenario is as likely as Ellis does, and I'm troubled by the notion of a candidate spending so much of his own money to win the presidency "buying the election," as Warren has said. But in a race as uncertain as this one, I agree that Bloomberg has a shot. None Are Sanders and Warren really less electable than, say, Biden or Klobuchar? Yes, I think so; moderates historically do better than strong liberals or conservatives. But the gap is probably smaller than many people believe. Regardless of who the Democratic nominee is, most voters have already made up their mind, and those on both sides will be very motivated in 2020. I certainly can imagine a President Warren or President Sanders in January 2021. None Another plausible scenario is much simpler: Biden wins Iowa, New Hampshire and South Carolina, and quickly takes command of the race. Cory Booker's exit yesterday may have made this more likely. "At the time Biden entered the race, Harris and Booker seemed like the most obvious possibilities who could cut into Biden's black support," Kyle Kondik of the University of Virginia writes. "Now they're both out." None My colleague Michelle Goldberg makes a case for Warren: "I'm not going to argue that Warren has the best chance of winning in 2020; I have no idea who does. What I will argue is that she has the best chance of bringing the Democratic Party together. Warren's increasingly explicit argument that she is the unity candidate is correct." None Vox's Matt Yglesias on Sanders: "He has a plausible electability case, he's been a pragmatic and reasonably effective legislator, and his nomination is, by far, the best way to put toxic infighting to rest and bring the rising cohort of left wing young people into the tent for both the 2020 campaign and the long term future." If you are not a subscriber to this newsletter, you can subscribe here. You can also join me on Twitter ( DLeonhardt) and Facebook. Follow The New York Times Opinion section on Facebook, Twitter ( NYTopinion) and Instagram.	N24News: A New Dataset for Multimodal News Classification	Opinion
A detail from Danh Vo's "We the People," a model hand from his replica of the Statue of Liberty, in a survey of his work at the Guggenheim Museum. Danh Vo: An Artist at the Crossroads of History and Diary The work of the Danish Vietnamese artist Danh Vo operates at the intersection of art, global history and personal diary, that is, his own life as a gay man and as an emigre whose family's existence was radically disrupted by the war in Vietnam. Artist is perhaps not quite the right word. Mr. Vo is not a maker of original objects but a hunter gatherer who collects and sometimes alters artifacts, furniture, mementos, photographs and documents whose histories reflect aspects of his triple narrative. Some of his finds work better than others, as demonstrated by "Danh Vo: Take My Breath Away," a nonetheless inspiring midcareer survey at the Guggenheim Museum. With a subtitle redolent of both desire and death, the show presents around 100 objects or fragments that Mr. Vo has reclaimed as art; most are accompanied by extended wall labels. The show has been organized by Katherine Brinson, the museum's curator of contemporary art, working closely with Mr. Vo. Some of its inclusions are passive witnesses, like the deconstructed chairs used by American leaders while making decisions with global repercussions. Others are personal, like the white wood cross that temporarily marked his grandmother's grave in a Copenhagen cemetery. Some are tiny but have an outsized impact, like the pen tip used to sign the 1964 Gulf of Tonkin Resolution, escalating America's military involvement in the Vietnam War. Mr. Vo was born in Vietnam in 1975 and fled with his family by boat in 1979. After several months in a refugee camp in Singapore, they ended up in Denmark, which is where Mr. Vo grew up, studied art and, around age 30, began his meteoric rise to art stardom. Among the tributes to this transition is "Oma Totem," from 2009, a sculptural stack of items that his grandmother received from relief organizations when she settled, initially, in Germany: a washer dryer, a small refrigerator and a television set affixed with a wood crucifix. A testimony to Western values, it resembles the architectural model of a European cathedral tower. Others pieces relate the frequent fate of non Western countries: the debilitating progression of missionaries, colonization, military occupation and economic exploitation. Mr. Vo made an early splash by gilding castoff cardboard boxes used for shipping beer, cereal or condensed milk. By covering the logos and printed elements with gold leaf, he beautified a lowly object, rendering it valuable (and collectible). For "Promised Land," a 2013 box here, Phung Vo the artist's father, a skilled calligrapher and frequent collaborator repeatedly wrote the work's title in a Fraktur like font on its interior. "Massive Black Hole in the Dark Heart of Our Milky Way," a large new piece dangling from the museum's stairwell, extends the gold leaf to early American flags applied to the blank backs of flattened beer boxes. They hang among rusty 19th century farm tools and hunting traps the artist's tribute to Manifest Destiny. At the same time, with maximum faith in the ability of modest objects to carry meaning, he extends the tradition that began with Duchamp's deadpan ready mades. Some of Mr. Vo's works are unaltered ready mades. Others are transformed by being taken apart or joined with foreign objects to form startling hybrids. The sculptures Mr. Vo began making in 2015, for example, combine fragments of Roman marble statuary with slices of Medieval figures, especially wood images of the Madonna and Child eroded nearly beyond illegibility. With these jarring clashes of civilizations and faiths, Mr. Vo returns the favor of the cultural vandalism that is a colonialist privilege. The best examples of found objects broken down and full of righteous anger are the nine sculptures each titled "Lot 20. Two Kennedy Administration Cabinet Chairs." They resulted from dismembering two sturdy arm chairs that Mr. Vo bought at an auction of the personal memorabilia of Robert S. McNamara, the defense secretary under John F. Kennedy and Lyndon B. Johnson who led the U.S. into what was sometimes called "McNamara's War" in Vietnam. The series begins in the show's opening gallery with a bare mahogany chair frame so stripped as to be both victim and instrument of torture. Moving up the Guggenheim ramp, we find the chairs' black leather upholstery and muslin innards drooping from the wall, like flayed skins; the chairs' disassembled arms huddle in a corner. Mr. Vo's process of breaking down and remaking is supersized in "We the People" (2011 2016), an epic sculptural project that helped solidify the artist's reputation. Fabricated in China, this replica of Frederic Auguste Bartholdi's Statue of Liberty consists of about 300 individual pieces of repousse copper. Properly assembled, they would form a full size copy, but Mr. Vo intends to disperse them across the globe. The parts at the Guggenheim include an enormous thumb, a possible ear and two hands. A few years back "We the People" would have signaled America's imperial presidency, from Kennedy to George W. Bush. Today the work seems to conjure a country fracturing from within, betraying its foundational principles, especially those regarding immigration, and shattering its international standing. Some labels help you see, and think. "Christmas (Rome) 2012," from 2013, for example, consists of swaths of a faded brown velvet wallcovering once used in the Vatican's museums. Darker areas indicate dense hangings of artworks and crucifixes. The pieces of fabric become slow motion photograms, ghostly physical evidence of the church's great wealth and its doctrinal fixity. Some of Mr. Vo's works came to him already altered, like a 14th century steel sword used in the Crusades, incised with Christian and Muslim symbols as its owners changed. But the most effective altered ready made is just passing through: an imposing pre Columbian plumed serpent's head lent by the American Museum of Natural History in New York. The label recounts an embarrassing tale of American gaucheness: how the Mexican government gave Paramount Pictures the head in 1926 to display in its new Times Square theater; how the ancient artifact was too large to display; and how a huge chunk was cut from the back of the serpent's head. Mr. Vo places the gaping excision and diplomatic insult in full view.	N24News: A New Dataset for Multimodal News Classification	Art & Design
The composer Andrew Lloyd Webber has been one of the most high profile advocates for the theater community. With their field rocked by unprecedented challenges in 2020, these people and groups some notable, some new stepped into the breach. There are producers serving on committees. Performers signing petitions. Then there is Andrew Lloyd Webber, the most successful living musical theater composer, who offered his body in an effort to resuscitate his beloved industry. The 72 year old Briton, whose hit list includes "Cats" and "The Phantom of the Opera," in August joined a vaccine trial in England, taking a shot of the experimental drug in his left arm while wearing a "Save Our Stages" T shirt. And he's been a relentless champion of theater's return: In July he hosted the first West End pandemic show at his Palladium Theater in London ("This is a rather sad sight," he said as he looked at the socially distanced audience), and he continued to press forward, recently presenting a holiday pantomime show whose audience included Prince William and his family. When Broadway returns after the pandemic lets up, the revival of "Company" will include 10 young Black men and women as paid interns behind the scenes. Also ready to take up new roles in a more equitable theater as producers, general managers, company managers and stage managers are the nine Black participants who just completed an 11 week course at Columbia University's Theater Management Producing program. The internships and the course are some of the nuts and bolts initiatives of Black Theater Coalition, founded by the businessman Reggie Van Lee, the actor T. Oliver Reid and the multi hyphenate theater artist Warren Adams. Their mission is to replace the "illusion of inclusion" in theater by reshaping its ecosystem and priming its pipeline. In that they join a wave of Black led organizations working to make real change this year, including Seattle Theater Leaders, Broadway Advocacy Coalition and Black Theater United. Change, they know, is a matter of necessary manifestoes like the one issued by We See You, White American Theater, calling out structural racism in the industry but also demands the grind of outreach, amplification and negotiation. That's how 10 new jobs today might become thousands tomorrow. Soon after the pandemic began, Jenna Doolittle started getting panicked text messages from friends: How can I get financial help? Are there discounted classes for those out of work? Were there still open calls for auditions? As a Los Angeles based career coach for actors who had previously worked in casting and as a theatrical producer, she had more than the usual amount of information at her fingertips. The result is the Actors Rise Newsletter, a free weekly email chock full of advice, listings and links. The first blast went out to 36 people on March 19; now more than 6,500 subscribe so many that Doolittle is about to hire an assistant. "I knew actors were scared," she said, "and the only way to ease that was to keep them informed, engaged and inspired." The playwright Paula Vogel found herself at home on Cape Cod last spring, thinking that the coronavirus could have her name on it. If time was short, how did she want to spend it? The answer was producing. Since June, the Pulitzer Prize winner has used her splendidly cast online reading series, Bard at the Gate, to elevate overlooked plays by Eisa Davis, Kermit Frazier and others, all dealing with race or gender. Vogel is daring the theater: Make yourself better. Stage these scripts. Many theatermakers struggled to rethink their art form this year, but the multimedia designer Jared Mezzocchi was immediately at ease and showed leadership in the virtual world. A May production of Qui Nguyen's "She Kills Monsters" at the University of Maryland, where Mezzocchi teaches, was among the earliest to glam up Zoom with imaginative filters. He is just as comfortable navigating digitally native waters, as in the online hit "Russian Troll Farm." We are curious to see where he takes theater next.	N24News: A New Dataset for Multimodal News Classification	Theater
New York Will Test the Dead More Often for Coronavirus and Flu Cough, fever, chills with fall fast on the way, symptoms alone won't be useful in distinguishing Covid 19 from similar looking cases of the flu. That means routinely testing for both viruses will be crucial even, perhaps, after some patients have already died. That will at least be true in New York, where officials recently announced a ramp up in post mortem testing for the coronavirus as well as the flu. Deaths linked to respiratory illnesses that weren't confirmed before a person died are to be followed up with tests for both viruses within 48 hours, according to the new regulation. "These regulations will ensure we have the most accurate death data possible as we continue to manage Covid 19 while preparing for flu season," Dr. Howard Zucker, the state's health commissioner, said in a statement last week. Deceased hospital patients and nursing home residents, as well as bodies in the care of funeral directors or medical examiners, will be among those targeted for follow up testing. If experts at a local facility can't perform the test themselves, they can ask the state to run the test for them at its public health lab. Although the results of these tests will be too late to change the course of treatment for the deceased, they can still help health officials track the prevalence of both types of infections, as well as indicate whether to warn close contacts of the deceased that they may need to quarantine. "People need to know who around them was sick," said Dr. Valerie Fitzhugh, a pathologist at Rutgers New Jersey Medical School. "If someone can't be tested in life, why not test them soon after death?" Putting regulations in place ahead of time will also encourage counties to bolster their testing readiness ahead of autumn and winter, when seasonal viruses like flu and respiratory syncytial virus, or R.S.V., tend to thrive, said Dr. Mary Fowkes, a clinical pathologist at Mount Sinai Hospital in New York. In many parts of the country, coronavirus cases are still ratcheting up every day and will become more difficult to track when similar sicknesses muddle the picture. "I think that is important to prepare for," Dr. Fowkes said. In the early days of the pandemic, New York, like the rest of the country, struggled to rein in the virus. Many illnesses went untested, including those of several thousand people whose deaths were later reclassified as presumed, but unconfirmed, cases of Covid 19. A lot has changed since the spring, said Gareth Rhodes, deputy superintendent and special counsel at the New York State Department of Financial Services and a member of Gov. Andrew M. Cuomo's virus response team. After a sputtering start to testing in March, New York is now running about 100,000 coronavirus tests a day, with positivity rates hovering around 1 percent or less. While hundreds remain hospitalized throughout the state, daily deaths attributable to Covid 19 have averaged in the single digits since late August. The new regulations also stipulate that living patients with flulike symptoms or a known exposure to the coronavirus or a flu virus should be tested for both pathogens. That makes it less likely that a case will be missed in the first place. Who should get a booster shot? It depends, Dr. Scott Gottlieb says. "We track fatalities very closely," Mr. Rhodes said. At this point, he added, New York's coronavirus testing regimens in medical settings are pretty consistent. "You can't really be a hospital in New York right now without testing," he said. The regulation doesn't apply to all deaths just those suspected of being linked to a respiratory illness. That means the new rules on post mortem testing probably won't change coronavirus case numbers much, if at all. Since the announcement, made last Sunday, the Wadsworth state lab has not yet received a request to process a post mortem test, Mr. Rhodes said. Still, the regulation may come in handy if, for example, a death were to occur en route to the hospital or shortly after arrival, or if an emergency prompted a temporary lab closure so that tests could not be immediately run. Others might die at home, or elsewhere outside the care of a hospital or nursing home, without easy access to tests. "This is designed to catch anything that fell through the cracks," said Dr. Rosemary She, a pathologist at the University of Southern California's Keck School of Medicine. Thorough testing can also affect which bodies are autopsied at medical examiners' offices, where resources and staff have been strained, said Dr. Erin Brooks, a pathologist at the University of Wisconsin Madison. Someone whose cause of death can be confirmed by a positive test for the coronavirus, for instance, might not need to be investigated further.	N24News: A New Dataset for Multimodal News Classification	Health
CANNES, France Becket is the illegitimate son of a wealthy New York dynasty: His mother, an heiress from a family of financiers, eloped with a jazz musician. Becket feels entitled to a share of the family riches, but his evil grandfather is standing in the way. That's the premise of "Rothchild," an upcoming black comedy starring Shia LaBeouf (as Becket) and Mel Gibson (as the grandfather) that was announced at the start of the Cannes Film Festival. The festival, a 12 day event that ends May 25, is an indisputable hub of glamour and spectacle, but it is also an occasion for haggling and deal making a marketplace where merchants sometimes flaunt movies that haven't been made yet, in the hope of drawing media attention and attracting film buyers. The media attention part clearly worked for "Rothchild." Parallels were drawn with the Rothschilds, perhaps Europe's most storied banking family. The announcement was covered by an array of global outlets, followed by social media outrage that Gibson, who made anti Semitic remarks after he was arrested on suspicion of driving under the influence of alcohol in 2006, should headline the movie. The Rothschilds, of course, are Jewish, and Gibson's character was described as a sinister grandfather, making some wonder if it was too perfect a role for him. It's about a young man "on a mission to kill all of his relatives in order to inherit a fortune," Kjarval said, adding that the concept "is quite clearly outlandish and has no basis in reality." And Gibson, Kjarval said, is "right for the part of an austere, uncompromising oil baron." Smaller projects were to be found in the Marche du Film, a vast marketplace in the seafront building where the festival's red carpet galas happen. The Marche is predominantly a place where films are sold, either by countries and their film boards, or by producers via sales agents. Like the promoters of "Rothchild," these outfits hope to attract interest from the media and buyers. Posters advertise highbrow films in the official Cannes selection, as well as karate movies, horror titles, psychological thrillers, war movies and boxing or wrestling titles. Among the national booths was one for Majestic Film, run by the Australian director and producer Steve Ravic. The mild mannered Ravic, an Alice Cooper fan, has a heavy metal look that jars with the surroundings: long black hair, rings on eight fingers, a black leather jacket, and black cowboy boots studded with nails and tiny skulls. With him were Charles Billich, a Croatian born artist based in Sydney, Australia, and his wife and gallery manager, Christa Billich, a star of the TV show "Real Housewives of Melbourne." The couple are the focus of a documentary shot by Ravic. A poster for the movie showed Billich next to one of his topless painted figures. Were naked women his specialty? "On the canvas and in reality!" his wife replied. Other titles being sold by Ravic included "Hotel Underground," an action movie "with scary gore elements to it," and "Diary of a Fatman," a feature film about an unemployed welfare recipient who becomes wildly successful in his dreams. Ravic, originally a maker of music videos and rockumentaries, said this was his seventh time at the Cannes Film Festival, but the first time he had his own booth. Cannes is "not the market for everyone," he said. But for an independent filmmaker with prior experience of it, he added, "it's a good place to be, because the buyers are here." Not everyone can afford a big budget title, Ravic said, referring to the category that would include "Rothchild." He added: "We cater for those kinds of buyers." Another booth was marked "Iraqi Cinema." There, in front of a wall adorned with the Iraqi flag, was Zaid Jawad. His company operates five complexes in Iraq, including three in Baghdad that are currently showing "The Avengers." He said he was in Cannes to buy movies, including independent films, for his theater chain. There was another reason, Jawad said: "We want people to know there is cinema inside Iraq." He said that every time he had taken a booth at an international film market, the reaction was, "Really? You have cinema in Iraq?" Outsiders often think of Iraq as a land of fear and terror, Jawad said, but Iraqis are interested in the kinds of movies on offer in the Cannes market. The only caveat: Scenes "not suitable for our society," meaning those containing sex or nudity, would be cut, he said. ("Kissing is O.K.," he noted.)	N24News: A New Dataset for Multimodal News Classification	Movies
The Steamboat Geyser, emitting a relatively small jet of steam in Yellowstone National Park in Wyoming in May. At full power, its plumes can reach heights of more than 300 feet. YELLOWSTONE NATIONAL PARK, Wyo. Late last year, Jeff Carter happened upon Steamboat Geyser, the tallest active geyser in the world, just before it erupted. "It was so much louder, and higher and stronger than anything I had seen, almost frightening," he said. "People around us were so emotional, just cheering and roaring," Mr. Carter said. "This old fellow who had it on his bucket list was so verklempt when the geyser erupted, it was neat." All but dormant for years, Steamboat is erupting fairly frequently these days and more people like Mr. Carter are getting to witness it. Like the Science Times page on Facebook. Sign up for the Science Times newsletter. While Old Faithful is a global icon of punctual eruption it usually erupts every 90 minutes or so it is the exception among geothermal features. Most of Yellowstone National Park's 1,000 or so geysers are far more irregular and unpredictable. Many geysers, like Steamboat, are quiet and then suddenly rouse. Steamboat sometimes jets water to heights of 300 to 400 feet far higher than Old Faithful's top height of 185 feet for anywhere from a few minutes to about an hour. After the jet of water in its eruption, Steamboat in Norris Geyser Basin, the park's hottest goes into a ferocious, churning steam phase that can last for two days. On a recent visit early this month, Steamboat was shooting clouds of white steam in huge volumes, sounding like a jet engine or a giant foam steamer for a latte. There were only very occasional eruptions until last March when Steamboat blasted off. It has been erupting every week or two since. It set an all time record with 32 eruptions in 2018, besting its total of 29 set in 1964. It has continued that pace of eruptions in 2019 and last erupted on Feb. 1. Ear Spring Geyser in the park's Upper Geyser Basin also recently woke . On Sept. 15, the bubbling, ear shaped spring erupted, throwing up coins, a cinder block, a baby pacifier and other objects that had been tossed into it over the decades. It was only its fourth eruption in the last 60 years. Giant Geyser in the park has also been unusually active. And new vents and fissures have formed in some of the park's geothermal areas. What has stirred these grand geysers out of their years of slumber? It's hard to say precisely. "These geysers are incredibly dynamic," said Michael Poland, a federal geophysicist who studies the massive caldera for the Yellowstone Volcano Observatory. "Over time their conduit systems expand and contract as minerals precipitate in them and close them up, and the pressure builds and ream s them out again." Add to that large annual swings in the amount of snow and rain, which changes the level of the below ground reservoirs, and a constant jiggling of the landscape. "We have an average of 1,500 locatable earthquakes every year," said Jeff Hungerford, a park geologist. "That acts as an agitator to the system and allow s some of these geysers to keep open." One thing the changes don't mean is that the magma filled supervolcano under the park is going to blow. Caldera activity is constantly monitored, and there would be years if not decades of warning signs before a major eruption would occur. The vast array of the park's geysers and other geothermal features some 10,000 mud pots, hot springs and fumaroles, the largest cluster in the world are driven by Yellowstone's location above the caldera. As water on the surface seeps below ground, it hits the magma and comes to a boil, which forces the superheated water and steam upward through a labyrinthine network of fissures, fractures and other plumbing. The Geyser Observation and Study Association, colloquially known as the geyser gazers, is a group that spends hours watching simmering geysers and recording their every sputter, pop and blast and posting the information online.	N24News: A New Dataset for Multimodal News Classification	Science
Luis Munoz, left, and Jorge Porras in front of the Squeaky Clean Car Wash in Santa Fe, N.M. The two were fired after they sent the company a list of grievances. SANTA FE, N.M. Jorge Porras used to report to his carwash job here most mornings at 8:15 a.m., but he said that his boss often did not let him clock in until 11, when customers frequently began streaming in. Many days he was paid for just six hours, he said, even though he worked nine and a half hours. One day, when the heavy chain that pulled cars forward got stuck, Mr. Porras tried to fix it, but it suddenly lurched forward and cut off the top of his right ring finger. The injury caused him to miss work for the next two weeks, he said, but he received no pay or workers' compensation for the forced time off. Mr. Porras and nine co workers became so fed up that they took an unusual step. They formed a workers committee (not a labor union) and sent a certified letter to the owner of the carwash. In it, they complained about being "insulted and humiliated" in "front of our co workers and customers" and protested being required to work off the clock and not being given goggles or gloves even though they worked with toxic chemicals. An advocacy group for immigrant workers, Somos Un Pueblo Unido, advised Squeaky Clean's workers to set up such a committee because the National Labor Relations Act enacted under President Franklin Delano Roosevelt in 1935 prohibits employers from retaliating against workers for engaging in "concerted" activity to improve their wages and conditions, even when they are not trying to unionize. In an era when the traditional labor unions envisioned by Depression era supporters of that law have weakened steadily, many advocates now see work site committees as an alternative way to strengthen workers' clout and protections. Simon Brackley, president of the Santa Fe Chamber of Commerce, said Somos had exaggerated the prevalence of wage violations and had been too quick to pounce on employers. But Somos is not backing down, and many worker groups are now copying its work site committee idea, which has been adopted at about 35 restaurants, hotels and other companies in Santa Fe. "A lot of workers don't know about labor unions, and a lot are scared of retaliation if they try to form one," said Marcela Diaz, the executive director of Somos Un Pueblo Unido (We are a United People). "So we have to find ways to protect workers when there isn't a union." Santa Fe may be a famously artsy, liberal community, Ms. Diaz said, but many businesses too readily take advantage of their immigrant employees. Luis Munoz, a co worker at the Squeaky Clean Car Wash, said their boss frequently humiliated workers, sometimes shouting, "You're good for nothing." One winter day, Mr. Munoz said, the boss complaining that cars were not being washed faster soaked him with bone chilling water from a hose. "We knew we'd have little protection if we acted alone," Mr. Porras, an immigrant from Guatemala, said in Spanish. "But we knew that if we formed a committee, we'd be protected." Ultimately, the labor board ordered Squeaky Clean to reinstate the workers and pay 6,000 in back wages. The carwash agreed separately to pay 60,000 to settle claims for minimum wage and overtime violations. The workers say that, in response to the worker committee's pressure, the carwash has improved conditions for those who complained (but not necessarily for the rest of the crew) paying them for their full eight hours and giving a one hour lunch break and one week paid vacation. Jay Ritter, Squeaky Clean's owner, did not respond to telephone messages seeking comment. These newfangled worker committees have been accumulating victories. In recent years, workers at 12 New Mexico companies have complained to the N.L.R.B. that they were fired for pushing to improve conditions. In 11 of those cases, the labor board's Phoenix office found that the firings had been unlawful and pressed for the workers' reinstatement. Elizabeth Holmes Hones Her Defense in Day 2 of Testimony Kevin Spacey was ordered to pay 31 million to the 'House of Cards' studio after sexual harassment allegations. "A lot of people thought the National Labor Relations Act could be used only during unionization campaigns," said Andrew Schrank, a labor relations specialist who recently became a professor at Brown University after teaching at the University of New Mexico. "They're finding that the National Labor Relations Act is much more expansive than many people thought." Richard F. Griffin Jr., the labor board's general counsel, said a 1962 Supreme Court case involving a spontaneous walkout because a factory was so cold makes clear that the National Labor Relations Act protects nonunion workers, too. "It's important that people understand that the law applies to all private sector workplaces and protects activity outside the context of union activity," Mr. Griffin said. Somos's success has impressed officials at many of the nation's 230 immigrant worker centers. "We're looking at taking some of these steps," said Adam Kader, director of the Arise Chicago Worker Center. "We urge workers to form committees with as many people as possible. We know three people out of 20 at a workplace is much better than one out of 20." To the relief of business, labor specialists say these committees will rarely if ever be as effective as traditional unions, which are larger and engage in collective bargaining. Somos, a 20 year old immigrants' advocacy group, originally focused on persuading New Mexico lawmakers to let immigrants without legal papers obtain driver's licenses. That effort succeeded. The group has since found a fresh calling, fighting for immigrants who face workplace problems, sometimes by staging raucous protests after workers filed claims alleging wage theft or illegal firings. "We feel that the group's tactics are over the top," said Carol Wight, chief executive of the New Mexico Restaurant Association. "I think there are nicer, more effective ways of getting what you want achieving justice for workers." She said most restaurants tried to comply with labor laws, but New Mexico has various overlapping minimum wage laws that can make compliance difficult. Luis Munoz, left, and Jorge Porras were advised by Somos Un Pueblo Unido. Mark Holm for The New York Times Glenn Spencer, executive director of the U.S. Chamber of Commerce's Workforce Freedom Initiative, voiced concern that some immigrant worker groups like Somos were fronts for unions and were being used to help rebuild the labor movement. Ms. Diaz said Somos was not fronting for unions, adding that they had shown scant interest in organizing low wage immigrant workers in New Mexico. "It's hard to form unions," acknowledged Mike Archuleta, immediate past president of the Northern New Mexico Central Labor Council. "If these workers could join a union, I would prefer that. But as far as protecting their own rights, these worker committees are the next best thing." Four hotel housekeepers at the Holiday Inn Express in Los Alamos were fired after forming a workers committee and complaining to management about harsh treatment, favoritism and unfair punishments. A federal judge ordered them reinstated with 11,375 in back pay. A receptionist at the hotel said there was no one to discuss the case. One of the first cases involved 19 janitors for the Santa Fe school system who formed a workers committee in 2008 because they were upset that a supervisor was repeatedly harassing female workers, they said. The committee contacted the cleaning contractor that employed them, Merchants Building Maintenance, and pressed it to take action. That supervisor soon retired, but the next year, the contractor refused to rehire the committee's 19 members, while rehiring almost everyone else. After extensive litigation, a labor board judge ordered that the employees be reinstated, and the janitors received 130,000 in back pay. The janitors were never rehired because the company lost its contract with the school system. Merchants Building Maintenance did not respond to inquiries. Three workers at Posa's El Merendero restaurant here said they were fired after sending a letter asking management to discuss their concerns: not being paid for attending a 5 a.m. monthly meeting, not being paid when they worked through lunch, and often not being paid time and a half for overtime. "If I were to do this on my own, they would just fire me and that would have been the end of it," said Mayte Flores, a cook who lost her job. "When we wrote the letter together, we were able to protect ourselves." The N.L.R.B. ordered the restaurant to rehire the workers. Jeff Posa, the restaurant's co owner, criticized Somos and defended his actions. "I can't say anything positive about them," he said, asserting that the group incites workers to attract members and membership fees. Somos's membership fee is 20. Mr. Posa said the fired workers had provoked heated arguments in the kitchen with co workers. "I don't want to have people that are upset making my food," he said. "That's not good for my workers or my customers." Mr. Porras, the carwash worker, said the campaign was having ripple effects across the city. "I'm helping other workers," he said. "People in Santa Fe are less willing to abuse workers because they see workers are standing up for their rights."	N24News: A New Dataset for Multimodal News Classification	Economy
Hurley's intimate, fluid debut narrates the religious unraveling of Nicole, a Zen Buddhist in present day Boston. Estranged from her Irish Catholic family, she suffers at the hands of her Zendo's Master, a mentor who dominates her both spiritually and sexually. Nicole flees to Brooklyn, but the Master's reach is long and cruel. Despite all his preaching about impermanence, this is a dude who cannot let go. The beauty of "The Devoted" lies in its intricate descriptions of religion's hush and ritual. "Sometimes meditation was like following a bouncing ball down a flight of stairs. ... It floated her down levels of thought, leading her toward something silent and immovable at the core of her." Later, in a vain attempt to please her family, Nicole attends an Easter service as the scorned Buddhist. "She could see a mosaic of human faces, all of them familiar in their still poses. Of course they wanted the same things she did ... the promise that sadness was not the inherent state of their lives, that the axle of the world turned on secret wells of joy." One breathes deeper reading these passages, in all their tender generosity but we're not allowed to linger. Hurley's quick to remind us of religion's ugliest traits, too: its intolerance, partition and patriarchy. The intense back story of "The Devoted" involving a depressed mother, the sexual abuse scandals in the Boston Archdiocese in the mid 90s and a disastrous road trip Nicole undertook as a teenager threatens to overshadow Nicole's story in the present. But Hurley balances the heavy plot points, allowing them to converse rather than overcomplicate. Ultimately this is a novel as tender and fervent as a prayer.	N24News: A New Dataset for Multimodal News Classification	Books
ABC executives were concerned enough before the ceremony that they said publicly that Oscar winners should not feel compelled to make fiery political speeches. Keeping things frothy and fun would do just fine. And the show, for the most part, stayed away from the industry's concerns over the Trump administration (a contrast from a politics heavy Golden Globes and Emmys), though it did emphasize the MeToo and Time's Up movements. Television executives often point to a lackluster slate of performers or movies as a reason for disastrous ratings. But with 57.4 million in ticket sales, "The Shape of Water" was the biggest best picture winner in five years since "Argo" won best picture in 2013. Ratings for live award shows have plummeted in the last six months. The Grammys saw a quarter of its audience plunge in January, and the Screen Actors Guild Awards similarly saw a 30 percent drop. This is true of almost all live events: Ratings for both the Super Bowl and the Olympics this year also saw considerable declines.	N24News: A New Dataset for Multimodal News Classification	Media
In the basement of Hill Country, a barbecue joint in the Flatiron district in Manhattan, Lester Holt, the NBC News anchor, struggled to recall the name of a musician popular in his youth. His face crumpled into a frown of concentration as he sang to himself: "Day o, a day o." He shook his head softly and said, "I've totally run a blank here." Mr. Holt tried again: "Tally man, tally me banana." He failed again. "I can't think of his name," he added, before returning to the chorus, "Day o, day o." Suddenly his features relaxed as the name came to him. "Harry Belafonte," he said, and took another stab at his mac 'n' cheese. It was late afternoon on the last Sunday in June, and all of New York City was consumed by Pride celebrations. Outside, the streets were jammed with overheated cops and underdressed revelers. Mr. Holt had just returned from helping anchor the first Democratic presidential debate in Miami and was at Hill Country to play a free gig with his band the Rough Cuts, so called because most of the musicians work day jobs as video editors on "Dateline NBC." "We're all co workers but at this moment we're not news people, we're just doing this thing," Mr. Holt said. The "thing" was a rock combo specializing in covers of crowd pleasers like "Sweet Emotion," by Aerosmith, and "So Lonely," by the Police. "A lot of these songs we do, I'd never heard of," Mr. Holt said. He nodded toward the rest of the band. "The joke is that they've helped me discover my inner rocker." It turns out that newsmen who moonlight as rockers constitute a whole category. On the eve of the White House Correspondents Dinner last April, Chuck Leavell, the keyboardist for the Rolling Stones, took turns jamming with bands fronted variously by Steve Liesman, the CNBC senior economics reporter; Michael Siconolfi, a Wall Street Journal senior editor; and Tom Toles, a cartoonist for The Washington Post. As he nursed his beer, Mr. Holt shared an Instagram feed for his dog, a labradoodle called Lucy with 10,000 followers, and compared notes on toilet training with the NBC publicist. She, too, owned a labradoodle with an Instagram account, but with only 122 followers. How many followers did Mr. Holt himself have? "I don't know, I have to find out," he said. It turned out to be 155,000. He shrugged. "I don't think that's a lot," he said. The lights dimmed, and a waitress made her away around the room placing votive holders on the tables. They were red and sparkly, like Judy Garland's shoes in "The Wizard of Oz.' For the hourlong set, Mr. Holt, who plays bass guitar, had swapped out his familiar suit for Converse sneakers and black jeans rolled up a sporting inch or two above his ankles. His T shirt read, "As Seen on TV." It was the band's fourth or fifth outing at Hill Country, and a sizable portion of the audience appeared to be employees of NBC. But not all. Skei Saulnier, who described herself as "legit Cherokee," had brought her daughters Ella, 11, and Leai, 10, from Virginia. "I've been watching NBC's 'Nightly News' since I was 5 or 6," she said. "In my home, the anchors were celebrities." At 7:30 p.m. Mr. Holt led the band on to the stage. "Happy Pride Day!" he said, and dove into the opening number, "Valerie,'" a song made famous by Amy Winehouse. At the microphone, Irene Trullinger, an editor on "Dateline," belted out the lyrics with a Stevie Nicks meets Beth Ditto brio. Mr. Holt's stage style owes something to his TV style: low key and unassuming, even during a rendition of "Psycho Killer," by Talking Heads, a song about the contents of a killer's mind. When David Byrne performed it in London last year, he "flung himself around to the beat as if being shot," according to a reviewer for The Guardian. Mr. Holt took a less theatrical approach. Occasionally he tapped his left foot to the beat. After the show wrapped, Mr. Holt's wife, Carol Hagen, explained how she had persuaded him to include "Psycho Killer": "He said, 'Absolutely not, we're not doing that artsy fartsy music, I will not do Talking Heads.' It took a few months." Mr. Holt, she added, was more of a jazz and Motown guy. "I grew up in Seattle," she said. "I'm the rocker." He is also a lifelong musician who caught a concert by Carmen McRae as a teenager and was instantly hooked. It has been 45 years since Mr. Holt saved enough money from a job delivering newspapers in Sacramento, where he grew up, to buy his first guitar, a knockoff Fender Jazz that cost 60 in a pawnshop. Today the guitar sits in his office at 30 Rock, a symbol of where he started, and the distance traveled. Since joining NBC News in 2000, he has covered the Arab Spring, the Fukushima nuclear disaster and nine Olympic Games. In 2017, he secured an interview with President Trump, in which the president acknowledged that the Mueller investigation had influenced his decision to fire the F.B.I. director James Comey. "I'm at the top of my profession," Mr. Holt said. "There's nowhere else to go, but I don't want this to define who I am. If this job ever went away, I'm still me, I still have so much more to give, and doing this music thing is a symbol of that."	N24News: A New Dataset for Multimodal News Classification	Style
Want more basketball in your inbox? Sign up for Marc Stein's weekly N.B.A. newsletter here. People laughed at the story about Jimmy Butler getting a visit from hotel security because he was dribbling a basketball too loudly in his room. They laughed at the idea of Butler peddling 20 cups of his branded coffee to his Miami Heat teammates. They laughed at how unruly his mustache got as he steadfastly refused to see a barber. So much about Butler's stay inside the N.B.A. bubble at Walt Disney World in Florida was a source of humor. For the first time in Butler's career, people were readily laughing along with him, because he was more effective and consistent than ever with the serious stuff. With the longest season in league history finally complete, it is no joke to assert that no player in the bubble enhanced his reputation as much as Butler did. Miami lost the N.B.A. finals to LeBron James and the Los Angeles Lakers in six games, but Butler playing for much of the series without the injured Bam Adebayo and Goran Dragic alongside him won the bubble as much as any individual could. Will it last? Will the success and adulation change him? Or did we actually have it wrong about him all along? These are the sorts of questions Butler, 31, inspires now after a post 30, Steve Nash ian breakthrough to elite status in his ninth season. "Believe me when I tell you that I do not care what people say about me," Butler said. "I truly don't care." That was his message to me after Miami's first round sweep of the Indiana Pacers, when Butler's forceful play turned what was supposed to be a heated showdown against the Pacers' T.J. Warren into a nonevent. My best read is that most people outside (and even inside) N.B.A. circles refuse to believe Butler when he says that, but he had me convinced after an afternoon visit in late August. The esteem Butler holds among his peers which was high long before the bubble is such that he needn't worry much about how basketball pundits rate him. I saw it firsthand over the course of an hourlong sit down with Butler in my favorite bubble hallway adjacent to three of the seven practice courts that sprouted on the N.B.A. campus. The hallway with the garish orange carpet at the Coronado Springs convention center was the only place in the bubble where reporters could expect to have unsupervised chance interactions with players, coaches and other team personnel. It was also a main thoroughfare to the meal rooms for the league's top teams, who were all staying at Disney's Gran Destino tower. While I talked with Butler, Milwaukee's Wes Matthews stopped by to reminisce with him about their days at Marquette. Pat Connaughton, Matthews' Bucks teammate, tried in vain to arrange a discount from Butler's Big Face Coffee venture, even though Milwaukee and Miami would soon begin a second round playoff series. Boston Celtics Coach Brad Stevens made sure that Butler heard him say hello. After a number of Lakers players enthusiastically greeted Butler, Rajon Rondo lingered to rehash how dangerous they were together in Chicago in the 2017 playoffs. Rondo, Butler and the No. 8 Bulls took a surprising 2 0 series lead over the top seeded Celtics that year by winning the first two games in Boston and let's just say they both strongly believe that the Celtics would have never rallied if Rondo hadn't fractured his right thumb in Game 2. Combine all that with the unmitigated manner in which Miami has embraced Butler, abrasive as he can sometimes be, and I'm not sure he needs the public's validation. "I'm so comfortable with being myself more than I've ever been," Butler said before the finals. "Not saying I've ever not wanted to be myself, but now I know 'myself' is the right way." "He's such a likable guy," Heat Coach Erik Spoelstra said. "He won't want anybody to know that, I guess. He's totally cool with the young guys growing he's not territorial about it at all. He's just about winning. He understands that he needs guys with him. All the big winners get that." Nothing, of course, speaks louder than the two way brilliance Butler delivered against the Lakers and James after leading the Heat to the title round. Butler has also been criticized because he doesn't always play with the offensive aggression of a top 10 player, often preferring a more measured team game, but he found a new gear when Miami needed it most and became the first player in league history to record two triple doubles in his first trip to the finals. Butler averaged a heady 29.0 points, 10.2 assists, 8.6 rebounds and 2.6 steals through the first five games before he wearily produced 12 points, 8 assists and 7 rebounds in the Game 6 finale. That Butler faded at the finish was understandable. He guarded James for nearly 43 minutes for the series; next in line were Adebayo and Andre Iguodala at eight plus minutes each. Twice on the league's brightest stage, with James and Anthony Davis nearby, Butler was the best player on the floor. He also captained the team that, along with the Lakers, bonded the best in the bubble's demanding conditions. It would appear that Kawhi Leonard was on to something (I previously reported that he tried to persuade Butler to join him with the Los Angeles Clippers before the Clippers' pursuit of Paul George) and so were the Houston Rockets (they offered Minnesota four first round picks to try to trade for Butler in October 2018). Further clues about Butler's stature were available some of us just didn't look in the right places. In September 2018, not long before he forced his way out of Minnesota via trade and stoked all the leaguewide chatter about how problematic he was, Butler received the key to the city in Tyler, Texas. The former Heisman Trophy winner and Pro Football Hall of Famer Earl Campbell was born in Tyler and played high school football there; Butler developed into a top college basketball prospect after one season at Tyler Junior College under Coach Mike Marquis. "Even Earl Campbell doesn't have a key to the city," Marquis said. Stein: One ring, I'm afraid, isn't enough to be considered a top four Laker. I think even James would agree. The Lakers' first championship since 2010 is undeniably significant, given that James is only in his second season in Los Angeles and because the five years that preceded his arrival in Hollywood were the worst in franchise history. It is also a massive boost to LeBron's personal legacy to win N.B.A. finals Most Valuable Player Award honors with a third franchise something no other player has done. This ring and that distinction, combined with James's unmatched longevity as an elite force in this league, would nudge him to his own new level. James may never usurp Michael Jordan in the greatest of all time debate. Yet I think we can safely declare, after what we've seen from LeBron in his 17th season and at age 35, that we have reached the point where it is difficult to consider anyone besides Jordan or James in the argument. Choosing the four greatest Lakers, though, is a completely different conversation. The competition is so fierce that the likes of Shaquille O'Neal, Wilt Chamberlain and Elgin Baylor can't crack it, either. Jerry West, Kareem Abdul Jabbar, Magic Johnson and Kobe Bryant in whatever order you want to put them form the fabulous foursome that won't be easily supplanted. Not even by James. Q: Has anyone published an up to date listing of total career points in the N.B.A. regular season games plus playoffs? David Pugh (Toledo, Ohio) Stein: We can easily do it, but it's not a stat that comes up often, presumably because old school sticklers like me tend to insist on keeping regular season and playoff numbers separate. With 40 points in Game 5, LeBron James indeed moved into second place in this combined category at 41,704, passing Karl Malone's 41,689. With 28 more points as part of James's Game 6 triple double, he moved to 41,732. This was just the 10th season out of 37, since the N.B.A.'s 16 team playoff format was introduced in 1983 84, that home teams won less than 60 percent of their playoff games. But that figure was well above .500 in each of the previous nine seasons it happened: .548 was the previous low for home teams, in 1988 89 and again in 1994 95. Jimmy Butler's three teams before Miami Chicago, Minnesota and Philadelphia have combined to win zero playoff games since Butler left, and only the Sixers have made the playoffs. Philadelphia was swept by Boston in this season's opening round after making it to the second round last season, where they almost defeated the eventual champion, Toronto. Joe Tsai, the Nets' owner and the executive vice chairman of the Chinese e commerce giant Alibaba, donated 25 million yuan (roughly 3.7 million) in Covid 19 relief funds to China in February. The Nets announced the donation at the time on the Chinese social media platform Weibo. China's state television broadcaster, China Central Television, cited unspecified financial assistance from the N.B.A. in the country's fight against the coronavirus for its decision on Friday to lift a yearlong ban on televising N.B.A. games. Alvin Gentry, who last week joined the Sacramento Kings as associate head coach, has been an N.B.A. head coach with five teams. That includes his last stop in New Orleans and previous stints with Miami, Detroit, the Los Angeles Clippers and Phoenix. Hit me up anytime on Twitter ( TheSteinLine) or Facebook ( MarcSteinNBA) or Instagram ( thesteinline). Send any other feedback to marcstein newsletter nytimes.com.	N24News: A New Dataset for Multimodal News Classification	Sports
, a modern dancer celebrated since the 1940s for the lyricism and drama in her choreography but even better known as a teacher of some of American dance's leading performers and choreographers, died on Saturday at her home in Manhattan. She was 97. A highly nurturing mentor, Ms. Anthony encouraged her students to choreograph and above all, she said, to "find their physical, spiritual and emotional center." Among her students were Donald McKayle, the modern dance choreographer, and Arthur Mitchell, the New York City Ballet star and co founder of Dance Theater of Harlem. The human condition was her concern and her choreography for the Dance Theater, founded in 1956, often drew from familiar literary sources. She cast herself in an emotionally intense solo in the title role of her "Lady Macbeth." Her most acclaimed work was "Threnody," inspired by John Millington Synge's play, "Riders to the Sea." Last November, she attended a tribute in her honor in New York at the 92nd Street Y, and excerpts from her work were performed by younger dancers. In "Threnody," the grief of a mother whose sons die at sea was expressed with power in Ms. Anthony's universalized study of loss.	N24News: A New Dataset for Multimodal News Classification	Dance
Since Hawaii welcomed tourists back in mid October, allowing them to skip its 14 day quarantine as long as they had a negative coronavirus test, more than 100,000 people have rushed to the islands from mainland states, exciting state officials, some hoteliers, airlines and local business owners, who for seven months have watched the state's economy grind to a halt. Instead of the quarantine, the islands began accepting a preflight coronavirus test for entry under a program it is calling Safe Travels. The state is only accepting what are known as nucleic acid amplification tests processed by specially certified laboratories, and test results from certain trusted testing and travel partners, including some airlines. Those who test negative within 72 hours of departure are exempt from quarantine upon arrival. Those who didn't take a test before flying have to quarantine for 14 days, and those who arrive with a pending test must quarantine until they receive negative results. People who test positive are required to immediately take a PCR test, which detects the virus's genetic material, and quarantine in their hotel room or other vacation lodging. "Hawaii is at the vanguard of what travel will look like for the next year or so as we reopen," said Avi Mannis, senior vice president of marketing at Hawaiian Airlines, one of a handful of airlines that began offering pre travel Covid 19 tests in October. Hawaiian, through Worksite Labs, is offering state approved tests to passengers at drive through labs near Los Angeles International and San Francisco International airports for 90 for results within 36 hours, or 150 for day of travel express service. Passengers take PCR tests within 72 hours of traveling, upload their results to the Hawaii Safe Travel app before departing and show their results to state authorities in Hawaii upon landing. But the airline doesn't check passengers' test results before they board. "Your test results are between you, your health care provider and the state of Hawaii," Mr. Mannis said. The surge of arrivals 8,000 of them on the first day pretesting was available presented an opportunity to test out new protocols for travelers that could help determine how to reopen travel internationally. If Hawaii's reopening goes well, the belief is that preflight testing could become widespread. And on the islands, if hotels can figure out how to deal with growing occupancy, the same thing could be done worldwide. But what travel industry actors view as an opportunity to reopen safely and pave a way forward, many locals and residents view as putting them in harm's way with untested protocols and allowing people who might have the coronavirus onto the islands. "It feels like at every point that tourism gets prioritized," said Landon Tom, a bartender and waiter in Waikiki. "It feels, whether intentionally or not, like we are the guinea pigs for tourism. Like our leaders and the airlines are saying 'Can we safely reopen tourism or not? Well, let's see if Hawaii survives. If it does, let's keep going. If it doesn't, probably a lot of Pacific Islanders have gotten sick and suffered.'" Mr. Tom said that on a recent hike near his home, he saw several groups of tourists heading to popular Koko Head without masks on, making him nervous that if any of them had the coronavirus they could pass it on to locals. "Tourism is terrorism to me right now," he said. "I'd ask tourists to stay home for now, if they can. You could test negative, but get the virus afterward or you could have it and not realize. Why not skip this vacation for now?" The drop in tourism has been devastating to the state, where almost a quarter of the economy is related to the industry. There has been a spike in homelessness and people at risk of becoming homeless; the number of people who could potentially lose their health care benefits is up and reports of domestic violence are up significantly, said Josh Green, the state's lieutenant governor. Had the islands kept the quarantine mandate longer, those numbers, as well as the number of people calling hotlines with plans of self harm, would have skyrocketed, he added. Who should get a booster shot? It depends, Dr. Scott Gottlieb says. "We are all at risk whether we live here in Hawaii or on the mainland and we can't stay isolated forever, we won't survive," he said. "There are people who want to ride this out until a vaccine comes, but it's hard to make that policy when we know that homelessness will surge, kids won't get vaccines and so on. Saying 'don't come under any circumstances' is not realistic." Lieutenant Governor Green said that although there have been some hiccups during the reopening process, including people taking tests that are not approved by the state or refusing to get tested at all, the vast majority of visitors have been getting tests and testing negative. The state is conducting voluntary follow up testing four days after people arrive as part of its surveillance testing program. So far. data shows that few travelers have tested positive for Covid 19 after arrival in Hawaii. "We shouldn't be afraid of the pandemic, we should attack it with good policy and be the safest place," Lieutenant Governor Green said. "I'm looking forward to the vaccination, but the virus is here for a while." Hawaii is part of a growing effort to boost traveler confidence by making testing a regular part of travel, the way new security procedures became routine after 9/11. This month, United Airlines will begin offering free rapid molecular Abbott ID Now Covid 19 coronavirus tests to travelers on select flights from Newark Liberty International in New Jersey to London's Heathrow Airport. "A lot of the set up that we put in place to be able to execute the Newark to Heathrow test flight that will run from November to December has been largely based on our experience in setting up testing centers in San Francisco into the state of Hawaii," said Aaron McMillan, United's managing director of operations policy and support. "We're really bullish on this whole process." Mr. McMillan added that he believes that "in some markets, especially for international travel, until a vaccine is more widely available, testing will become part of the norm." For Jonathan McManus, the owner of Hotel Wailea Relais Chateaux in Maui, testing presents a way to reopen safely after months of carrying an empty property. He says it will let him keep employees in jobs. "What the data suggests so far is that here in Hawaii, testing has been the key to safely reopening," he said. "We now understand the data and the importance of testing. Testing provides a high level of protection for visitors, staff and residents." The hotel used to have an in person welcoming process that included staff members putting leis on guests as they arrived and checking them in with a cocktail in hand. Now, a key is waiting for guests when they arrive, and capacity is capped at 60 percent. Each of the hotel's 72 suites has its own heating, ventilation and air conditioning system. Gary Moore, managing director at Timbers Kauai at Hokuala, said that the reopening has been "anything but clear," but what is clear is: "We have to find a way to live with the disease." Mr. Moore said that despite various challenges, the lessons learned at his property about distancing people, mask enforcement, temperature checking and even separating guests and putting them in "bubbles," could be applied at other resorts. "The resort bubble would let guests leave their rooms and enjoy on site amenities while completing the mandatory quarantine while wearing GPS monitored bracelets," he said, noting that should Hawaii reinstate the mandatory quarantine for all travelers, these bubbles would make it possible for the resort to remain operational for inter island travel and for locals. The staff at Timbers is made up of locals and their safety is essential, Mr. Moore said. "Our employees go home, many have large families and they are with parents and grandparents and children, and keeping them safe is essential to everyone's well being," he said. In October, images of the Honolulu mayor, Kirk Caldwell, handing out masks to tourists along Waikiki's Kuhio Beach made rounds in group texts, on Facebook groups and on Twitter and were criticized by Oahu residents for being hypocritical and unfair. Nearly 50,000 locals had been cited for being on the beach, but tourists were being encouraged to visit it. Mr. Caldwell did not respond to requests for comment. "They are criminalizing locals and then pandering to tourists," said Kawena ulaokala Kapahua, who recently graduated from the Chaminade University of Honolulu and lives in Kaneohe in Oahu. "Just yesterday someone who had taken a pre travel test found out that their test was positive. But they had already brought coronavirus into the community. We are being put at risk by travelers." Mr. Kapahua organized a protest in the spring asking the government to force tourists to leave the island. And on other islands, like Kauai, residents said that it's too soon to welcome tourists back, and information about reopening isn't being communicated clearly, causing more anxiety for them. "I talk to people in our community everyday and they all tell the same story," said Justin Kollar, Kauai County's prosecuting attorney. "They feel like we've done such a great job here on Kauai keeping the pandemic at bay and the state is running over that with a reopening process that is not well thought out and not well organized and it'll open the floodgates to this virus." Mr. Kollar noted that the sentiment that tourists are more important than locals is one felt by many of his constituents. "There's a sense that locals haven't celebrated, haven't seen family and have been asked to keep doing that so tourists can come play on our beaches," he said.	N24News: A New Dataset for Multimodal News Classification	Travel
When a musical as loud and boisterous as "Oscar at the Crown" argues that there's a direct though not so straight line from Oscar Wilde to "The Real Housewives of Orange County" to postapocalyptic America, you may find yourself nodding in agreement. There is, after all, such a thing as being pummeled into submission. The hammering is literal during much of the 90 minute show, because Andrew Barret Cox's score relies heavily on the four on the floor thump familiar to dance music fans. Add Chipmunks meet Aqua processed vocals and the treacherous acoustics of the high ceilinged Bushwick venue 3 Dollar Bill, and it's easy to see why the party inducing beat takes such precedence in this immersive production from the Neon Coven collective. It's nearly impossible to figure out any of the song lyrics a perverse state of affairs for a show purportedly about one of the world's most famous wits. The basic setup, devised by Mark Mauriello , is that a gang of gender queer outcasts has holed up at the Crown, an off the grid nightclub, in order to escape some dystopian bad stuff happening outside. To entertain themselves, they put on pageants about Oscar Wilde, who is portrayed by Oscar, the commune's leader (Mr. Mauriello, coming across as Frank N Furter of "The Rocky Horror Picture Show" transplanted to an early 1990s Madonna video).	N24News: A New Dataset for Multimodal News Classification	Theater
The enigmatic artist's "Girl With Balloon" sold for 1.4 million before being shredded by a rigged frame at Sotheby's auction house in London on Friday. Everybody's talking about it. How did the world's most famous street artist manage to shred or rather half shred one of his iconic "Girl With Balloon" paintings moments after it had sold for 1.4 million at auction? Acoris Andipa, an art dealer specializing in Banksy, based in the Knightsbridge district of London, is among the many people asking that question after Friday's sensational goings on at Sotheby's. "It was spectacularly staged," said Mr. Andipa. "What isn't clear is whether Sotheby's was in on it." The identities of the buyer and underbidder, both of whom were bidding anonymously by telephone, remain undisclosed. Sotheby's said in an emailed statement on Sunday that the successful buyer was "a private client, who was as surprised as we were, and with whom we're still in discussions." The auction house added: "We had no prior knowledge of this event and were not in any way involved." The ever elusive, ever inventive Banksy has once again made a fool of the art world, and captivated millions. But has the joke itself slightly self destructed? Banksy's remotely shredded "Girl With Balloon" was meant to poke fun at the excesses of the auction market. Yet thanks to the huge amount of publicity generated by this ingenious prank, his prices look set to soar even higher. Read about the scene at Friday's auction: "We've been Banksy ed" "It was a brilliant PR stunt," said Offer Waterman, a dealer in 20th century British art, who attended Sotheby's Friday night contemporary art auction but left before the sale of the Banksy. "It's going to elevate his prices." Mr. Waterman is among those who think the Banksy sold at Sotheby's has increased in value post shredding. "It's become worth more as a conceptual moment than as a work of art itself," said Mr. Waterman, who believes that Sotheby's had no knowledge of the stunt. "They didn't know. There was no reason for them to know." Yet Mr. Andipa, who has sold about 15 other painted versions of Banksy's "Girl With Balloon," said he observed several oddities about the painting's sale that made him wonder whether Sotheby's had an inkling. (The dealer said that at least two of his clients had intended to bid on the painting, but he does not know if one became the buyer or underbidder.) Mr. Andipa said that he viewed the painting at the pre auction exhibition and pointed out to Sotheby's staff members what he termed the "disproportionate" thickness of the frame (concealing the shredding device). How did the auction house respond to that observation? "They didn't say anything at all," said Mr. Andipa. "Conversations were as usual." "The people I spoke to didn't give any evidence of knowing something," he added. "If the upper management knew, I can't speculate." Mr. Andipa was also perplexed by the fact that this valuable painting, which he had never seen before, was tucked away on a wall near the back entrance of Sotheby's during the pre auction view. "It was next to the catering," said Mr. Andipa. "Access was challenging." During the auction itself, the painting was hung next to the Sotheby's staff members who take telephone bids, a favored subject for auction house publicity shots. In addition, Mr. Andipa was surprised as were many others by a 1.4 million Banksy being the 67th and last lot of the auction. By that point, many in the audience would have left the salesroom for dinner. "The running order of the sale was odd," Mr. Andipa said. Back in 2004, a stenciled image of a young girl releasing a red heart shaped balloon appeared on a wall on London's South Bank. It has become one of Banksy's most celebrated and coveted creations, the stencil being repeated in an edition of 150 prints and 25 numbered paintings, as well as an unknown number of unique spray paintings in different sizes with variations, of which Sotheby's 1.4 million painting was one. That 40 inch high example, "acquired directly from the artist by the present owner in 2006," according to the Sotheby's catalog, set a new auction high for a work solely created by Banksy. One of the smaller, 20 inch high edition paintings of "Girl With Balloon" sold in March for 344,750 pounds, or about 480,000, at Bonhams in London, according to the Artnet Price Database. Mr. Andipa said that back in 2006 he was selling these smaller edition paintings for PS30,000, or about 55,000 at the time. There was also something strange about the video Banksy posted on Saturday on his Instagram page. Drawing 6.3 million views by Sunday morning, the video purported to show the artist secretly building a shredder into the painting "a few years ago." If that were the case, wouldn't the battery in the shredder have had to have been replaced at some point? This, in turn, poses the question: Was Banksy himself the owner who entered this stenciled painting, which may or may not have been made and framed "years ago," into the sale? Sotheby's, like all international auction houses, does not reveal the identity of its sellers, unless specifically requested. And what about the identity of the man in the salesroom who remotely activated the shredding device? Could he have been the elusive "graffiti guerrilla" himself? In 2008, the British newspaper The Mail on Sunday identified Banksy as Robin Gunningham, a former private schoolboy from the Bristol area of western England. On Saturday, the Daily Mail noted the similarity between the person identified as Mr. Gunningham 10 years ago and a man taking a cell phone video in the Sotheby's salesroom on Friday. Another man, who was seen activating a remote control mechanism, was pictured in a post on the private Instagram page of Caroline Lang, chairwoman of Sotheby's Switzerland. He, too, was identified as Banksy, by Ms. Lang.	N24News: A New Dataset for Multimodal News Classification	Art & Design
Credit...Justin T. Gellerson for The New York Times WASHINGTON On a recent tour of the Anthem, his 60 million concert hall under construction, Seth Hurwitz excitedly pointed out the room's features as they took shape. A movable stage. Angled balconies. An outside terrace with a striking waterfront vista. "This was designed for people to go and have the best time they can possibly have," Mr. Hurwitz said, "and for the performers to enjoy playing here more than anywhere else." For Mr. Hurwitz, long this city's leading concert promoter, it was a characteristic remark: confident and aggressive, and a defiant survival strategy for one of the last major independent operators in a heavily consolidated business. The Anthem, which can hold up to 6,000 people, is set to open on Oct. 12 with a Foo Fighters concert. Part of a 2.5 billion waterfront development called the Wharf, the concert hall is the most ambitious addition to the portfolio of Mr. Hurwitz and his company, I.M.P., joining the Lincoln Theater and the renowned 9:30 Club here and the Merriweather Post Pavilion in Columbia, Md. In a move that can squeeze out independents like I.M.P., these companies often sign top artists to national touring contracts. The annual lineup at Merriweather, Mr. Hurwitz said, consists mostly of artists not tied to such deals; this summer, for example, OneRepublic, Chris Stapleton, Lauryn Hill and Nas were all on tours produced by Live Nation and booked at Jiffy Lube Live, Merriweather's rival amphitheater in Bristow, Va. (Still, Merriweather didn't do too badly, with a lineup that included Dave Matthews, Paul Simon, the XX and the Vans Warped Tour.) To compete, Mr. Hurwitz said, he must operate the best venues and cultivate artists' loyalty by pampering them once they arrive. That may be the mantra of every promoter. But Mr. Hurwitz, who is 58 and started booking concerts as a teenager, has developed a reputation for catering to artists' needs on the road and employing some clever branding along the way. (The 9:30's signature cupcakes inevitably end up on artists' Instagram feeds.) "We have to win the hearts and minds of performers," Mr. Hurwitz said. "I have no choice but to be different. That's my only chance at survival." Merriweather, which opened 50 years ago with a design by Frank Gehry, is one example of this strategy. I.M.P. began putting on concerts there in 2004, after a community effort saved the amphitheater from being shut down. It is now in the midst of a 55 million renovation that has vastly expanded the backstage area, adding amenities like two swimming pools and massage cabanas for artists and their entourages. "We can play dives and have a great show," said Britt Daniel of the band Spoon, which passed through Merriweather last month and has had a long history with I.M.P. "But it's nice to go somewhere where someone has put some thought into the band's experience. That makes a difference." Compared with most large venues around the country, Merriweather also has a minimum of corporate brands on display. Aside from some beer logos by the bars and a few tiny Geico geckos peering out from the trees, almost no corporate signs are visible, and Mr. Hurwitz said he had turned down big offers for naming rights on the theater. "I just don't want to remind people that we're here to take their money," he said. "I mean, we are, but we don't need to remind them of that." Jeff Bezos gives 100 million to the Obama Foundation. Stocks rise after President Biden says Jerome Powell will stay atop the Fed. The renovations to Merriweather, which is owned by the Downtown Columbia Arts and Culture Commission, a nonprofit organization, are being financed by government grants in Maryland and a 16 million loan by I.M.P. Late last year the company renewed its deal to operate Merriweather for 40 more years. The Anthem, Mr. Hurwitz's new venue, does not have any swimming pools. But it does have enough room to accommodate arena size productions, and balconies that are wedged toward the stage to offer the best views. The goal was to make a 57,000 square foot room far bigger than most clubs, but with most fans standing on the floor still feel small, said David Rockwell, the hall's design architect. "One of the things that Seth really drilled down on was creating a sense of intimacy little communities inside the venue," said Mr. Rockwell, best known as an architect and theater set designer. "There are seven bars around the space, and the angled balconies create a series of rooms within a room." As a promoter, Mr. Hurwitz is one of the standout characters of the business, known for being a pugnacious negotiator, a skilled talent spotter and an oddball comedian who names food items after employees and even talent agents he has sparred with. "He is a throwback to the generation before him, the guys who created this business the Ron Delseners, the Bill Grahams, the Larry Magids," said Jim Glancy of the Bowery Presents. "I've come to accept the idea that when an act gets to a certain level, they become a brand name, and they're gone," he said. "I don't think it's right." But later, Mr. Hurwitz followed up with an email saying that while he continues to disapprove of that merger, he focuses instead on booking bands for his own venues. And with that he excused himself to get to work. "I got shows to work on," he wrote.	N24News: A New Dataset for Multimodal News Classification	Media
I've watched "Fleabag" Season 2 so many times now that it's getting obsessive. Any recommendations to fill the "Fleabag" size hole in my life? Ideally something funny, smart and just the right amount of sad. Katie I'm in the minority here for also loving Phoebe Waller Bridge's other comedy, "Crashing" (available on Netflix, not to be confused with the HBO show of the same name). It's less intense and less poetic, but it's more raw, chaotic and sitcom y. Into it! If you want something more youthful, try "My Mad Fat Diary," a British coming of age show set in the '90s (on Hulu). Think "My So Called Life," but with more trauma balanced with humor, fear not self loathing and sex talk. A little more mature than that is "Please Like Me," a gentle Australian comedy that isn't as searing as "Fleabag" but has some of that "Oh, hm, parents can let you down" energy and some of the "Oh, hm, people are trying" realizations. It's much warmer and happier, but it's as curious about human frailty. (That's on Hulu, too.) I have noticed that I have a psychological block around watching the final episode of a TV show. I have one episode left of multiple shows that I really love, and I want to watch the finales, but I can never bring myself to do it. Is this a thing? Does it mean something about me? How can I watch the last episode of "The L Word"? Ariel I don't know if this is a thing, but I've done it too. I've never watched the series finale of "Pushing Daisies," one of my true love favorites. If I've never seen the last episode, then the show is not truly over for me; it's like a little denial relic, consecrating a stupid but tender section of my heart. I'm saving it, and when the day comes that I really need it, I'll know. Here's what it means about you: It means you have vivid emotional reactions to art and entertainment, and that's something to treasure about yourself, not something to change. The only danger here is being spoiled, but at this point I don't think it's a major concern, partially because "The L Word" isn't really plot oriented and also because it's kind of a terrible finale. There's an "L Word" sequel coming out this fall; turn your heart and energy toward the new. If you ever need this finale, it'll be there. Anything like "Chernobyl"? Dark, consequential, dramatic. (Sci fi is O.K. as long as it has internal logic.) Richard If you want another substantive, devastating mini series, start with "When They See Us" (on Netflix), a four part scripted drama based on the wrongful convictions of the so called Central Park Five. "Consequential" is a great way to describe it. If you want to stay Soviet adjacent, "The Americans," about two Russian spies posing as a married American couple, is about as dark and dramatic as TV comes these days. (All six seasons are on Amazon.) Its vicious precision is particularly rewarding for fans of internal logic, so if you like carefully constructed shows with long memories, you will love this. Finally, if you want people with British accents who are suffering under strange and brutal systems, try "Criminal Justice" (available on Hulu), which has two unrelated five episode seasons. Sad and bleak! The American remake, "The Night Of," was not as good, and the stories are significantly different, so even if you didn't love that you might still be into this. Is "The Handmaid's Tale" worth it? All the slow motion and girl glowering and pseudo slavery. It's hard to take. Tatsha My wife and I have been sticking with "The Handmaid's Tale" lo these many months. The profundity, the acting, and the direction all unassailable, I think. But it's so freaking grim! Even "King Lear" has some comic relief. So here's my question: Can the loyal watcher expect some leavening ? Ron The grimness does not abate at all, and the show's entire sense of humor is now "ironic music choices" a construct that is dated at best. Get show divorced ASAP. I dragged myself through this season in the hopes of something changing, but there's nothing here anymore. Nothing about Gilead makes any sense. If it's such a brutal regime, how is June still alive? (If it's set on planet earth, how is Aunt Lydia still alive?) Just from a masonry perspective, how was the Washington Monument turned into a cross, and how did that happen in, what, two years? I liked the first half of Season 1, but this is a show that has completely lost its way. What are some of the non mainstream streaming subscriptions that you like and subscribe to? Monroe This will completely depend on what you're into. If you are a PBS obsessive, you might get a lot out of Thirteen Passport ( 5 per month), which has tons of NOVA episodes and "Antiques Roadshow" and "American Masters," and more obscure shows like "Colonial House" and "Frontier House," which are like historical re enactment meeting reality TV. Fans of European TV shows will probably like Acorn ( 5.99 per month) and MHz Choice ( 7.99 per month), especially if they like crime dramas. If you love anime, then you probably only care about Crunchyroll (some free shows, or 7.99 per month for premium). Are any of those worth it? Your budget, your business. If you only want free options, there are tons of those, too. If you like teen shows, CW Seed has a solid selection. If you don't mind terrible UI and getting only a few seasons at a time, Sony Crackle has classics such as "Barney Miller," '90s faves like "Parker Lewis Can't Lose," and forgotten 2000s shows such as "Huff" in its library. Speaking of libraries, depending on your public library, you might have access to a few different streaming options. Avail yourself of this, if at all possible. Are you looking for your next great TV love? (Or reckoning with your latest show divorce?) Send in your questions to watching nytimes.com. Questions are edited for length and clarity.	N24News: A New Dataset for Multimodal News Classification	Television
A tense and creepy journey into the heart of Manifest Destiny's darkness, the opera "Proving Up" instructs us, teeth clenched, that the American dream eludes even especially those who give everything to gain it. Composed by Missy Mazzoli, with a libretto by Royce Vavrek, the brooding work had its New York premiere on Wednesday at the Miller Theater at Columbia University. While it's well worth hearing, there's just one more performance, on Friday evening, and it's nearly sold out. But this is hardly the last we'll be hearing from Ms. Mazzoli. Recently, the Metropolitan Opera announced that she and Jeanine Tesori would be the first female composers it would commission. (It's about time.) For Ms. Mazzoli, that means two new operas: a mainstage spectacle, likely based on the George Saunders novel "Lincoln in the Bardo," and a chamber piece to be performed at the Brooklyn Academy of Music. "Proving Up" is on a chamber scale: a running time of less than 90 minutes, an orchestra of about a dozen, seven people onstage, no chorus. It turns that intimacy into grim claustrophobia. Based on a Karen Russell story that in turn owes a debt to the apocalyptic Westerns of Cormac McCarthy, the opera riffs on a detail of American history. The Homestead Act of 1862 by which settlers, mainly west of the Mississippi River, could acquire public land they'd farmed, or "prove up" contained an odd provision: To be considered for the land grant, the homesteads, among other requirements, had to include a glass window. "Proving Up" takes that tiny footnote and enlarges it into horror and heartbreak. The Zegner family, which has settled on the brutal, drought ridden Nebraska plains a few years after the Homestead Act's passage, is struggling for survival, but has managed to acquire a window. There's a rumor that a government inspector has arrived in the area to approve the land grants. As a bit of frontier generosity, the Zegners send their younger son to share the window only for the duration of the inspection, of course with a nearby homestead that lacks one. As in her 2016 opera "Breaking the Waves," Ms. Mazzoli conjures bleakness with an uncanny, confident mixture of instrumental savagery and eerie lightness, as when a moody orchestral storm recedes into the glassy drone of harmonicas. (Glassiness is, unsurprisingly, a quality of much of the score.) The shadowy sound of guitars drifts through the music; Ms. Mazzoli's chaotic refractions of hoedown fiddling occasionally explode within a landscape of jittery unease. Sudden drooping slides and players sawing away at their string instruments, punctuated by the somberly shuddering twang of horn and trumpet, give a sense of wandering and rootlessness. The balance of the elemental and ethereal is present in the vocal lines, too, especially for Miles, the son chosen for the fatal errand. The tenor Michael Slattery, alternately raw and pure, is persuasively childlike without mugging; John Moore and Talise Trevigne, as his parents, rise to more mature passions, their desperation and hurt plain. Abigail Nims and Cree Carrico sinuously chatter as the ghosts of their two daughters, dead on the prairie. (Yes, this is a ghost story, too.) The director James Darrah sets the desolate tale amid unpainted wood and a stage filling plot of soil. When "Proving Up" was presented at Opera Omaha in April, after having its premiere at Washington National Opera in January, the playing space was a catwalk, with the audience on either side, for an experience that must have been unsettlingly immersive. Even at the Miller, a traditional proscenium theater, the opera insinuates itself under the skin. The story is set entirely in the past, but its depiction of the stubborn delusions that fueled American expansionism and the ways in which "proving up" comes to mean both having a home and being a virile man feels entirely current. Least successful is the portrayal of the mysterious, malignant stranger, a kind of angel of death, who dominates the final chunk of the opera. A figure of infinite threat in Ms. Russell's story you're reminded of Judge Holden from Mr. McCarthy's novel "Blood Meridian" he is, as played by Andrew Harris in the opera, a grumpily stentorian, all too real presence. He makes less impact as an onstage character than he did as a quasi fantastical force in prose. Opera is generally good at taking naturalistic, even workaday, subject matter and heightening it into stylization; this last part of "Proving Up" does the opposite to, I think, its detriment. If the sequences with the Sodbuster, as the opera dubs him, retain spooky force, it's largely because of Mr. Slattery's Miles, whose fear is underplayed and feels very real. But Ms. Mazzoli and Mr. Vavrek's final tweak to Ms. Russell's story, suggesting the initiation or, perhaps, continuation of a cycle of resentment and retributive violence, is a chilling touch. If anxieties about possession and manliness continue to fray our national life, "Proving Up" proposes that here our troubles began.	N24News: A New Dataset for Multimodal News Classification	Music
new video loaded: Can You Guess the Models by Their Walks?	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Just after 6:30 on a recent morning, Dr. Henry Nikicicz, an anesthesiologist in Texas, finished an emergency intubation of a man in his 70s who was suffering severe respiratory distress. Then the doctor's own trouble began. Stepping out of an elevator after finishing the procedure, Dr. Nikicicz put his respirator face mask back on when he saw a group of people walking down the hallway toward him reflexively trying to protect himself, and them, should anyone have been infected by the coronavirus. In the days that followed, Dr. Nikicicz said, he was told that his job was at risk because policy at the hospital where he works, University Medical Center in El Paso, prohibited the use of protective masks in the hallways. "Wearing that mask is essential for me," Dr. Nikicicz, 60, who has asthma and hypertension, said in an interview. After he refused to back down, Dr. Nikicicz was removed from the schedule, effectively suspending him from work without pay. As infection from the coronavirus spreads and with it, fear hospitals are facing extraordinary tension between health care providers and administrators. The tension comes against the backdrop of sickness and death for health care professionals, in China, Italy and Spain, and now more than 200 health care workers sick in New York. Mostly, staff and administrators are fighting over masks, whether they should be worn outside of treatment rooms, and which kind of masks thinner surgical ones, or heavier respiratory masks. Should they be worn at all times? Only in procedures or while visiting patients? There is also some quibbling over testing and isolation: whom to test and when, and whom to isolate, given limited bed space? Whom to send home if a staff member has symptoms, and whom to require to work? Some hospitals allow masks outside of treatment rooms and some even make them mandatory. But a number of others say they aren't necessary at all times and don't allow them. The Centers for Disease Control and Prevention's guidance has changed several times. Currently, it says medical professionals don't need to wear masks all the time. It also says that if there's not enough protective equipment available, homemade solutions like bandannas or scarfs are OK for health care workers to wear. On Tuesday Dr. Anthony S. Fauci, a leading member of the federal government's coronavirus response task force, told CNN that the C.D.C. was considering another change: it is reviewing its guidelines on whether the general public should wear masks. Amid the confusion, furious and terrified, doctors and nurses say they must trust their own judgment. Administrators counter that doctors and nurses, motivated by fear, are writing their own rules. Some doctors believe that hospital administrators are simply trying to protect their institution's image and don't want to be seen as a facility where dangerous germs are rampant. When Dr. Nikicicz insisted on wearing a mask, he received a text from his boss, the chief of anesthesia, accusing him of overreacting. The text read: "UR WEARING IT DOWN A PUBLIC HALL. THERES NO MORE WUHAN VIRUS IN THE HALLS AT THE HOSPITAL THAN WALMART. MAYBE LESS." On midday Monday, the hospital confirmed in a statement that "Dr. Nikicicz has been removed from his rotation/work schedule for insubordination." But then, later in the day, after the hospital was asked for comment, Dr. Nikicicz said he was told by his boss he had been reinstated and could wear a surgical mask around the hospital and an N95 for procedures. The circumstances leading to tension vary around the country. An emergency room doctor, Dr. Ming Lin, wrote on Facebook that he was fired on Friday from his job at PeaceHealth St. Joseph Medical Center in Bellingham, Wash., after making public his concerns about insufficient protections and testing at the hospital. The hospital said it had no comment about Dr. Lin's dismissal. Administrators at a different hospital in Seattle, the Cherry Hill campus of Swedish Medical Center, threatened to indefinitely suspend an anesthesiologist, Dr. Oliver Small, for wearing a surgical mask when not directly involved in patient care, such as walking the hallway. "He got called into meetings with administration of Swedish because they don't want to panic employees into thinking they need to wear masks for protection," Dr. Small's wife, Jessica Green, wrote on Facebook last week. "He is wearing a surgical mask as a precaution in case he is an asymptomatic carrier of Covid, as many people are, and he does not want to risk infection in uninfected patients." The hospital asked him to attend a meeting in which administrators told Dr. Small he could take off the mask or stop coming to work, Ms. Green wrote, adding, "What is wrong with our health care system????!!!" Dr. Small confirmed the story but said that the hospital had since changed its position on masks and that he was "very pleased" by the outcome. Since the incident, the hospital now allows "universal masking" the ability to wear masks in any patient area. The hospital said it had no comment about Dr. Small. It said it has changed its policy as "we learn more about this disease." "Despite a limited body of evidence showing its effectiveness, and while keeping a strong focus on reuse and conservation, we have decided to implement universal masking as a reasonable strategy, as long as our mask supplies allow," the hospital said in an email statement. The intensifying tension falls into a larger context: In recent years, doctors have felt increasingly like employees working for cost cutting companies putting profit ahead of medicine. That tension appears to have found an almost volcanic moment with the coronavirus pandemic. "There's been a loss of autonomy and a denigration going on for a couple of decades now. We'll take a lot," said Dr. Christopher Garofalo, a family doctor in North Attleboro, Mass, who holds several regional leadership positions in medicine, including serving as the state's delegate to the American Medical Association. More than half of physicians now are employees of hospital systems or big groups, he said, a systemic change that has left doctors feeling less empowered and frustrated. Covid 19, he said, "is causing it to erupt." Doctors at a handful of institutions provided communications from administrators that show a face off with doctors. An email sent from a midlevel manager at the Cleveland Clinic, one of the nation's elite hospitals, to a group of doctors warned them not to "go rogue" and wear surgical masks around the hospital. "These are emotional times, and we need to control our emotions," it said. Dr. Jim Merlino, a top administrator and the chief transformation officer at the Cleveland Clinic, said the language was "not good communication." He also said that while he was aware that some doctors at his institution and around the country were frustrated, he contended the vast majority were not. "People are afraid and what we have to do is set the record straight: It's OK to be afraid but let's accept we're making the right decisions," Dr. Merlino said. "We have to tamp the fear down. Otherwise we'll never survive this." He said decisions should be made based on clear scientific evidence. The Cleveland Clinic interprets that current evidence as concluding that it is not necessary to wear surgical masks unless dealing with a high risk situation. But other administrators interpret the evidence differently. Stony Brook University Hospital on Long Island just changed its guidelines to require such masks. "We are now recommending that all caregivers wear a surgical mask with ear loops while at work. This practice should be used in open hospital spaces," the new guidance reads.	N24News: A New Dataset for Multimodal News Classification	Health
Philip W. Anderson, an American physicist whose explorations of electronic behavior in solid materials like glass, crystals and alloys led to a Nobel Prize and deepened science's understanding of magnetism, superconductivity and the structure of matter, died on Sunday in Princeton, N.J. He was 96. "Anderson was the pre eminent condensed matter theorist of his day a day that lasted for over 50 years and his fingerprints are everywhere," Nigel Goldenfeld, a physics professor at the University of Illinois at Urbana Champaign, said by email. Condensed matter, or solid state, physics focuses on the properties of solids and liquids with high densities of atoms that constantly interact with one another; by contrast, particle physics deals with subatomic particles. Much of Dr. Anderson's most influential work concentrated on randomly structured, or "disordered," materials that lack the regular crystalline composition of most matter. He was particularly interested in the behavior of electrons within these disordered materials, which include certain kinds of semiconductors. In 1958, he published a paper in which he showed how electrons in disordered materials can either move freely or become fixed in a specific position, as if stuck in glue, depending on the degree of disorder. His finding of how electrons behave when trapped, or localized, became known as Anderson localization, and was subsequently extended to the properties of light and sound waves. "This is foundational physics that completely shook up physics at a time when it was still thought that electrons and waves in general are always de localized," Piers Coleman, a physics professor at Rutgers University, said by email, adding that Anderson localization explains, among other things, how light is reflected backward in fog and why disordered metals become insulators. Dr. Anderson received the 1977 Nobel Prize in Physics, along with Nevill Francis Mott of Britain and the American John Hasbrouck van Vleck, "for their fundamental theoretical investigations of the electronic structure of magnetic and disordered systems," as the Nobel citation read. Together with the renowned physicist Sam Edwards at the University of Cambridge, Dr. Anderson also conducted pioneering research into spin glasses, a class of materials whose complex magnetic behavior has provided an analogy for understanding other phenomena. "Spin glasses are systems where atoms in a material, variables in a computer, or neurons in a brain interact with each other in partly structured, partly random ways," Cristopher Moore, a physicist at the Santa Fe Institute, a research center in New Mexico dedicated to the interplay of social and physical sciences, said by email. Dr. Anderson once called spin glasses a "bridge between biology, statistical mechanics, and computer science." During the 1960s and '70s, Dr. Anderson explored the theory of superconductivity, in which certain alloys and metals lose all resistance to electrical currents at temperatures near absolute zero. Later in his career, he turned to high temperature superconductors, which operate at higher temperatures though still frigid than traditional superconductors, resulting in more efficient electrical transmission. Just as important as Dr. Anderson's technical achievements were his tireless at times, feisty advocacy for condensed matter physics, which have come to dominate the profession, and the role of complexity in science. "He was a brilliant intuitionist" who "gave depth and intellectual coherence to an entire field," said Andrew Zangwill, a physics professor at Georgia Tech, who is writing a biography of Dr. Anderson. In 1972, Dr. Anderson stirred up the physics world with an article in the journal Science called "More Is Different," which became part of a spirited debate about the widely accepted concept of reductionism in science. Reductionism maintains that everything can be reduced to a few fundamental laws describing the particles that are the basic constituents of matter. Dr. Anderson focused instead on the limitations of reductionism, arguing that in certain materials entirely different properties emerge when enough individual particles whether atoms or molecules are collected together. A single copper atom, for example, has little electrical charge, but millions of copper atoms gathered in a wire can conduct electricity. His colleague Murray Gell Mann, who died last May, liked to disparage Dr. Anderson's field as "squalid state physics," reflecting the notion that particle physics, Dr. Gell Mann's specialty, was a purer and superior endeavor. Phillip Warren Anderson was born on Dec. 13, 1923, in Indianapolis to Harry Warren Anderson and Elsie Eleanor (Osborne) Anderson and grew up on a farm in Urbana, Ill. His father was a professor of plant pathology at the University of Illinois, Urbana Champaign; and his mother, a homemaker, was the daughter and sister of professors at Wabash College in Indiana. "On both sides my family were secure but impecunious Midwestern academics," Dr. Anderson wrote in his Nobel biography. He attended Harvard University but interrupted his studies during World War II to help build antennas for the Naval Research Laboratory in Washington. After the war he returned to Harvard, where he studied under Dr. van Vleck and completed his doctorate in 1949. After graduating, he joined Bell Telephone Laboratories, based in Murray Hill, N.J., where he worked for more than 30 years, making several discoveries that contributed to his Nobel Prize, including Anderson localization. In 1962, during his early work with superconductivity, Dr. Anderson published a paper on how photons the quantum packets of energy that transmit light acquire mass inside a superconductor. Two years later, his work was cited by Peter Higgs in his theory predicting the existence of an elusive particle that endows other fundamental particles with mass an idea confirmed in 2012 with the discovery of the Higgs boson, or "God particle." In the late 1960s, Dr. Anderson taught part time at the University of Cambridge in England, and in 1975 joined the department of physics at Princeton University. He retired from Bell Labs in 1984 to become a full time professor at Princeton, and in 1996 was named the Joseph Henry professor of physics emeritus. He received the National Medal of Science in 1982, along with membership in the Royal Society and an honorary fellowship at Jesus College, Cambridge. In addition, he was a longtime adviser and collaborator at the Santa Fe Institute. In 1947 he married Joyce Gothwaite. In addition to his daughter, Dr. Anderson is survived by his wife and three nephews. Dr. Anderson was aware of how daunting his research could appear to outsiders. In 2011, he published a collection of essays, lectures and other writings, "More and Different: Notes From a Thoughtful Curmudgeon," in which he recalled "the recurring nightmare like feeling I have when a layman asks me, "Just exactly what did you do to earn the Nobel Prize, Dr. Anderson?"	N24News: A New Dataset for Multimodal News Classification	Science
Retail areas like the Oculus at the World Trade Center in Manhattan remain in a sort of economic limbo. When states began to order businesses to close and residents to stay home as the coronavirus outbreak spread, economists likened the policy to a medically induced coma: shutting down all but the most vital functions to focus on the underlying affliction. Now the patient is awake, but the malady remains. A surge in coronavirus cases has forced several states to reimpose restrictions and dashed hopes of a rapid economic rebound. But a widespread return to the shutdown policies that dominated in March and April seems unlikely. Instead, the economy looks likely to remain in a sort of limbo, neither fully open nor fully shut, for months or even years. For certain workers in certain industries in certain locations, life again seems somewhat normal. But for many others those whose age or health conditions make them especially vulnerable to the virus, or who have young children at home, or who work in high risk industries, or who live in places where cases are rising rapidly the pandemic remains a major disruption. This new phase poses a unique challenge for policymakers. Economists across the political spectrum say it would be a mistake for the federal government to cut off support for workers and businesses while the economy remained weak. But those policies may need to be revamped to help the worst hit industries and regions and will have to change as the crisis evolves. "We don't know how the pandemic is going to unfurl, and we don't know where the hot spots are going to be," said Wendy Edelberg, a former chief economist for the Congressional Budget Office and now the director of the Hamilton Project, an economic policy arm of the Brookings Institution. "That's going to demand that the policy response be a lot more nimble." Still, economists and other experts say there are steps that government, at all levels, can take to mitigate the economic damage. "One thing we've learned thus far is that a halfway commitment to public health measures just isn't very effective," said David Wilcox, a former Federal Reserve official who is an economist at the Peterson Institute for International Economics. "It's not effective in arresting the virus, and you still incur tremendous economic damage. In order to build the foundation of a secure recovery, the imperative is to bring the virus under control." If political leaders want businesses to reopen and customers to return, Mr. Wilcox said, they need to invest in widespread testing and tracing to make consumers confident that they are safe. And they need to avoid encouraging businesses to reopen before it is safe to do so. More than 20 million Americans are getting an extra 600 a week in their unemployment checks because of the federal aid package passed in March, but that provision is scheduled to expire this month. While some economists say the enhanced benefits could be scaled back or modified, most say it would be a mistake to let them lapse altogether. Unemployment benefits are serving three purposes. In states where the virus is raging, they help residents afford to stay home, which is crucial to overcoming the pandemic. In all states, they help jobless workers avoid hunger, eviction and financial ruin. And by providing billions of dollars to the people most likely to spend it, they stimulate the economy. The extra 600 means that many low wage workers are earning more on unemployment than they were on the job, which Republicans in Congress worry could discourage returning to work. Economists say that is a valid concern when the unemployment rate is low and workers are scarce. Right now, the situation is the opposite: In May, there were roughly five million open jobs and 20 million unemployed workers. 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. "There's not enough jobs for everybody anyway," said Erik Hurst, an economist at the University of Chicago who has been studying the economic effects of the pandemic. Whether or not to reopen schools this fall has become a political point of contention in recent days. But economists say there is no doubt about one thing: The economy can't get back to normal while millions who would otherwise be working must stay at home caring for their school age children. Epidemiologists and public health experts are unsure that in person classes can be held safely in places where the virus is out of control, like Florida and Arizona. But in other places, the biggest obstacle is money: It would cost billions of dollars to retrofit classrooms, overhaul ventilation systems, buy protective equipment and add staff members to ensure that both children and adults were safe. "Schools are going to need a lot more resources to get open safely, given we haven't gotten the virus under control in a lot of places," said Melissa Kearney, a University of Maryland economist who heads the Economic Strategy Group at the Aspen Institute. "The less control we have over this virus, the more expensive it's going to be." State and local governments, reeling from plummeting tax revenues, don't have the resources for such changes. But the federal government does. And it could be money well spent: Allowing schools to reopen safely would free up adults for work and allow other economic activity to resume. Even in states where the virus is less prevalent, some businesses, like indoor bars, movie theaters and concert venues, may not be able to open safely for a long time. Others, like restaurants, will have to operate at a capacity unlikely to turn a profit. That means that without government help, thousands of businesses are likely to fail in the months ahead. That could have devastating economic consequences, turning temporary furloughs into permanent job losses and slowing the eventual recovery. Lost jobs "are going to come back very slowly it's going to be months and months of hard work," said Betsey Stevenson, a University of Michigan economist who was on President Barack Obama's Council of Economic Advisers. "The question is, do we have 30 million people who are going to go through that process, or do we have five million? We don't have the answer to that yet, but every month it goes on, that number grows larger." Experts say Congress needs a new approach to save businesses. The Economic Innovation Group, a Washington think tank focused on entrepreneurship, has proposed giving interest free loans to small employers. Rather than providing a temporary injection of cash, they argued, a loan program could let companies invest in improving their long term prospects. A retailer could buy a building it had been renting, for example, bringing down monthly costs. Or a restaurant could add outdoor space, reducing dependence on indoor dining. Mr. Wilcox of the Peterson Institute has recommended a more expansive and expensive approach, essentially having the government fill in the revenue shortfall created by the pandemic through direct grants to businesses. The government has effectively forced business owners to take a hit, he said, so it should help them survive. "Start from a social agreement that the government is going to take onto its shoulders the cost of sustaining businesses through the period of intense public health crisis," he said. No one knows where and when cases will surge, how long the pandemic will last, or when a vaccine will be ready. That makes it harder for both businesses and policymakers to plan effectively, said Martha Gimbel, an economist and a labor market expert at Schmidt Futures, a philanthropic initiative. "If we knew we were going to have a vaccine in January, we could make decisions," she said. "If we knew we were going to have a vaccine in January 2022, we could make decisions. But we don't know, and economies don't do well when there's uncertainty." Economic policy can't eliminate that uncertainty. But right now, it is making it worse: Jobless workers don't know whether their extra benefits will run out in a matter of days. Businesses don't know if they will be able to apply for a new round of federal loans, or have to enroll in a new program, or get nothing at all. State and local governments are trying to plug multibillion dollar budget holes with no idea whether they will get federal help, or how much. Economists have urged Congress to answer some of those questions not just now, but for the future. Benefits could be linked to the unemployment rate, for example, so that workers would not have to worry about losing benefits before the job market improved. Similar steps, linked to different metrics, could make businesses and state and local governments confident that government support won't evaporate without warning. Brinkmanship, on the other hand, could have economic costs even if Congress ends up extending support at the last moment.	N24News: A New Dataset for Multimodal News Classification	Economy
LONDON When Alan Rusbridger retired last year after two decades as the editor of The Guardian, he was lauded as one of the finest journalists of his generation, having transformed a midsize British newspaper into an international digital media giant. He racked up a string of investigative scoops and made the organization a darling of left leaning readers around the English speaking world. But Mr. Rusbridger on Friday departed the organization to which he had devoted his career. With mounting financial losses that threatened The Guardian, he was forced to give up the plum role he was set to assume in September, as chairman of the Scott Trust, the nonprofit organization that owns The Guardian. Mr. Rusbridger's decision to cut ties with The Guardian follows a series of events that made his presence seem increasingly untenable: lingering resentments from a battle over his replacement as editor; a string of articles detailing the paper's deteriorating finances; and, finally, a clash with his successor, Katharine Viner, who helped spearhead his strategy for international growth but now faces a period of retrenchment. The tensions, playing out on a public stage, deviate from the familiar news media angst in the digital world, where print's changing fortunes can create upheaval at the top. In his resignation statement, Mr. Rusbridger, 62, seemed to imply at times that he had been undone by the new regime which he helped put in place as well as a rapidly shifting environment in which even forward thinking news organizations hemorrhage money while titans like Facebook and Google devour advertising revenue. The Guardian lost an estimated 45 million pounds, or 65 million, last year. It is seeking to cut its annual budget of 380 million by 20 percent over the next three years. It is cutting its British work force by 310 positions 250 job cuts and 60 vacant positions that will not be filled or 18 percent of the total. "Much has changed in the year since I stepped down," Mr. Rusbridger wrote in a memo to The Guardian's staff members on Friday, stating that the leadership of The Guardian David Pemsel, the chief executive of the Guardian Media Group, and Ms. Viner, the editor no longer wanted him to take over the Scott Trust. "We all currently do our journalism in the teeth of a force 12 digital hurricane," Mr. Rusbridger said in the memo. The leaders of The Guardian "clearly believe they would like to plot a route into the future with a new chair," he said, adding, "I understand their reasoning." A central point of disagreement within The Guardian has been its refusal for Mr. Rusbridger, virtually an ideology to charge online subscribers, as news organizations like The Financial Times, The Times of London, The Wall Street Journal and The New York Times have come around to doing. The Guardian has recently experimented with a membership model that amounts to seeking donations, but Mr. Rusbridger insisted that a digital pay wall would be at odds with the newspaper's editorial mission. Under Mr. Rusbridger, The Guardian invested hundreds of millions of dollars in expansion, fueled in part by proceeds from the sale of a trade publication, Auto Trader. The Guardian Media Group's investment fund had been shrinking recently at an alarming rate to PS740 million in January, from PS838.3 million in July. The Guardian, which started in Manchester, England, in 1821, built a presence in Australia and the United States beginning in 2011. It seemed to move easily into the digital realm, staffing 10 bureaus in the two countries and hiring more than 50 reporters. Along the way, Mr. Rusbridger racked up an investigative hat trick, with electrifying scoops on illegal phone hacking by British tabloids, the WikiLeaks trove of diplomatic cables, and leaks from Edward J. Snowden describing the vast electronic surveillance conducted by the National Security Agency. The Guardian won its first Pulitzer Prize in 2014, shared with The Washington Post, for the surveillance articles. The Guardian succeeded in significantly expanding its international readership the company says traffic from outside Britain now represents two thirds of its digital audience. But its resistance to charging readers for content came at a significant cost. Netflix buys a visual effects company in a move to support its global ambitions. 15 minimum wage for federal contractors will take effect Jan. 30. "He made The Guardian's mark, and made it an international brand," said Dominic Ponsford, the editor of Press Gazette, which covers the British news industry. But it was an expensive proposition, and Mr. Ponsford said, "That cost is one of the reasons that its losses are so high now." In a statement on Friday, Ms. Viner lauded Mr. Rusbridger as "a truly towering figure at The Guardian over the last three decades." But she added: "In his email to staff, Alan recognized how much has changed in the year since he stepped down as editor, and that it is right that we all plot a new route to the future. We face a formidable challenge over the coming months in a digital environment that is shifting all the time." Current and former colleagues of Mr. Rusbridger's, who acknowledged criticism of his business decisions, characterized him as a brilliant journalist not to mention a talented pianist, an affinity he explored in a 2013 book and nearly universally declined to discuss his departure for attribution, describing it as a sad way to end his affiliation with the institution. Mr. Rusbridger, who was born in Zambia and graduated from the University of Cambridge in 1976 with a degree in English, started as a journalist at The Cambridge Evening News. He joined The Guardian in 1979, and in 1988 became an editor there. In 1994, he was promoted to deputy editor, before taking over the next year as editor in chief, a position he held until his departure last spring. Cerebral and academic, with often unruly hair, Mr. Rusbridger had an inner steel that won him admiration and devotion. Early in his career at The Guardian, Mr. Rusbridger led the newspaper's tenacious investigation of what became known as the cash for questions scandal in Parliament, which contributed to the fall of the Conservative government of Prime Minister John Major in 1997. Mr. Rusbridger stared down a libel suit against the newspaper by a powerful former minister involved in the scandal, Jonathan Aitken, who was ultimately jailed for perjury. In the hypercompetitive and partisan world of British journalism, Mr. Rusbridger was sometimes a lonely figure, often more admired in the United States than among his rivals at home. As Mr. Rusbridger's vision for the newsroom played out, the strategy appeared to have the full support of the top brass. Shortly after Mr. Rusbridger retired in 2015, Mr. Pemsel, the chief executive, said he was "hugely excited at the prospect of managing the next phase of growth at The Guardian, building on our international audience, capitalizing on the many commercial and digital opportunities." Around that time, another top executive said the company's finances had been good that year. Then the bottom fell out. Print advertising cratered, and expected digital money never materialized. Support for Mr. Rusbridger suddenly shifted, as he was cast as a negligent manager who had saddled the paper with a slew of problems. Janine Gibson, a favorite of Mr. Rusbridger's who lost out in the race to succeed him, left with other senior Guardian journalists, further shifting the way his legacy was viewed in the newsroom. In January, Mr. Rusbridger's choice as The Guardian's opinion editor, Jonathan Freedland, stepped down in what was seen as a leftward shift in the organization's editorial stance. And Ms. Viner's plans for the newsroom seemed increasingly at odds with Mr. Rusbridger's, making the idea that he would soon return, as essentially her boss, increasingly unsavory. The negative sentiment started to rise in recent months, as several news media reports detailed a rising tide of internal discord, quoting high ranking insiders who placed the blame for the company's woes on Mr. Rusbridger's policies and what they saw as his intractability. A critical article in Prospect Magazine took aim at Mr. Rusbridger's decisions to "lavish money on new presses and delightful new offices." It prompted Mr. Rusbridger to strike back, defending the move to make a "significant investment in digital today" in the hope of having a "sustainable business tomorrow."	N24News: A New Dataset for Multimodal News Classification	Media
"Two of us enter the hospital, three of us leave, and you tell us how it's done safely." This was the birth plan of one of my patients. Not from now, during the Covid 19 epidemic, but in the good old days of 2018. I have quoted this to my patients frequently since then, but no more so than in the past month. Anxiety about having a baby in New York City, and about whether it would be better to leave the city, spiked when several city hospitals barred partners from attending deliveries. With news of asymptomatic women in labor testing positive in the hospital and a Covid 19 patient meeting her baby via video chat from the neonatal intensive care unit, the feeling grew that having a baby in a New York City hospital was not just less safe than it used to be, but patently unsafe. So let me add my perspective as an obstetrician delivering in a hospital that like every other in the city is filled with Covid 19 patients. I'm not a public health official or a hospital administrator. I can't comment on the nuances of what's happening all across the city. I am one doctor, in one practice, with a knowledge of my patients, my partners and the universe that is my hospital. And I will say this: If you planned on delivering in a New York City hospital, don't change your plans. For every terrifyingly ill pregnant woman featured in a news story, there are beautiful, normal, uncomplicated deliveries taking place, even among infected women. And present at these good and normal moments, there are doctors and midwives, nurses and other staff members, coming to the hospital, staying up through the night, comforting their patients and smiling through it all even if you can't tell because of the N95 masks we have on. I have had many patients decamp to sites outside the city, after calculating that it was safer elsewhere. First of all, such last minute changes of plans, whether moving outside New York or switching to a home birth, are privileges of a certain class of New Yorker. Many pregnant women are limited, whether by income, insurance status or other circumstances, to stay, often at a specific hospital. So all New York City women need to know what is stable and safe and intrinsically reliable about having a baby here during the pandemic. There is much more to labor and delivery than the specter of the coronavirus. Giving birth is inherently risky. Hemorrhage, infection, pulmonary embolism, pre eclampsia, even death are risks pregnant women face and the things for which doctors and midwives are always on the watch. And these risks remain much more likely for pregnant women in New York than the risk of falling seriously ill with Covid 19 while delivering a baby. To illustrate this, consider the best data we have on Covid 19 in pregnancy for New York City, from Columbia University Medical Center, which show that 1.9 percent of women have symptomatic coronavirus in labor, only a subset of whom have severe disease. And the most recent city Department of Health data show that 2.4 percent of women will suffer life threatening complications during labor unrelated to Covid 19. With this in mind, having a doctor you trust in a hospital that is equipped for the most common emergencies is key. If you move, will your care be the same as before? Does your hospital have the capacity for emergency C sections? Is there a blood bank on site, in case you need a transfusion? If your baby suffered a complication, is there a neonatal I.C.U., or would your baby be transferred? There could also be a paradoxical benefit of being in a hot spot. Hardship breeds expertise, and New York hospitals have become experts not only in treating Covid 19 but also in how to handle the disease during pregnancy. My hospital was early to mandate masks for all staff members, limit visitors while having partners present during deliveries and adopt universal testing for patients. This has let us operate as close to normal as possible. More important, New York City hospitals may have braved the recent peak of this disease, weathering the acid test of its ability to keep essential services for labor and delivery running essentially unchanged in the midst of a storm. (Much as we kept things going during a literal storm in our past: Hurricane Sandy in 2012.) This means that we will have a better sense of what to do if this peaks again. It's unclear when the peaks will happen elsewhere across the country, or how bad they will be. Will smaller areas with fewer hospitals see greater stress on their hospital systems than New York City did? Recent articles cite the high number of pregnant women who have tested positive for the coronavirus especially the high proportion of asymptomatic women and this too is making women afraid. That fear is based on the fallacy of thinking that testing changes the reality of what's being tested. It only reveals what has been there all along. Universal testing in labor and delivery units will make everyone safer, even if it makes us feel less safe by peeling back the curtain. Knowing who is infected allows staffs to isolate women during labor to minimize risk to other patients and to staff members, to monitor those patients more carefully for symptom onset or disease progression for their own health and to apply different protocols to babies born to mothers with Covid 19 to limit their risk. So it makes no sense to clamor for universal testing in the community and then recoil from the results when testing is successfully applied in a specific environment. Nor is it right to assume that hospitals outside the city would have fewer infected women in their midst. Until enough testing rolls out universally, nobody knows. Among other trends, concern about asymptomatic spread at hospitals has led to a surge in women seeking home births, even though home birth is not for everyone. It's a viable option for low risk women, when clear criteria for home birth candidacy are followed. But even in the best of circumstances, it comes with certain risks, like the potential need for emergency transfer to a hospital. The complications that come in such an eventuality may be increased right now, because of factors like slower ambulance response times as a result of Covid 19 delaying a needed transfer. More important, thinking of home birth as a way to mitigate coronavirus exposure risk is problematic. Letting someone into the home who doesn't adhere to rigorous practices may place a woman at higher risk than being in a hospital. A midwife prominently featured in a recent New York Times article about home births said that wearing a mask "is not part of my belief system." I shuddered when I read that. So if we're going to talk about belief systems, this is what I believe: The process of delivering a child is wonderful but inherently risky. Doctors and midwives who shepherd that process take our responsibility very seriously. That includes an understanding of all the factors involved in safely increasing the members of a family by one, the coronavirus being only one of these factors. Women benefit from having doctors and midwives who know them well and have an established relationship with them, in delivery settings that are trusted and tested.	N24News: A New Dataset for Multimodal News Classification	Opinion
Just inside the entrance of Wild Things, a new wine bar in the Neukolln neighborhood of Berlin, looms a makeshift basketball hoop, into which customers can shoot discarded corks. Its bottom is sealed so that customers don't get bonked making it more of a cork basket. Precaution aside, the boozy spin on the American sport is an example of the bar's playful attitude, one also reflected in both its funky selection of wines and a menu that features fresh ingredients and some twists. Wild Things, which opened in March, has the outward appearance of your average Neukolln haunt. Inside, a more rustic look sets it apart from its grittier neighbors. French oak barrels double as bar tables in the front room, and a back room is set up as a beer hall with a large and colorful mural of wild things in this case, wolves. Wild might also be used to describe the wine list, where natural labels are the sole focus, unusual in Berlin. "It's pretty simple for my crew and me," said Ramses Manneck, the founder. "We like drinking natural wines and truly believe that natural wines are simply the best wines to drink with or without food." Each week, the chefs devise a menu that complements but does not necessarily pair with the often offbeat profiles of the wines. During a spring visit, there was popcorn sprinkled with furikake, a umami heavy Japanese flavoring mix; a pickle plate that included seasonal items like rhubarb; and a take on that beloved Southern favorite, deviled eggs. As the leg of jamon Iberico resting on the bar would indicate, there is also a selection of other cured meats, as well as items from a local cheesemonger, Blomeyer's Kase.	N24News: A New Dataset for Multimodal News Classification	Travel
A roundup of motoring news from the web: The Kia Sorento will grow larger for 2016, with the South Korean automaker's three row crossover getting a 3.1 inch longer wheelbase and a 3.7 inch increase in length. With a higher beltline, lower roof and swept back styling, the Sorento could challenge competitors like the Chevrolet Traverse, Honda Pilot and Toyota Highlander, says a report from Automobile Magazine. (Automobile Magazine) Although General Motors recently announced that it would modify its trucks' curb weights when reporting payload capacity, the automaker has changed its mind. G.M.'s midsize and half ton trucks will now be rated using a curb weight that includes heavy optional delete items, like bumpers, which had been removed when calculating curb weights. (Pickuptrucks.com) Citing anecdotal evidence provided by its testers, Consumer Reports said that the Tesla Model S it evaluated had "more than its share of problems." The publication said that its official reliability analysis of the car is not due until autumn and that testers were generally pleased with most aspects of the car. Consumer Reports said it experienced several problems, including a blank center screen that had to be "hard reset," a defective front trunk latch and a charging adapter that fell apart, noting that Tesla Motors fixed those problems while simultaneously replacing other parts. "Tesla considers service a top priority, and we err on the side of being proactive to ensure the best driving experience possible," the automaker said in a statement Tuesday. (Consumer Reports) Chrysler said Tuesday that it was creating a new office dedicated to vehicle safety, regulatory compliance and recalls. The automaker said that Scott Kunselman, a senior vice president, would lead the new unit, reporting directly to Sergio Marchionne, the company's chief executive. (Bloomberg)	N24News: A New Dataset for Multimodal News Classification	Automobiles
PARIS Story ballets. Three acts, characters, costumes, scenery, melodious music. Beloved by mass audiences, they've been unfashionable with current, forward thinking choreographers for years. But there has been a sea change recently, a new interest in the plot driven narrative ballet, and no one has been more important to that renaissance than Alexei Ratmansky, the Russian born choreographer whose full length "Lost Illusions," performed by the Bolshoi Ballet of Moscow, opened at the Palais Garnier here on Saturday night. Mr. Ratmansky, who has been the artist in residence at American Ballet Theater since 2009, was the artistic director of the Bolshoi Ballet from 2004 to 2008, and it was there that he began to make a specialty of recreating forgotten ballets from the Soviet era. These pieces ("The Bright Stream," "Bolt," "Flames of Paris") were the first full length ballets in decades to show new possibilities within the form, and this had much to do with Mr. Ratmansky's ability to present a historical context while brilliantly deploying a ballet vocabulary to tell stories and display character. Watching a full length work by Mr. Ratmansky is to see that traditional form within quotation marks. His pieces based on literature or existing libretti are not realist re creations of particular eras, but visions of the past through the prism of the present. "Lost Illusions," inspired by the 1843 novel by Honore de Balzac, is no exception. Set to a commissioned score by Leonid Desyatnikov, "Lost Illusions" was Mr. Ratmansky's first creation for the Bolshoi after his move to New York, and its premiere with the company in April 2011 came soon after the appointment of Sergei Filin as the company's artistic director. Last January, Mr. Filin was scarred and partly blinded in an acid attack that threw the ballet world into an uproar and caused serious turmoil at the Bolshoi. A former dancer in the company, Pavel V. Dmitrichenko, was sentenced last month to six years in a penal colony for ordering the attack. (Mr. Filin, wearing dark glasses, was at the premiere on Saturday; a press representative said that his sight is "fairly good" in one eye, but that further operations are needed for the other.) However, as a successful Bolshoi season in London last summer demonstrated, the show has gone on. The company looked in fine form in "Lost Illusions," which offers several important acting roles, as well as dramatic interpretive possibilities, to its three central characters. Mr. Ratmansky has followed a 1936 libretto written by Vladimir Dmitriev for a short lived production by Rostislav Zahkarov at the Mariinsky Ballet in which Balzac's hero, Lucien, is a composer rather than a writer, and the central female characters, Coralie and Florine, are ballerinas rather than actresses. This enables Mr. Ratmansky to indulge his love of ballet history and extensive knowledge of bygone styles, since it is Lucien's compositions for two ballets within the ballet that provide the pivotal moments of the narrative. The ballerina characters are incarnations of a real 19th century balletic rivalry between Marie Taglioni, strongly identified with airy, romantic ballets like "La Sylphide," and the fiery Fanny Elssler, who specialized in Gypsies and other exotics. Coralie, danced on Saturday by the guest ballerina Diana Vishneva, is the Marie Taglioni type, and we see part of a "Sylphide" ballet that Lucien (Vladislav Lantratov) composes for her. Florine (Ekaterina Shipulina) is her earthy, seductive rival, and it is when Lucien succumbs to her charms and compromises his artistic ideals in creating a piece for her that the betrayal of his art is cemented. All of this is delightful for balletomanes, who can revel in Mr. Ratmansky's ingenious re creation of these miniature ballets and the studio scenes that seem lifted straight from a Degas painting, with violinists accompanying the dancers and a stick wielding ballet master (Yan Godovsky). That immediate impression of familiarity isn't just a function of the decor sober, sepia tinted re creations of Paris facades, the ballet studio and Coralie's apartment by Jerome Kaplan, but also of Mr. Ratmansky's beautifully stylized choreography, which captures the slightly rounded shoulders and smaller scale style of the period without sacrificing a more contemporary complexity or sophistication. These scenes and, particularly, the "Sylphide" ballet, in which Lucien mirrors the movements of the Premier Danseur (the clean lined Artem Ovcharenko), imagining himself the hero with Coralie are wonderfully ingenious. Their period look is set against more conventional movements for Lucien and Coralie (the pas de deux are accomplished but unmemorable), and stylized, almost caricatural sequences for the ballet master and a choruslike cast of bystanders who move with staccato exaggeration. It's an interesting device, and it conveys a certain ironic distance, using a quick cartoon sketch to give an idea of period and type. Mr. Desyatnikov, whose music Mr. Ratmansky has used for four ballets to date, offers similarly stylized moments in his score, evoking Debussy in the sweeping, romantic solo piano sections (beautifully played by Lukas Geniusas) that symbolize Lucien's dreams and artistic creation, and sometimes parodying the "bad" music that Florine and her protectors want. Like Mr. Ratmansky, Mr. Desyatnikov manages to incorporate a sense of the contemporary within this portrait of the past; his music is often rhythmically unpredictable, and his inclusion of two female singers (Svetlana Shilova and Catherine Trottman) surprising but effective. So far, so interesting. But "Lost Illusions" is weakened by a central problem: the lack of a story line strong enough to carry the fraught emotions displayed by the central characters. The complexities of the novel are reduced to a single thread: young artist corrupted by the temptations of life and love in the big city. But all we see is Lucien accepting money and flattery from Florine and her protectors, and it doesn't seem quite awful enough to provoke the high drama that ensues at the end, when Coralie is carried away, a broken woman, and Lucien, despairing, realizes that he has lost all. Ms. Vishneva is beautiful to look at in every way, with her fluid, invisibly steely technique and gorgeously pliable back. But her melodramatic despair when Lucien brings home his ill gotten gains seemed rather at odds with her earlier calculating flirtation with, and attempted deception of, her protector, Camusot (a nicely smug Yegor Simachev). And Mr. Lantratov, who looks touchingly young and has a beautiful line and plush jump, didn't manage to bring much complexity or intensity to his character potentially the most interesting and fully developed role in the ballet, with several exceptionally inventive (and difficult) solos. Ms. Shipulina, with far less to do dramatically, showed a shimmering delicacy and precision of style, even while doing fouettes atop a table or fending off bandits in "The Mountains of Bohemia" (a charming pastiche of 19th century comic ballets like "La Fille du Bandit"), which she persuades Lucien to compose for her. In the end, despite the ballet's charms, strong performances and Mr. Ratmansky's skill at weaving the private stories into a social landscape, "Lost Illusions" doesn't entirely convince. Its most interesting aspect is the choreographer's perspective on ballet's past and his clear belief that the story ballet is meaningful in the present. If he doesn't entirely succeed in establishing that here, his enterprise is fascinating nonetheless.	N24News: A New Dataset for Multimodal News Classification	Dance
The unlikely collaboration between the poet Archibald MacLeish, left, and Bob Dylan on a musical based on "The Devil and Daniel Webster" started well, but went south. It sounded like a fine idea at the time pair two poetic giants of different generations and get them to collaborate on reinventing an American classic. The year was 1969. The producer Stuart Ostrow and the director Peter Hunt already had a hit show on Broadway with "1776." Now they were setting their sights on "The Devil and Daniel Webster," Stephen Vincent Benet's classic 1936 story about Jabez Stone, a New Hampshire farmer who sells his soul to the devil, has second thoughts, and enlists the orator and statesman Daniel Webster to argue his case before a jury composed of American villains. The tale had been adapted into a 1939 opera and a 1941 movie, but never a musical. Archibald MacLeish, the three time Pulitzer Prize winning poet and author of the Tony Award winning play "J.B.," which reimagined the Book of Job, would write the book. The composer and lyricist would be Bob Dylan decades before he proffered his songbook to Twyla Tharp for 2006's "The Times They Are A Changin'" and to Conor McPherson for "Girl From the North Country." (That show's Broadway run was interrupted by the pandemic.) "Stuart had this idea that we would get the oldest poet of note and the youngest poet of note to work together," Hunt recalled in a conversation earlier this year, before he died at 81 from complications of Parkinson's disease. "Scratch" took its title from the name the devil calls himself in Benet's story. MacLeish offered a deeply considered meditation on the nature of good and evil, obliquely asking whether the ideals upon which America was founded could endure in the time of Richard Nixon and Vietnam. The show would be the "opposite of a musical," MacLeish wrote to Ostrow in papers now held by the Billy Rose Theater Division of the New York Public Library; "it would be a "ballad play," featuring an actor in modern dress who would sing songs and serve as conduit between the audience and the action onstage. As for what this 20th century troubadour would sing, well, that was Dylan's job. MacLeish proposed some song titles among them, "Red Hands," "Lower World," "New Morning," and "Father of Night," and Dylan, who'd wearied of the limelight and was trying on new personas, started writing on spec. But Dylan and MacLeish were separated not only by age but by background, style, temperament, and sensibility. MacLeish divided his time between his western Massachusetts home and a private club in Antigua, and was the product of boarding schools and Ivy League universities. Dylan, a more instinctive, less deliberative artist, was the Minnesota born son of a Jewish appliance store owner, and was, as he averred on "Rough and Rowdy Ways," his latest album, "born on the wrong side of the railroad track, like Ginsberg, Corso and Kerouac." A disagreement over lyrics to "Father of Night" epitomized the difference between the two visions. Dylan's song was full of oppositions ("Father of day, Father of night/Father of black, father of white"). MacLeish liked the melody but thought the song should comment more exclusively on the nature of evil; he suggested alternative lyrics: "Father of night, father of dread/Father of cold in the void overhead/Father of serpent under the stone/Father of fear in the dark alone." As relayed in Dylan's fanciful 2004 memoir, "Chronicles: Volume One," a meeting between the septuagenarian MacLeish and the 20 something Dylan with the elder poet discoursing on Sappho, Socrates, Dante and John Donne reads like deleted dialogue from the scene in "Trading Places," when Eddie Murphy's street smart con man finds himself improbably welcomed into the home of blue blooded Dan Aykroyd. Inevitably, the creative process on "Scratch" devolved; the story of how that happened differs depending on who's telling it. "I backed out of the production," Dylan wrote in the liner notes to "Biograph," his 1985 collection of outtakes, bootlegs, and previously released material. "It was nothing really, kind of like a misunderstanding I supposed." Then later, in "Chronicles":"I knew that I couldn't have anything to add to the message of MacLeish's play. He didn't need my help anyway." In his 2005 memoir "Present at the Creation: Leaping in the Dark and Going Against the Grain," Ostrow, a quadruple Tony winner whose Broadway career spanned four decades, takes issue with Dylan's version of events, to say the least. He presents the future Nobel Laureate as a monosyllabic dolt and poseur who froze in the presence of a true man of American letters and spent his time at MacLeish's home pounding brandy, then conking out. "The only impression the celebrated folk singer had made was a nasty ring from his brandy snifter on the MacLeish's 1785 cherry table," Ostrow wrote. Despite his early enthusiasm, MacLeish soured on Dylan's contributions. "Dylan proved incapable of writing new songs," he wrote in a 1970 letter. In an email, Ostrow put it more bluntly: "Dylan could not collaborate." Perhaps. But, seeing as Dylan had just released "Nashville Skyline," which featured a duet with Johnny Cash, and, two years earlier, had worked with the Band on recordings that would become known as "The Basement Tapes," the truth seems more specific: Dylan could collaborate when he felt like it, just not with Archibald MacLeish. Without the balancing voice of a contemporary songwriter, it registered as pompous and outdated, characterized by what The New York Times critic Walter Kerr called "echoes of a vanishing style." "It has a vacuum where its art should be," wrote his fellow critic, Clive Barnes. The actress Joanne Nail, who made her Broadway debut in "Scratch," believes that MacLeish was "too married to his words," which landed with audiences better out of town. "We had played previews in Boston and people loved it there because it was about their area of the country, their history," she explained recently. "But when we came to New York, Will MacKenzie and I thought it might be too long, and some of the dialogue was not going to fly. So, we went to Peter Hunt and told him, but Archibald didn't want to change anything." The show closed two days later. "It was conceived as a musical, ergo it failed," Ostrow said simply, by email. As for Dylan, months earlier, he had released "New Morning," a collection of a dozen new songs, including the title track and his version of "Father of Night." It was, Greil Marcus wrote in the Times, "his best album in years." Next in Unopened: Patti LuPone's first act ballad became a standard, but the show it came from never did.	N24News: A New Dataset for Multimodal News Classification	Theater
Meridith Kohut for The New York Times Paraguay has eliminated malaria, the first country in the Americas to do so in almost 50 years, according to the World Health Organization. But worldwide, momentum against the disease has stalled. Malaria cases increased by five million between 2015 and 2016, climbing to 216 million from 211 million. Nine countries in the Americas reported at least a 20 percent increase in malaria cases during that period greater than in any other region. "This is one of the diseases that hangs on tight," said Luis Alberto Moreno, the president of the Inter American Development Bank, which finances major anti malaria efforts in the Americas. "If you don't keep the pedal to the metal stay intensely focused on the issue malaria is going to make its return." Like the Science Times page on Facebook. Sign up for the Science Times newsletter. Malaria, a blood disease contracted through the bite of an infected mosquito, kills about 445,000 people each year, mostly children, according to the W.H.O. Yet cost effective prevention tools and treatments are well known. Public health officials at the first Malaria World Congress this week attributed Paraguay's success to the national health system's ability to quickly detect cases and investigate whether they had been transmitted locally or imported. W.H.O. officials also expect to certify Argentina as malaria free later this year, according to Dr. Marcos A. Espinal, director of the communicable diseases department at the Pan American Health Organization. But throughout the region, other countries are backsliding. Panama, Nicaragua, Peru and Venezuela each reported more malaria infections in 2016 than in 2010. Cases in Colombia doubled from 2015 to 2016. Officials say the chief hurdle is complacency: In many countries, domestic resources have shifted from anti malaria efforts to other priorities as case numbers have dwindled. "Political will is the single most important aspect for eliminating malaria," Dr. Espinal said. "We have effective tools: bed nets, vector control methods, treatments. We get to a certain point we see the end of the tunnel and then we risk losing the commitment." The situation is most dire in Venezuela, where President Nicolas Maduro has refused to accept most medical donations amid an economic crisis. Malaria infections, along with hunger and tuberculosis, have surged since 2008. As Venezuelans cross borders into Guyana, Colombia and northern Brazil, they may bring the infection with them. Breeding conditions for mosquitoes are favorable in those regions, so transmission may increase, according to Dr. Alexandre Macedo de Oliveira, a malaria researcher at the Centers for Disease Control and Prevention. "Until there is a government in Venezuela willing to do something about it, it's hard to do anything but wait," said Mr. Moreno, who serves on the End Malaria Council, a response coordination team headed by Bill Gates. In recent years, the fight against malaria in Central America has grown more complex. Lingering cases are concentrated in rural areas, where communities lack immediate access to health care and transmission is challenging to detect and disrupt. Extreme flooding can increase breeding sites for mosquitoes, and the two that are the region's main sources of malaria Anopheles darlingi and Anopheles albitarsis have begun to show resistance to insecticide.	N24News: A New Dataset for Multimodal News Classification	Health
HAZLETON, Pa. Thousands of Dominicans have poured into this little city in eastern Pennsylvania since 2001 to work in the food plants and warehouses on the edge of town, where the highway to New York meets the highway to Philadelphia. Hazleton's population is growing for the first time in more than half a century. Landlords, doctors and shopkeepers are learning to love their new customers. But the city's economic evolution has left behind its previous, non Hispanic working class, and the presidential election has crystallized its frustrations. Many of those losing ground economically, including lifelong Democrats, say they plan to vote for Donald J. Trump, the Republican nominee. Many of those who are prospering, including lifelong Republicans, say they will vote for the Democrat, Hillary Clinton. For both sides, how to deal with immigration has become a defining political issue, one that is likely to transcend the contretemps over Mr. Trump's treatment of women that has cost him so much support among elected Republicans. This city was built by European immigrants who flocked here a century ago to work in the coal mines. Their children found better jobs in the factories. Now their grandchildren are struggling against economic decline and cultural displacement. "I don't care for this town no more because of the Hispanics," said Lewis Beishline, 70, as he sat drinking at 11 a.m. on a Friday at Cusat's Cafe, a bar owned by the mayor of Hazleton, who lives upstairs. Mr. Beishline, a retired welder, said he moved from Hazleton to a nearby town last year because he no longer felt safe. He plans to vote for Mr. Trump, he said, "because of the immigration." The Hispanic community, meanwhile, is eager to establish its own political power in the face of what many describe as persistent and painful discrimination. Community leaders in this city of 25,000 say they have registered more than 800 Hispanic voters in recent months, expanding the voting rolls by almost 10 percent. "I tell my kids, if someone asks where you are from, you say 'Hazleton,'" said Guillermo Lara, 49, who moved here from Mexico in the early 1990s and whose two daughters were born here. "We're here, and we don't go nowhere. We want more." That sharp divide is mirrored by the candidates seeking the Oval Office. Beyond his promised wall and deportations, Mr. Trump has denigrated immigrants repeatedly, at times without distinguishing between legal and illegal immigration. "Donald Trump's position on illegal immigration plays a big role in his support not only in Hazleton but in northeast Pennsylvania," said Lou Barletta, a Republican who represents the region in Congress and has stood by his nominee as other Republicans in Congress have fled. In 2006, as Hazleton's mayor, Mr. Barletta championed a first in the nation ordinance penalizing employers and landlords for dealing with illegal immigrants. The courts blocked it from taking effect, but Mr. Barletta said Mr. Trump's popularity reflected the continued demand for stronger government action. "He's going to win here, and win big," Mr. Barletta said. Mr. Barletta introduced Mr. Trump at a rally in nearby Wilkes Barre on Monday night, declaring that voters in northeastern Pennsylvania would propel Mr. Trump to the White House. Mrs. Clinton, by contrast, has celebrated immigrants, both legal and illegal, as important contributors to American society. Her campaign describes her plan to create a pathway to citizenship for undocumented immigrants as one of her most important ideas for increasing economic growth. "Comprehensive immigration reform will grow our economy and keep families together and it's the right thing to do," Mrs. Clinton said in accepting the party's presidential nomination in Philadelphia, about 100 miles southeast of Hazleton. The Hispanic population grew faster in Luzerne County, which includes Hazleton, than almost any other county between 2000 and 2011, according to the Pew Research Center. While immigration has slowed since the 2008 recession, Hispanics continue to move here from larger cities like New York and Paterson, N.J. In the 2000 census, just 4.9 percent of Hazleton's population identified as Hispanic. A decade later, that figure was 37 percent. By 2014, the most recent data available, 46 percent of the population said it was Hispanic. In all likelihood, Hazleton is now a majority Hispanic city, just like the nearby cities of Reading and Allentown. The Hispanic ascendence emerged from seismic economic shifts, said Jamie Longazel, a professor of sociology at the University of Dayton who grew up just outside Hazleton and wrote a book, "Undocumented Fears," about the city's struggles with immigration. When the local coal mines began to close in the 1950s, Hazleton residents raised money to build an industrial park that attracted factories to the region. When the factories began to leave in the 1990s, the city mobilized again. Local officials won state permission to create one of Pennsylvania's largest tax free Keystone Opportunity Zones. A Cargill meat processing and distribution plant arrived in 2001. Other distribution businesses have followed, including an Amazon.com warehouse. 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. Many residents claim that city officials advertised for low cost immigrant labor on billboards in New York or New Jersey, but Mr. Longazel said there was no evidence that ever happened. The truth is that the immigration was unanticipated but most likely inevitable. "The new jobs don't pay as much as the old jobs did, and the reality is that native born folks were just not interested," Mr. Longazel said. The city also was also aging. Almost a quarter of the population was over 65 in 2000, roughly twice the national average. And nature abhors a vacuum especially in a work force. Many of the new arrivals trace their roots to one Dominican city, San Jose de Ocoa. Hazleton's old shopping streets, nearly abandoned in the 1990s, are now lined with Dominican bakeries, barbershops, travel agencies and Mexican restaurants. The Italian restaurants are now run by Mexican families. The city has two Spanish radio stations and a television station that broadcasts six hours of local programming a day. Stephen M. Schleicher, a dermatologist, said Hispanic residents now made up a third of his patients. He has hired a bilingual receptionist and is looking for a bilingual nurse. He has started placing ads in the local Spanish language newspaper. Dr. Schleicher, a lifelong Republican, said that Mr. Trump's views on immigration had persuaded him, albeit reluctantly, to vote for Mrs. Clinton. "We're seeing a total revitalization despite the government trying to keep the immigrants out," he said. "It would have been a ghost town of older white people." Yet it is easy to overstate Hazleton's recovery. Many of the new jobs pay poorly. Almost 29 percent of the population lived in poverty in 2014, almost twice the national average. And Hazleton's evolution has inspired deep resentment. Many residents complain bitterly about the new arrivals not speaking English, about loud music late at night, about people walking in the street and driving without regard for traffic rules. Wana Bostic, 45, scrapes by on 11.50 an hour as a home health aide. She said that she was not paid nearly enough, but that employers can squeeze workers because of the ready availability of immigrant labor. "No one talks about white Americans and what we really need," she said. Crime has increased, as has drug use. The police force, meanwhile, has shrunk with declining tax revenue. Many residents are convinced that illegal immigration is to blame. "If you come into the country breaking the law, that's not a good way to get your foot in the door," said Nick Zapotocky, 31, who now has three deadbolt locks on the door of his home. "That says you're willing to break the law again." Francisco Torres Aranda said people were blinded by their fear of change, unable to see the benefits that immigration is bringing to Hazleton. Mr. Torres Aranda, whose father was Mexican, runs a company that makes caps for old wells. He employs 30 people in the summer, only a few of them Hispanic. And he noted that some of the largest employers in the area are now Mexican companies, including Bimbo Bakeries, which has a plant nearby that makes millions of Thomas' English Muffins. Mr. Torres Aranda said he had always voted Republican, loyal to his pocketbook. But he plans to vote for Mrs. Clinton, he said. "They fear they're losing what they remember," he said. "But what can you do? The United States is in evolution. Apple pie came after the Germans arrived. Maybe it will now be 'As American as salsa.' So what?" Hazleton still has no Hispanic elected officials. The city just added its first Hispanic police officer. The public school system, which has very few Hispanic teachers, was ordered by the federal Department of Education in 2014 to improve efforts to teach English to immigrants, and to communicate with parents. But a second generation of Hispanic Americans in Hazleton may force change. Mr. Lara worked three jobs to pay private school tuition so his daughters could avoid Hazleton's high school. After 12 hour days in a factory, he washed dishes at night and cleaned offices on weekends. Two years ago, his eldest daughter, Amanda, graduated from Ithaca College in upstate New York with a degree in psychology and came home. She teaches after school classes for Hispanic children in the building that was once her elementary school. It has become a community center thanks in large part to Joe Maddon, a Hazleton native who manages the Chicago Cubs. Ms. Lara, who is studying for a master's degree at the University of Scranton, said racial tensions had increased. At the city's annual Funfest, she noticed an empty space between the Hispanic vendors and the Polish and Italian vendors. "And I hear it from my kids," she said of her students. "They're not dumb. They can tell when they're not liked or they're not welcome." But she said she was not sure she wanted to move away. "People say, 'Why would you want to stay there?'" she said. "Well, for one thing, this is my hometown."	N24News: A New Dataset for Multimodal News Classification	Economy
To hear more audio stories from publishers like The New York Times, download Audm for iPhone or Android. This summer, a bipartisan group of former government officials, political professionals, lawyers and journalists held a series of war game exercises about how the 2020 election might go wrong. Convened by the law professor Rosa Brooks and the historian Nils Gilman, it was called the Transition Integrity Project, and the results were alarming. "We assess with a high degree of likelihood that November's elections will be marked by a chaotic legal and political landscape," said a resulting report. President Trump, it said, "is likely to contest the result by both legal and extralegal means." Participants in the Transition Integrity Project played out tactics the president might try if threatened with defeat, including federalizing the National Guard to stop the counting of mail in ballots. In each scenario, the decisions of the Department of Justice, state officials and the candidates themselves proved pivotal. But so was the willingness of masses of people to protest. "A show of numbers in the streets and actions in the streets may be decisive factors in determining what the public perceives as a just and legitimate outcome," said the report. Progressive organizers are preparing for this eventuality. They've seen Trump tweet about postponing the election, spread lies about voter fraud and try to sabotage the Postal Service. Many of them remember the 2000 presidential election, when rowdy Republican operatives physically stopped the vote count in Florida while hapless Democrats put their faith in the courts. (One of the instigators of the so called Brooks Brothers Riot was none other than the criminal Trump adviser Roger Stone.) So a coalition of progressive groups, as well as some anti authoritarian conservative ones, is organizing under the rubric Protect the Results to get people into the streets if Trump tries to cheat in November. "It's a pretty massive effort that's underway," said Rashad Robinson, executive director of Color of Change, which is part of the coalition. Activists all over the country, he said, are "really gearing up for this fight." It could be a fight unlike any most living Americans have experienced. "We have been building grass roots power for the last three and a half years," said Ezra Levin, one of the co founders of Indivisible, which helped put the Protect the Results coalition together. But, he said, "this is something different. This is not just a one day showing up at congressional district offices or town halls or a march. This is a possibility of a dayslong or weekslong mobilization, so we knew we had to start preparing now." Recently the conservative Michael Brendan Dougherty wrote, in National Review, that he has "the unsettling sense that some progressives are steeling themselves for a color revolution in the United States," referring to the uprisings that ousted autocrats in post Soviet countries like Ukraine. He's right, but not in the way he thinks. Dougherty believes progressives relish the prospect of violent revolution, writing that they think "Trump must be 'toppled,' somehow, preferably in a major confrontation." But for most of us who foresee the possibility of a major confrontation, it is in no way preferable to a normal election. The prospect is, rather, a source of terror and dread that must nonetheless be considered. "The depressing overall thrust of our exercises ended up being that if the Trump campaign is in fact truly determined to stay in power no matter what, and is willing to be absolutely ruthless about it, it's hard to know what stops that," Brooks said of the Transition Integrity Project. Biden, she said, "can call a press conference, but Donald Trump can call up the 82nd Airborne." Should Trump succeed in exploiting state power, "the only thing left is what pro democracy movements and human rights movements around the world have always done, which is sustained, mass peaceful demonstrations." We don't yet know whether Americans will turn out in necessary numbers for such demonstrations. The recent racial justice protests are some of the largest America has ever seen; protests over Trump's systematic subversion of democratic norms have been smaller. The group of people "that are ready to take to the streets for process fights, and whether or not our Constitution is respected, is different than people that are going to the streets because people are dying," said Rahna Epting, executive director of MoveOn, also part of the Protect the Results coalition. "But I have faith that generally folks out there are connecting the dots between all of these causes right now." If Trump tries to corrupt the election, we're going to need the people who want to abolish the police and those who want to defend the integrity of the F.B.I. to work together. They may have to put their bodies on the line in a way that few living Americans have experienced. "We're not prepared today to deal with this," said Epting. The hope is that come November, we will be.	N24News: A New Dataset for Multimodal News Classification	Opinion
Menkedick is a skilled storyteller and her accounts of women from varied socioeconomic and racial backgrounds drive home how little society has to offer mothers. One told Menkedick that she's "terrified of everything"; another wore ankle weights to keep herself from sleepwalking and hurting her baby; yet another was placed on a 72 hour hold at a psychiatric ward geared toward people detoxing from drugs because there was nowhere else to put her. None received proper help until they either found it themselves or hit dangerous levels of anxiety. Menkedick's own postpartum anxiety started with an obsession over mouse poop that filled her with a "hot tingling of horror." The anxiety bloomed into a fear of toxins food preservatives, glyphosate, lead. "My whole life felt like a held breath," she writes. Yet it took two years for her to finally be diagnosed with severe O.C.D. "I couldn't separate it out from the set of 'normal,' culturally and medically and socially solicited behaviors appropriate to new motherhood. I couldn't draw a line where my fear crossed over into the darker territory of illness," she says. Yet she is less interested in exploring the line between what's "normal" and what's illness than in showing how fear and anxiety have long been used as tools of oppression often by so called experts to police, blame and silence mothers throughout history. "Fear is the principal means used to hold women to specific societal standards as mothers," she writes. "To question fear would be to question everything, the entire institution of American motherhood." Her wide ranging narrative touches on everything from neurobiology to politics and psychology, and it mirrors what anxiety feels like: starting in one place and then spreading and spreading until it colors everything, like a stain. We learn about the ancient world's view of motherhood as a source of power, inextricably bound with war, death and famine. We're told how the brains of mothers adapt and grow in size postpartum, especially in regions associated with processing emotional reactions, leading to increased alertness to stimuli, like the sound of a child's cry. Menkedick contends with the legacy of slavery and its mark on the bodies of black women, who today are three to four times more likely to die of pregnancy related causes and have double to triple the odds of developing postpartum depression. She tackles psychoanalysis and hysteria; witches and midwifery; the origins of welfare and the creation of the Social Security Act; forced sterilization and the rise of the American eugenics movement. You can understand why Menkedick admits in her acknowledgments that she worried the book would be "too big." Sometimes it is her disparate threads sometimes feel like digressions and occasionally fail to cohere but more often than not that bigness is a virtue. What you won't find is a prescription for change. "Ordinary Insanity" offers little in the way of solutions. Menkedick's goal, she writes, is to give a voice to the stories that have long been suppressed or ignored. On her daughter's third birthday, Menkedick weeps as she lies next to her. "For her, but more, I believe, for myself: for a resilience I never knew I had."	N24News: A New Dataset for Multimodal News Classification	Books
The pioneering geneticist Dr. Liane B. Russell in an undated photograph. So significant were her findings that in 1994 she received the prestigious Enrico Fermi Award from the Department of Energy, the department's highest research honor. Dr. Liane B. Russell, a pioneer in the study of the dangers of radiation on developing embryos, whose findings are the reason doctors today ask women if they are pregnant before giving them X rays, died on July 20 in a hospital in Oak Ridge, Tenn. She was 95. The cause was pneumonia following treatment for lung cancer, her son, David Russell, said. Dr. Russell, who had fled Vienna with her family after the Germans invaded Austria in 1938, spent more than a half century at the Oak Ridge National Laboratory in eastern Tennessee, starting in 1947. The lab had a history; it had been the headquarters for the Manhattan Project, the secret World War II program that developed the atomic bomb. Dr. Russell arrived just two years after the United States dropped atomic bombs on Hiroshima and Nagasaki, killing an estimated quarter of a million people instantly while tens of thousands more eventually died of radiation poisoning. The effects of radiation were of intense interest in the postwar period. Scientists everywhere were exploring the peaceful uses of nuclear capability while also studying its dangers, including the effects of atmospheric fallout from atomic bomb tests and the effects on those who worked with radioactive materials. It was against this backdrop that Dr. Russell, a geneticist, undertook her studies, which included the field of teratology, the study of congenital deformities and abnormal f ormations . Shortly after their arrival, she and her husband, William L. Russell, established the storied "mouse house" at Oak Ridge, an extensive colony of mutant mice bred to show the effects of radiation exposure. There she helped identify the harmful effects of radiation and chemicals on mice embryos and the genetic implications of such damage. In time, the "mouse house" would hold more than 200,000 mice and help to drive discovery in mammalian genetics research for decades. In 2001, Oak Ridge dedicated a new lab to mouse research, naming it the William L. and Liane B. Russell Laboratory for Comparative and Functional Genomics. For example, the embryos of mice that had been impregnated at the same time and then irradiated at the same time all developed the same foot deformity. The embryos that were radiated a day later all had a different foot deformity. A third group of mice, radiated on a different day, all had short tails. Through extrapolation , Dr. Russell determined that in humans, developing fetuses were most vulnerable to radiation during the mother's first seven weeks of pregnancy. Because women generally don't know right away whether they are pregnant, Dr. Russell recommended that non urgent diagnostic X rays be taken in the 14 days after the onset of a woman's menstrual period. Women don't ovulate for those two weeks, so Dr. Russell reasoned that they could not become pregnant and doctors could avoid potentially causing harm to a fetus by using radiation. That recommendation was adopted around the world and is the reason doctors, before taking X rays, ask women of childbearing age if they are pregnant or if they think they might be pregnant. In her experiments with mutated mice, Dr. Russell made another important discovery that the presence of the Y chromosome meant a mammalian embryo was male. Other scientists had discovered decades earlier that chromosomes determined sex, but they had done so in lower level organisms, like mealworms. Dr. Russell was the first to find that the Y chromosome determines maleness in mammals, setting off a scramble among scientists to see if this was the case in humans too, which it was. The discovery opened up new avenues of research in genetics and genetic abnormalities. "It seems an obvious and simple matter from today's perspective," said Dabney Johnson, a retired geneticist from Oak Ridge. "In 1959, it was quite a discovery brand new knowledge relevant to every one of us." So significant were Dr. Russell's findings that in 1994 she received the prestigious Enrico Fermi Award from the Department of Energy, the department's highest research honor. The department's announcement of the award noted her "outstanding contributions to genetics and radiation biology, including her discovery of the chromosomal basis for sex determination in mammals and her contributions to our knowledge of the effects of radiation on the developing embryo and fetus." Her findings, the announcement said, "have been the benchmark for the study of mutations in mammals and genetic risk assessment worldwide." Liane Brauch was born on Aug. 27, 1923, in Vienna, the oldest of three children. Her father, Arthur, was a chemical engineer and her mother, Clara (Starer) Brauch, was a singing teacher. Lee was 14 when Germany invaded. The family, which was Jewish, was able to escape by surrendering their home and Mr. Brauch's business and leaving behind all their belongings. They fled to London, survived the Blitz and in 1941 moved to New York, where Lee studied chemistry at Hunter College, graduating in 1945. She had planned to go to medical school, but after a summer job at the Jackson Laboratory, an independent biomedical research institution in Bar Harbor, Me., she changed her mind.	N24News: A New Dataset for Multimodal News Classification	Science
This exultant evening of improvised rap created by Thomas Kail, Lin Manuel Miranda and Anthony Veneziale turns out to be a perfect fit for Broadway . And just as you were thinking that life has no rhyme nor reason these days, along comes "Freestyle Love Supreme" to pump you full of hope. This exultant master course in the fine art of hip hop, which opened on Wednesday night at the Booth Theater , suggests that there's no feeling, thought or experience so anxious or so random that it can't be translated into infectious, neon bright rhythms. Confusion, frustration, depression such emotions are banished by the team assembled on the stage to find the great, sick beat in your past and present woes . If you're asking who gives a rap on Broadway, you clearly haven't been in that neighborhood since a show called "Hamilton" opened there four years ago. That trophy laden hip hop portrait of America's founding fathers redefined what a Broadway musical could be, finding an authenticity and vitality in the lives of those long dead through a defiantly contemporary sound. The team behind that work included Lin Manuel Miranda its writer, composer and original star and Thomas Kail , its director. They are also the creators of "Freestyle Love Supreme," along with Anthony Veneziale , who conceived the idea for it 15 years ago. There is also a guest star at each performance. Mine was Mr. Miranda, whom the crowd greeted with the kind of cheers that follow clock beating touchdowns at home team stadiums . Finally, it was possible to make out that Mr. Miranda was saying, like a Dolly Levi in denim, that it was so nice to be back on Broadway, where he belongs. Indeed he does. And so does "Freestyle," seen Off Broadway at the Greenwich House Theater earlier this year. This production may lack a script, a song list and a chorus line. Yet it is, in its way, the distilled essence of that venerable national institution, the musical comedy. The enduring appeal of that form lies in its ability to exalt the everyday by endowing it with the pattern of rhythmic song. This is also what the spontaneous, self created musicians of the 1970s were doing in the Bronx, when rap began its unstoppable spread through this country's culture. What distinguishes "Freestyle Love Supreme" from other Broadway songfests is that its numbers spring into existence before your very eyes, or ears. And you, dear audience members, are the co authors of these numbers feeding the onstage crew the words, ideas and emotions that they then transform into improbably rhymed performance pieces. That means live theater doesn't get more live than this. "Freestyle" demands that you exist purely in the here and now of the show. And to guarantee you do so, it requires that all smartphones (and smartwatches) be locked into Yondr pouches before you take your seat. (Can't we make this a universal practice on Broadway?) What you see onstage, before the cast arrives, is more or less a tabula rasa. Beowulf Boritt 's set consists of four stools, a couple of keyboards, a bongo drum and a blazing neon icon of the show's logo. You hear the performers before you see them, doing highly audible mic checks in the wings. Then as the dim stage brightens ( Jeff Croiter did the lighting), they're on. Which means you are, too. With a silken patter that never stoops to snark or condescension and an inclusive attention that reaches deep into the mezzanine Mr. Veneziale asks the audience to feed him words. (There is also a box full of words on slips of paper, to which theatergoers can contribute before the show begins .) Who knew how malleable and melodic the verb "dribble" could be? Or that there really are rhymes for "meniscus"? Or that any performer possessed the concentration to keep all these words in play for the entire performance? When the theatergoers are asked to come up with names of things they hate, it may seem like an invitation to partisan rancor. But this production has a way of appropriating and defusing what makes people angry and uncomfortable. The hate objects on the night I saw this show were "jalapeno," "Brexit" and "living in New York City." Mr. Ambukdar took jalapeno, and turned the peppery noun into a sweetly scatological lament about indigestion. Mr. Veneziale riffed tartly on Brexit. Ms. Folds, a newcomer to the team with a singing voice that scales the heights of exasperation, took us on a rhymed excursion through the overcrowded purgatory of Times Square. "Meniscus," an anatomical term referring to a part of the knee, became the improbable basis for deeply heartfelt love letters to family members (Mr. Miranda's children; Mr. Ambudkar's bride).	N24News: A New Dataset for Multimodal News Classification	Theater
Stars and stripes were projected on the Beaux Arts facade of the New York Public Library on Fifth Avenue. The steps were lined with a green stream of Statue of Liberty impersonators. The rotunda was filled with an equally round proscenium, complete with drum set and keyboards waiting for The Kills to take the stage. The show was an hour late. Everyone was waiting for Madonna. Not me. I left after it hadn't started by 10 p.m., and I checked it out on my computer. No one embraces their own terrible taste with as much unrepentant gusto as the German designer Philipp Plein, who usually shows in Milan but who on Monday night brought his P .T. Barnum fashion to New York for the first time, seemingly with no sense of how tone deaf the whole display was from bustier to thigh high boots, from fire and brimstone embroidery to NASA puffer coats. Mr. Plein came to New York because he is expanding in the United States, and on each seat was a look book urging to "Make New York Fashion Week great again." But what he showed wasn't style. It was self indulgence. Don't be distracted by the pyrotechnics. For fashion, you had to look elsewhere: to a show that heralded a beginning, and one that marked an ending. At Oscar de la Renta, a house that has been in some turmoil since the death of its founder in 2014, the former design director Laura Kim and design assistant Fernando Garcia made their debut as creative directors just under two years after they left to start their own brand, Monse, which they showed before the Oscar collection, as a kind of opening act. And at Proenza Schouler, the designers Lazaro Hernandez and Jack McCollough, favorite sons of the city, were saying farewell; as of July, they will move their show to Europe and to the couture schedule. Both collections were worthy of attention because of what they put on the runway: ideas that reflected a turning point. It's where we are. Mr. Garcia and Ms. Kim took some shears to de la Renta, where they gave the brand the fashion equivalent of a haircut, transforming it from a shellacked bouffant into slick, swinging ponytail. Off with the frills! "When I was trying to get them to come back, Fernando said, 'You know, I'm afraid you don't have the guts to make it young,' " Alexander Bolen, the brand's chief executive, said in a preview before the show. But "young" is a relative term. The Monse collection was younger in the poet meets pirates of venture capital sense (lots of shoulders unzipped to show skin, cargo pants, shearling, albeit too many flapping luggage strap belts, terrific twisted velvets). De la Renta, immediately afterward, was younger in a flexible, Pilates sculpted sense. Full of ... pants. Black cigarette numbers were paired with everything from standard tuxedo jackets to devore and mini paillette paved corsetry molded or draped at the hips. That mix of smoking elegance and heritage swag has become a familiar trope of a new designer at an old house since Raf Simons landed at Dior (his now former job), but that doesn't make it any less attractive. Also good: small shoulder ankle length coats slit above the waist at the side for an elongated line, strapless bell shape party dresses that hit not the floor but the ankle, and a color palette that mixed silver with shell pink and orange, or sea blue with forest green and black. It wasn't as original as Monse (it wasn't so original at all), and it isn't necessarily time to bring back the mini pouf skirt (also: who wants to wear a giant fur skirt?), but the show was coherent and had a cosmopolitan, cleaned up edge. Martini glass optional. The arty edge, however, belongs to Proenza Schouler, a brand that began colonizing the Chelsea gallery scene more than a decade ago at least as it exists in some shared industrial chic imagination. This collection was a case in point, dipping in and out of a familiar vocabulary: high waist trousers bloused at the hip and pegged at the ankle, oversize outerwear dangling skinny logo ribbons from zippers, and jackets wrapped and belted at the waist, so pockets were pulled atop (a treatment that also showed up more specifically at The Row in a lavishly understated collection).	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
LONDON In a cramped, down at the heels rehearsal room, the composer Anna Meredith was frowning at her laptop. In front of her were an electronic keyboard, a sound mixer bristling with knobs, two drums and a toy xylophone. A clarinet on a stand stood on the floor next to an electronic drum pad. After a short pause, Ms. Meredith picked up the clarinet, grimaced and glanced across at her bandmates. "Now, if I could just remember what I'm meant to be doing on this one, that would be terrific," she said. It was just over a week before the launch gig for her second album, and Ms. Meredith could be forgiven a touch of stage fright. The last time she was preparing to debut a major work was summer 2018 for the Proms festival at the Royal Albert Hall. Her ensemble on that occasion included the combined forces of the BBC Symphony Orchestra, the BBC Proms Youth Ensemble and a large choir. Musical history is full of pop stars who yearn to be taken seriously on the classical side of the aisle, but the traffic rarely runs the other way. Ms. Meredith is a rare exception. One of the most established British composers of her generation, Ms. Meredith in recent years has been popping up in the most unexpected of places. A few weeks after that Proms debut, she released a recording of her "collaboration" with Vivaldi, a joyously irreverent response to "The Four Seasons" using a combination of electronics and live instruments. A few weeks later still, she was back onstage, touring boutique summer festivals with her band. Her music defies the usual attempts at categorization. In the last decade, Ms. Meredith has written a concerto for beatboxer and orchestra, a "gigue" for dance mat and electronics, a piece for chamber group plus recorded M.R.I. scanner, and a body percussion piece for an orchestra to perform without instruments ("HandsFree"). Animated by exuberant, juddering cross rhythms, vaulting easily from frenetic, Terry Riley ish minimalism to tranquil introspection, Ms. Meredith's compositions seem to contain whole worlds. As blaring brass fanfares a la Janaceck collide with surges of caffeinated power pop, you find yourself wondering where she will go next. The new album, entitled "Fibs," is as skittishly inventive as anything Ms. Meredith has written. The opening track, "Sawbones," builds from a manic tuba and electric guitar riff to a maddeningly catchy chorus that wouldn't be out of place at a 1990s club night. There are quieter moments, too: In "Moonmoons," a graceful, melodic cello line soars over cooing owl sounds and plucked strings. "The thing about playing Anna's music is that it's constantly changing," said Maddie Cutter, the cellist on "Moonmoons." "One minute you have a lovely melody, the next you're doing these wild percussive chromatic things. Then there are all the crazy time signatures. You have to be really clued up." Born in 1978, Ms. Meredith grew up near Edinburgh. As a teenager, she took clarinet lessons and played in a youth orchestra, but had little sense that music was her thing. Her first formal composition, written in high school, was for electronic keyboard, and required that the performer keep their hands on the keys, hitting the buttons that changed the instrument's sound with their nose. ("Maybe I should dig it out," she said, laughing.) It wasn't until studying music at the University of York, then specializing in composition at the Royal College of Music, that she realized her gifts might be in any way unusual. Success came early. By her mid 20s, she was composer in residence with the BBC Scottish Symphony Orchestra; by 28, she had won a coveted commission to write a piece for the Last Night of the Proms, the biggest jamboree in Britain's classical musical calendar, which is broadcast around the world by the BBC. The piece she wrote, "Froms," performed simultaneously by five orchestras, was, like many things Ms. Meredith has composed since, swaggeringly ambitious. "The composing me is pretty badass," she said. "When I'm working on something big, I feel totally unfazed." Yet she often felt uncertain about whether she really belonged in the contemporary music establishment, she said. Pulling a face, Ms. Meredith described once spending months writing an orchestral piece on commission, and being utterly dispirited by its debut performance. "The players didn't seem to care, the audience didn't seem to care, no one looked like they of it were having a good time," she said. "And the piece was only played once, there was no recording; that was its only chance." This wasn't a criticism of the way the classical world operates, she insisted: "I know I've been enormously lucky to get those commissions. I just wanted to do something where I had more control." So she decided to think more like a pop artist, and focus on writing tracks for an EP rather than pieces for live performance, she said . She also decided to follow in the footsteps of composers like Steve Reich and Philip Glass, and build a permanent ensemble. Sam Wilson, a percussionist and vocalist joined the group; as did a guitarist, Jack Ross; a tuba player, Tom Kelly; and, later, Ms. Cutter. The group's first album, "Varmints," was released in 2016 to a mixture of acclaim and faint bewilderment. Ms. Meredith said that, while some critics seemed surprised by her change in direction, she was really only irked by suggestions that somehow she was selling out in attempting more commercial projects. "It's ridiculous, that assumption," she said. "For a start, there's so much more infrastructure and support in contemporary classical music, at least in the U.K." Ms. Meredith isn't alone in trying to change assumptions about where contemporary music should be heard, or how. Just as composers like Olafur Arnalds, Nils Frahm, Mica Levi, Nico Muhly and Max Richter have become fixtures at festivals in the United States and mainland Europe, Britain seems to be in the midst of a boom in so called neoclassical music. The niche label Erased Tapes, based in East London, has found unexpected success with recordings of mellow, stripped back instrumental music so much so that Decca has followed with its own "postclassical" label, Mercury KX. The London composer Gabriel Prokofiev's long established "Nonclassical" live events somewhere between club nights and contemporary music sessions have been an important showcase for projects that sit between techno, electronica, D.J. led dance music and video art. "There's a lot of experimentation right now," said the radio host Elizabeth Alker, whose show "Unclassified" is devoted to new music that straddles contemporary, alternative, minimal and numerous other adjectives. It has been a surprise hit on BBC Radio 3, an unabashedly highbrow classical music station. "Performers are thinking much more about the live experience, and audiences seem genuinely curious," Ms. Alker said. "I honestly think they don't care which category something fits in or doesn't." Ms. Meredith also said she felt that the musical landscape around her was in flux; having once experienced a degree of anxiety about where to place herself, she no longer entirely cared. "At the moment, I think my biography says 'composer, producer, performer,' which I think is maybe a bit much," she said, then raised her eyebrows. "How about just 'musician'?"	N24News: A New Dataset for Multimodal News Classification	Music
LAKE BUENA VISTA, Fla. Purple and gold confetti fell on LeBron James late Saturday night as he sat on the court in a largely empty arena and digested the fresh reality that he was headed to his ninth N.B.A. finals in 10 seasons. One of the first people he thought about was Anthony Davis, his teammate on the Los Angeles Lakers. "This is the reason why I wanted to be a teammate of his and why I brought him here," James said after the Lakers closed out the Denver Nuggets with a 117 107 win in Game 5 of the Western Conference finals. "I wanted him to see things that he had not seen before in this league. To be able to come through for him meant a lot for me personally." Their partnership has the Lakers four wins from the franchise's 17th championship the Lakers will face the Miami Heat or the Boston Celtics in the N.B.A. finals and it has been mutually beneficial from the beginning. Davis, a 27 year old power forward, recalled an early conversation with James, 35, after they became teammates before the start of the season. The Lakers have endured their share of adversity this season the league's longest season, by the calendar. They found themselves caught up in a geopolitical feud during a preseason trip to China, then mourning the death of Kobe Bryant in January. After a four month hiatus brought on by the coronavirus pandemic, the Lakers traveled to Walt Disney World for the N.B.A.'s restart with their lofty goals intact: championship or bust. "It's been a crazy obstacle course for our franchise," James said. Even as he nears the end of his 17th season, a season that started nearly 12 months ago "An eternity," his teammate Jared Dudley said James has been thrilling to watch. On Saturday, he was at his best, which is saying a lot: 38 points, 16 rebounds and 10 assists while shooting 15 of 25 from the field. He scored 9 straight points for the Lakers late in the fourth quarter. During a subsequent timeout, his teammate JaVale McGee pretended to place a crown on James's head. But it is worth remembering last season, too, when many people realized that James was not, in fact, indestructible. He missed a big chunk of the season after injuring his groin, and the Lakers finished in the draft lottery with a 37 45 record. The finals were LeBron free for the first time since 2010 James said he watched every game on television, including two of them at a hookah lounge and it was the first time he had missed out on the postseason entirely since 2005, when he was a second year player for the Cleveland Cavaliers. Davis was having problems of his own as he spent much of last season trying to force his way out of New Orleans. A trade with the Lakers finally materialized in June 2019. It has made all of the difference for James, for Davis and for the Lakers, who are making their first trip to the finals since 2010, when Bryant won his fifth and final ring. James is now preparing for his 10th trip to the finals over all. The list of athletes who have been so good for so long is a short one. But this is all new ground for Davis. For all of his individual accolades, he had never made a deep playoff run. In seven seasons with New Orleans, he went to the playoffs twice and helped the team win one series. There was never any doubt that he was gifted. But could he elevate a franchise? One of Davis's new teammates this season happens to be the game's most dominant force, a basketball playing cyborg. But James has never won a title by himself. He has needed to pair with outstanding players Dwyane Wade in Miami, Kyrie Irving in Cleveland and that does not make him unique. Now, he has paired with another. In five games against the Nuggets, Davis averaged 31.2 points and 6.2 rebounds while shooting 54.3 percent from the field. He also produced the highlight of the series and perhaps of the entire restart when he sank a 3 pointer at the buzzer in Game 2, lifting the Lakers to a 105 103 win. Afterward, James thought back to a game the Lakers had played against the Nets in March. Davis tried a similar shot a 3 pointer in front of the opposing bench that he missed, and the Lakers lost. Davis was hard on himself, but James said he was heartened that Davis had even been willing to take the shot. "It's not about making the shot," James said. "It's about having a belief of just taking it, for one, and living with the result." Davis was not pleased with his performance in a Game 3 loss to Denver "I can't have two rebounds in an entire game," he said and James knew enough to keep his distance ahead of Game 4. He was basing that read of the situation on the positioning of Davis's eyebrows his unibrow, to be specific. "If his brow is really low, then you know not to talk to him," James said. "If it's higher, then he's accepted the fact that you're allowed to come into his office and talk to him." The day after Game 3, James analyzed the brow barometer: low brow. "No one talked to him," James said. Davis scored 34 points in Game 4 but rolled his ankle, and the Lakers listed him as "questionable" for Game 5. A "questionable" Davis was in the starting lineup and finished with 27 points and 5 rebounds, then delighted in the strange aftermath: a trophy presentation in an empty arena pumped full of confetti and artificial crowd noise. It was a celebration that was different and special (in its own way), and it felt like the beginning rather than the end.	N24News: A New Dataset for Multimodal News Classification	Sports
"Torch Song," the slimmed down revival of Harvey Fierstein's 1980s trilogy, is ending its run on Broadway on Jan. 6. The play, about a drag performer looking for love and family, is a classic of gay theater, and in 1988 was adapted into a film featuring Matthew Broderick and Anne Bancroft, as well as Mr. Fierstein. The revival, starring Michael Urie and featuring Mercedes Ruehl, was praised by critics, but failed to catch on with ticket buyers during a year rich with important gay plays (including starry revivals of "Angels in America" and "The Boys in the Band"). Last week it grossed 220,459, which is 34 percent of its potential, and about one third of the theater's seats went unsold. The early closing is a disappointment for the show's producers and for Second Stage, the nonprofit that developed the revival and is now its landlord. Second Stage had initially hoped that the play would run for a year; by the time the commercial production began, it was being billed as a 20 week run. Instead, it will close after 13 weeks (26 previews and 77 regular performances). The play was capitalized for up to 3.4 million, according to a filing with the Securities and Exchange Commission; it has not recouped that investment.	N24News: A New Dataset for Multimodal News Classification	Theater
When the federal aid package for small businesses known as the Paycheck Protection Program was announced last month, it seemed to offer a lifeline for modest enterprises in dire need of help because of the coronavirus crisis. Passed by a bipartisan majority in Congress, the program offered 349 billion in forgivable loans essentially bridge loans to provide the liquidity needed until the economy recovers. Unlike big industry bailouts, which generate both moral hazard and public anger, the plan held out the attractive promise of providing relief for the smallest shops on Main Street. But despite good intentions, the program has been a fiasco. It has replicated much of the existing unfairness of the United States economy and has created more resentment than relief. Intended to help the small businesses that give the country much of its character and livelihood, it has helped, more than anyone wants to admit, big chains and medium size enterprises. What your average neighborhood preschool needs now is 35,000 or so. But though 74 percent of the approved loans as of April 16 have been for 150,000 or less, 45 percent of the 349 billion in small business relief has gone to loans over 1 million, and nearly 70 percent has gone to loans over 350,000. The widely reported fact that Ruth's Chris Steak House, a big chain, got 20 million in forgivable loans is a symbol of what has gone wrong, for that money could have saved a lot of preschools. According to data self reported by small businesses, 92 percent of applicants have gotten nothing at all. As Congress negotiates funding to replenish the program, it should not blindly add more money to a flawed scheme but instead address the fact that it is failing to help those who need it most. There is an easy fix: Congress should set aside at least half the money for "real" small businesses: those with 25 or fewer employees. And if Congress fails to do so, banks and other lenders should reserve the money themselves.	N24News: A New Dataset for Multimodal News Classification	Opinion
Back in February at the Academy Awards, the Australian actress Cate Blanchett made her usual regal turn on the red carpet, a vision of cool beauty in a silk velvet sheath. The dress, designed by John Galliano for Maison Margiela, was so conspicuous for its lack of frippery it might have easily been interpreted as an emblem of Mr. Galliano's continuing public chastening. The point was not the dress, however. The dress was just a foil for what was draped about Ms. Blanchett's milky throat. To call the jeweled bib she wore that evening a "statement" necklace, as many did, was a bald understatement. Five hundred carats of turquoise beads undulated on its surface, held in place with diamond capped pins. Beneath them lay a platinum armature to which were affixed 400 additional carats of stones turquoise cabochon, faceted diamonds, aquamarines all contrived to imitate the effect of sunlight refracted through water. Whether the 36.6 million Oscars viewers were aware of this subtlety, the scene stealing bib had the commercially desirable effect of making the million dollar gems on other entertainers look like so much borrowed ice. The frenzy of social media "likes" and "favorites" flew so fast that evening that, seemingly before the telecast had drawn to a merciful conclusion, a Chinese manufacturer had already gone into production with a knockoff of the 400,000 jewel, some bright light at Us Weekly hatched plans to sponsor a reader contest offering as a prize a 75 faux turquoise collar inspired Ms. Blanchett's necklace, and it became very clear to a lot of people that for the first time in a long while Tiffany Company had stolen the show. "You have a company that's 177 years old and still here," Stellene Volandes, executive style director of Town Country, recently said of the company. "A piece like the one Francesca designed is modern but also recognizes Tiffany's heritage and that much of the company's future lies in what's been done in the past." She was referring to Francesca Amfitheatrof, little known outside the industry and a stealth force within it, not only the first woman in the history of Tiffany Company to be named design director but also one of only a handful of trained jewelers ever to hold that job. Still, "If you really think of Tiffany Company in the last couple of decades, there's not been very much new or creative," said Daniela Mascetti, a senior specialist in jewelry for Sotheby's in Geneva. "They have a legacy to respect but at the same time need to come up with new ideas to bring Tiffany to the forefront again." With the unveiling early this month of her first Blue Book a catalog displaying 230 examples of so called "high jewelry" Ms. Amfitheatrof makes strides in that direction, showcasing a series of one of a kind pieces, like the Blanchett necklace, that stand as an artistic statement of intent. First published in 1845 as a "Catalogue of Useful and Fancy Articles," the Blue Book catalog long ago abandoned any illusion of utility unless, that is, one's idea of a necessity runs to 100,000 tanzanite and platinum rings. (Whether or how much Ms. Blanchett was paid to wear the Amfitheatrof design to the Oscars is a matter of some conjecture. It is well known that many entertainers are richly remunerated for their red carpet loyalty. Asked whether Ms. Blanchett was one such star, a Tiffany Company spokeswoman replied, "Cate Blanchett is a friend of Tiffany's.") While wealthy clients queue up each year for the Blue Book rarities produced at Tiffany's specialized workshops above the landmark Fifth Avenue store, the catalog's real purpose is to increase the luster of a luxury brand in an increasingly competitive market and deflect attention from the fact that Tiffany's bottom line is built on far more prosaic stuff. Even in boom times, a limited number of clients exist for a 400,000 necklace. Yet come June, high school graduates by the thousands are likely to open a trademark Tiffany Company robin's egg blue box and find inside one of the jeweler's classic best sellers, Elsa Peretti's silver heart on a chain priced 200. More than one year in the making, the objects in "The Art of the Sea" collection are a reflection of Ms. Amfitheatrof's lifelong obsession with water, the element in which she has always felt most at ease, and one she has drawn on time and again as a metaphorical force. "I've always had a huge draw to the ocean, just massive," Ms. Amfitheatrof said in early February at the annual American Gem Trade Association fair in Tucson. There, for several days, dealers from all over the world congregated with their precious wares. "Whether it's off Patmos in Greece or in Wellfleet, the minute I'm in the water, I'm so affected by it my heartbeat changes," she said. As gem dealers unlocked safes to display treasures like an 8.25 carat Mozambican ruby or a pinkish padparadscha sapphire, Ms. Amfitheatrof cannily studied and rated each in turn. Cradling the stones between the ring and index fingers of her downturned hand, she noted that while some seemed nearly radioactive in their brilliance, others were duller than beach glass. "I don't think about the value of the materials all that much," she said. And it is true that in her work she tends to treat precious and base materials alike, oxidizing gold to blacken it, pairing relatively worthless minerals like rock crystal with platinum, setting semiprecious gems like opals in diamond studded bracelets. "I mean, sometimes, when I hear the numbers it's like, 'Holy cow,' " Ms. Amfitheatrof added in the accent of the English schools where she received a substantial part of her education. "But in general I try not to be intimidated and just focus on the design." In this she draws inspiration from two designers who have served as collaborators and mentors across her decades long career. "Whenever I get into a pickle in design, or anything, really, I think, 'What would Karl do?' " Ms. Amfitheatrof said not long ago at the Tiffany Company Fifth Avenue workrooms, referring to Karl Lagerfeld, her onetime boss at Chanel. "Karl always says: 'Just say yes, darling. And then do whatever you want.' " Another good friend, the designer Alexander McQueen, frequently goaded Ms. Amfitheatrof to flout convention, to stretch the parameters of taste. "Whenever I face a problem in the studio, I hear Lee in my ear," Ms. Amfitheatrof said, referring to Mr. McQueen by his familiar first name. "It's him saying: 'Push it, Francesca. Push it! Do more!' " Daughter of an American journalist and an Italian publicist, Ms. Amfitheatrof, 44, was born in Tokyo, where her father was then posted as the Time bureau chief. Though a United States citizen, she spent a nomadic childhood attending schools in England and Italy, where her paternal grandparents (her grandfather was the Hollywood composer Daniele Amfitheatrof) moved to help raise her and a sister during their father's stint as the Moscow bureau chief for Time. Ms. Amfitheatrof's decision to bypass an Ivy League education in favor of art school was no less shocking to her parents than was her decision to major in, of all things, jewelry design. "My father wanted me to go to Harvard," she said. "I got the application and secretly threw it out." Instead, she went first to the Chelsea School of Arts, later Central Saint Martins and the Royal College of Art in London, where upon graduation she almost immediately began working as a designer of everything from furniture to jewelry to buttons for a roster of storied labels: Marni, Fendi, Wedgwood, Alessi, Asprey Garrard. Underscoring that notion, Mr. Solca noted in an email a pressing need for Tiffany Company "to upgrade its perception in the U.S. and come up with stronger and more consistent merchandising." Central to that goal, of course, is preserving Tiffany's status as an iconic American brand while adapting to the new realities of a global marketplace. Nearly a quarter of Tiffany's overall revenues came from the Asia Pacific region in 2014. "Francesca has a very clear aesthetic, and you saw that in the first collection of Tiffany T bangles, all pure form and line," said Ms. Volandes, of Town Country. Both, as it happens, were attributes prized by Charles Lewis Tiffany, who helped found a store that sold stationery and fancy goods in 1837 with a 1,000 grubstake from his father. "Charles Lewis Tiffany always attributed the company's success to one thing," John Loring, the company's design director emeritus, said recently by telephone from Florida. "Simplicity." With the Blue Book collection, Ms. Amfitheatrof makes clear her broader artistic ambitions are perhaps less aligned with ideals of simplicity as espoused by signature Tiffany minimalists like Ms. Peretti than perhaps with the aesthetic of Jean Schlumberger, a man experts consider to have been one of the greatest jewelers of the 20th century, and who designed for the company from 1956 until his retirement in the 1970s. While just two pieces in the Blue Book collection derive directly from Schlumberger designs, the entire suite seems infused with his exploratory spirit, instinctive feel for organic forms and wit. "You know, I'm particularly interested in the process of thinking through art and design," Ms. Amfitheatrof said recently. "I want to apply process and experimentation to the creation of jewelry, not concepts and themes. I'm not thinking, 'Who is the woman this jewel is designed for?' It's a bit more of a cerebral path, a constant search for ways to push the edges out."	N24News: A New Dataset for Multimodal News Classification	Style
I CONSIDER myself uniquely qualified to comment on the performance credentials of the 2013 Cadillac ATS. That's because I'm surely one of very few people to have owned a Cadillac Cimarron and a BMW 3 Series within the last five years. What does that have to do with anything? Well, the Cimarron represents Cadillac's misguided past, a textbook case from the 1980s of the wrong way to fight high end European competition (in that case, by simply rebadging a front wheel drive Chevy Cavalier). And the 3 Series is the ATS's contemporary muse, the car that Cadillac aspires to dethrone as the king of small luxury sport sedans. While the ATS helps to banish memories of the Cimarron (and the Catera, inasmuch as anyone remembers that), I'm not sure it's quite ready to erase the 3 Series as the modern reference for all around sport sedan excellence. There are some areas, notably chassis tuning, where the Cadillac's talents surpass those of the BMW. It's in the totality of the thing, across the lineup of 4 and 6 cylinder engines, rear and all wheel drive, where BMW's decades of experience comes to bear. It's strange to think of Cadillac as a precious upstart, but in this realm that's exactly what it is. Cadillac did manage to create a top of the class chassis. The ATS is agile but not nervous, the controls transmitting a level of feedback that makes the car feel alive even when you're just moseying around town. The last sedan that I remember accomplishing that feat was the Mitsubishi Lancer Evo RS, a frothing high strung psychopath with no radio or air conditioning. To achieve such a degree of man machine communication while ironing out the potholes is a significant achievement. The optional magnetic ride control dampers, which can vary from boulevard supple to racetrack aggressive in five milliseconds, certainly help the cause. But fancy shocks cannot disguise a piggish chassis, so it's important that the basic ATS architecture is the stuff of serious performance cars. The base ATS weighs 3,315 pounds, a mere 26 pounds more than a Corvette Grand Sport convertible. Throw in nearly perfect 50 50 front to rear weight distribution and a suspension that was tuned on the fabled Nurburgring course in Germany, and you've got a small sedan that's a blast to drive on the road and the track. Lift the throttle before diving into a corner, and the rear end rotates around smartly, hastening the moment when the driver can get back on the throttle. The limited slip differential, part of the Premium Package, helps to enable big, controllable drifts. The ATS's handling definitely wasn't dumbed down to accommodate pensive drivers. Under the hood, the base 2.5 liter 4 cylinder generates 202 horsepower, which will probably be enough for the business traveler rental fleets where that version will surely land. The midlevel motor is a new 2 liter 4 cylinder with a dual scroll turbocharger, direct injection and variable valve timing. The turbo 4 is rated at 272 horsepower and 260 pound feet of torque, and can be ordered with a 6 speed manual or 6 speed automatic transmission. The mightiest power plant is General Motors' ubiquitous 3.6 liter V 6, which makes 321 horsepower and is available only with a 6 speed automatic transmission. I drove a turbocharged car with the manual gearbox as well as a pair of automatic V 6s (one with all wheel drive) and concluded that the V 6 is what you want under the hood. The turbo 4 does a workmanlike job of hustling the ATS down the road, but only the high revving V 6 provides the aural feedback that tells you this is a performance car. The turbo motor is actually a little too polished it could use a measure of the exhaust blat and turbocharger chuff that enlivened G.M.'s previous 2 liter 4 cylinder in cars like the Saturn Sky Red Line. That old motor was available with a factory computer upgrade that raised output to 290 horsepower and 340 pound feet of torque. Cadillac would be wise to woo the tuner crowd with a similar package for the ATS. (And, no, the performance upgrade for the old engine won't work on this one; I asked.) Opting for the turbo engine will earn you slightly better fuel economy, with a rear drive automatic car earning an E.P.A. rating of 21 miles per gallon in the city and 31 on the highway, compared with 19/28 for the rear drive V 6. The ATS interior is well wrought, especially in the Premium Collection trim. We can debate whether carbon fiber's voguish status will stand the test of time, but at least the stuff available on the ATS's dash is real carbon fiber. The interior strives for flash, which is fun and useful in some cases (like the color heads up display projected on the windshield) and more confounding in others like the eight inch CUE screen that dominates the middle of the dashboard. CUE, short for Cadillac User Experience, is hit and miss. Literally. There's a sensor on the dash that anticipates your hand's approaching the touch screen and changes menus before your finger jabs whatever virtual button you were going for. While there's an undeniable gee whiz moment the first time this happens, you quickly start wondering why the relevant icons aren't just displayed all the time. For instance, if you want to change the satellite radio tuner to its browse view, the button appears only when your hand is on its way toward the screen. So initially, you're not pushing a button you're aiming for a spot where you hope the button will appear, the electronic equivalent of a trust fall. I found myself grateful for the old school volume buttons on the steering wheel, which always remained volume buttons, even when the car was parked in the garage at night. I do appreciate CUE's navigation system, which allows you to type in an address all at once rather than scrolling through multiple screens to laboriously narrow down the state, town, street and number of your destination. All navigation menus should be so simple. In a traditional Cadillac review, this would be the point where I argue that even if the ATS has some foibles, it's at least priced to undercut the mighty Europeans. Except it's not. The least expensive ATS with the 2 liter turbo engine is 35,795 and the V 6 starts at 42,090. The ATS 3.6 Premium that I tested had a sticker price of 49,185. Not to belabor the BMW comparisons, but these prices are right on top of the 3 Series, straight down the line. I understand that Cadillac doesn't want the ATS to be perceived as the car you buy when you can't afford a BMW, but the fact is that BMW gives you more for your money: the sweetest engines in the segment, 8 speed automatic transmissions, a better in car electronic interface and decades of sport sedan pedigree. When Lexus first took on the Germans, it offered bargain prices that undercut the established players. As a succession of high quality cars burnished its reputation, Lexus gradually ratcheted up its prices. Cadillac is skipping straight to Step 3, setting prices that imply parity with the Old Guard even though the blank slate product hasn't yet earned a following. This seems a recipe for omnipresent rebate packages, which then undermine the confidence asserted by the sticker price. What I'm saying is, I think the ATS costs a bit too much. The smaller Cadillac is a strong first effort, one that brings something new to the compact sport sedan world chiseled American style mated to a world class chassis. But there's work to be done, notably in the drivetrain department, where it's ambitious to ask 42,000 for a car that uses the same V 6 engine as a 24,000 Camaro. The ATS reminds me of a star college freshman who leaves for the N.B.A. and finds the game is a lot different at the pinnacle of the sport. The raw talent is there, but it might take a few more years to arrive at greatness. INSIDE TRACK: Cadillac goes big with its smallest car.	N24News: A New Dataset for Multimodal News Classification	Automobiles
The Best Movies and TV Shows New to Netflix, Amazon and More in August Watching is The New York Times's TV and film recommendation website. Sign up for our twice weekly newsletter here. When August heat advisories are in effect, stay inside and cool off with a new show. Below are the most interesting of what we've found among the TV series and movies coming to the major streaming services this month, plus a roundup of all the best new titles in all genres. (Streaming services occasionally change schedules without giving notice.) Season 3 of Justin Simien's college campus satire goes to great lengths to assure viewers this is not your typically "tedious and predictable" third season of a Netflix show. For one thing, in a very meta development, Sam (Logan Browning) and Lionel (DeRon Horton) meet the show's narrator (Giancarlo Esposito), and then have to puzzle out what it means and what he wants. And amid larger issues regarding sexual assault, hero worship and affirmative action, several characters must figure out how to tell their own stories. Finally, two visiting professors (Blair Underwood, Laverne Cox) add to the season's intrigue. Geena Davis joins the cast as a former showgirl turned entertainment director who hires the Gorgeous Ladies of Wrestling for an extended residency at the Fan Tan Hotel and Casino in Las Vegas. (The gig kicks off on the day of the Challenger space shuttle explosion an omen?) The change in scenery brings new plot possibilities for mud wrestling, gambling troubles and of course sexual escapades. There are also power struggles among the team's producers, as they try to figure out a future for this colorful outfit. Can Ruth (Alison Brie) ever give up acting? Can Debbie (Betty Gilpin) live apart from her kid? Can the show really go on? In "American Factory" the first title from Barack and Michelle Obama's Higher Ground Productions and premiering in partnership with Netflix the documentary filmmakers Julia Reichert and Steven Bognar capture a very modern culture clash. A Chinese billionaire opens a new auto glass factory in Dayton, Ohio; hires thousands of locals to work there; and then frustrated by the perceived slowness of the American employees begins replacing them with machines. A winner at the Sundance Film Festival earlier this year, the film features intense conflict and also a full blown musical number, staged by the corporation, limning the virtues of efficiency. Jim Henson and Frank Oz's 1982 cult film "The Dark Crystal" captured the imagination of a generation, and this prequel series drawn from an ongoing series of companion books has all the Gelfling dreamfasting, Skeksis feasting and Fizzgig growling that nostalgic fans might expect. When a few young Gelflings discover something awful is happening to their planet Thra, they seek to undo the damage. Can they manage it? The Skeksis' wheedling Chamberlain (Simon Pegg) doesn't think so: "Gelfling are weak, Gelfling are small, and Skeksis are forever." These are the 50 best TV shows on Netflix right now. "Four Weddings and a Funeral," "Groundhog Day," "Horns," "The House Bunny," "Jackie Brown," "Now and Then," "Panic Room," "Rocky," "Sex and the City: The Movie," "Something's Gotta Give" and "To Wong Foo, Thanks for Everything! Julie Newmar." August 8 "Jane the Virgin" Season 5, "The Naked Director" and "Wu Assassins." August 20 "Gangs of New York" and "Simon Amstell: Set Free." "The A List," "Styling Hollywood" Season 1 and "True and the Rainbow Kingdom: Wild Wild Yetis." A neo noir mystery with supernatural creatures, interspecies hookups and topical immigration debates. The Fae folk faeries, fauns, centaurs, trolls and such are refugees from their war torn homeland Tirnanoc, but they've found little welcome in the neo Victorian steampunk city of The Burgue. The Fae are the lowest of the social order, forced into lives of indentured servitude or sex work and tightly restricted in their rights and freedoms. Featuring Cara Delevingne and Orlando Bloom as a Faerie named Vignette and a police inspector investigating a string of serial murders named Rycroft Philostrate. "Alice Wetterlund: My Mama is a Human and So Am I" and "Mission: Impossible Fallout." Robin Thede the former head writer of the now defunct "Nightly Show With Larry Wilmore" produces, writes and stars in this playful comedy series, which mostly features black women in its core cast and as guest stars (Angela Bassett, Gina Torres, Yvette Nicole Brown, Lena Waithe and Aja Naomi King, to name a few). Recurring bits provide connective tissue throughout the six episode season, including an apocalyptic event that leaves four friends contemplating the end of the world and a spy saga featuring a secret agent whose success largely depends on people disregarding her completely. This is not your typical stand up comedy special. The "Saturday Night Live" writer and "Los Espookys" star Julio Torres sits at a conveyor belt as a stream of tiny objects rolls past, picking them up and telling a story about each one, as if they had rich inner lives and important things to say. (And if an object isn't there, he'll imagine it for us.) A cactus questions its own existence, an airplane curtain dividing first class and coach justifies its exclusionary practices, a toy penguin realizes that its race on a preset track is forever rigged. Sometimes, the objects are voiced by Torres, but a few surprise celeb guests also chime in. Internecine backstabbing within the Roy family's billion dollar media empire continues. Following a failed hostile takeover and a manslaughter mishap, a neutralized Kendall (Jeremy Strong) finds himself dependent on the family patriarch Logan (Brian Cox), having to do his bidding. Kendall's siblings who don't understand their brother's change of heart immediately tackle the question of whether to sell the company, and how to proceed if not. Shiv (Sarah Snook) and Roman (Kieran Culkin) both make a solid pitch, hoping to become the next CEO, while Connor (Alan Ruck) dreams of running for president. Good luck with that, Connor. "A Lego Brickumentary," "Arizona," "Body Heat," "Brothers," "Chariots of Fire," "Conviction," "Dangerous Liaisons," "The Lost Boys," "Out of Africa" and "Sky Captain and the World of Tomorrow." "Alternate Endings: Six New Ways to Die in America" The director Ben Berman planned to make a standard documentary about a terminally ill magician and comedian called the Amazing Johnathan (real name John Szeles ). But in the course of shooting the film, Berman began to wonder if he wasn't in the middle of an elaborate Andy Kaufman style hoax. His subject was also being followed by a number of other film crews, and they all seemed to be getting the same sound bites. Was Szeles even dying? The finished documentary is now less about its original subject and more about the strange business of making documentaries. "Baby Boom," "Big Fish," "The Brady Bunch Movie," "The Color Purple," "Confessions of a Dangerous Mind," "The Cutting Edge," "Dances with Wolves," "Das Boot," "The Fifth Element," "Four Weddings and a Funeral," "The Hunchback of Notre Dame," "Idiocracy," "Indecent Proposal," "Meet the Parents," "My Bloody Valentine," "Rosemary's Baby," "Rushmore," "Seven," "Snake Eyes," "Star Trek: The Motion Picture," "Stargate," "The Terminator," "Urban Cowboy" and "White Men Can't Jump." "How to Train Your Dragon: The Hidden World"	N24News: A New Dataset for Multimodal News Classification	Television
At the 2002 Salt Lake City Olympics, a little known 17 year old named Lindsey Kildow roared out of the start gate and into a shocking sixth place finish, the best result for any American woman at those Winter Games. Kildow, five years before marriage would change her name to Lindsey Vonn, flashed a broad smile before startling reporters who asked about her career goals. "To win more races than any woman ever has," she said.	N24News: A New Dataset for Multimodal News Classification	Sports
A Kansas farm couple is trying to make a baby. The spoons start rattling, the earth moves but not how you'd think and the next thing you know they have a son on the brink of adolescence. One night his bed starts shaking but not how you'd think and the next thing you know he's out in the barn scaring the chickens. Also hovering above the ground, speaking in tongues, and throwing vehicles and people through the air. The boy's name is Brandon Breyer. That's his earthly name, anyway. On his home planet, they called him something else. Brandon's resemblance to another young Kansan of extraterrestrial background, with an alliterative moniker and remarkable abilities, is surely no accident. "Brightburn" (the title refers to the Breyers' hometown), is a superhero origin story reimagined as a horror movie. What if Clark Kent, instead of being grateful to the parents who raised him and a defender of truth, justice and the American way, had been a power hungry sociopath whose motto was "take the world"? It seems plausible. Skinny, smart and easily picked on at school, Brandon (Jackson A. Dunn) comes to believe that he's not simply special, but "superior." Finding less and less reason to play along with the pathetic human creatures who never understood him in the first place, he devises ever more elaborate and bloody ways of messing with them. The soundtrack hums with deep, tooth rattling vibrations and the prairie sky is full of portents. It's scary whenever you see the kid on screen, and even scarier when you don't.	N24News: A New Dataset for Multimodal News Classification	Movies
Replacing a space filled with nostalgia is not an easy feat for a developer in New York. So it's no surprise that there was a bit of an uproar when William S. Macklowe presented plans to replace Bowlmor Lanes in Greenwich Village, which was one of the city's oldest bowling alleys and a popular party spot until it closed in 2014, with a new condominium building. Longtime bowlers, revelers and area residents, aided by a neighborhood preservation group and local politicians, said Mr. Macklowe's plan for a residential tower some 300 feet high would not fit in with the surrounding neighborhood, which is largely defined by low to midrise historic structures. In a recent interview, Mr. Macklowe said his tower at 21 East 12th Street is "as of right," meaning it is legally allowed to be built as designed given the existing zoning designation, but he added that the project's architect, Annabelle Selldorf, gave careful consideration to the building's design. "While I'm always appreciative of opposite points of view, I really believe we are building something that will contribute to the community," said Mr. Macklowe, who asked the architect to design a building with stone and not glass. "But time will be the judge."	N24News: A New Dataset for Multimodal News Classification	Real Estate
It's an auspicious time at New York City Ballet, with new choreographic voices multiplying. Along with Justin Peck's well received premiere last week came the announcement that he and two other young choreographers the corps member Troy Schumacher and the Royal Ballet's Liam Scarlett will create new pieces for the company next season (a first for Mr. Schumacher). In the midst of all this forward motion, it's easy to forget that the work of the company's founding choreographers can feel as fresh, as relevant, as much of what is made today. On Friday at the David H. Koch Theater, a program of Jerome Robbins classics "Glass Pieces," "Opus 19/The Dreamer" and "The Concert" offered reminders that ballet does not need to be new to be contemporary. Movement, inherently, is always a keeper of time. But the three part "Glass Pieces" (1983), to characteristically pulsating Philip Glass, feels like a pure encapsulation, a materialization of passing seconds or hours or decades, of the layered speeds at which life unfolds. Like deep, slow currents pressing through rapid ones, Friday's soloists in the first section, "Rubric," landed victoriously amid the pedestrian traffic of 39 corps dancers, who crisscrossed the stage with swift, occasionally hiccupping walking patterns. If mapped onto the backdrop, which resembles a massive sheet of graph paper, this activity might look like an unruly web of arcs and lines (the corps), coalescing at a few coordinates (the six soloists). In the second section, "Facades" a cool precursor to the bright, prismatic finale Rebecca Krohn and Amar Ramasar elongated time as the corps kept tabs on its meter, a row of nearly identical silhouettes progressing along the backdrop. Sharing a pool of light, Ms. Krohn and Mr. Ramasar were a handsome, democratic pair, each allowing the other to be seen.	N24News: A New Dataset for Multimodal News Classification	Dance
Noche Flamenca, the beloved flamenco troupe, can eschew spectacle and concepts for a simple presentation, because it can rely on its dependably thrilling star, Soledad Barrio. In recent years, though, the group has grown a little more theatrically ambitious, and a new pattern has emerged: longer works that take a season or two to find their footing. That's what happened with "Antigona," its flamenco adaptation of Sophocles' "Antigone," which debuted in puzzling pieces at the Joyce Theater in 2014 but largely came together a year later for well received runs at the West Park Presbyterian Church. The troupe's five week season at the church opened Monday with two new pieces, "La Ronde" and "Creacion," and these continue the company habit of gradual improvement. ("Antigona" returns Jan. 10.) When a version of "La Ronde" debuted at Joe's Pub in March, its structure of short, interlocking duets seemed flattening just one thing after another. But the piece has acquired dramatic shape. It borrows its title and form from Arthur Schnitzler's play, a chain of sexual liaisons in which one character from each scene appears with a new lover in the next. The Noche Flamenca version isn't strict about the linkages, and it isn't a danced play, but the mutability of desire is nevertheless evoked.	N24News: A New Dataset for Multimodal News Classification	Dance
Dr. Maryam Sattari, an associate professor of medicine at the University of Florida, was the lead author of a 2016 study on the breast feeding intentions and practices of 72 internal medicine physicians. The study found that 78 percent of the babies were exclusively breast fed at birth and 40 percent of them at 12 months, though 63 percent of the mothers had planned to go to a year. "These are moms who are highly educated, highly motivated, they all want to do it," Dr. Sattari said. What helped these mothers, she said, was encouragement from medical leadership, as well as appropriate space and time to pump. The internists did better than the general population in the Centers for Disease Control and Prevention's breast feeding report card on women in the United States breast feeding babies born in 2013. While breast feeding overall is on the rise, the numbers show that many mothers in this country are not following the A.A.P. recommendations. Compared to 2003, more women in 2013 were initiating breast feeding (81 percent, up from 73 percent), and still breast feeding at a year (31 percent, up from 20 percent). Cria Perrine, an epidemiologist in the C.D.C.'s Division of Nutrition, Physical Activity and Obesity, said that those numbers don't show some of the differences between demographic groups; breast feeding rates are lower among African Americans and among low income women. Our culture needs to do a better job of supporting women who breast feed, she said. It's also really important not to make someone who can't or doesn't like my own mother feel like a bad parent. And it would be terrible to make someone who breast feeds as long as she can feel that she has in some sense failed. We should be cheering mothers on, and acknowledging their choices. Dr. Julie Lumeng, a professor of pediatrics at the University of Michigan, had her first child as a pediatric resident. She recalls that it was difficult to find the time that she needed for pumping, and that she knew that just mentioning it made some of her colleagues uncomfortable, even in pediatrics. Still, she was deeply aware of the pediatric recommendation and the need to live up to it. "I would have stopped a lot earlier, but it was just not socially acceptable as a pediatrician among my peers to not be breast feeding," she said. With my own third child, I made it to six months exclusively, me and my trusty electric breast pump. At times I felt I had gone a little off the deep end in my intense curation of those bags of frozen breast milk, carefully ferried to the day care center every day. It was a great relief when my son began avidly eating other foods, and it was then easier to go on breast feeding him, evenings and weekends and whenever it made sense. We kept going till he was a little over a year old. The experience made me deeply aware of how much this advice I give is asking of women, and how hard it would have been to do this if my own life were less privileged and less well supported.	N24News: A New Dataset for Multimodal News Classification	Well
Our weekday morning digest that includes consumer news, deals, tips and anything else that travelers may want to know. Menus of vineyard experiences aren't uncommon in Napa and Sonoma Valleys, but rarer in the less commercial Willamette Valley in Oregon. This summer, the small pinot noir specialist Penner Ash Wine Cellars in the Willamette town of Newberg has introduced a menu of estate experiences spanning tours, tastings and hikes. The winery now offers two free half hour drop in tours of the gravity flow winery, at 11:30 a.m. and 2:30 p.m. daily. Other options are available by advance booking and include private winery tours with a flight of five wines to taste ( 35 a person) and an optional box lunch ( 35 extra). Guided hikes on the 80 acre property start at 50 a person. A NEW APP FOR MUSLIM VISITORS IN THAILAND The Tourism Authority of Thailand has introduced its first mobile app for Muslim visitors, designed to highlight mosques, prayer rooms and halal restaurants and hotels around the country.	N24News: A New Dataset for Multimodal News Classification	Travel
Wild and outrageous don't begin to describe Little Richard. He hit American pop like a fireball in the mid 1950s, a hopped up emissary from cultures that mainstream America barely knew, drawing on the sacred and the profane, the spiritual and the carnal. He had deep experience in the sanctified church and in the chitlin' circuit of African American clubs and theaters, along with drag shows, strip joints and, even in the 20th century, minstrel shows. He had a voice that could match the grit of any soul shouter ever, along with an androgynous, exultant falsetto scream that pushed it into overdrive. He plowed across the piano with a titanic gospel and boogie left hand and a right hand that hammered giant chords and then gleefully splintered them. He had the stage savvy of a longtime trouper, built by a decade of performing before he recorded "Tutti Frutti." He had a spectacular presence in every public appearance: eye popping outfits, hip shaking bawdiness, sly banter and a wild eyed unpredictability that was fully under his control. He invented a larger than life role for himself and inhabited it whenever a camera or audience could see him. In his music, he wasn't obviously pushing back against all the obstacles in his life. He made it sound like he had already banished them and was laughing at them, having sweaty fun entirely on his own terms. If Little Richard was a forerunner of countless pop taboo breakers, theatrical figures and bad boys (and girls), it wasn't as a dissident or a delinquent. He wasn't calling himself Lucifer, smearing himself in stage blood, striving to shock or shouting out gang affiliations. Instead, he offered an ecstasy you couldn't refuse. Little Richard made most of his definitive recordings in the 1950s, when he was an absolute revelation. From 1955 to 1957, he often had the best New Orleans sidemen backing him up, socking the backbeat and answering him with impudent saxophones. From then on, he moved in and out of the church, turning to gospel songs and renouncing but then returning to secular rock. His own songwriting largely dried up in the decades that followed. But he stayed vital onstage and, when producers caught the right song and moment, in the studio. A comprehensive Little Richard playlist wouldn't just include songs from his albums. It would include talk show slots (like telling Arsenio Hall "I'm not conceited I'm convinced!"), awards show takeovers like his 1988 Grammy showstopper and concert performances through the years that proved he could still rip it up, anytime he chose. Here are 17 essential Little Richard songs: Little Richard's voice stands alone and unstoppable for half of each verse in "Ready Teddy," and the band drops out again as he sings "I'm ready, ready, ready to rock and roll," only to kick up a ruckus with every return. The song, like "Rip It Up" and "Good Golly Miss Molly," is by Johnny Marascalco and Little Richard's early producer, Bumps Blackwell. Although Little Richard was in his 30s, "Ready Teddy" aims for a teen audience, reveling in how "all the flattop cats and all the dungaree dolls/are headed for the gym to the sock hop ball." The band is a nonstop steamroller on "Keep a Knockin'," from the relentless drumbeat to the saxophones that charge into every pause. Naturally, Little Richard is more than a match for them, with a rasp that gets even more biting when he taunts, "You said you love me but you can't come in!" He may not be ready to forgive; he may be otherwise engaged. Still, he dangles some hope: "Come back tomorrow night and try it again." Recorded in 1956 but released in 1958, after Little Richard's first retirement from rock 'n' roll, "Good Golly Miss Molly" is two minutes of pure lust, declaring from the get go that she "sure like to ball." (How did that line get played on 1950s radio?) The low fi recording puts Little Richard's voice and out of tune piano upfront, and his vocal starts out excited only to rev up even more. Then the scream he hits halfway through overloads the tape, and from there it feels like barely contained mayhem.	N24News: A New Dataset for Multimodal News Classification	Music
The director explains how his approach to the show he's known for, "Fargo," was very different for the astronaut tale starring Natalie Portman. Noah Hawley may be the first director who has ever had to narrow his focus to do a movie set in outer space. Hawley, 52, has long established himself in more expansive mediums. As a television creator, he is known for the Emmy winning anthology series "Fargo," adapted loosely from the Coen brothers' darkly comic movie, and for "Legion," a dense, surrealistic series based on an X Men antihero, both for FX. As a novelist, he has written five books , the latest of which, "Before the Fall" (2016), has been optioned for the big screen by Sony Pictures. With the premiere last weekend of "Lucy in the Sky," Hawley added feature film director to his resume, just in time to start shooting Season 4 of "Fargo" in Chicago about two weeks later. (The series is the subject of his forthcoming book, "Fargo: This Is a True Story," due Oct. 29, a compendium of scripts, interviews and other ephemera from the show.) "Lucy" tells the story of Lucy Cola (Natalie Portman), an astronaut who returns from space to find that her suburban married life has lost its flavor. An existential crisis prompts an affair with a rakish older astronaut (Jon Hamm), which prompts a different kind of crisis involving duct tape and a gun. The story is loosely based on the life of Lisa Marie Nowak , an astronaut who in 2007 was arrested in Orlando wearing a trench coat, wig and diaper after driving more than 950 miles to assault a romantic rival. Did you find making a feature film constraining after all those TV series and novels? Well, that was the challenge I don't have formal training in any of it. I didn't go to school to learn how to be a novelist. I didn't go to school to learn how to do television or make a movie. He was a musician before he started writing fiction. So for me it's always an experiment. Also, every time I go to a new story or medium I think, "What am I taking for granted?" And for me, with the movie, it was the movie theater itself. Is that why you played with the aspect ratio, for example? Everyone thinks you want the biggest picture possible and the loudest sound possible. But this seemed like a real opportunity to explore this woman's existential crisis, her psychological decline, in a way that was really experiential: So for example, when she's in space, everything looks enormous, and the entire screen is filled with the image. When she comes to earth and everything feels small, the image shrinks down and the sound has a similar dynamic. What about the limitations of time? With 10 hours, you can have entire episodes that are digressions or back story. Did you learn anything specific by being forced to go shorter? It was interesting because my instinct at the script stage was to expand the story more to make sure that Jon Hamm's point of view was really represented, and Zazie Beetz's. She plays another astronaut. Then to get into the editing room and sculpt that two hour experience and realize that there's room for some but not all of it. If you're away from her story for too long, it stops being a positive. And yet, it's still really critical. For example, there's footage of Jon's character alone at night. He's drinking and he's watching and rewatching the Challenger explosion. You see that he's wrestling with some things, too. And you need to see that so you don't think Natalie's character is a crazy person. She's having a hard time processing being back, and he is, too. Going into it, did you have friends other feature directors you consulted? Are you still friends with the Coens? We have a very interesting relationship. I don't bother them and they don't bother me. I keep in touch with them, and when I come to New York, if they're around, we'll have a breakfast of varying degrees of awkwardness. It must be so strange for them, where every few years they see all these "Fargo" ads. But they're so understated that I'm not even sure a filmmaking conversation with them is something they would be interested in having. Much of your work exhibits a real fascination with suburbia: I wonder if you agree, and if you have a sense of where that fascination comes from? No, I guess I don't think about it that way. I grew up in the West Village, which has the word village in the name. For me, it really functioned that way I can count the number of times I remember going above 14th Street. I did move to Connecticut when I was 15 or 16, the exact moment you don't want to move out of the city, right when everything is about to get interesting. That was not my favorite place, just in terms of going through adolescence and all of a sudden being in suburbia in the height of the Reagan era. Well suburbia feels a little alien in your work. I imagine it must have felt that way when you were suddenly plunked down there. Yeah, I think it did. The things that seemed important to kids were so different. There was this vanilla ness to it that was alien to me, to which I didn't fit in. Already, as a kid growing up with, let's say, an artistic sensibility, I felt a bit outside to begin with. I mean, I went to Sarah Lawrence College afterward, somewhat as a reaction to the jock. So how do you go to the suburbs without being a tourist? How do you depict tragic characters like Lucy without falling into the trap of condescension? Everywhere you go people are the same. It's a simplistic way of looking at it, but human drives don't really vary. The older I get, as an artist, the more I find myself concerned with human dignity and with the story as an empathy delivery device. I've always been an ensemble storyteller and like to look at stories from multiple points of view. What that does is create empathy. Certainly, in "Fargo," or in stories where you know violence is coming, I never want that violence to be entertainment. The possibilities for really humanizing that violence and its consequences expand as you sympathize with multiple characters. Obviously it's inspired by a tabloid story, right? What is a tabloid story if not a story about human beings with dignity who made mistakes, ruin everything, and were reduced to a punch line when their punishment was already severe. Lucy's character loses the things she loves the most and she has to figure out how to build a life afterward that's not the life she ever wanted. That's punishment enough, and that's a redemptive story. Natalie and I were very clear about not reducing her to a joke or some "Fatal Attraction" villain. She makes mistakes, as we all do that, in and of itself, should be interesting. It was very important to me not to make a movie about a woman who falls apart because she's too emotional about a man. We don't need that movie. Right? Brad Pitt gets to go to space in this very interior film, but people never question whether he has the right to examine his own life onscreen.	N24News: A New Dataset for Multimodal News Classification	Movies
are to be married Aug. 19 in Providence, R.I. The Rev. Dr. Claudia P. Demick is to perform the ceremony at the Central Congregational Church, where she is an associate minister. Ms. McKenna, 50, is conducting research in the field of literary studies in Providence, and is a doctoral candidate in English literature and creative writing at Aberystwyth University in Aberystwyth, Wales. She graduated from the Vermont College campus of Norwich University, received a master's degree in creative nonfiction from the Vermont College of Fine Arts and later received a master's degree in creative writing from Dartmouth. In 2015 16, she was a Fulbright fellow in Ljubljana, Slovenia, working independently as a cultural ambassador on literary exchange between the United States and Central Europe. She also worked to provide clothing and basic necessities for refugees from Syria and Afghanistan at the Slovenian border. She is the daughter of Patricia B. Edgeworth of Rancho Santa Margarita, Calif., and Robert A. Bays of Sedona, Ariz. The bride's father is a self help instructor in Sedona and a retired actor who performed most recently in productions at the Canyon Moon Theater in Sedona. Her mother retired as an English and drama teacher at Yorba Middle School in Orange, Calif. Mr. Atwood, 60, is a partner in Hughes Smith Hughes Atwood Mullaly, a law firm in Lebanon, N.H. He is also a trustee and director of the Gifford Medical Center, which is in Randolph, Vt., and is a director of Tri Valley Transit, an organization in Middlebury, Vt., that provides public transportation for older people and disabled residents of central Vermont. He graduated from Denison University and received a law degree from Vermont Law School.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Defiantly unsubtle, the preshow music mix at "One November Yankee" segues from "Leaving on a Jet Plane" to "You Can Fly! You Can Fly! You Can Fly!" to "Defying Gravity." The wreckage of a Piper Cub juts from center stage, its twisted tail angling toward the ceiling. Gravity, it's safe to say, has had its revenge. But if this two hander, written and directed by Joshua Ravetch for the Delaware Theater Company at 59E59 Theaters, can't achieve liftoff, blame bad jokes and broad acting, not physics. The television stars Harry Hamlin ("L.A. Law," "Mad Men" and "Veronica Mars") and Stefanie Powers ("Hart to Hart") play three sibling pairs: Ralph, an artist, and Maggie, a curator; Harry, a wannabe novelist, and Margo, a librarian; Ronnie and Mia, hikers. At 68 and 77, Hamlin and Powers remain eye catching and charismatic, firm of jawline and purpose. Time's ravages have barely ravaged them at all. So wondering what has happened in their careers that has led them to a play this feeble is probably the best in flight entertainment "One November Yankee" can provide. In the first scene, set at the Museum of Modern Art, Hamlin pays Ralph, a conceptual artist installing the exhibition his sister has arranged. Maggie calls his sculpture, inspired by a report of a plane crash in New Hampshire, "a tangle of mangled debris." (Fair.) But Ralph insists that "Crumpled Plane" "depicts the immense chaos of that world and a once great society, America, that is quite literally crashing in a heap of debris as we speak." The piece, he says, speaks to "Civilization in ruin!"	N24News: A New Dataset for Multimodal News Classification	Theater
From 100 pounds (about 130.17, at current exchange rates). White City House is the latest outpost of the Soho House, a series of members' work spaces and social clubs founded in 1995, now with 23 locations around the world; many clubs also include a hotel component. This hotel has the particular distinction of being set inside Helios, the landmark midcentury BBC television headquarters. The doughnut shaped building, constructed between 1948 and 1960, once hosted live broadcasts and productions of shows like "Dr. Who" and "Monty Python's Flying Circus." It was recently redeveloped to include the White City House and its 45 hotel rooms available for booking by nonmembers of Soho House as well as new apartments and a host of retail shops and restaurants. (Word has it that one former BBC producer bought a flat that was once his former office.) White City House occupies seven floors and commandeers a generous section of the building's outside ring, with unusual views that lend its circular corridors a kind of neato science fiction flair. Inside the period savvy public spaces, you'll find a very international crowd. The hotel is in West London, convenient to both the White City and Wood Lane Tube stations, and less than an hour by Tube to Heathrow International Airport. The White City district includes the BBC headquarters which still hosts several BBC studios and the offices for BBC Worldwide a Westfield shopping center, new apartment buildings and a new campus for Imperial College London. Parking is a pain and there are construction cranes everywhere, but it's an interesting view on a buzzy neighborhood undergoing change. A decidedly "Mad Men" esque vibe permeates the 45 rooms, which range in size from "tiny" (161 square feet) to "big" (377 square feet). Though we arrived at the hotel two hours before check in time, our room was ready for us. We booked a nonrefundable "medium" room (tip: this knocks 20 percent off the going rate). The rooms are on the second and third floors, and the aerial, window lined approach around the curving hallway to the hotel rooms is pleasing. The room itself was appointed with custom made furniture, including a striking accordion wood built in closet. I spent time working at the vanity desk, the mirror lined with warm Edison style bulbs, and it was the first time I've ever felt like a movie star while typing. Soundproofing, however, isn't great we could hear housekeepers vacuuming and doors slamming up and down the hall.	N24News: A New Dataset for Multimodal News Classification	Travel
Jeffrey Albrecht, who owns three Holiday Inn hotels in southern Ohio, watched as 200,000 disappeared from his books in just three days as people began canceling bookings. The banker handling his mortgages on the properties called. He wanted to know: How much more money could Mr. Albrecht lose before he would miss a loan payment? Mr. Albrecht assured him he could last at least four months. Others might be less fortunate. "If this goes on for very long, there will be much bloodletting in America's small business community," Mr. Albrecht said. Companies of all sizes, from local businesses to blue chip giants, have taken a big hit from the coronavirus pandemic which will gut companies' profits and affect not only their ability to keep operations afloat, but also their ability to borrow money. If companies are unable to tap credit to pay their rent, make payroll or finance other activities, it could force them to slash costs, lay off workers, pause investments and even declare bankruptcy. That, in turn, could worsen the recession that's now widely expected and affect the financial markets already stressed from stock market plunges where investors buy and sell the debt issued by companies, making it even harder for companies to borrow. "The economy is coming to a half of a dead stop," said Michael Greenberger, a professor at the University of Maryland Francis King Carey School of Law. Businesses are having trouble opening or getting customers to engage normally, said Mr. Greenberger, whose research focuses on financial stability. "All of these businesses are going to at some time have to re up their loans, renew their loans, roll them over. With the decline in revenues the ability to borrow money is going to be very problematic." On Sunday, the Federal Reserve took the drastic step of slashing interest rates to nearly zero and enacted measures to keep credit pumping through the economy and prevent a wave of business defaults and closings. And in a letter to President Trump and congressional leaders on Monday, the United States Chamber of Commerce asked for sweeping changes to laws governing the Fed so that businesses with more than 500 employees could borrow directly from the Fed's discount window, a lending facility that is open only to banks. Such measures could ease a potential credit crunch for companies, which rely heavily on borrowing to function. Larger companies often issue bonds to investors or tap credit from banks to fund operations, refinance existing debt, build plants and even buy other companies. When the bonds are sold into the financial markets, credit rating agencies give them a letter grade, which signals their quality. Grades with As are the best. Bonds with B or C grades indicate a higher probability that investors will not recover their value, because the companies that issued them might stop making payments but they provide better returns. Interest rates have been so low in the past decade that even the shakiest companies have found buyers for their debt because investors were looking for higher returns. From 2009 until last year, corporate borrowing surged 60 percent, to 9.3 trillion, for companies in the United States, according to the credit rating agency S P Global Ratings. As of May, nearly 3.8 trillion was in corporate bonds rated BBB, at the low end of what qualifies as "investment grade." BBB caliber bonds made up 17 percent of the global corporate debt market in 2001, but now constitute more than half, according to BlackRock. "Everyone is just trying to get by day to day at the moment," said Krista Schwarz, an assistant professor of finance at the University of Pennsylvania's Wharton business school. "Right now is not the time to grow the company it's the time to stay solvent." Investors who buy company bonds are asking for higher interest rates as compensation for the additional risk, which could put more stress on companies with already strained finances. For instance, companies are struggling to issue commercial paper a popular form of short term promissory note typically used to cover payroll, rent and other immediate payments because the few skittish investors who aren't steering entirely clear are demanding the highest premium in more than a decade. What's more, the debt that is already circulating in the financial markets, including corporate bonds and packages of corporate loans, is looking less safe for investors to hold. Some big money managers like pension funds are obligated to keep risky products off their books but many are big buyers of company bonds, which in better times were considered safe and prudent investments. But with the changing environment, the credit ratings on such bonds are going down. On Monday, S P Global Ratings downgraded Exxon Mobil, the biggest American oil company, to 'AA' from 'AA ' citing lower oil and natural gas prices, weak demand for chemicals and low refining margins. A downgrade could make it harder for Exxon to borrow. But it's the smaller companies which underpin the American economy and tend to lean more heavily on debt that could be especially hurt by a run on credit. On Monday morning, after Ohio's governor had shuttered schools, restaurants and bars across the state, Mr. Albrecht, the hotel owner, met with his 125 employees and vowed to keep them as busy as possible, even if traffic dwindles. "Everything's going to be O.K.," he said. "We're just going to have to ride it out." Jeanna Smialek contributed reporting from Washington, Michael de la Merced from London and Clifford Krauss from Houston.	N24News: A New Dataset for Multimodal News Classification	Economy
The opening number at the 2009 Tony Awards ceremony featured members of the "Hair" ensemble plus three superstars. Can you find them? The answers are below. The 500 guests at the American Theater Wing dinner dance at the Plaza Hotel on April 1, 1956, were not the only ones who saw Gwen Verdon, Paul Muni, Bob Fosse and Lotte Lenya accepting their Tony Awards. So did fans all over New York City, who for the first time in the history of the honors, which began in 1947, could watch the event live, on DuMont channel 5. Since the broadcast went national in 1967, it has been an unmissable rite for theater lovers everywhere, many of whom have limited access to Broadway. More recently, thanks to YouTube, ranking (and ranking on) the winners, losers, excerpts and showstoppers has become a perennial pastime. So with the awards on hold for the first time this year, we decided to look back on the most memorable moments of Tonys past. Renee Elise Goldsberry was 45 when she won, in 2016, for her indelible turn as Angelica Schuyler in "Hamilton." "If you know anything about me," she said, "I've spent the last 10 years of my life what some would consider the lifeblood of a woman's career just trying to have children." God granted her two, she added, her voice breaking as she lofted her Tony, "and then he still gave me this." She was like a witness to a miracle: She hadn't had to choose. LAURA COLLINS HUGHES The opening number of the 2009 telecast featured so many famous people on such a packed stage, I didn't know where to aim my camera. I've covered the Tonys every year since 1996 and in looking through my pictures for this article, I noticed that not only does the photo above have both Elton John and Liza Minnelli in it, but Dolly Parton is politely singing from the second row all the way on the right. SARA KRULWICH In 2004, the world learned that mutant movie star Hugh Jackman could bump and grind like Gypsy Rose Lee. Recreating his role as Peter Allen in the biomusical "The Boy From Oz," Jackman made his entrance in gold lame pants atop a camel. Singing "Not the Boy Next Door," he led with his pelvis, spiced the air with innuendo and gave audience member Sarah Jessica Parker a lap dancing lesson. (P.S. He also won the Tony.) BEN BRANTLEY "Again! Step, kick, kick, leap, kick, touch ..." Such were the opening instructions delivered to the aspiring title characters of "A Chorus Line" in the 1976 Tonys broadcast. This Tony sweeping show was to its decade what "Hamilton" would become to the 2010s, a red hot mold breaker that redefined what a musical could be. And the ensemble's performance on television in which each dancer in a cattle call audition routine somehow stood out as a quivering individual palpably made clear what all the excitement was about. BEN BRANTLEY Dark shows often have difficulty selling themselves on the Tonys, their huge emotions seeming to arise from nowhere. "The Band's Visit" avoided that problem with its gorgeously storyboarded rendition of "Omar Sharif" for the 2018 telecast. With its focus on faces not just Katrina Lenk's as she sang but her nearly silent co star Tony Shalhoub's the camera showed you exactly where the emotions came from. And also, almost imperceptibly in the background, how those emotions altered the surrounding world. JESSE GREEN Revisiting the Season With The Times There's never been a Broadway season like 2019 20. And to mark the shows that opened, and those still waiting for their moment in the spotlight, The New York Times presents "Offstage: Opening Night," a streaming video event scheduled for June 11 at 7 p.m. Hear Times journalists talk with the creators of "Slave Play" and "Six," and watch performances by Mary Louise Parker ("The Sound Inside"), Elizabeth Stanley ("Jagged Little Pill"), Mare Winningham ("Girl From the North Country") and the cast of "Company." You can register for the free event at timesevents.nytimes.com/broadway.	N24News: A New Dataset for Multimodal News Classification	Theater
Our playroom was crammed with blinking and buzzing toys, neatly stored puzzles and games, shelves full of picture books, well used baby dolls, dress up costumes and artwork hanging on the walls. It seemed like paradise for our three young children. Until Simone Davies turned it upside down. Ms. Davies, a Montessori teacher in the Netherlands and author of "The Montessori Toddler," spends her days teaching parents and children how to apply Montessori principles at home. Just as Marie Kondo is helping people declutter and organize, Ms. Davies helps parents turn homes into places that are more functional for the family, instill autonomy in the smallest members of the household and create a greater sense of peace all in the Montessori spirit. She came to my New Jersey house a few weeks ago with the intention of showing me how to create a room that engaged my children rather than one that catered to my notions of what makes a good play space. I was skeptical: What could possibly be done that would make a noticeable improvement in our lives? Developed in the late 1800s by Dr. Maria Montessori, an Italian physician, the Montessori method used educational approaches to help children with emotional and mental disabilities. Today, it has become a widely accepted instructional system that aims to give any child more ownership of their learning. "In traditional education, the teacher stands in the front and leads the class," said Ms. Davies. "In a child led approach, we let them learn through play and their interests." The goal in applying these principles at home? More autonomous and engaged children; less time spent helping children figure out what to do to fill their time. At home, "we support our children to make discoveries for themselves, we give them freedom and limits, and we enable success by setting up our homes so they can take part in our daily lives," Ms. Davies writes. It was this latter part of the promise that most appealed to me: My kids would play without needing my intervention? It sounded great in theory. My husband and I have three kids, ages 7, 4 and 1, and we both commute to work for demanding jobs, with an au pair and grandparents in the mix. I had a place for everything but with so many different people in charge of the children, I often found it frustrating when things weren't where they were "supposed to be." But if the kids could handle the responsibilities of keeping a tidy playroom, maybe that frustration could be alleviated. But as Ms. Davies started pulling every toy out of my obsessively organized toy closet, a low level panic set in. "Their iPad and Kindle," I said, only pretending to be joking. She got to work. There was sorting to be done. (We found all the missing puzzle pieces!) The primary colors of our easel were painted over in a neutral gray to let the children's artwork stand out. We removed large, distracting or noisy toys from the playroom floor in favor of more subdued wooden ones. We used furniture and toys we had, keeping the makeover budget modest. And the great reveal: a playroom that was unquestionably tidier, calmer and more inviting. Here are some of the changes that had the biggest impact. My older children used to pull books from a crowded bookshelf, and frequently left them all over the house. Ms. Davies marked off a corner with an old, soft quilt on the floor, cozied up with unused throw pillows and a few favorite soft toys. Much to my surprise, she then removed all the books from the bookshelf, grouped them in the closet for each child and put out just a few in baskets. The bookshelf became a display space for small plants (which I had bought for 9 each), photos of my kids and a few of their favorite mementos. "We childproof to put things out of reach of the child, so we should put the things we want them to play with in reach," Ms. Davies said. She uses shallow bins and trays to display items rather than to hide them away. In addition to the book baskets, we now have two canvas bins (previously used in the closet for storage) on the floor for a few of my baby's toys. One contains four soft balls, the other a few cars of varying sizes and types. "Only put out as much as you are willing to clean up," Ms. Davies said. ("Can I leave them empty?" I asked.) On the shelves, small plastic trays ( 3 each) featured different activities geared to the older kids: one for blocks, one with scissors, paper and stickers for crafts, and one filled with tiny plastic butterflies with toy binoculars. My 1 year old immediately fell in love with the little nook that was set aside for him, containing one simple toddler toy per shelf, within reach of his little arms. (Ms. Davies had lowered art to be at kid level; it had to be moved back up because of those little arms and grabby hands.) The 4 year old loved that I was suddenly leaving out scissors and glue for her to use at will since the tray they were in contained any mess and made it clear what she was allowed to cut and make sticky. I was a little skeptical about the Montessori approach at first but in practice I can see a certain logic to it, and may even add Montessori based concepts to other areas. Ms. Davis suggested a chart listing the morning routine with words and images to help the children get ready with less help. A small dust pan and broom in the kitchen would allow the children to clean up after mealtimes. Will they use it? Like the rest of this experiment, it can't hurt to try. In the end, I've taken away a few pretty big lessons from the experience. My kids can handle more than I think they can, if I set them up for success. They don't need nearly as many toys, books and games as the commercials, grandparents and their whining would have you believe. And, I'm pretty sure no makeover, no matter how big, will completely redirect the pull from screens. At least now, when it's time to put the tablet down, there's an activity set up and waiting for their growing minds.	N24News: A New Dataset for Multimodal News Classification	Well

Subsets and Splits

No community queries yet

The top public SQL queries from the community will appear here once available.