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Welcome to Best of Late Night, a rundown of the previous night's highlights that lets you sleep and lets us get paid to watch comedy. If you're interested in hearing from The Times regularly about great TV, sign up for our Watching newsletter and get recommendations straight to your inbox. Almost two weeks into a scandal over a racist photo on his medical school yearbook page, Gov. Ralph Northam of Virginia is still in hot water. But a new poll from The Washington Post shows that Virginians are split on whether he should quit and black residents say by a wide margin that he should stay in office. After watching clips of a contrite Northam addressing the scandal, Trevor Noah had an idea of why African Americans might want the governor to stick around. "To black people, especially in Virginia, every white guy serving in office has probably done some racist" stuff, Noah said, using a more scatological word. "So you might as well have a white guy who has already been caught and feels bad about it, because you know that guy's never messing up again."	N24News: A New Dataset for Multimodal News Classification	Television
It takes a certain kind of documentary to make sifting through old papers look exciting, but in "Coup 53," the director Taghi Amirani sets an expectation of suspense early on. Visiting the National Security Archive at George Washington University, the filmmaker, who also serves as an on camera M.C., looks at an ordinary file cabinet and sees "documents that essentially changed the fate of my country." Born in Iran and educated in Britain, Amirani, who has worked mainly in television, took about a decade to make "Coup 53," and that obsessive quality is palpable in the film. His goal: to shine new light on British involvement in the 1953 coup that overthrew Mohammad Mossadegh, then the prime minister of Iran. (The film's release date, Aug. 19, is the anniversary of the overthrow.) Skillfully interweaving Amirani's own hunt for information with a detailed account of the steps leading to Mossadegh's ouster, the film does a remarkable job of matching archival footage from a wide array of sources and years. Across time and space, a single, consistent story emerges. For a narrative shrouded in subterfuge, that's a considerable achievement. That Britain, whose oil interests were thrown into question by Mossadegh's push to nationalize the industry, had involvement in the coup hardly qualifies as a secret. And the United States's participation has been acknowledged to varying degrees: In 2000, James Risen of The New York Times reported on the C.I.A.'s secret history of the coup.	N24News: A New Dataset for Multimodal News Classification	Movies
To play the most vile (if not the most cliched) residents of this heat hammered hellhole, the writer and director, Ivan Sen, smartly hired two virtual legends. As the ruthless mayor, Jacki Weaver is a weaponized Martha Stewart, masking the stink of mining corporation corruption with the aroma of home baked apple pies. Over at the local pleasure palace, Cheng Pei Pei is squeezed into the much smaller role of town madam. "The world was not made for you," she admonishes one of her unhappy Chinese charges. "You were made for it." It's a sentiment that Jay Swan (Aaron Pedersen), a perpetually sozzled Aboriginal detective, can appreciate. Distrusted by whites and blacks alike, he exhibits all the tics and trappings of the alienated loner, including a ratty trailer and a mistrust of personal hygiene. His uneasy alliance with Josh (Alex Russell), a morally conflicted white police officer, is the movie's thematic heart. Yet its sociopolitical concerns primarily around indigenous land rights are muted and muddled by a script that favors manly grunting and moody looks over clarifying dialogue.	N24News: A New Dataset for Multimodal News Classification	Movies
There are some directors you wish would never grow up, and Xavier Dolan a man whose fire hose of emotions could at times make you giddy is one. Before he turned 27, with movies like "Laurence Anyways" (2013) and "Mommy" (2015), Dolan seemed to have decided that restraint was a dirty word and expressiveness his guiding principal. No longer, maybe. In "Matthias Maxime," he presents an attenuated tease, a dreary dance of will they or won't they romantic provocation. Set among a small group of friends in Montreal, the movie eyes the flaccid fallout when two of them are goaded into sharing a kiss for a student film. Max (Dolan), a shy bartender whose strawberry birthmark emphasizes his vulnerability, seems mostly unfazed by the smooch. Matt (Gabriel D'Almeida Freitas), however, an ambitious suit in a dissatisfying heterosexual relationship, is very much fazed. For the rest of the movie, he will mope and mutter and rage, his self torture culminating in an urgent, kitchen counter rendezvous that leaves poor Max and the audience more confused than ever.	N24News: A New Dataset for Multimodal News Classification	Movies
'Price Gouging' and Hurricane Irma: What Happened and What to Do While the quoted price in this example was found through Expedia.com and not Delta.com, a Delta spokeswoman said, the customer reached out to Delta directly and found a happy resolution (Ms. Handler retracted her boycott call as well). "I was very impressed their social media team was empowered to actually resolve the situation, not just pass me to someone else," Ms. Dow said. "The Delta rep who reached out to me on social media was the same rep who found the 349 ticket from Miami to Phoenix with one stop through Atlanta and booked it real time." Delta and other airlines that were accused of wrongdoing denied the allegations. "We did not change ticket prices when this happened, and as of last Wednesday afternoon we were booked full for the rest of the week out of Florida," Charles Hobart, a United Airlines spokesman, said. But questions remained, such as: Why exactly were customers faced with such steep price hikes in the initial lead up to Hurricane Irma and is there anything travelers can do in the future to avoid such situations? Were Airlines Purposely Raising Airfare in the Lead Up to Irma? The short, technical answer appears to be no. But that's not likely to make anyone who was in this unfortunate situation feel any better. Price gouging refers to raising prices on goods and services to unfair levels, particularly during times of crisis, and many states have laws designed to prevent this practice. When customers in Florida were looking to change their flights so close to their departure date and saw such dramatic increases, it sure looked like classic price gouging. But according to the airlines and even consumer advocacy experts, that term was being misused when describing the price jumps. "It's just the computer programs doing what they do when it's last minute and seats are scarce." George Hobica, founder of AirfareWatchdog.com, said. The computer programs Mr. Hobica is referring to are also known as yield management systems, which are algorithms that consider supply and demand and set fares. When demand increases, the prices rise. "There are no ethics valves built into the system that prevent an airline from overcharging during a hurricane," said Christopher Elliott, a consumer advocate and journalist. The outcry suggests that customers think that there should be. "It seems that if we can program systems to be intelligent enough to respond to spikes and lulls in demand, then it doesn't seem a stretch to have the intelligence to adapt to declared states of emergency," Ms. Dow said. Airfare data by Hopper shows that the price increases that took place during the lead up to Irma were similar to those from the two weeks prior, suggesting that the price changes were typical for a week of departure flights. Many airlines would eventually put price caps on one way fares out of Florida, ranging from 99 to 399, add additional flights and provide humanitarian flights to bring needed supplies to and evacuate people and animals from affected areas. What Can Travelers Do in These Situations? The general rule of thumb when trying to book affordable airfare is that the earlier, the better. This rule is useless, though, when you're in an emergency rebooking situation. "The problem with something like the hurricane is that everyone is trying to buy at the last minute," Patrick Surry, a data scientist at Hopper, said. "There aren't really tools on the market right now that help consumers protect themselves in extraordinary circumstances like this one." But while airlines have their algorithm, consumers have their Twitter. "It seems like shaming the airlines on Twitter worked wonders so perhaps that's the best 'negotiation' tactic," Mr. Hobica said of the tweet that sparked the initial outrage over suspected price gouging. Airlines do not typically negotiate airfare with customers, Mr. Surry said, "unless there's an extraordinary circumstance." So if you find yourself stuck with an expensive ticket and shortly after your airline institutes a price cap, as many did for Hurricane Irma, "it's probably worth giving the airline a call to see what your options are," Mr. Surry said. One could speculate that airlines may treat similar situations differently the next time, given the strong backlash this time. "I think in the future, airlines will be more cognizant of the optics when fares spike up in an emergency when there are few seats available last minute," Mr. Hobica said. "So they'll probably cap fares as they did in the Irma situation." Ms. Dow thinks more can be done to account for emergency situations like national disasters. "Unlike an earthquake that would take people by surprise, everyone knew a monster storm was heading that way, so the airlines had plenty of time to adapt and put policies in place prior to evacuations," Ms. Dow said. "All of the airlines announced ticket price policies after people started expressing themselves on the topic."	N24News: A New Dataset for Multimodal News Classification	Travel
When Isaac Avila stopped sending his mother birthday and Christmas cards, his family knew something was wrong. His sister, Guadalupe Avila, and her large family tried unsuccessfully to find their brother, especially in 2010 when their father died and in 2014, when a brother passed away. So the family was stunned when after 40 years, Mr. Avila found them via a 58 second video posted by Miracle Messages, an organization that aims to reconnect homeless people with their loved ones. "I hope to see you all pretty soon. I wish I could get a hold of you in a better way but this is going to be the fastest way and I hope you all have a computer," Mr. Avila said in his video. "I miss you all very much; my heart is missing you big time." Within days of posting the video on YouTube earlier this year, Miracle Messages had shown Mr. Avila's message to his family and begun setting in place a reunion. Today, Mr. Avila is living with his 92 year old mother, helping to take care of her in his childhood home in Texas. Mr. Avila's reunion is one of more than two dozen Miracle Messages has successfully engineered. As families around the country gather for Thanksgiving, many are missing a relative: According to the Department of Housing and Urban Development, more than 500,000 Americans are homeless. And in many cases they have lost touch with their families. The goal of Miracle Messages is to help 1 percent of the world's estimated 100 million homeless people reunite with loved ones by 2021, said its founder and chief executive, Kevin F. Adler. He said he started the organization almost two years ago in honor of his Uncle Mark, who lived on and off the streets for 30 years. "This is an effort to humanize a homeless person and reconnect them with their families," Mr. Adler said. "Even if you are homeless, you are a complete being as you are." Mr. Adler said he found that through social media, it was relatively easy to find a homeless person's family. One of the first videos he recorded, on Christmas Eve 2014, was of a homeless man named Jeffrey Gottshall, who was living on the streets of San Francisco. He posted it to a Facebook group in the small town in Pennsylvania where Mr. Gottshall was from, and within 20 minutes someone had tagged his sister. "Ninety percent of the messages we've been able to deliver have been received positively, and in about 40 percent of the reunions, the homeless person has stable housing or is living with family," Mr. Adler said. "In some cases, the family does not want to be in contact for whatever reason and we have to respect their wishes. But in those cases, we often find friends or other relatives who do want to reach out." So far, The organization relies on sponsors, donations and a crowdfunding campaign to do its work. Mr. Adler was also named as one of 20 TED Residency program residents this fall to help Miracle Messages grow. Some reunions are happy ones, like the Avila family's. In a telephone interview, Mr. Avila recounted the day he made the video. As he got food from a local homeless outreach group in Miami, he heard an announcement that Miracle Messages would be recording videos of anyone who wanted to send loved ones a message. Mr. Avila stepped forward. "It was time for me to contact my family," he said. He spoke of bouncing from printing press jobs at several newspapers in Texas before going to Miami to find work. He said that for a few years in the 1980s, he worked in the printing press shop for The Miami Herald. But he said he had a mental breakdown and walked away one day. During the time he was lost to his family, Mr. Avila lived on and off the streets, found some work at local outreach centers and suffered a heart attack. Now 66, he is thrilled to be home with his large family. But not every reunion has a happy ending. Jeffrey Gottshall, 47, is still waiting for his. Mr. Gottshall's 32 second video, taken on the streets of San Francisco where he still lives, plunged his family in Pennsylvania into a spotlight many members did not welcome. His younger sister, Jennifer Gottshall Gavitt, stepped forward to embrace her brother. "The best way to describe my family is old school," Mrs. Gottshall Gavitt said in a telephone interview. "You don't even cry at funerals, because that's making a public spectacle. So when the video was made public, it was like the sky had fallen for some members of my family." When her family saw Mr. Gottshall's message, it was the first time in 20 years they had been in contact with him, although Mrs. Gottshall Gavitt and her husband had tried to find him. She went to San Francisco to see her brother and with Mr. Adler's help, was able to reunite and talk to him. She says her brother suffers from mental health issues. She is trying to help him get the help he needs but says he needs to want to help himself. For now, the best she can do from her Pennsylvania home is to have people like Mr. Adler and a police sergeant she met with San Francisco's homeless outreach unit keep her updated on how her brother is doing. They help Mr. Gottshall call her on occasion so she knows he's O.K. "Even if Jeffrey doesn't end up with a happy ending, other people are getting their happy ending and that's just as important," she said. "No one should be lost. In his own way, Jeffrey has helped find people."	N24News: A New Dataset for Multimodal News Classification	Well
Credit...Susan Wright for The New York Times A paradise for skiers, the Italian Alps of South Tyrol offer a more placid pastime that's surging anew. A host of spas are sprouting up in isolated tracts among the highlands, and though there's hiking, biking and access to some of the Alps' easier ski slopes, sports are a mere afterthought here. The spas draw skiers and nonskiers alike to spend days soaking in hot tubs, besotted by the view of these commanding, ice shrouded peaks. Throughout the 19th and early 20th centuries, when mineral springs became Europe's cure all for medical ills, wellness seekers flocked to the region's famous waters and sanitariums. Today's alpine spas are updating this long tradition as the present day search for wellness has reinvigorated the desire for their timeless sedative effects. For those of us who have forgotten what a multitude of stars looks like, the Italian Alps offer an immersion into lost wonders of contemporary life. Untrammeled snow. Unsullied air. A velvet cloak of silence. And the immeasurable reprieve of poor cellphone receptions. In ancient times, the bathhouses that the Romans adapted from the Greek tradition were even more integral to cosmopolitan life. There were 952 bathhouses in Rome by 354 A.D.; they often included libraries, gyms, lecture halls, medical treatment facilities and gardens. The Baths of Diocletian alone accommodated up to 3,000 visitors at a time. Today bathhouses are rare on our city maps, and serenity is a luxury reserved for infrequent vacations. Spas now must be deep in the woods, the dislocation and the staggering view of the mountains the only way to finally subdue us. Modern Alpine spa resorts reimagine the mountains' traditional wooden huts as lofty architectural temples of repose. On the sprawling plateau of the Alpe di Siusi in the Dolomites, set upon a grassland slope dotted with diminutive log cabins, the Adler Mountain Lodge mirrors the rustic little dwellings of its neighbors, but in palatial form. Built in the raw timber of local spruce trees, the double gabled main hotel and a dozen surrounding chalets for rent are fronted by full glass walls, offering an awe inspiring gaze at the serrated monoliths of the Sassopiatto and Sassolungo mountains, which rise like spiky arrowheads to lance the sky. To pull back the morning curtains on this jagged expanse the rocky massifs jangling in the bright sun or softened by fields of fresh falling snow is to wake up to the grandeur of the greater world that, in our insular daily lives, we so easily forget. Of course, the mountain views are just the beginning. There is a spa. A saltwater, womb warm pool, constructed of the local silvery quartzite rock and filled by a nearby spring, extends from inside to out, where steam rises off the surface into the chilly air as visitors bob and recline, enveloped in Jacuzzi bubbles as they contemplate the horizon's mammoth stony outcroppings. Two pinewood saunas, one filled with Tyrolean hay and its sharp, dry earth perfume, offer panoramic views of the rough chiseled topography. In the saunas as in all the saunas of this area genders are mingled and nude or lightly wrapped in towels. But as long as you're comfortable glimpsing bare bodies, the personal sensation of simmering your own swimsuit free body is, frankly, worth it. Adler's spa offers a post excursion massage using Alpine arnica extract and mud to soothe overexerted legs, but no one seems to be in a great stink to get sporty here. There are options, though: The area offers a paradise for hikers, electric bikes are available in the summer and you can ski right out of the locker room door onto mountain paths in the winter. The trails are wide and easy, and guests generally hit the slopes for a couple of hours at most. "Our slopes are good for cruising and enjoying the view," says Nicol Lobis, a staff member at Adler Mountain Lodge. "But people come here to relax, not to burn their thighs to the max on black diamond slopes." And besides, the bar is open all day. In Italy's Alps, the modern movement of forest spas launched with the opening of the Vigilius Resort in 2003. Designed by the renowned architect Matteo Thun, the hotel is a starkly contemporary expanse of glass and lumber 5,000 feet up the mountainside, reachable only by cable car. In its first years, the Vigilius won awards for its sustainable energy approach and introduced the idea of the eco resort to the area, setting the bar for subsequent spas' natural material use and extreme energy efficiency. The Vigilius's glass fronted sauna and indoor outdoor heated pool immerse visitors in a dramatically dense view of larch trees and craggy peaks, but the resort is in need of a refresh to keep up with the high style introduced by more recent eco resorts in the vicinity. What does it take to relax these days? As the stresses of work, life and the modern world pile up, perhaps we ought, like Romans, to let our heads float in womb like bubbles more often. At the San Luis, I tried a massage, although days of spas had I thought already rendered my body the tender consistency of a jellyfish. Yet the masseuse paused as her fingertips alighted on my spine. "Do you spend a lot of time working at a desk?" Well, yes. She kneaded a constellation of unexpected knots around my shoulder blades, clucking that everyone she saw these days had the same condition. "You need a massage once a week, or you'll damage your back." Need, she told me. Need. Did the Romans, with their weekly spa time and scheduled self care, have knots in their backs? Perhaps the masseuse is right. Need indeed. Follow NY Times Travel on Twitter, Instagram and Facebook. Get weekly updates from our Travel Dispatch newsletter, with tips on traveling smarter, destination coverage and photos from all over the world.	N24News: A New Dataset for Multimodal News Classification	Travel
PARK CITY, Utah Amid breathless reports of protests, disruptions and personal threats, news outlets swarmed to the Sundance Film Festival premiere of "Leaving Neverland," a new documentary mini series detailing accusations of sexual abuse against the pop star Michael Jackson. But the protesters outside the Egyptian Theater found themselves vastly outnumbered by reporters, photographers and camera crews, as teams from Variety, "Extra," and, yes, The Times waited patiently for their turns to interview the poster carrying Michael Jackson defenders. All two of them. Brenda Jenkyns and Catherine Van Tighem said they drove 13 hours from Alberta, Canada, to protest the debut of the docu series, which HBO will broadcast this spring. Though three more protesters showed up after the screening, the two friends said they felt compelled to speak out. "I've never actually heard of Sundance before that," Jenkyns said. "I just know about Michael Jackson, and we also know about the two people who are featured in this film. So we knew that it would be not true, basically." Van Tighem added that the film was "not a voice for victims," saying, "There's another side to the story. The information is there for people, if they want to take the time to look at it." She carried a cardboard poster featuring a photo of Jackson, as well as copies of a pamphlet titled "Protect Michael," with a storybook style illustration of the pop singer leading a group of children through a garden of flowers. "Leaving Neverland," directed by Dan Reed, paints quite a different picture of Jackson's interactions with young people. In two parts running nearly four hours, it details the singer's history with Wade Robson and James Safechuck, who both spent time with Jackson in the late 1980s, at the height of his post "Thriller" fame.	N24News: A New Dataset for Multimodal News Classification	Movies
"King Philip IV of Spain" (1644) by Velazquez will be among the works temporarily moved to the Breuer building, which will be called Frick Madison during the collection's stay. In the past, you might have seen Velazquez in a corner of the West Gallery, the Goyas in the East Gallery, and St. Jerome over the fireplace in the central Living Hall. But in the Breuer building on Madison Avenue, all of the Frick Collection's Spanish holdings will hang together. This is one of the new ways to be announced Wednesday in which the Frick's collection of paintings, sculptures, works on paper and decorative arts will be presented when the museum moves into its temporary digs in the Breuer, which it is calling Frick Madison, sometime early next year. The Frick's two year tenure in the Breuer the 1966 Brutalist building owned by the Whitney Museum of American Art and recently occupied by the Metropolitan Museum of Art will allow the Frick to continue exhibitions while its 1914 Gilded Age mansion on Fifth Avenue undergoes renovation. "We're taking advantage of a totally different space," Ian Wardropper, the Frick's director, said in an interview. "They won't have the rich bath of the Gilded Age to luxuriate in they will have to stand on their own more. "It's an opportunity for us to re examine the collection how it looks in a fresh context," he added. "The main thing is that we are able to continue to present the collection; otherwise during construction we would have gone completely dark and our holdings would have gone into storage." Moving into the Breuer while work begins on its mansion is a big step for the Frick, which has encountered intense community opposition to its 160 million renovation plans, which aim to increase exhibition space and to improve the museum's circulation, amenities and infrastructure. "We've been through a lot to get to this point," Mr. Wardropper said. "We're ready to move; we're excited about going in." The Frick could have tried to reconstruct the ornate rooms at 1 East 70th Street the original home of the industrialist Henry Clay Frick in which paintings hang among French furniture, Asian and European porcelain and Renaissance bronze figures. Instead the museum decided to rethink its approach in response to its new environs. "It's a very challenging idea to move the Frick Collection into a Brutalist building," said Xavier F. Salomon, the deputy director and chief curator, who organized the installation. "I have studied architectural history and I love the building, so I started thinking about the Breuer as a masterpiece in itself. The big thing is how to put the two things together how do we make them work in a way that's going to be totally different from what happens at 1 East 70th Street?" "How do you translate the Frick into a different language but that keeps the essence of what the Frick is?" Mr. Salomon added. "It's like translating 'Moby Dick' into Japanese." In this spirit, Mr. Salomon said, the Frick's reconfigured galleries designed by Annabelle Selldorf, the architect for its larger renovation project will only use materials and colors that were used by the Breuer, like grays, concrete and metal. In the mansion, works of art from distinct periods and disciplines are juxtaposed in a residential house setting. In the Breuer, the Frick's collection will be presented chronologically and by region. Each of the three exhibition floors will focus on areas of Europe, ranging from the earliest objects to the most recent. While the Breuer will not have the intimacy of the Frick's typical domestic setting, the presentation will remain as unmediated as possible, Mr. Salomon said, without display cases, labels or wall text. "It's going to be a very immediate encounter with works of art," Mr. Salomon said. "We're trying to keep to the spirit of the place, but the house feeling is something we're not going to be able to replicate in any way we didn't want to go down the road." Preparatory work on the Frick's renovation is to begin this fall, with construction starting in the first quarter of 2021. The Whitney has yet to announce its plans for the Breuer building after the Frick departs in 2023. The environment of the Breuer prompted the Met which moved out on Aug. 31 to juxtapose historical works of art with contemporary works, a possibility the Frick said it may consider. Perhaps more important, the Frick hopes the temporary space will attract new, younger audiences as well as encourage loyalists to see the collection in a new light. "I hope it's going to be a chance for people who know the Frick well," Mr. Salomon said, "to be able to say, 'Oh, I never noticed that before.'"	N24News: A New Dataset for Multimodal News Classification	Art & Design
LONDON "It was smuggled. It belongs to Egypt," said Magda Sakr, one of a dozen protesters gathered outside Christie's auction house minutes before a stone head of the pharaoh Tutankhamen was set to be sold on Thursday night. "I believe these things should be in a museum. They shouldn't belong to one person," added Ms. Sakr, holding a placard that read "Save Tutankhamen Head. Egyptian History is not for Sale." But despite protests from Ms. Sakr, and from Egyptian officials, the sale went ahead. The brown quartzite sculpture of the god Amen, carved with the features of the pharaoh Tutankhamen during his brief reign, was the star lot of Christie's annual "Exceptional" auction of trophy objects from across the centuries. Dated by the auction house to about 1333 B.C. to 1323 B.C., and described as having a "particularly sensual" mouth, the head sold for PS4.7 million pounds, or about 6 million, with fees. But competition was subdued. The lot attracted just two hesitant bids from anonymous telephone bidders. Did the limited bidding reflect the controversy that swirled round this object before its sale? Weeks before its auction, the 11 inch high head had been the focal point of protests from the Egyptian authorities, who objected to the inclusion of about 30 ancient artifacts from their country in auctions this week at Christie's. Zahi Hawass, a former Egyptian minister of antiquities, told The Guardian newspaper last month that he believed the Tutankhamen head had been taken from the temple of Karnak in Upper Egypt and illegally exported in 1970. He added that if Christie's did not have papers to prove that it left Egypt legally, then the sculpture should be returned. The date of 1970 cited by Dr. Hawass is significant: That year Unesco instituted a landmark international convention to prohibit and prevent the illicit trade in cultural property. Objects without documented ownership histories, known as provenances, that extend beyond that watershed have become regarded as problematic for museums and those involved in the legal trade in antiquities. In a statement issued on Tuesday, Christie's said it had "established all the required information covering recent ownership and gone beyond what is required to assure legal title." The sculpture "is not, and has not been, the subject of a claim, nor has it been previously flagged as an object of concern, despite being well known and exhibited publicly," the statement added. The provenance published by Christie's states that the stone head was acquired in 1973 or 1974 by Josef Messina, the director of Galerie Kokorian Company, in Vienna, from the collection of Prinz Wilhelm von Thurn und Taxis, who is "understood" to have owned the piece by the 1960s, according to the catalog. The sculpture was subsequently owned by two further private individuals, Christie's said, before being acquired in 1985 by the German based Resandro collection, which was the seller in London. The object's pre 1970 provenance was confirmed by Mr. Messina in the form of "a notarized affidavit which is part of our provenance documentation," Catherine Manson, Christie's global head of communications, said in an email. But an article on the website Live Science, published in June, said that the son and niece of Wilhelm von Thurn und Taxis, who died in 2004, said the aristocrat had no interest in art and had never owned the sculpture. Galerie Kokorian Company and Mr. Messina did not reply to repeated requests for contact made by email, telephone and Facebook message. For those who participate in the international trade in antiquities, basing this object's pre 1970 provenance on the verbal recollection of a dealer, rather than any surviving document, does not weaken the legitimacy of Christie's sale. "I don't think it's problematic," said Vincent Geerling, the chairman of the London based International Association of Dealers in Ancient Art. "What is problematic is the attitude of the Egyptian government and the way they try to disrupt the sale of perfectly legal artifacts." "The Egyptians have benefited from the sale of antiquities for more than 150 years," said Mr. Geerling, who pointed out that government authorized stores sold antiquities in Egypt until 1983, when the country passed a law to protect its heritage. Mr. Geerling said that the Unesco Convention applied only to objects that had already been "specifically designated" as objects of great importance, which he said would be unlikely in the case of the Christie's head. He added that "there is no legal basis" for museums' reluctance to acquire antiquities with provenances that did not stretch beyond 1970. Objects associated with Tutankhamen, a short lived 18th Dynasty pharaoh who died in his late teens, have a particular mystique and allure. Howard Carter's 1922 discovery of his untouched tomb in the Valley of the Kings, filled with spectacularly precious objects, is the most famous moment of Egyptian archaeological history. An exhibition at the British Museum in 1972 of treasures from the tomb, including Tutankhamen's gold death mask, attracted 1.7 million visitors.	N24News: A New Dataset for Multimodal News Classification	Art & Design
It turns out that "The Assassination of Gianni Versace," this gorgeous mess of a television series, was neither about an assassination nor, really, about Versace, the fashion designer who was shot to death on the front steps of his Miami Beach mansion in 1997. It would have been more accurately called "The Agony and the Ecstasy of Andrew Cunanan," Versace's killer, whose spectacular orgy of violence briefly dominated headlines around the world at the close of the American century. Over the eight previous episodes, starting with Versace's killing, the series drew us back in time, through Cunanan's killings of four other people; his career as a drug addict and escort; his resentment of the fame and accomplishment of other gay men; his odd childhood; his troubled relationship with his doting but oppressive and mendacious father; and in the closest thing to a "Rosebud" moment an imagined encounter between Cunanan and Versace years before the murders. The finale is a riveting hour of television, filled with anguish and revelation as Cunanan, played by Darren Criss, relives his crime spree through television and radio reports that fill the Miami Beach houseboat where he is hiding out appropriately blown up to larger than life proportions on a home theater projector, no less. But, like much of what preceded it, the episode is a muddle, never quite settling on a coherent thesis or a sustained argument. That's a pity, because the series writer the novelist Tom Rob Smith, who also wrote the chilling British mini series "London Spy" has consistently given the characters flashes of brilliance and insight. No moment manifests those qualities more than a monologue by Ronnie, a gay drifter whom Cunanan befriended as he was hiding out from the law during the two months before he killed Versace. Ronnie recognizes Versace's significance. "We all imagined what it would be like to be so rich and so powerful that it doesn't matter that you're gay," he says during a police interrogation. But he is also angered that the authorities were slow to alert the gay community and to solicit its help in the manhunt until, as Ronnie notes, one of the victims was famous. "You're so used to us lurking in the shadows and, you know, most of us, we oblige," he says. "People like me, we just drift away. We get sick? Nobody cares." "But Andrew was vain," he continues, as a flicker of something almost like pride, or at least defiance, lights his eyes. "He wanted you to know about his pain, he wanted you to hear, he wanted you to know about being born a lie. Andrew is not hiding. He's trying to be seen." Maybe. But at that moment Cunanan is, in fact, hiding out on a house boat. If he had a message to communicate about his pain, he did not share it. The series is loosely based on Maureen Orth's gossipy book "Vulgar Favours," but the dramatizations and embellishments are so extreme that the series appears more a flight of wishful fantasy than an act of journalistic reconstruction. Also extreme is the director Daniel Minahan's insistence on making this finale a retrospective of horrors. Until now, the series was told in reverse chronological order. But the finale circles back to where it started, and it is bursting at the seams with tangential characters, visual cues and over the top emotions that leave a jumble of impressions instead of delivering a clear punch. We pay a visit to Marilyn Miglin, a self made cosmetics magnate who sells her wares on television and whose husband, Lee, a Chicago property developer, was the third of Cunanan's five victims. She happens to be in Tampa, Fla., while the manhunt following Versace's murder occurs. The local police urge her to return to Chicago for fear that Cunanan may be after her, but she refuses. Her strength and resolve are admirable and Judith Light turns in a magnificent performance but we hardly learn anything that we didn't know from Episode 3. Similarly repetitive is a scene in which the father of David Madson, the Minneapolis architect whom Cunanan forced to flee home before he killed him, communicates his anguish in a TV interview. We knew from Episode 4 that the father and son were both pretty decent people. The most strange and haunting moment of this finale comes when Cunanan, desperate and reduced to eating dog food, dials his father, Modesto, a disgraced former stockbroker who fled to his native Philippines after some shady financial deals. Andrew is sobbing, a man of 27 reduced to helplessness. "Dad, I'm in trouble," he pleas. "I need help. I need you to come get me." Modesto promises Andrew that he'll drop everything and race to Miami to rescue him. "I will find you and I will hug you and I will hold you in my arms," he says. Of course he doesn't. He's a hustler. The next morning, it's clear to Andrew that Modesto isn't coming. In fact, he hasn't even tried to leave the Philippines. "My son is not and has never been a homosexual," he tells television reporters as his son watches from Florida. He adds: "He was a perfect boy, the most special child I ever saw. The idea that he could be a killer makes me angry." Modesto tells the reporters that Andrew called him a night ago. Asked what they discussed, he replies: "The movie rights to his life story. I'm acting as the broker, calling Hollywood from here in Manila. Andrew was very particular about the title." The movie, he says, will be called "A Name to Be Remembered." It's disturbing and nauseating, of course. But we already knew from Episode 8 that Modesto was a pretty despicable guy. Then there's a jarring shift to Milan, where Versace is honored with a ceremony akin to a state funeral. We are reminded as we learned in Episode 2 that his sister and de facto heir, Donatella, and his partner, Antonio D'Amico, have a frosty relationship. Antonio wants to move to one of Gianni's properties, on Lake Como; Donatella says it's up to the company's board to decide. (Later, we are shown, Antonio is driven to such despair that he attempts suicide.) Watching the live broadcast of the funeral, Cunanan kneels before the television and makes a sign of the cross: a shockingly sacrilegious moment, but hardly of great emotional power since Cunanan's Catholicism hasn't really been a theme at all. A scene with Cunanan's friend Lizzie, whom we have barely heard from, is similarly lacking, as she begs him on television to turn himself in. Lizzie a straight, older friend who asked Andrew to be the godfather to her children has intrigued me throughout the series, but the underinvestment in her character makes her plea seem wooden. The one time when Cunanan's eyes suggest remorse comes when he sees his fragile mother being hounded by reporters outside her California home. Otherwise, Cunanan's victims flicker on the screen like Macbeth's ghosts, and finally he is visited by one himself, as a child of around 11. And then we have the final flashback, the "Rosebud" moment: a scene in which we return to the San Francisco opera house where, it is imagined, Versace and Cunanan met during a 1990 production of "Capriccio" that Versace designed. Cunanan, at that point 21, tries to kiss Versace, but the designer turns away. "It's not because I don't find you attractive," Versace says. "I invited you here because you are a very interesting young man. I want you to be inspired by this, to be nourished by tonight. If we kissed, you may doubt it." Versace, in this telling, had some useful advice for Cunanan: Success isn't about convincing people that you're special. Success is about hard work. It is sad that Cunanan didn't learn this from his deadbeat father, but it takes us nowhere in explaining the bloodthirst that followed. Homophobia, mixed race identity, sexual abuse, the lust for fame, the worship of celebrity each of these themes has been brought forward and then discarded. Like many a true crime drama, this second season of "American Crime Story" was more interested in the journey than the destination. I get it. But in the end, like Cunanan himself, the show was a beautiful, glittery, violent, extravagant mess.	N24News: A New Dataset for Multimodal News Classification	Television
It was not enough, it seems, for Alan Greenspan, the former Federal Reserve chairman and a self described lifelong Republican libertarian, to call for stringent government regulation of giant banks, as he did a few months ago. Now Mr. Greenspan is wading into the most fierce economic policy debate in Washington what to do with the tax cuts adopted, in large part because of his implicit backing, under President George W. Bush with a position not only contrary to Republican orthodoxy, but decidedly to the left of President Obama. Rather than keeping tax rates steady for all but the wealthiest Americans, as the White House wants, Mr. Greenspan is calling for the complete repeal of the 2001 and 2003 tax cuts, brushing aside the arguments of Republicans and even a few Democrats that doing so could threaten the already shaky economic recovery. "I'm in favor of tax cuts, but not with borrowed money," Mr. Greenspan, 84, said Friday in a telephone interview. "Our choices right now are not between good and better; they're between bad and worse. The problem we now face is the most extraordinary financial crisis that I have ever seen or read about." Mr. Greenspan, who led the Fed for 18 years until he retired in 2006, warns that without drastic action to increase federal revenue and reduce the long term growth in health care costs, bond investors could make a run on Treasury securities, driving up the nation's borrowing costs and leading to another global economic crisis. This is not the first time Mr. Greenspan has urged fiscal restraint; he warned in 2008 that the country could not afford the tax cuts proposed by Senator John McCain, the Republican presidential candidate. But his sweeping call for rescinding the Bush tax cuts, which he has articulated in a recent appearance on "Meet the Press" and an interview with The Financial Times, among other settings, has rankled former colleagues. "Such a large tax increase in the middle of a period of sluggish economic growth would be a very bad idea," said R. Glenn Hubbard, who as chairman of the White House Council of Economic Advisers from 2001 to 2003 was an architect of the tax cuts. Mr. Hubbard, who teaches at Columbia Business School, said a debate over the proper size of government was needed, but would not occur until the 2010 or 2012 elections. "Calls for repealing the tax cuts are more about politics than economics," he added. Even liberal economists who concur with the need for higher taxes have not been eager to embrace Mr. Greenspan. "His concern about the current deficit seems to ignore the state of the economy," said Dean Baker, co director of the Center for Economic and Policy Research, a left leaning organization. "It is hard not to believe that politics is playing some role in his positions." While Mr. Greenspan did not endorse a specific approach, his broad support for the tax cuts nearly a decade ago was pivotal in securing one of the Bush administration's top domestic policy goals and in providing political cover for members of Congress. Now, in response to accusations of political expediency, Mr. Greenspan says his approach has been consistent: supporting tax cuts when surpluses loomed, and endorsing revenue increases now that deficits are the leading worry. He also says his earlier endorsement of tax cuts was made with important caveats that were later ignored by policy makers and the public. To begin with, he says he believed the tax cuts in 2001 were primarily needed to avoid the economic distortions caused by "surpluses as far as the eye could see," as many economists at the time projected. The dot com boom in the late '90s led to a surge in tax revenue, less from capital gains taxes than from the conversions of stock option grants. While the temporary nature of those revenue increases was perceived, Mr. Greenspan says, the combination of soaring tax receipts and long term productivity gains led economists at the Fed, at the Office of Management and Budget and at the Congressional Budget Office to believe that the surpluses were very real. That, in turn, caused the central bank to worry that one of its primary levers for the conduct of monetary policy the purchase and sale of Treasury securities would no longer be available. "I was against deficits, but I was also equally against surpluses," Mr. Greenspan said. Mr. Greenspan also emphasizes that the tax cuts should have adhered to so called pay go rules, which require that tax cuts or new spending should not add to the federal deficit. Pay go rules were adopted as part of the 1990 budget deal between President George Bush and the Democratic controlled Congress, but were scrapped in 2002, when his son, George W. Bush, was president. "Unfortunately, the surplus disabled pay go because pay go implied the existence of a deficit," Mr. Greenspan said. "When the deficit disappeared, the concept of pay go became meaningless." While Mr. Greenspan's reputation has been tarnished given the Fed's failures to pop the real estate bubble and to rein in subprime mortgage lending his perspective, born of decades of data crunching, has made him a figure revered by many in the markets. His opinion still carries considerable weight and his views on the tax cuts will reverberate in the debate next month in Congress. "Unlike in World War II, when we knew that military spending and deficits would fall sharply, our current understanding of the future is extremely limited," Mr. Greenspan said. "There's an especially high level of uncertainty in forecasting Medicare." He said the country's fiscal problems could not be solved by higher taxes alone. "We are going to have to confront a major surge in medical entitlement spending. Irrespective of what you say should be done on the tax side, you still have to cut some benefits on the expenditure side." Mr. Greenspan, who is known for his political skills and his connections in both parties, bemoaned the political gridlock in the capital. "We have known that the tax cuts were going to expire at the end of 2010 for nearly a decade but nobody did anything to address the issue," he said. Asked whether higher taxes in 2011 could choke off the nascent recovery, Mr. Greenspan replied: "It is risky, but the choice of not doing it is far riskier. It is the difference between bad and worse, but in neither case do I think the evidence suggests that it would be the tipping point for the economy." Mr. Greenspan added that the relationship between taxation and growth was still not well understood. "I don't think anybody can know exactly what the impact of these taxes is on G.D.P.," he said, referring to gross domestic product, the broadest measure of output. "We put them through econometric models that have a very poor record forecasting recession. Conclusions based on such models must be suspect."	N24News: A New Dataset for Multimodal News Classification	Economy
Until recently the 1990s, let's say an American critic keeping tabs on new art would concentrate on New York's museums and galleries; cast an occasional, often dismissive eye on Western Europe; and perhaps try to visit Los Angeles now and again. No longer. By the '90s the idea of a single avant garde was dead and buried, and in its place arose a pluralist art ecosystem that spans the planet. It makes larger intellectual demands than ever, and requires us to accept that we'll never see everything or understand it completely. In the new global art world, even we New Yorkers are provincials. Perhaps nowhere benefited as much from this shift to a pluralist art world as Asia, where the 1990s saw an explosion of biennials and triennials. The Gwangju Biennale, Asia's most important such exhibition, began in 1995 in South Korea, and was soon followed by large scale shows in Shanghai, Taipei, Fukuoka, Yokohama, Singapore, Jakarta, and a half dozen other Asian megacities all of which introduced Asian audiences to foreign art and pushed their own region's figures to the international forefront. In these exhibitions, as well as in the new museums and art schools that arose around them, traditional styles of painting, drawing, pottery or calligraphy fell by the wayside, and installation, video and performance served as lingua franca. The art in "After Darkness: Southeast Asian Art in the Wake of History," at the Asia Society on Park Avenue, is the fruit of this global shift. The work here comes from Indonesia, Myanmar (or Burma) and Vietnam, though with just seven artists and one collective, it's small enough to avoid the curse of the "regional show" and doesn't force any unity on a diverse lineup. Not every work here is a masterpiece, but all of them plumb the roiling past and fractured present of places that, with a combined population of nearly 400 million, we have no excuse to be clueless about. The most internationally prominent artist here is Dinh Q. Le, who immigrated to the United States as a child and returned to Vietnam in 1993. His enlightening project "Light and Belief" (2012) unites 70 ink drawings and watercolors, which the artist collected from elder figures at work during the Vietnam War, with a long, lightly animated video in which Mr. Le interviews these older artists about the social role of art before the biennial age. "Uncle Ho highly regarded the arts," says one of these older painters, referring to the party leader Ho Chi Minh. "The artist must also be a warrior," another recalls. Mr. Le's video forces a reconsideration of the proficient but academic works on paper he has collected: a woman in a conical straw hat, say, or a soldier disguised amid dappled trees. "Light and Belief" also, rather brilliantly, reintroduces ignored chapters of Vietnamese art which looks regressive to us now, but was resolutely "modern" in the art schools established by the French colonial regime to global institutions that have little understanding of them. The war locally termed the "Resistance War Against America" also informs the regretful art of the Vietnamese collective known as the Propeller Group. In a two channel video, "The Guerrillas of Cu Chi" (2012), we see a 1963 propaganda film set at the Cu Chi tunnels, the underground passageways outside Ho Chi Minh City used by the Vietcong. (The soldiers there, an enthusiastic narrator declaims, "were never afraid of hardships and always found ways to kill Americans.") Across the gallery is a second, slow motion video, shot at the tunnels today; the grounds above have been converted into a shooting range for tourists, and gleeful Americans spend 1 to fire AK 47s while their friends capture the fun on their phones. "The Dream," another work by the Propeller Group, consists of a half complete Honda Dream motorcycle, of the kind used to skip through Hanoi's wild traffic. But its wheels, engine, seat, and even pedals are missing; the body stands denuded, an uncanny object more sculpture than vehicle. The parts were snatched, we see in an accompanying video, by thieves in just a single night. As in China, nominally communist Vietnam has embraced brakes off turbocapitalism, and the old dream of society has been picked clean. The Burmese artists here have an even more direct engagement with local political circumstances. Htein Lin, a dissident from Yangon, turned to art not while visiting some international exhibition Myanmar is among the poorest countries in the Association of Southeast Asian Nations, and was essentially closed to foreign influence until the 2010s but rather during a six year spell in prison. His ghostly installation, "A Show of Hands," features hundreds of white plaster casts of raised right hands, each one an index of a political prisoner like himself. What makes the work more than an easy ode to people power is the associated video, in which we watch Mr. Htein Lin cast the hands of monks, journalists, poets, and youth activists, each of whom recounts their past run ins with the military dictatorship with surprising lightness. F.X. Harsono, perhaps the most prominent artist in contemporary Indonesia, is represented here by both earlier sculptural installations that took direct aim at the Suharto regime, as well as a more recent video. "The Voices Are Controlled by the Powers," from 1994, consists of more than a hundred carefully arrayed wooden masks, but they've been chopped in half; their mouths are cut off and piled in the center. From the title on, it's about as direct a protest against free speech as you can make without just hoisting a placard. "Writing in the Rain," a performance filmed in 2011, shows Mr. Harsono writing his name in Chinese characters on a pane of glass, only for his calligraphy to be wiped away by streams of water; as the downpour continues he keeps it up, and the ink spills to the floor. (The artist is ethnically Chinese, a minority in Indonesia.) To a western critic like me, the gesture reads as an obvious reboot of Marcel Broodthaers's noted 1969 film "La Pluie," in which he hopelessly attempts to write poetry in a rainstorm, but where that Belgian provocateur proposed an art unfixed from clear meaning, Mr. Harsono's political gesture could not be clearer, or more locally focused. It isn't wrong to criticize art as blunt as this, in which symbols function not as elements in a complex, imaginative system, but in strict one to one correspondence with political or social ills. Yet what works in New York may not work in Jakarta, and while we now have to evaluate art at a global scale, we also have to study the particular circumstances in which "global" contemporary art took root in local cases. In these three countries, an outward facing practice of "contemporary art" marched in step with local reform movements, engaged with free speech, economic fairness and multiparty democracy. If some artists in this show seem to be speaking a bit too literally, that may be because influencing local audiences was a more urgent calling than winning the approbation of far off western institutions. And part of reckoning with a global art world is expanding one's tolerance for things we don't understand. It means more looking, more reading, and more sympathy too sympathy for art that may not resemble what we most like, and of which our mastery can only be fragmentary. If, as the Chinese artist and dissident Ai Weiwei has asserted, contemporary art is a kind of freedom, then our need to appreciate this art has only increased now that Indonesia and Myanmar, as well as Thailand, Malaysia, and the Philippines, are taking an antidemocratic turn. That may be a more important vocation than hunting in vain for a single avant garde in a world as large as ours.	N24News: A New Dataset for Multimodal News Classification	Art & Design
The movie begins with a search for family and the recipe for a fondly remembered bak kut teh, a pork rib soup. Masato (Takumi Saitoh), born to a Singaporean mother and a Japanese father, departs Japan after the death of his emotionally distant dad, a celebrated ramen chef in Takasaki. His father strived to create new flavors that blended cultures; he is said to have kept his deceased wife's memory alive in every bowl. To preserve that tradition, Masato seeks out a long unseen uncle (Mark Lee) and his recipe for the Proustian pork rib broth in Singapore. A food blogger (Seiko Matsuda) aids him in that search, which means that otherwise pedestrian conversational scenes are enlivened with shots of dishes like fish head curry and digressions on how Pandan leaves are used in Southeast Asian cooking to add flavor and color. The anticipated bak kut teh recipe may tempt viewers to take notes.	N24News: A New Dataset for Multimodal News Classification	Movies
WASHINGTON The Federal Reserve issued a 700 word statement on Wednesday, but four words would have sufficed: see you in September. As expected, the Fed's policy making committee voted to press ahead for now with its campaign to increase job creation. And its statement said nothing about how much longer it would continue to add 85 billion a month to its holdings of mortgage backed securities and Treasury securities. But the Fed left its economic outlook basically unchanged, suggesting that the central bank still intended to reduce the volume of its purchases later this year. The statement, issued after a regular two day meeting of the Federal Open Market Committee, acknowledged the weak pace of growth during the first half of the year, which it described as "modest" rather than "moderate" the words are synonymous in English but distinct in the Fed's carefully calibrated lexicon, suggesting an even more lackluster economic performance. But it maintained the Fed's forecast that "economic growth will pick up from its recent pace" in the coming months, driving job creation. The statement also repeated language first introduced after the Fed's previous meeting, in June, that "the committee sees the downside risks to the outlook for the economy and the labor market as having diminished since the fall," when the Fed began this latest push aimed at increasing the pace of growth. Analysts said they expected the committee to cut back at its next meeting in mid September. Dean Maki, chief United States economist at Barclays Capital, said the statement was "on the dovish side" because of its references to slower growth, rising mortgage rates and low inflation. Nonetheless, he added, "We continue to expect the F.O.M.C. to taper the asset purchase program in September, provided that the next two employment reports are reasonably strong." The committee had little time to grapple with the implications of the latest economic data. The government announced earlier Wednesday that the economy expanded at an annual rate of 1.7 percent in the second quarter, better than economists had expected but below the pace that Fed officials regard as necessary to create enough jobs to bring down the unemployment rate. The Fed repeated its stark assessment that "fiscal policy is restraining economic growth." It also noted that "mortgage rates have risen somewhat," a new check on the economy that is at least partly of the Fed's own creation. The average interest rate on a 30 year fixed rate mortgage rose to 4.37 percent in July from 3.54 percent in May, according to a survey conducted by Freddie Mac. But that increase is only partly the result of investor uneasiness about the Fed's plans; it also reflects an improved economic outlook. And that improved outlook, in turn, is mitigating the impact of the rate increases. David Hall, president of Shore Mortgage in Troy, Mich., said that the higher rates had cut into demand for refinancing, but that demand for mortgages to buy a home remained strong. "People understand the historical context, that these are still really low rates, and coupled with all the news about home values rising, there's still a lot of excitement about buying," he said. "That excitement has overshadowed the rate increases a little bit." The Fed has also become more concerned about the sluggish pace of inflation. Prices rose at an annual pace of just 0.8 percent in the second quarter, according to the Fed's preferred measuring stick, a measure of inflation compiled by the Bureau of Economic Analysis well below the 2 percent annual pace that the Fed considers healthy. Low inflation can cause problems, although Mr. Bernanke recently noted that the reasons were "hard to explain to your uncle." The primary cause for concern is the risk that prices will begin to fall, which can plunge the economy into a debilitating cycle of deflation as prospective buyers wait for prices to fall even further. James Bullard, president of the Federal Reserve Bank of St. Louis, chided his fellow officials for underplaying this risk at the committee's June meeting. This time the Fed noted the risk in the statement but maintained its official view that the pace of price increases was likely to rise. The statement was supported by 11 of the 12 members of the Federal Open Market Committee. The sole dissenter was Esther L. George, president of the Federal Reserve Bank of Kansas City, who has dissented at each meeting this year, citing the risks of financial destabilization and higher inflation. The Fed's chairman, Ben S. Bernanke, surprised investors after the committee's June meeting by announcing that the Fed expected to reduce the volume of its monthly asset purchases later this year, and to end the purchases by the middle of next year, so long as economic growth met the Fed's expectations. Interest rates rose in response, undermining the purpose of the bond buying program, but Fed officials have not backed away from the timeline. They have been at pains to emphasize that they are not changing their goals. A reduction in purchases, they say, would reflect a judgment that the Fed has begun to achieve those goals. But at the same time, officials have said that if the economy requires more help, they would prefer to use other instruments. Mr. Bernanke described this as "a change in the mix of tools" in testimony before the House Financial Services Committee earlier this month, suggesting that the Fed would prefer to extend its policy of holding short term interest rates near zero rather than once again expanding its bond portfolio. The shift appears to reflect a reassessment of the potential costs of asset purchases. A number of Fed officials have expressed concern that the bond buying could destabilize markets by, for example, reducing the supply of low risk assets, distorting prices or encouraging speculation. Other economists, including Lawrence H. Summers, a leading candidate to succeed Mr. Bernanke, have expressed similar concerns about the purchases, which go under the label "quantitative easing." At the same time, the Fed has faced persistent questions about the benefits of the purchases. Mr. Bernanke and his allies say the bond buying, by reducing borrowing costs, has contributed to a recent rise in home and auto purchases. Other economists, however, regard its contribution as minor, at best. Fed officials and supportive economists also have suggested that the central bank's asset purchases were valuable in convincing investors that the Fed was maintaining its long term commitment to suppressing borrowing costs: so long as the Fed is buying bonds, it is not about to start raising rates. That belief has contributed to the buoyancy of the stock market. But this rationale, too, has its critics. James W. Paulsen, chief investment strategist at Wells Capital Management, said that in his view the bond buying was suppressing growth by treating the economy as if it required life support, which was undermining confidence. "The Fed is perpetuating a crisis environment by remaining on crisis footing," Mr. Paulsen said. "It's time for them to end Q.E. and let the markets see that they can stand on their own."	N24News: A New Dataset for Multimodal News Classification	Economy
The song has rung out at marches and vigils throughout the country over the last week: "We Shall Overcome." With its message of solidarity and hope, and its legacy as a civil rights anthem, "We Shall Overcome" has become a symbol of peaceful protest. Along with Woody Guthrie's "This Land Is Your Land," it is so deeply woven into the country's fabric that it is considered an American treasure, akin to a national park or a presidential monument. Both songs are considered private property, however, since each of them enjoy copyright protection. But that status could soon change, through a pair of lawsuits that seek to have the songs added to the public domain, where they would join "Happy Birthday to You," a formerly copyrighted classic recently ruled to be among the creative works available for any and all to use as they choose. While money is at the heart of almost every copyright case, the lawsuits over "We Shall Overcome" and "This Land" also have a decidedly political tinge they seek to decide who gets to co opt the message of songs that were written in service of a particular point of view. According to Nora Guthrie, a daughter of Woody Guthrie, having the copyright for "This Land" has let her prevent the song from being exploited in ways that her father well known for his Communist sympathies would never have approved of, including what she said were attempted uses by Ronald Reagan, the National Rifle Association and the Ku Klux Klan. "Our control of this song has nothing to do with financial gain," Ms. Guthrie, the longtime keeper of her father's cultural legacy, said in an interview. "It has to do with protecting it from Donald Trump, protecting it from the Ku Klux Klan, protecting it from all the evil forces out there." Others see the fact these songs are copyrighted at all as anathema to the spirit in which they were created. Adding these songs to the public domain, where they could be freely adapted and built upon by new generations and where they would generate no royalty payments is "just part of the folk tradition," said Mark C. Rifkin, a lawyer for the firm Wolf Haldenstein Adler Freeman Herz, which has represented the plaintiffs in all three suits. "And I don't think Woody would be bothered by it at all," Mr. Rifkin said. The presence of copyright protection for very old works can surprise people outside of the industry. The estate of George Gershwin, for example, still maintains rigorous control over his 1935 opera "Porgy and Bess," stipulating that the piece should be performed by all black casts. "We can respect the rights of creators, but creators are often in the position of building on other works, and there has to be freedom for that, too," said James Boyle, a Duke University law professor and the author of "The Public Domain: Enclosing the Commons of the Mind." As an example of art that builds freely on pre existing work, Professor Boyle pointed to the tradition of folk music exactly the realm from which "This Land" and "We Shall Overcome" grew. The tension is heightened when it comes to material considered essential heritage. The family of the Rev. Dr. Martin Luther King Jr. has used copyright to prevent his "I Have a Dream" speech delivered at the March on Washington in 1963, where "We Shall Overcome" was most famously performed from appearing in documentaries. Yet they also once allowed it to be used in a cellphone commercial. "You've got David and Goliath," Mr. Rifkin said. "We usually represent David, not Goliath." That power dynamic is less clear with "We Shall Overcome" and "This Land Is Your Land." Both songs are controlled by the Richmond Organization, a midsize publisher whose catalog includes works by Guthrie and Pete Seeger. Ms. Guthrie said that she and the publisher refuse most commercial requests for "This Land," whose copyright was registered in 1956. Despite its fame, she said, the song earns less than some tracks on "Mermaid Avenue," the 1998 album in which Billy Bragg and Wilco set Woody Guthrie lyrics to new music. "The joke is that they can never make money off of Woody," she said of the Richmond Organization. "All the requests we get for 'This Land,' whether to show it in a popcorn commercial, a diaper commercial, to really exploit it if we want to we always say no." Paul V. LiCalsi, a lawyer for Richmond, said that "We Shall Overcome" generates about 70,000 a year, with the writers' share of the royalties going to a fund for social programs that is administered by the Highlander Research and Education Center in New Market, Tenn., the current iteration of the school where the song began its current life in the 1950s. Whatever the public debate, the "We Shall Overcome" and "This Land" cases will most likely be decided on the basis of technicalities in the yellowed paper trail of old copyright registrations. "We Shall Overcome," whose melody is based on an 18th century hymn, became associated with the labor movement in the 1940s, and by the 1950s was adapted into its current form by a group of musicians and activists including Guy Carawan and Pete Seeger. That version was first copyrighted in 1960. In April, Mr. Rifkin's firm filed a class action suit arguing that the song's copyright is invalid because it is an adaptation of an African American spiritual "with exactly the same melody and nearly identical lyrics." And even if the 1960 copyright were found to be valid, the firm said, it would only apply to specific arrangements of the song. In a court filing, lawyers for the Richmond Organization respond that the later versions are derivative works that contain "sufficiently original expression" to justify copyright. The publisher is expected to file a motion to dismiss the case this week. The suit over "This Land" was filed in June on behalf of the members of Satorii, a Brooklyn band that says it recorded a version of the song with an alternate melody but cannot release it without the publisher's approval. According to the suit, Guthrie first published "This Land" in a handmade songbook in 1945, but by failing to file for renewal and publishing lyrics without appropriate notice, Guthrie and his publisher forfeited the copyright long ago. Mr. LiCalsi said that "the song is still under full copyright protection and we will vigorously defend it." Nora Guthrie disputed the assertion about the 1945 songbook, saying that it was never sold or distributed to the general public, and that copies of it remained untouched in the Guthrie household long afterward. One copy is at the Library of Congress, but she said it was there only because her father had sent a copy to Alan Lomax, "his best friend and producer." "Woody was hoping to give Alan some ideas for how his songs might be promoted," Ms. Guthrie said.	N24News: A New Dataset for Multimodal News Classification	Media
Little Engines That Could: A Meeting of Microcars UWE STAUFENBERG just got his kicks on Route 66, and he did it at less than 30 miles an hour. The microcar enthusiast from Stuttgart, Germany shipped his 2 cylinder 1962 Goggomobil pickup truck from Germany to the Port of Los Angeles last month. Leaving from the Santa Monica Pier he made the 2,600 mile pilgrimage to the Navy Pier in Chicago in the 13 horsepower truck, arriving in time for an international meet here, about 50 miles northwest of Chicago. "It was the dream of a lifetime," said Mr. Staufenberg, 51. "Even in Germany, people dream about doing Route 66 in a classic car." For other owners who joined Mr. Staufenberg en route to the microcar show, the trek was at times more of a nightmare. But not because the caravan puttered along at a top speed of just 45 m.p.h. or drove through 100 degree heat without air conditioning. "When we got to Kingman, Ariz., we ended up having to tear a motor down and completely rebuild it," said Larry Newberry, an enthusiast and parts dealer from Knoxville, Tenn. He organized the rally of eight tiny vintage cars, which included two Goggomobils, three Vespa 400s, two Fiat 500s and a BMW Isetta. It was a motley band of misfits, far from the classic Detroit machines, all tailfins and booming V 8s, that one imagines bounding down the historic highway. One of the Vespas broke down first. "The gentleman who built that engine put the pistons in backwards and caused a catastrophic failure," Mr. Newberry said. Another glitch involved an old Fiat 500, whose transaxle blew up near Joplin, Mo. Fortunately, the owner lived not too far away, in Kansas City, and a family member quickly delivered a replacement. "We did all the repairs at night and drove at day," Mr. Newberry said. "So there were several nights I didn't get any sleep." Before the adventure got under way, even avid microcar collectors said that driving the historic route a 12 day trek that started on Aug. 8 couldn't be done in such austerity. "Everybody said I'd lost my mind," Mr. Newberry said. "Of course, that just added fuel to the fire, so I had to do it." His determination typifies this eccentric corner of the collector car hobby, perhaps reflecting the can do attitude that brought fuel economy, ingenuity and cheap wheels to the people of postwar Europe. Collectors today generally define microcars as those vehicles with engines smaller than 500 cc of engine displacement, while minicars sit in the range between 500 cc and 1,000 cc. Mr. Staufenberg, who sells microcar parts online, gained an interest in the tiny vehicles at a young age, when they were commonplace in Europe. However, his first attempts to buy one were unsuccessful: his parents did not approve because of the microcars' reputation for breaking down and crumpling in accidents. "They said, 'No way, boy. You're going to have a real car.'" Mr. Staufenberg proudly displayed his Goggomobil pickup, wearing victory stickers and waving an American flag, at the Microcar/Minicar World Meet on Aug. 21 22. The meet showcased more than 300 tiny cars and had an estimated 10,000 visitors.	N24News: A New Dataset for Multimodal News Classification	Automobiles
It's become something of a recent tradition at "Saturday Night Live" for the annual pre Mother's Day broadcast to feature a tribute of sorts from current cast members to their real life moms. That custom was upheld in this weekend's episode, hosted by Emma Thompson and featuring the Jonas Brothers as musical guests. But for her opening monologue, Thompson (who said her daughter, Gaia Wise, was in the audience) was joined by two other moms with long histories at "S.N.L." former cast members Tina Fey and Amy Poehler, who offered "a little language lesson" to help children decode what their mothers might be saying to them. For example, Thompson said, "When you ask your mother what she wants to do for Mother's Day and she says " Fey: "Just to relax in the backyard, maybe a massage." Thompson: What she's actually asking is Or, Thompson said, "When your mother sees what you're wearing and says " Thompson: What she's trying to say is Fey: "Oh, I think I bought you that shirt." In other examples, "You look tired" means "You look bad"; "Can we just not talk about politics?" means "Please don't ruin Joe Biden for me he's what I picture"; and "Son, you know I love you just the way you are" means "I am bored of waiting for you to tell me you're gay just do it so I can buy rainbow stuff." Fey and Poehler offered examples of regional mom isms from Philadelphia and Boston, and Thompson said that, to a British mother, "splendid" translates as, "I'm sad. I'm happy. How are you? You embarrass me. I'm crazy. You're drunk." The bipartisan, politics free tone that buoyed last week's Adam Sandler hosted episode of "S.N.L." lasted exactly zero seconds into this week, which began with a "Meet the Press" parody featuring Senators Mitch McConnell (Beck Bennett), Susan Collins (Cecily Strong) and Lindsey Graham (Kate McKinnon) fielding questions from the moderator, Chuck Todd (Kyle Mooney), asking what it would take at this point for President Trump to lose their support. Posing a hypothetical example, Mooney said, "Robert Mueller testifies before Congress and says he believes Trump committed obstruction of justice." McKinnon answered, "The best way to uphold the law is to be above it." Another hypothetical from Mooney: "He said Trump colluded with the Russians." Strong replied, "I'd have to write a strong worded email and send it straight to my drafts folder." And what if the president were to adopt an even more rigid stance against abortion? A scene from a fictional 1953 movie was really just an excuse for Thompson and McKinnon to chew up the scenery in the guises of two Golden Age movie stars who each had it written into their contracts that they had to receive the last word in all of their scenes. The absurd scenario led to comically awkward exchanges like this one: McKinnon: "And your lawyer better call his lawyer." A special shout out to the enduring "Saturday Night Live" M.V.P. Kenan Thompson, who made the most of his role as an oblivious PBS host named Reese De'What. Well, guys, it turns out that Donald Trump may not be the financial genius that no one ever really thought he was. According to tax documents from 1985 to 1994, Trump appears to have lost "more money than any other American taxpayer." And I love that during that period, when he was losing 1 billion, he had the audacity to write a book about how great he was at business. It's like if right now if R. Kelly wrote a book on babysitting. But somehow there are still Trump supporters who are trying to spin this as a good thing. Look at this clip from "Fox Friends." plays a clip of the "Fox Friends" co host Ainsley Earhardt saying, "It's pretty impressive, all the things that he's done in his life. It's beyond what most of us could ever achieve." Come on, blonde lady, even you don't believe that. You said the last part into your hand. It would be like if I said, "Oh, Donald Trump, he's just such a into hand hardworking president." President Trump's tax documents also showed that his airline which I didn't know anything about launched in 1989 and lost 7 million a month, until it shut down in 1992. And just to give you an idea of how bad his airline was, it lasted 33 years less than Spirit. Speaking from the "Weekend Update" desk, Pete Davidson expressed gratitude to his mother, saying, "This year, she's not just my mom. She's also my roommate." Davidson explained that he and his mother live together, adding, "I know what people think: They see you on TV and magazines and stuff and they think, 'Wow. That guy must have his own place.' Nope. But, it's not like I moved into her house. I just bought a house with my mom. Like a winner." Davidson said his 21 year old sister, Casey, also lives with them, making for awkward situations. "I'll see a strange dude in the house," he said, "and I don't know if he's some dirt bag preying on my sister or the saint who's going to take my mom off my hands." Davidson then brought out his mother, Amy (who wore a pink sweatshirt with caricatures of herself and Pete). When Jost asked if they had plans for Mother's Day, Davidson replied, "What do you mean? I put her on TV. This is it. You don't know. Jon Hamm could be single and watching." Amy Davidson said, "I'd also settle for James Spader." Pete Davidson responded, "You'd settle for a Ninja Turtle. I just need a dad." 'Game of Thrones' Inspired Sketch of the Week	N24News: A New Dataset for Multimodal News Classification	Television
LOS ANGELES Disney is taking back James Gunn, the creative force behind its "Guardians of the Galaxy" movie franchise, reversing its contentious decision in July to fire the filmmaker for offensive jokes he wrote on Twitter several years ago. The tweets by Mr. Gunn, who wrote and directed the Marvel superhero film "Guardians of the Galaxy" in 2014 and delivered a smash sequel in 2017, contained jokes about pedophilia, AIDS, rape and the Sept. 11, 2001, attacks. Two far right provocateurs, Mike Cernovich and Jack Posobiec, threw a spotlight on the comments written between 2009 and 2012 after Mr. Gunn harshly criticized President Trump online. Disney executives seemed to acknowledge on Friday that they made a misstep of their own in almost immediately firing Mr. Gunn in the aftermath: At the time, "Guardians" cast members condemned the decision as an overreaction to the "mob mentality" of the internet. If nothing else, the reversal reflects the challenges that Hollywood studios face as they contend with online furors over past behavior in response to the MeToo and Time's Up movements, all while trying to protect billion dollar film properties. Walt Disney Studios revealed Mr. Gunn's reinstatement as the director of "Guardians of the Galaxy 3" in an article on Deadline.com, a trade news site. Disney declined to comment further, except to confirm the report's accuracy. In a statement on Twitter, Mr. Gunn called himself "incredibly humbled" and "tremendously grateful" to those who had supported him in recent months.	N24News: A New Dataset for Multimodal News Classification	Media
What books are on your nightstand? The Bible, "Prayer," by Pastor Timothy Keller, and of late one of the groovy Israeli hit man novels by Daniel Silva. Silva's a gas. He's Robert Ludlum for the new millennium. What's the last great novel you read? "Compulsion," the 1956 novel by Meyer Levin. I've read it six or seven times, over the years. It's the story of Nathan Leopold and Richard Loeb, and their vile and idiotic "thrill killing" of Bobby Franks. Man, what a great period novel! Man, what a great depiction of 1924 Chicago! Man, what a great portrayal of two world class psychopaths! What books would you recommend to someone who wants to know more about Los Angeles? Why mince words? My own novels, chiefly "The Black Dahlia," "Perfidia" and my new book, "This Storm." "Buy or die" that's my directive, issued to readers worldwide. Beyond yours truly, I would point readers to John Gregory Dunne's 1977 classic, "True Confessions." It's the first novelized treatment of the hellish 1947 murder of Elizabeth Short, a.k.a. "The Black Dahlia." The language is explosive. It's a pulsating potpourri of racial invective, flamboyant street talk, cop rebop, and the wiiiiiiild American idiom at its most profane. "True Confessions" greatly influenced my current series of wartime Los Angeles books.	N24News: A New Dataset for Multimodal News Classification	Books
The ivory from the shipwreck was identified as belonging to forest elephants rather than the species' larger, more well known savanna dwelling cousins. In 2008, workers searching for diamonds off the coast of Namibia found a different kind of treasure: hundreds of gold coins mixed with timber and other debris. They had stumbled upon Bom Jesus, a Portuguese trading vessel lost during a voyage to India in 1533. Among the 40 tons of cargo recovered from the sunken ship were more than 100 elephant tusks. More than a decade after the ship's discovery, a team of archaeologists, geneticists and ecologists have pieced together the mystery of where the tusks came from and how they fit into the overall picture of historical ivory trade. The researchers' analysis also revealed that entire elephant lineages have likely been wiped out since the Bom Jesus set sail, shining a light on the extent to which humans have decimated a species once found in far greater numbers across large parts of the African continent. "The cargo is essentially a snapshot of a very specific interaction that took place at the formative stages of globalization," said Ashley Coutu, an archaeologist at Oxford University, and co author of the study, published Thursday in Current Biology. "The power of doing historic archaeology is the ability to link those findings to modern conservation." Despite spending nearly half a millennium in the ocean, the tusks recovered from the ship were surprisingly well preserved. For that stroke of luck, the researchers credit the exceptionally cold waters off Namibia. "The state of preservation of the organic material in an archaeological tusk makes a huge difference in terms of what you're able to extract and do with the sample," Dr. Coutu said. Next, the researchers isolated mitochondrial DNA, which is passed by mothers to their offspring and can be used to identify the provenance of elephants. They identified tusks from 17 unrelated elephant herds, only four of which they could confirm still exist today. "Some of these lineages were possibly extirpated over time from ivory trade and habitat destruction," said Alfred Roca, a geneticist at the University of Illinois at Urbana Champaign, and co author of the study. In addition to this insight, the DNA sequences recovered from the historical herds "substantially adds to the relatively scarce genetic data available for forest elephants," said Alida de Flamingh, a postdoctoral researcher at the University of Illinois at Urbana Champaign and lead author of the study. By comparing the recovered mitochondrial DNA to modern and historical genetic data sets, the researchers also found that the tusks had come from forest elephants that lived in West rather than Central Africa. A chemical analysis of carbon and nitrogen isotopes in the tusks additionally revealed that the animals must have lived not in deep rain forests, as most forest elephants do today, but in mixed woodland and grassland savannas, of the types present near major 16th century maritime trading posts in West Africa. While a few forest elephants still live in savanna like habitats today, scientists have wondered if they migrated to these spaces only after West Africa's savanna elephants were decimated by the ivory trade in the early 20th century. The new study suggests that some forest elephants have always lived outside of the deep rainforest, Dr. Roca said. John Poulsen, an ecologist at Duke University who was not involved in the study, said the "incredible detective work" undertaken by the authors demonstrates the importance of interdisciplinary collaboration. "The conclusions of the study are important for understanding human history, elephant genetic diversity and ecology and biodiversity conservation, while also innovating a methodological framework to analyze museum collections of ivory," Dr. Poulsen said. From a historical point of view, insight into the Bom Jesus' tusks is important because experts have almost no records about ivory trade patterns from this early period, said Martha Chaiklin, a historian who studies the ivory trade. The researchers' findings about the tusks' geographic origins and that they came from different herds are especially enlightening because they "can be a tool for better understanding Portuguese trade in Africa and the impact ivory trade had on elephant populations in premodern times," Dr. Chaiklin said. Samuel Wasser, a biologist at the University of Washington, Seattle, who was not involved in the research, is skeptical, however, about the authors' interpretation of what caused the forest elephants to dwell in a savanna like habitat. "The ivory trade took off in West Africa prior to and during the first slave trade, which was in the 16th century, right when the ship went down," he said. "These elephants were likely experiencing considerable disruption to their movements, presumably because they were seeking safer havens to escape from heavy poaching."	N24News: A New Dataset for Multimodal News Classification	Science
Alasdair Gray, who wrote some of Scotland's most celebrated and strange fiction, which he often interlaced with his own sharply etched illustrations, died on Dec. 29 at a hospital in Glasgow. He was 85. His niece Kat Rolley said the cause was complications of pneumonia. Mr. Gray's first novel, "Lanark: A Life in Four Books" (1981), wasn't published until he was 46, but it came to be hailed as a masterpiece. He wrote six more novels and six collections of short stories, influencing a generation of writers. In a wide ranging career, he also created artwork, much of it seen in the streets of Glasgow. The narrative of "Lanark" unfolds out of order it begins with Book Three and the focus shifts between the parallel universes of postwar Glasgow and a futuristic, hellish universe called Unthank. As the two main characters, Duncan Thaw and Lanark, explore their cities one mundane, the other fantastical they fixate on the mechanics of their societies and the inefficient nature of their governments. Mr. Gray's illustrations are interspersed throughout the nearly 600 page novel, accompanied by curiously formatted sidebars and indexes. "Certainly it should be widely read," John Crowley wrote of "Lanark" in The New York Times Book Review. "It should be given every chance to reach those readers for there will surely be some, and not all of them Scots to whom it will be, for a short time or a lifetime, the one book they would not do without."	N24News: A New Dataset for Multimodal News Classification	Books
Mat Risher leaves the safety of his home near Seattle three days a week for dialysis at a clinic, a treatment he cannot live without but one that now most likely increases his risk of exposure to the coronavirus. About 20 patients sit in a small space with him, tethered for several hours to machines that filter toxins from their blood. All now have their temperatures taken before they enter. They can wear a surgical mask and are told that the rooms are cleaned and machinery disinfected regularly. One of the first people to die from the virus in the United States had received dialysis at the very same clinic, information that triggered a panic attack in Mr. Risher. As the coronavirus rages from state to state, the 500,000 people whose failing kidneys require them to get dialysis are among the most vulnerable. Each clinic may have dozens of patients during a single shift, often sitting less than the recommended six feet apart for hours. "It's definitely a scary time for us," said Mr. Risher, 33, of Everett, Wash. Kidney dialysis is a last resort for many people, and they are endemically susceptible to infection in normal times. The dialysis industry has historically had a poor record when it comes to infection control so the current infectious climate is fraught with worry. DaVita and Fresenius, the two for profit companies that dominate the industry, say they have procedures in place to keep their patients and staff safe and say they have taken aggressive steps in recent weeks to prevent the spread of the virus at their facilities. "We're all playing in real time, and we're doing our best," said Javier Rodriguez, the chief executive of DaVita. DaVita and Fresenius claim they have had no significant outbreaks to date. Fresenius says less than half of 1 percent of its patients and staff have tested positive for the virus. "We've been remarkably successful in mitigating cross contamination," said Bill Valle, the chief executive of Fresenius Medical Care North America, which is a unit of the German company. "None of the services we provide are elective in nature," he said. DaVita would not say how many of its patients or staff have become infected. "At this time," the company said, "we are not disclosing specific numbers for a variety of reasons, ranging from our desire to focus on both the mental and physical health of our patients and teammates, to the fact that things change frequently in this dynamic situation." "When it comes to responding to Covid 19, the response by large dialysis organizations has been inadequate, leaving some of the most vulnerable exposed to Covid 19, which is especially serious in people with end stage renal disease," said Dave Regan, president of the Service Employees International Union United Healthcare Workers West, in a statement. Representative Katie Porter, Democrat of California, also wrote both companies in late March to ask what steps they were taking. "We are concerned that DaVita, specifically, has failed thus far to understand the severity of this outbreak and the high transmission of the virus," she said. In particular, she criticized DaVita for going ahead with an annual meeting of medical directors in early March, where one of the attendees later tested positive for the virus. In its response to Ms. Porter, DaVita defended the decision as being appropriate at the time and said no one appears to have been sickened as a result. Infection has traditionally been one of the industry's biggest problems. "The second leading cause of death among hemodialysis patients is infections," said Dr. Alan Kliger, a Yale nephrologist who is leading efforts to control the spread of coronavirus among dialysis patients. As many as one in 10 patients die from complications from an infection, often at the site where a patient has a catheter. According to an analysis of Medicare data by the research department of the union, six out of 10 facilities undergoing routine inspections last year were cited for deficiencies involving infection control. Examples would include a staff member failing to wear gloves during a procedure or to properly clean equipment. At this juncture, with the highly infectious coronavirus, others are extremely concerned about the spread of the virus through inadequate supplies of special masks or gowns. "We don't have enough of many of those protective equipments," Dr. Kliger said. In areas like New York and Connecticut, the surge in patients has meant heavy use of whatever supplies are available, he said. "The burn rate has been incredibly high," he said. Dialysis workers say they do not feel protected. One worker who asked not to be named because she might lose her job said she thought the clinic was downplaying the risk of employees getting sick. "You just don't feel fine," she said. The industry is now scrambling to adopt new practices aimed at stemming potential infections. At the clinic where Mr. Risher gets treated, "We saw things change pretty immediately," he said. Northwest Kidney Centers, the Seattle nonprofit network operating the clinic, worked with local health officials and the federal Centers for Disease Control and Prevention and tracked patients and staff who were in contact with the patient who became ill and died. The facility was disinfected, and employees were instructed how to wear protective gear when treating anyone with Covid 19. Northwest says 1 percent of patients tested so far have been positive. "It is tough to be on the forefront of an evolving pandemic," said Elizabeth McNamara, the chief nursing officer of Northwest. Dr. Suzanne Watnick, the chief medical officer for Northwest, added: "We're also providing comfort to our medical staff. They are experiencing the same fear and anxiety." DaVita and Fresenius have put in place similar measures in recent weeks to try to prevent infections. No one gets into a clinic without a fever check and a discussion about potential coronavirus symptoms. Their patients and employees are now required to wear masks. The companies have also decided to separate patients either suspected or confirmed to have the virus, putting them either in different clinics or scheduling their treatments on other shifts. The companies have taken the unprecedented step of agreeing to shift patients between their respective sites, if necessary, so infected or potentially infected patients are not spreading the virus. Both companies acknowledge concerns over shortages of supplies but say they continue to have enough. Every patient is handed a new mask for each visit, the companies say, and workers have adequate protective equipment. But some workers are questioning whether the clinics are making sure as few people as possible are there. Social workers and dietitians are being asked to come to work when they do not provide direct patient care, and some are being enlisted to help screen patients or wipe off machines, tasks that are outside their usual duties and could put them at risk. "We could easily call our patients from home and provide support," one worker said. The dialysis clinics say they consider these workers essential to take care of their patients, many of whom are struggling during the crisis to get food or travel to the clinics. "You need a lot of hands," said Mr. Rodriguez of DaVita. Workers also complain that the clinics are slow to inform them about whether any of their colleagues have developed the virus. Fresenius says it discloses information about infections at its facilities, and DaVita says it shares information when appropriate. Kisha Cox, a 45 year old in Portland, Ore., said she was not particularly anxious about going to the DaVita clinic where she received dialysis. She says she is following the clinic's new protocols about wearing masks and its advice about being careful to wash her hands. But she says the epidemic is definitely creating a strain on both workers and patients. "I think it's overwhelming for a lot of them," she said. "I can tell on the staff and patients' faces, they are overwhelmed."	N24News: A New Dataset for Multimodal News Classification	Health
"Surviving R. Kelly," the six part documentary about the R B singer Robert Kelly, who has faced accusations of child and sexual abuse for decades, underscores the theme of accountability not just of Kelly or his many personal enablers, but of us all. Clinical psychologists, music journalists, activists and others who are interviewed in this Lifetime series echo one another in their explanations of how the musician has managed to escape severe repercussions, legally and professionally, for decades. Chief among them: the shielding powers of money and fame; society's indifference toward the suffering of black and brown girls and women; a perception by some that the attacks on any black male celebrity, no matter how credible, are part of a larger racist conspiracy. Another key factor: Laughter. Two cultural touchstones that helped shape the public's perception of the Kelly accusations are only mentioned in passing in "Surviving R. Kelly." But "(I Wanna) Pee on You," a 2003 sketch from "Chappelle's Show," and a 2005 episode of the animated series "The Boondocks" titled "The Trial of R. Kelly," embody many of the points made in the documentary. Revisiting them in light of "Surviving R. Kelly" demonstrates how, for years, those who laughed at Kelly were able to ignore the charges against him. It also emphasizes how much the cultural climate has shifted in the era of MuteRKelly protests, and how much it has stayed the same. (Kelly, who was acquitted in 2008 on charges of child pornography, has denied all allegations related to abuse of and sex with minors.) In his sketch, the comedian Dave Chappelle took a straightforwardly silly approach to the allegations concerning a sex tape that appeared to show Kelly urinating on a 14 year old girl. Dressed not unlike Kelly, in a pair of dark sunglasses and a bandanna, Chappelle stars in a music video in which he sings about wanting to urinate on the object of his affections. ("Your body is a porta potty.") The melody aligns closely with Kelly's song "Feelin' on Yo Booty," which is itself a rather preposterous song. (Kelly finds several comical ways to ad lib the word "booty" at the end.) The set is bare bones in comparison to a typical Kelly video; most of it takes place in front of a long white curtain, as Chappelle sprays a garden hose which is very explicitly labeled "R. Kelly's urine" on an ensemble of gyrating women. That's an important distinction to make: The actors here are very obviously adult women, not pubescent girls. "(I Wanna) Pee on You" compartmentalizes the Kelly allegations and completely divorces it from its insidious facts; it's easier (and safer) to poke fun at a grown man's fetish than to wrestle with claims that he performed his fetish on a minor. (The Detroit Free Press reported that Chappelle, among other celebrities, declined to be interviewed for the documentary series.) "The Trial of R. Kelly" is the second episode of "The Boondocks," which centered on the misadventures of the socially conscious 10 year old Huey and his more brazen, politically incorrect little brother Riley, both voiced by Regina King. The creator Aaron McGruder pulled no punches. With the singer's highly publicized trial happening close to home, the boys head to Chicago to witness the circus, Riley carrying a "Free R. Kelly" sign. When they encounter their nerdy neighbor Tom DuBois, who is representing the prosecution against Kelly, Riley lets loose an impassioned and ridiculous defense of the singer. Tom, shocked, counters that the alleged victim, depicted in the episode with pigtails and knee socks, is a little girl. Riley is having none of it. "I've seen that girl! She ain't little; I'm little. Gary Coleman's little." He argues for "personal responsibility," suggests that the girl should have just moved out of the way of Kelly's urine and adds that he doesn't want to "miss out on the next R. Kelly album," should Kelly be sent to jail. "Boondocks" depicts Riley's rhetoric as poisonous and the trial as a scathing farce. In the episode, Kelly's white defense lawyer jumps through absurdist hoops to prove to the predominantly black jury that Kelly is a victim of racism. (He presents Kelly's N.A.A.C.P. Image Award as evidence, and tells the jury, "They don't want R. Kelly to be free because they don't want you to be free!") By the end of the episode, Huey, the moral voice of reason, is standing up in the courtroom, admonishing the jurors and everyone else in attendance for giving Kelly a pass because he made good music. Every black person who is arrested "ain't Nelson Mandela," he scolds. Later, in voice over narration, he laments that "ignorance won" and he is "vexed at my people." As a scathing critique of Kelly's deeds and black people's complicity, unlike the Chappelle sketch, this episode still feels fresh, mostly. (Just look at comments on social media blaming the alleged victims in response to "Surviving R. Kelly.") But McGruder's stark delineation between Kelly's supporters and dissenters plays into ugly stereotypes around class: Outside the courtroom, a loud, overweight black woman snacks on fried chicken while voicing her love for the singer; and three male protesters in suits are referred to by a news reporter as "scholars, activists, pillars of the African American community." (One of them looks just like Cornel West.) In reality, black people of all demographics have supported Kelly. As noted in the documentary, the same day he pleaded not guilty to the child sex tape charge, he went to a church event in Chicago, where he performed alongside children, and was embraced by the congregation there. McGruder overstepped the theme of "we are all responsible" by including the 14 year old victim in his courtroom scene. (In the real trial, the girl identified as the alleged victim denied it was her in the video.) In the episode, the girl's testimony echoes Riley's earlier argument to Tom: "If I didn't want to get peed on, I'd just move out the way," she says with an attitude. It's hard to imagine this episode airing today and not inspiring backlash. It's also entirely possible that McGruder wouldn't make this same creative choice today. But back when Kelly was still a consistent hit maker, the Chappelle sketch and this "Boondocks" episode were really funny. I can recall laughing about the skit with my friends in college, gleefully reciting lines like "Drip drip drip, pee on you." I'm sure I chuckled the first time I heard the sassy black victim proclaim she's not a victim on the stand. Even before the allegations, which I didn't pay much attention to at the time, I was never much of a Kelly fan I imagine "I Believe I Can Fly" is playing on loop somewhere in The Bad Place but I did find him to be an excellent punch line for a long time. Now, however, it's impossible for me to watch those episodes and not think about the magnitude of everything Kelly has been accused of. In the fourth episode of "Surviving R. Kelly," the music journalist Ann Powers suggests that "Trapped in the Closet," Kelly's bonkers episodic soap operetta, was a strategic career move. "I think at some point he probably figured out that playing sex for laughs was a way that he could continue to avoid absolute condemnation for what he might have been doing behind the scenes," she observes. It's hard to argue with this point even now some have found humor in "Surviving R. Kelly," roasting him for his rumored inability to read or write. Looking back on "Chappelle's Show" and "Boondocks," it's clear that there was more than one way to let Kelly off the hook, and comedy was one of them. Even if I was never defending Kelly, I was still laughing at him, and effectively ignoring his alleged transgressions.	N24News: A New Dataset for Multimodal News Classification	Television
LOOKING FOR MISS AMERICA A Pageant's 100 Year Quest to Define Womanhood By Margot Mifflin First of all, in case you wondered, Donald Trump does not own, nor has he ever owned, the Miss America pageant. He owned the other one Miss USA. Margot Mifflin makes this clarification a few times in the course of her book "Looking for Miss America: A Pageant's 100 Year Quest to Define Womanhood." "When I tell people the topic of this book, 90 percent respond by saying it's timely because of Trump," Mifflin explains in one parenthetical aside. The president has bragged about surprising teenage pageant contestants in their dressing room and once "famously fat shamed a Miss Universe." In the minds of many, including Mifflin's interlocutors, "this was all Miss America scandal," she writes but no. The need to draw the distinction is revealing. Today, the Miss America pageant is culturally marginal enough for the average person to possess only a blurry awareness that it persists. This average person isn't keeping it straight from rival pageants, much less reliably tuning in. But at the same time, for its partisans, there's also long been a need to hold Miss America apart from other pageants. In the words of Lenora Slaughter, the woman who gave Miss America its enduring shape and served as the pageant's director for 32 years: "It couldn't just be a beauty contest." The challenge Mifflin sets herself in "Looking for Miss America" is articulating what exactly makes this nearly 100 year old institution something more. For Slaughter, distinguishing Miss America meant offering a talent competition and scholarships; today, the pageant touts itself as "one of the nation's largest providers of scholarship assistance to young women," with 3 million awarded annually. This branding sidesteps the question of what scholarships have to do with swimsuits Miss America maintained its swimsuit competition until 2018 and thus tends to inspire a certain amount of skepticism. ("It is not a beauty pageant; it is a scholarship program!" Sandra Bullock snaps, of the fictional pageant in which she competes in "Miss Congeniality.") Mifflin is no Miss America apologist. She's cleareyed about the pageant's many hypocrisies and failures, which include a legacy of racial exclusion that endured long after a rule requiring contestants to be "in good health and of the white race" was scrapped in the 1950s. But Mifflin, too, is invested in the pageant's sense of specialness; she's mining Miss America for meaning, which requires making the case that there's meaning to be found. "The pageant has wormed its way into our national subconscious," she writes. A different kind of book might be written about the subculture that has sprung up around Miss America, about the feeder pageants and local traditions that make up the lived experience of the pageant for most of the thousands of women who compete. (Today, they number around 4,000; in the 1980s, the figure was more like 80,000.) "Looking for Miss America" focuses instead on the pageant's mass culture significance the stage it has offered and the kind of public figures it has produced. Who is Miss America? She's not quite a first lady and not quite a Playboy Bunny, but she shares some qualifications and job responsibilities with both. She plays a ceremonial role that's patriotic without being democratic, simultaneously quasi royal and girl next door, and also, on occasion, under clothed. She represents some unstable combination of qualities that Americans might want to salute, feel up or be. Mifflin tracks the evolution of that peculiar role alongside the shifting expectations and ideals of femininity in America, from flappers to Rosie the Riveter to Helen Gurley Brown to "empowerment" doublespeak. The marks she hits are largely familiar, and her galloping pace through a century of pop culture 310 pages pass swiftly produces some moments of Wikipedia on speed. ("In the 1970s, punk music channeled white knuckled anger and nihilistic despair, and 'Saturday Night Live' lampooned celebrities and politicians.") "Looking for Miss America" is at its best when Mifflin pauses this sweeping summary to tell the stories of individual contestants. The pageant's tensions and ambiguities emerge most vividly through the way particular women understood them in the context of their particular time. For Yolande Betbeze the 1951 winner, and one of Mifflin's most affectionate portraits Miss America was a ticket out of Mobile, Ala., to New York City, where she studied philosophy at the New School and acting with Stella Adler. Betbeze got involved with the civil rights movement and started an Off Broadway theater; in later life, she became a fixture of D.C. society, maintaining a long term affair with an Algerian resistance fighter turned diplomat. She became a vocal critic of Miss America, particularly its white bread homogeneity, but her own experiences gained literary immortality: She advised Philip Roth on his portrayal of an ex Miss New Jersey in "American Pastoral." And she also managed to rewrite Miss America's job description by refusing to model swimsuits during her reign. (The pageant's swimwear sponsor was sufficiently aggrieved that it abandoned Miss America and launched a pageant of its own Miss USA, eventually acquired by Trump.) As much as the history of Miss America is about womanhood, it's also about celebrity, and the developing American attitude toward fame. In the pageant's earliest years, seeking to capitalize on the event's publicity was considered unsavory; in the modern era, the contest has been matter of factly regarded as a steppingstone to public life. Perhaps the pageant's most illuminating winner is Vanessa Williams: In 1984, Williams became the first Black woman crowned Miss America, and was applauded as a barrier breaker even by some pageant skeptics while also becoming the object of death threats from strangers and racist jokes from Johnny Carson. Then, 10 months into her reign, Williams learned Penthouse planned to publish nude photos obtained without her permission. When the magazine came out, she was given 72 hours to resign her title. Mifflin writes, "Williams was the pageant's own Hester Prynne, the first and only winner to be dethroned, whose transgression only intensified her aura." Indeed, a funny thing happened after Williams stopped being Miss America: She became more successful than any Miss America had ever been. Her debut album went platinum; she collected Grammy, Tony and Emmy nominations; she's enjoyed a long career onstage and onscreen. Her ascendancy to the status of actual famous person made winning Miss America seem provincial in comparison. In 1970, the pageant had 22 million viewers; by 2000, viewership had declined to 8.8 million. The 21st century grew increasingly removed from the years in which Miss America had been a prime target for feminist protest, when a critic might plausibly write of "turning on the TV to watch at least one or two beauty contests each year," as Pauline Kael did in 1975. Reality TV has usurped its appeal as entertainment, and ambitious young women who want to capitalize on looks and charisma don't need an organized competition; they've got Instagram. The Miss America pageant's earliest origins, back in 1921, lay in local business owners' desire to extend the Atlantic City tourist season from the summer months and into early fall. After the 2018 pageant, the city's Casino Reinvestment Development Authority pulled its subsidies and ousted Miss America from its traditional venue at Boardwalk Hall a mighty symbolic blow to an institution already struggling to find its footing in a changed world. (Gretchen Carlson, Miss America 1989, assumed a leadership role in the aftermath of MeToo, but her tenure was controversial and short lived.) The commercial promise that saw the pageant through shifting winds of feminism and fame would seem, at present, to have mostly disappeared. Mifflin's lively book reads as an obituary.	N24News: A New Dataset for Multimodal News Classification	Books
A huge sinkhole opened up early Wednesday at the National Corvette Museum in Bowling Green, Ky., swallowing eight rare and notable versions of the Chevrolet sports car. Alerted to the collapse by motion sensors in a structure called the Skydome, which is separate from the main building, staff members arrived at the museum to find that a sinkhole had formed at 5:39 a.m., collapsing the floor and ingesting eight of the cars on display. The fire department cordoned off the building, and a structural engineer was called in to determine the extent of the damage. The sinkhole was estimated to be 40 feet across and nearly 30 feet deep. The Skydome structure did not have a basement. Museum officials said that other than its floor, the Skydome was undamaged, but that the condition of the cars that fell into the pit had not been determined. Six of the cars belong to the museum, but two a 1993 ZR 1 Spyder and a 2009 ZR1 "Blue Devil" are on loan from General Motors.	N24News: A New Dataset for Multimodal News Classification	Automobiles
Santa Anita Park has suspended thoroughbred racing indefinitely after a spike of fatalities have cast doubt on the safety of its racing surface. The action came late Tuesday after a 4 year old filly, Lets Light the Way, was euthanized after sustaining a shattered sesamoid, a bone at the horse's ankle joint. It was the 21st horse fatality suffered in racing or training at Santa Anita, considered one of horse racing's premier showcases, since Dec. 26. In a statement, Tim Ritvo, the chief operating officer of the Stronach Group, which owns Santa Anita, said he had "been in constant communication with the California Horse Racing Board and numerous key industry stakeholders, who are in full agreement with the decision to suspend racing and training." "The safety, health and welfare of the horses and jockeys is our top priority," Ritvo said in the statement. "While we are confident further testing will confirm the soundness of the track, the decision to close is the right thing to do at this time." The spike is startling considering that in 2017, 20 deaths occurred among a total of 8,463 starts over a span of 122 racing days at Santa Anita, according to Jockey Club data. The track was closed on Feb. 26 and 27 after the Breeders' Cup Dirt Mile winner Battle of Midway suffered a fatal injury during a workout. A track safety expert from the University of Kentucky, Mick Peterson, was brought in to search for possible irregularities that might explain the spike in fatalities. Shortly after the course was reopened, the filly Eskenforadrink became the 20th fatality, breaking down during a race and later being euthanized. Santa Anita, known as the Great Race Place, has held multiple Breeders' Cup World Championships and is scheduled to host the event again this year on Nov. 1 and 2. It was supposed to offer one of its biggest days of racing on Saturday, starting with two Grade 1 events (the Santa Anita Handicap and the Frank E. Kilroe Mile) and a pair of Grade 2 races, including the San Felipe Stakes, an important prep race for the Kentucky Derby. While no conclusions have been made, almost 12 inches of rain has fallen since the meeting began. Still, there is no quantifiable evidence that rain played a factor in the deaths. There were 1.61 deaths per 1,000 starts in the United States in 2017, according to the most recent figures from the Jockey Club, a slight increase in the rate of fatal injury compared to 2016, when there were 1.54 deaths per 1,000 starts. The majority of those deaths occurred on dirt surfaces (1.74 per 1,000 starts) compared to turf (1.36).	N24News: A New Dataset for Multimodal News Classification	Sports
A lot, if the name is genetically modified organism, or G.M.O., which many people are dead set against. But what if scientists used the precise techniques of today's molecular biology to give back to plants genes that had long ago been bred out of them? And what if that process were called "rewilding?" That is the idea being floated by a group at the University of Copenhagen, which is proposing the name for the process that would result if scientists took a gene or two from an ancient plant variety and melded it with more modern species to promote greater resistant to drought, for example. "I consider this something worth discussing," said Michael B. Palmgren, a plant biologist at the Danish university who headed a group, including scientists, ethicists and lawyers, that is funded by the university and the Danish National Research Foundation. They pondered the problem of fragile plants in organic farming, came up with the rewilding idea, and published their proposal Thursday in the journal Trends in Plant Science. The best way to improve plants, they say, is with "precision breeding," using well known modern methods for inserting and deleting genes in cells. The researchers wrote that in the United States and Canada, non G.M.O. foods are prohibited from having genes that could not have occurred in nature in that plant. So adding a fish gene to a plant, for example, is forbidden if the food is to be labeled non G.M.O. But adding a gene from an ancient variety of the same plant using precision breeding would be allowed, Dr. Palmgren said. In Europe, the rules are different, they report. There, G.M.O. is defined by the process, not the product. The methods of genetic engineering are forbidden, even if the gene that is added is from the same plant. That means "rewilded" foods created with precision breeding could be labeled non G.M.O. in the United States, but not in Europe, they conclude. Rebecca M. Bratspies, a law professor at the City University of New York who has no public position on the G.M.O. or organics debate, said the issue is not the definition of G.M.O. in the United States there is no legal definition of G.M.O., she noted. Instead, it is the definition of "organic" that matters. "Rewilded" bread wheat plants that scientists designed to be rust resistant, left, next to common bread wheat plants. International Center for the Improvement of Maize and Wheat To be labeled organic, food cannot have a foreign gene that was introduced with today's genetic engineering methods. For rewilding with precision breeding, the question of whether the food was organic would hinge on whether the gene that was introduced was considered "foreign." "There's definitely an argument to be made there," on each side of the issue, she said. Brise Tencer, executive director of the Organic Farming Research Foundation in Santa Cruz, Calif., said she is skeptical of the idea that proponents of G.M.O. free foods would accept precision breeding. "They take a term that sounds really wonderful, but genetic engineering is genetic engineering is genetic engineering," Ms. Tencer said. "It is not something farmers want. It is not something consumers want. I don't think it is a very viable concept." Charles Benbrook, an adjunct professor of crops and soils at Washington State University, said he worries about the precision part of precision breeding. There can be unexpected effects on other genes when a new gene is added or an existing one is silenced, he said. Other scientists acknowledge that point, but add that researchers typically test the plants, just as they do with crossbreeding, and select those with the desired characteristics. The Danish group may not get the response it expects from people already skeptical of genetic engineering, Dr. Benbrook said, adding, "I think they will be frustrated" by the reaction. Dr. Benbrook is an expert witness in five class action lawsuits against food companies who labeled foods as natural when they included soybeans, wheat or corn that had been genetically modified. The idea of restoring long lost genes to plants is not new, said Julian I. Schroeder, a plant researcher at the University of California, Davis. But, wary of the taint of genetic engineering, scientists have used traditional breeding methods to cross modern plants with ancient ones until they have the gene they want in a crop plant that needs it. The tedious process inevitably drags other genes along with the one that is targeted. But the older process is "natural," Dr. Schroeder said. For example, in 2006, scientists discovered an ancient variety of rice that produces meager yields but resists flooding. Rice plants in Southeast Asia were dying every year when monsoons flooded rice paddies, keeping the plants submerged for more than a week at a time. Scientists found the gene that makes the rice resistant to flooding; after a couple of years of crossbreeding, researchers were able to grow rice plants with the flood resistance gene of the ancient rice. Now, Dr. Schroeder says, flood resistant rice is grown by more than four million farmers in Southeast Asia. Many of the plants grown today by both conventional and organic farmers were created with brute force and imprecise methods, scientists said. Researchers deliberately mutated plants with chemicals and radiation, altering thousands of genes at once, and then searched the resulting plants to find ones with traits they wanted. Though the plants were created using unnatural methods, they can be grown using organic farming techniques. Nina Fedoroff, a plant researcher and emerita professor at Pennsylvania State University, said it seems nonsensical to say a plant is natural when it is mutated by chemicals and radiation, but not when a gene from an ancient variety of the same plant is added with methods of molecular biology. And sometimes the old fashioned crossbreeding methods just will not suffice, she said. As an example, she noted that Chinese scientists recently made bread wheat that is resistant to a devastating fungal disease called rust. Bread wheat plants, she said, are "genetic monstrosities created 3,000 years ago" with three different genomes. Scientists knew which gene they had to knock out to make wheat rust resistant. But because wheat has three genomes, it is impossible to use crossbreeding to knock out that gene in all three at once. So the researchers used Crispr, a gene editing technique, to surgically remove the gene. "They did not create a transgenic plant," Dr. Federoff said. "They knocked out a gene that makes a plant susceptible to rust."	N24News: A New Dataset for Multimodal News Classification	Health
"My name is Catherine Hardwicke. I'm the director of "Miss Bala." In this scene, Gloria, played by Gina Rodriguez, is captured by a cartel. And right now, she finds out that they're going to check the phones, because they suspect that there's a mole in the operation. And in fact, they take her phone, and she does have a chip from the DEA in her phone. So her goal is now how to get my chip out of the phone before they find it and kill me. She's in this beautiful villa, which is out in the Valle de Guadalupe, the wine country in Baja. And it's stunning architecture designed by a Tijuana architect. We loved that it was this luxurious, beautiful surroundings for such a terrifying situation to be trapped in. Gina, we liked to film her with close, handheld shots, where you could be close to her face in this anamorphic lens, where you could really feel what she was feeling, but you could also see the environment around her, too, by having that wide scope. So you could kind of see both. And she's trying to decide, what do I do? How can I outsmart these guys, this crew? And we had a great composer, Alex Heffes, that was helping us increase the tension, amp up the tension, by having that rhythmic heartbeat throughout the score." tense music playing "And also, you feel the spirit of her invention and her ideas and her courage to keep going, don't be defeated, focus on the problem. And we really wanted you to feel through the music, through the cinematography, through the handheld cinematography at this moment in the movie what kind of a panic state she's feeling and how she's trying to stay calm enough to mechanically open up these phones, be smart about what she does, and put them back properly so that it looks exactly like no one has tampered with the phone. So I, at many times, was standing there in Gina's ear. They're coming up! You hear voices right outside just keeping her amped up. And then, of course, the actors outside were doing the same thing too, with their yelling, with the tension. Because they were really very close to her. Now, at the same time, I was trying to talk to a bunch of tough guys, telling them how to put out the fire. They didn't even know what to do. I was like, well, why don't you swat the flames with a dish towel or something? So there was kind of a lot of comedy at the same time. But the tension was there for Gloria. She had to figure out a way to cover for where she was at the time and get away with it so that nobody suspected her." "Where were you? What were you doing?" "I was just in the bathroom."	N24News: A New Dataset for Multimodal News Classification	Movies
Jahseh Onfroy, the rapper and singer known as XXXTentacion, whose surge in popularity in the last year and a half including a No. 1 album came as he was facing accusations of violent crimes against a woman, was shot and killed outside a motor sports store in Deerfield Beach, Fla., on Monday afternoon. He was 20. The Broward Sheriff's Office confirmed the victim was Mr. Onfroy. Videos taken at the scene on Monday and shared on social media showed the rapper's slumped body in the driver's seat of a black BMW sports car as a bystander attempted to take his pulse. TMZ first reported the news of the shooting. Mr. Onfroy had been approached by two armed suspects shortly before 4 p.m., in what appeared to be a robbery, the sheriff's office said. At least one of the suspects fired a gun and struck the rapper before fleeing in a dark colored S.U.V. Mr. Onfroy was transported to a local hospital. Just after 5:30 p.m., the authorities said that he had been pronounced dead. A suspect has been arrested in the killing of XXXTentacion: read more here. In the last 18 months, XXXTentacion quickly became one of popular music's most controversial and, in some circles, reviled figures. In early 2017, "Look at Me!" a bratty, caustic, distorted song became the first breakthrough hit of the SoundCloud rap movement. But at the time it was soaring in popularity, XXXTentacion was in jail following his arrest on charges including aggravated battery of a pregnant victim and false imprisonment. By the time he was released from jail in March of last year, "Look at Me!" was climbing the Billboard Hot 100; a month later, it would peak at No. 34, cementing the rapper's place as a disrupter whose serious personal issues only led to more attention and, for some, shored up his outlaw mystique. Mr. Onfroy was born on Jan. 23, 1998, in Plantation, Fla. He was raised primarily by his grandmother, and had multiple scuffles with the law. In 2013, he began recording and releasing music in earnest following a stint in a juvenile detention center. Over the next two years, he self released several projects, both as a solo artist and also as a member of the Members Only collective. Hero or villain? The death of XXXTentacion divides the internet. Sonically, his music was foundational to the rowdy, genre crashing approach that's become popular on the music streaming service SoundCloud over the past three years. Of the artists who got their start in that scene, he was one of the most commercially successful. His debut album, "17," was released last August, and has been certified gold. In March, he released his second album, "?," which made its debut at No. 1 on the Billboard album chart. At the time of his death, Mr. Onfroy was awaiting trial on charges of battery, false imprisonment and witness tampering. He pleaded not guilty. In a deposition ahead of the trial, as well as an interview earlier this month, Mr. Onfroy's onetime girlfriend said she was a victim of frequent domestic abuse from him. "His favorite thing was to just backhand my mouth," she told the Miami New Times. "That always left welts inside my lips." She said the violence culminated in an attack in October 2016, while she was pregnant, during which Mr. Onfroy punched, strangled, kicked and head butted her. She said Mr. Onfroy then took her cellphone and moved her to an associate's home for two days before she escaped. Mr. Onfroy was arrested the next morning and ultimately charged with aggravated battery of a pregnant victim, domestic battery by strangulation, false imprisonment and witness tampering. Roger Gengo, the proprietor of the website Masked Gorilla, which chronicles the SoundCloud scene, said that XXXTentacion was both an early beacon for this burgeoning brand of underground hip hop, and its most polarizing figure. "It was always this internal struggle for me he's so popular and shedding light on this scene, but he's been accused of these terrible things," Mr. Gengo said. "Taking into account what he'd been accused of doing, his music was still incredibly authentic. His true self bleeds through into his lyrics and his music." Mr. Gengo added, "Wanting somebody to be held accountable for their actions doesn't mean you want them to be killed in the street." XXXTentacion rarely gave interviews, but he often used social media to communicate directly to his fans. In a video posted to Instagram's live feature, he spoke about what he hoped his impact would be: "If I'm going to die or ever be a sacrifice, I want to make sure that my life made at least five million kids happy, or they found some sort of answers or resolve in my life, regardless of the negative around my name, regardless of the bad things people say to me." Get all of The New York Times's music news in our weekly newsletter, Louder. XXXTentacion was also at the center of an industry uproar last month when Spotify, the leading music streaming service, said it would stop promoting artists whose real life conduct it found to be "hateful." Along with R. Kelly, who has faced decades of allegations regarding sexual abuse, Spotify cited XXXTentacion as someone whose songs would be removed from the company's influential playlists. But following a backlash that included Kendrick Lamar's label TDE, which called censorship a "super sensitive topic," Spotify rescinded the policy three weeks later and restored XXXTentacion's hit "Sad!" to its prominent placement on the playlists. "Sad!", with its deceptively bouncy chorus about suicide, has been streamed more than 270 million times on the service (and another 174 million on YouTube) and currently sits at No. 51 on the Billboard Hot 100 after peaking in the Top 10 earlier this year. Mr. Lamar was one of many older, establishment artists who expressed admiration for XXXTentacion's music despite his charges. "listen to this album if you feel anything," Mr. Lamar wrote on Twitter last year. "raw thoughts." Following news of XXXTentacion's death, the rapper J. Cole wrote on Twitter: "Enormous talent and limitless potential and a strong desire to be a better person. God bless his family, friends and fans."	N24News: A New Dataset for Multimodal News Classification	Music
As mentioned in "Rising Shortage of Dialysis Units Alarms Doctors" (front page, April 19), public health infrastructure is at risk. The hospitals of the world need an equivalent of the electrical power grid that reallocates power in response to demand. In our case, it is the patients who would be reallocated in times of extreme need. Reallocation would be based on a broad based tabulation of how close each hospital was to capacity. Before any prospective patient entered a hospital that was near capacity, he or she would be redirected to a secondary site. This would require a continuously updated allocation registry, somewhat akin to what is done for patients who need organ transplants. In the moment of crisis, however, last minute improvisations, exploratory telephone calls and so on seem destined to be catastrophic. These thoughts are not specific to any city, state or country. If something like this proposal is not pursued, we will share an enormous public guilt when patients, nurses, staff and doctors died because one region was overwhelmed while spare capacity existed within reach.	N24News: A New Dataset for Multimodal News Classification	Opinion
What books are on your nightstand? I have a tiny nightstand and invariably knock over a book every time I reach for my alarm clock. That's not a brag about how many books I have on my nightstand but instead a reflection of my inability to deal with practical issues like looking for a larger nightstand. Right now I have "Crazy Salad" and "Scribble Scribble," by Nora Ephron; "No Ordinary Time," by Doris Kearns Goodwin; "White Teeth," by Zadie Smith; "The Stories of John Cheever"; "Friend of My Youth," by Alice Munro; "You Think It, I'll Say It," by Curtis Sittenfeld; and "Knuffle Bunny," by Mo Willems. One of those is a book I read with my 2 year old, but I'm not saying which one. What's the last great book you read? "The Easter Parade," by Richard Yates. This was a reread. I love Richard Yates because his prose is brilliantly unpretentious. It's literary but doesn't feel fancy. And I cannot get enough of those depressing Grimes sisters. Describe your ideal reading experience (when, where, what, how). First thing in the morning. In this ideal experience, I have gotten up at 4:30 a.m. This is not a burden for me; I love waking up early and I go to bed before 8 p.m. as often as possible. I make an entire pot of coffee, all for myself. I read at the kitchen table, alone, from 4:30 a.m. to 5:30 a.m. My brain feels better and stronger after this. I can then move on to answer emails, get my toddler dressed and fed, get the rest of the day started. Later, I'm able to read an additional 10 pages in my pajamas with my teeth both brushed and also flossed before falling asleep at 7:45 p.m. But most of that is a fantasy that is rarely realized usually, I'm reading on the subway or a quick two pages before passing out while eating animal crackers in bed. What's your go to classic? And your favorite book no one else has heard of? My go to classic is "Pride and Prejudice," by Jane Austen. Is there a funnier portrait of anyone in literature than that of Lady Catherine de Bourgh? My favorite book very few other people have heard of is probably "Fashion Is Spinach," by Elizabeth Hawes. This is a memoir of a fashion designer in the 1930s and Hawes's critique of the fashion industry is blunt, sharp and wittily observed. Which writers novelists, playwrights, critics, journalists, poets working today do you admire most? 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. Curtis Sittenfeld, Dave Eggers, Paul Beatty, Jill Lepore, Michael Kupperman, Anthony Lane and Sarah Ruhl. Kupperman's graphic memoir about his Quiz Kid father, "All the Answers," is surprisingly moving. Anthony Lane's movie reviews are my favorite thing to read every week. Sarah Ruhl's essays on motherhood are a comfort to me. You once body tackled the historian Doris Kearns Goodwin. This is not a question but a chance for you to explain yourself. I'm surprised this one requires any explanation. Just kidding. It's a disturbing story. Here is what happened. The same year that "Lincoln," the Daniel Day Lewis vehicle based on DKG's award winning biography, "Team of Rivals," was released, I found myself at a pre Oscar party celebrating the nominees. I wasn't a nominee, so I'm not sure why I was there. I can attempt to explain that one in a separate column. Doris Kearns Goodwin, who was a nominee, was also there. When I saw this woman standing in the valet line, my jaw dropped. I am an enormous fan of DKG because of her good humored appearances on PBS and NBC, but mostly because she is a genius historian who helps put historical events into context for her readers. Her works assure me that our nation has been through rough patches before, and this gives me reason to believe that we can get through anything. Back at the party, I made a beeline for DKG and introduced myself as her No. 1 fan. She smiled warmly and thanked me. Without waiting for her to give any indication that she wanted a hug, I leaned in to give her a hug. But she had begun to turn by that point, and I lost my balance. I fell on top of her, accidentally tackling her with the weight of my hot, sweaty body. I mumbled any number of mortified "I'm sorrys" and then as one does ran away to the port a potties. (I swear the party was high end, but it was also outside.) What's the last book that made you laugh? Adam Resnick's "Will Not Attend." Between "An Easter Story" and "Booker's a Nice Guy," I cannot contain myself. I usually do not laugh out loud when reading. But this book has me shaking on the subway and convulsing in the doctor's waiting room. From laughing, I mean. The last book that made you cry? Joan Didion's "Blue Nights." A memoir about losing her daughter. Stunning and absolutely heartbreaking. What moves you most in a work of literature? Insightful, keen, even trenchant observations of the minutiae of everyday life. I love it when somebody else has recognized a tiny detail that has also struck me in some way. Of all the characters you've played, which role felt to you the richest the most novelistic? Kimmy Schmidt. Hers is a tale of survival and of determination, the triumph of a fighting spirit. Kimmy was kidnapped as a child and held captive for 15 years. She is eventually rescued by the F.B.I. and starts a new life in New York City. She finds love, and also pizza on a fence. Or, her roommate, Titus, found the pizza, but they both ate it. She's a heroine whose girlish appearance and penchant for gummy sharks can't quite mask her steely resolve. What character from literature would you most like to play? Ooh. Can I give three? I'm giving three. Daisy Buchanan from "The Great Gatsby," Jo March from "Little Women" and Pippi Longstocking. As an adult. What are your favorite movies or shows based on books? "Clueless" (based on "Emma") and "Mildred Pierce," both the Joan Crawford and the Kate Winslet versions. And what book would you most like to see turned into a movie or TV show? "Norwood," by Charles Portis. They already made this one into a movie, in 1970, but I would like to see it remade starring Zach Galifianakis. What kinds of stories are you drawn to? Any you steer clear of? I love stories about suburban life and the seemingly trivial events that fill the days there. Curtis Sittenfeld, John Cheever and Alice Munro are the masters. I tend to avoid stories that my husband thinks I'll enjoy. Massive volumes that he leaves out in the vain hope that I will one day read them. Stories about the Balkans before World War II, or the final days of W. C. Fields. What books might we be surprised to find on your shelves? "The Denial of Death," by Ernest Becker; "Is There No Place on Earth for Me?," by Susan Sheehan; and "The Year of the Death of Ricardo Reis," by Jose Saramago. These are all my husband's books. See above. What kind of reader were you as a child? Which childhood books and authors stick with you most? (A reliable source tells us you know a lot about the Baby Sitters Club.) I loved reading. I looked forward to library visits and the Scholastic book order form with an enthusiasm usually reserved for the Lucia's frozen pizzas we could have when my parents went out. I devoured "Cheaper by the Dozen," "Anne of Green Gables," "Little House on the Prairie," "Little Women." Later, in high school, I loved "My Antonia," by Willa Cather, and "Beloved," by Toni Morrison. But your source is indeed reliable. For me, nothing came close to "The Baby Sitters Club." From Stacey McGill hiding her diabetes (I pronounced it die AH buh teez) to Claudia Kishi hiding her candy, I idolized these babysitters. I wanted to be in their club. But, in truth, I didn't love babysitting that much and that was ultimately what ruined me. If you could require the president to read one book, what would it be? Any book by Doris Kearns Goodwin. But not in the hope that he might accidentally tackle her one day. Disappointing, overrated, just not good: What book did you feel as if you were supposed to like, and didn't? Do you remember the last book you put down without finishing? "The Woman in White," by Wilkie Collins. I was assigned this book in college and I feel I am now long enough gone and therefore no diploma can now be revoked I did not finish it. I don't know what my problem was. This is considered to be one of the finest and earliest works of mystery fiction in history. But not to me. Then, nearly a decade after college, I read that it was one of Nora Ephron's favorite books. Inspired, I decided to give it another go. Tried. Couldn't. Why did the woman wear so much white? I couldn't sit with it long enough to find any answers. I feel embarrassed, and disappointed. I admit I might be a cretin. But I have never finished "The Woman in White." What book has had the greatest impact on you? I have to name two. The first is "The Remains of the Day," by Kazuo Ishiguro. Not because of an actual self altering impact, but because of its high beam illumination of what prose can be. The clarity that Ishiguro achieves is absolutely crystalline. It is quiet and calm and spellbinding. The second is "Crazy Like a Fox," by S. J. Perelman. He is the perfect exemplar for someone attempting to write humor essays. Whom would you want to write your life story? John Lahr. I haven't yet read his biography of Tennessee Williams, but I so enjoyed his profiles of showbiz legends in "Show and Tell." What I'm trying to say is, if he agreed to write about me, it would mean I was officially a showbiz legend. You're organizing a literary dinner party. Which three writers, dead or alive, do you invite? Jane Austen, Edith Wharton and Charlotte Bronte. All the ladies in the house! Well, think of how lovely that dinner party would be! Unless Charlotte Bronte made it spooky. What's next on your reading list? "Richard Nixon: The Life," by John A. Farrell. I'm fascinated by what makes people crave power.	N24News: A New Dataset for Multimodal News Classification	Books
Read The New York Times's review of "The Favourite." Colman, who plays Queen Anne in the film, faces competition for best leading actress from Lady Gaga for "A Star Is Born," Glenn Close for "The Wife," Viola Davis for "Widows" and Melissa McCarthy for "Can You Ever Forgive Me?" "Bohemian Rhapsody," the biopic about Freddie Mercury of the rock band Queen that won best drama at the Golden Globes, received seven Bafta nominations, including Rami Malek for best leading actor. The other nominees for best actor are Bradley Cooper for "A Star Is Born," Christian Bale for "Vice," Viggo Mortensen for "Green Book" and Steve Coogan for "Stan Ollie." Alfonso Cuaron is nominated for best director for "Roma," a category he won at the Golden Globes. He will compete against Lanthimos, Spike Lee ("BlacKkKlansman"), Bradley Cooper ("A Star Is Born") and the Polish director Pawel Pawlikowski, whose film "Cold War," about a torrid love affair across borders after World War II, has been a hit in Europe. The Baftas are often considered a rough bellwether for the Academy Awards because there is some overlap between the 6,500 voting members of the British Academy of Film and Television Arts, which hosts the Baftas, and the members of the Academy of Motion Picture Arts and Sciences who vote for the Oscars. Last year, Guillermo del Toro was named best director at the Baftas for "The Shape of Water" before winning the same award at the Oscars. Gary Oldman also won best actor at both ceremonies, for his portrayal of Winston Churchill in "Darkest Hour," while Frances McDormand won best actress at both for her role in "Three Billboards Outside Ebbing, Missouri."	N24News: A New Dataset for Multimodal News Classification	Movies
Automakers Go Electric, Even if Gas Is Cheap DETROIT While American consumers were taking advantage of low gas prices to buy trucks and sport utility vehicles in large numbers, some automakers delayed investing in slower selling electrified vehicles. But with increases in federal fuel economy standards looming in 2017, car companies are hustling to bring out hybrid and electric models to help them meet the new rules even though electrified vehicles make up only 2 percent of overall sales. The federal government has mandated corporate average fuel economy of 54.5 miles per gallon by 2025. But companies need to meet an interim standard of about 37 m.p.g. by next year. Now, despite declining gas prices, automakers are showing off a raft of electric and hybrid models this week at the annual North American International Auto Show in Detroit. On Monday, Fiat Chrysler Automobiles introduced a plug in hybrid electric version of its new minivan model, the Pacifica, making it the first hybrid vehicle in the Italian American automaker's lineup. The Pacifica joined several other new electrified models introduced by other automakers at the auto show, including models from Ford Motor Company and General Motors. Fiat Chrysler has been an industry laggard in the push for electrified cars, relying heavily in recent years on sales of Ram pickups and Jeep sport utility vehicles to drive its growth in the American market. The results, at least financially, have been stellar. Profits have surged and market share has expanded at the expense of Fiat Chrysler's rivals. "The 2025 numbers are very high numbers," Mr. Marchionne said at a news conference. "You look around the show at all the hybrids and the electrification as being a solution to the rules in 2025." The hybrid minivan is powered by a battery charge that can cover 30 miles of driving, at which point a gasoline engine kicks in to extend its range. The company estimates that the vehicle will achieve an equivalent of 80 m.p.g. in city driving. One hybrid alone will not improve Fiat Chrysler's corporate average fuel numbers enough to meet the coming standards. Last year, the company's fleetwide average was about 22 miles per gallon making it one of the least fuel efficient companies in the industry. Mr. Marchionne said the company would improve its average by continuing to improve the mileage of its conventional gasoline powered vehicles, as well as by adding hybrids. Fiat Chrysler is also preparing for stricter federal rules on pollutants by purchasing emissions credits from competitors like Tesla, which can easily meet the standards by virtue of its all electric product lineup. Mr. Marchionne said that Fiat Chrysler had to balance how much to spend on new technologies that improve fuel efficiency and cut pollution with the opportunity to buy credits that help it meet emissions standards. "We will get technology, but at a price," he said. "The cost associated with the plug in minivan is not inconsequential." Buying emissions credits from other carmakers is part of the overall effort to comply with government standards. "It would be nonsensical for us not to utilize that market," he said. Other automakers are also adding vehicles to their lineups that can help improve fleetwide fuel economy numbers. Mark Reuss, head of global product development at General Motors, said his company was improving fuel economy across its lineup with smaller, more efficient gasoline engines, aerodynamic designs and reductions in vehicle weight. But G.M. still needs new vehicles like the all electric Chevrolet Bolt to make substantial gains in corporatewide fuel economy. "It is a zero emission vehicle, so there are a lot of credits for vehicles like the Bolt," Mr. Reuss said. "Our plan is to improve fuel economy on all fronts, from taking weight out of new models to introducing game changers like the Bolt." The average fuel economy of vehicles sold in the United States had been improving steadily until gas prices plunged to 2 a gallon last year. Consumers have opted to buy more trucks and S.U.V.s than passenger cars in 2015, resulting in greater overall fuel consumption. In December, the average fuel economy of a new vehicle sold in the United States was 24.9 miles per gallon, according to the University of Michigan Transportation Research Institute. That was the first time in two years that the average fell below 25 miles per gallon, according to figures compiled by the institute. One analyst said that automakers could hardly be blamed for meeting high demand for pickups and S.U.V.s, even if it set back their fuel efficiency goals. "The government is regulating what automakers have to produce to meet new standards, but it isn't what consumers want to buy," said Michelle Krebs, an analyst with the firm Autotrader. "As unpleasant as I find these fines, I understand what prompted them," said Mr. Marchionne, adding that he expected more cooperation between auto companies and the safety agency in the future. Reuters, citing company officials, reported on Monday that an agreement with regulators on voluntary safety guidelines was imminent. But a spokesman for the safety agency, Gordon Trowbridge, said no accord had been concluded. "We're hopeful we have something to announce soon, but nothing has been finalized," he said.	N24News: A New Dataset for Multimodal News Classification	Automobiles
BOSTON SYMPHONY ORCHESTRA at Tanglewood in Lenox, Mass. (Aug. 17, 8 p.m.; Aug. 18, 2:30 p.m.). In the past couple of seasons, Francois Xavier Roth has proved himself to be one of the most interesting and insightful of the Boston Symphony's regular guest conductors, and he makes his Tanglewood debut in these two concerts. On Saturday, he leads Schumann's Symphony No. 2 and Brahms's Piano Concerto No. 2, with Kirill Gerstein as the soloist. On Sunday, there's music by the same composers, with Brahms's Serenade No. 1, Schumann's "Konzertstuck" for four horns and orchestra and Schumann's Cello Concerto. Yo Yo Ma is the cellist. The crowds, one imagines, will come on Friday night, for a screening of "Star Wars: Episode IV A New Hope," with the Boston Pops playing John Williams's score live. 617 266 1200, bso.org 'KORNGOLD AND HIS WORLD' at the Fisher Center for the Performing Arts in Annandale on Hudson, N.Y. (Aug. 16 18). Bard College's SummerScape Festival has been much ado about Korngold this year, with the American premiere of his "Das Wunder der Heliane" in July and two weekends of programming for the Bard Music Festival in August. This second weekend of the festival is as packed as ever, with everything from solo piano music to film scores. Take note of the American Symphony's performance of the Symphony in F sharp, alongside Strauss's "Four Last Songs," on Saturday at 8 p.m., but the main event is undoubtedly "Die Tote Stadt," Korngold's most successful opera, in a semi staged account on Sunday at 5 p.m. Leon Botstein conducts the Orchestra Now, with a cast that includes Allison Oakes and Clay Hilley. 845 758 7900, fishercenter.bard.edu Read about the events that our other critics have chosen for the week ahead. 'PRINCESS MALEINE' at La MaMa (Aug. 16, 20, 22 and 24, 7:30 p.m.; Aug. 18, 2 p.m.). The enterprising Dell'Arte Opera Ensemble, which showcases younger singers in often less heralded repertoire, puts on the premiere of this opera by the composer Whitney George and the librettist Bea Goodwin. Originally made into an opera by Lili Boulanger, who died before she could complete it, the play is by Maurice Maeterlinck. Elyse Kakacek is the lead, with Jeremy Brauner, Eric Lindsey and Liz Bouk also singing. Chris Fecteau and George conduct the run. dellarteopera.org TIME:SPANS FESTIVAL at the DiMenna Center (Aug. 16 21, 8 p.m.). The first three concerts of the second week of this excellent festival are all titled "After Experimental Music" and include the world premieres of Okkyung Lee's "'Once Upon a Time, We Used to Share This Same Light ...'" on Friday and Matana Roberts's "I Call America: Sandy Speaks ..." on Saturday. Monday sees new music royalty, the Bozzini Quartet, play music by Michael Oesterle and Ana Sokolovic, who also features in a Tuesday concert from the Talea Ensemble. And on Wednesday, Talea rounds out the series with a helping hand from Yarn/Wire, performing works by Oesterle, Denys Bouliane, Claude Vivier, Nikolaj Korndorf and Linda Catlin Smith. timespans.org	N24News: A New Dataset for Multimodal News Classification	Music
Forty hours after treating her first coronavirus patient, on March 30, Angela Aston came home to her family with a cough. "Gosh, your throat is scratchy," her husband told her. Right away she knew she had likely been infected with Covid 19. As a nurse practitioner, Ms. Aston, 50, was confident she knew how to handle her symptoms, and disappeared to her bedroom to quarantine and rest. By day 50 of her illness, that confidence had disappeared. In late May, she was still experiencing daily fevers and fatigue. She went to bed each evening worried that her breathing would deteriorate overnight. Particularly frustrating was the difficulty she felt explaining to her colleagues, friends and family that after eight weeks she was still sick. "I felt this stigma like, 'I've got this thing nobody wants to be around,'" Ms. Aston said. "It makes you depressed, anxious that it's never going to go away. People would say to my husband, 'She's not better yet?' They start to think you're making it up." Ms. Aston found psychological comfort in an online support group, founded by the wellness organization Body Politic, where more than 7,000 people share their experiences as Covid 19 "long haulers," whose sicknesses have persisted for months. Along with sharing their physical symptoms, many in the support group have opened up about how their mental health has suffered because of the disease. Dozens wrote that their months of illness have contributed to anxiety and depression, exacerbated by the difficulties of accessing medical services and disruptions to their work, social and exercise routines. Early on in the pandemic, a pervasive myth among patients and some health authorities was the idea that Covid 19 was a short term illness. Only in recent months has more attention been given to long haulers. In online support groups like Body Politic and Survivor Corps, long haulers have produced informal surveys and reports to study their course of illness. Natalie Lambert, a health researcher at Indiana University School of Medicine, recently surveyed more than 1,500 long haul patients through the Survivor Corps Facebook page and found a number of common psychological symptoms. She found that anxiety was the eighth most common long haul symptom, cited by more than 700 respondents. Difficulty concentrating was also high on the list, and more than 400 reported feeling "sadness." Dr. Teodor Postolache, a psychiatrist at the University of Maryland School of Medicine, estimates that between one third and one half of Covid 19 patients experienced some form of mental health problem including anxiety, depression, fatigue or abnormal sleeping. Those without Covid 19 infections are also seeing their mental health suffer amid the pandemic. A study published in June by the Centers for Disease Control and Prevention found that symptoms of anxiety and depression nationwide increased significantly during April through June of 2020 compared with the same period last year. This study found that adverse mental health symptoms were disproportionately reported in young adults, Black and Hispanic adults and essential workers. The National Alliance on Mental Illness, a nonprofit organization, has seen a 65 percent increase in people reaching out to its help line for mental health resources since the onset of the pandemic. "The public health response to the Covid 19 pandemic needs to include addressing its mental health consequences," said Mark Czeisler, an author of the C.D.C. study. Chimere Smith, 38, a middle school teacher in Baltimore, marked her sixth month of Covid 19 symptoms in September. On March 22 Ms. Smith was on the phone with her therapist when she began to feel a tickle in her throat, which turned into a burn by the evening. Her symptoms became a "wheel of misfortune," vacillating daily between nausea, diarrhea and headaches, she said. Since then, she has gone to the emergency room a dozen times. In mid April she rewrote her will. A persistent mental fog has made it difficult to put together sentences, she said, whereas before the pandemic she had functioned "like a walking thesaurus." When she realized that could not return to teaching seventh and eighth grade English this autumn because of fatigue, she cried. By the fourth month of her illness, Ms. Smith had contemplated taking her own life. "I said, 'Who in the world would want to live like this?'" she said. "I wanted to jump out of my own body." Ms. Smith is one of many long haulers who, like Ms. Aston, said her mental health improved when she joined the online support groups Body Politic and Survivor Corps, where she exchanges tips for managing mental and physical symptoms. Members of these groups supported Ms. Smith in overcoming her thoughts of suicide, she said. Who should get a booster shot? It depends, Dr. Scott Gottlieb says. Other Covid 19 patients turned to peers on such groups for reassurance that their symptoms were not imagined. "Every single symptom I've experienced is echoed by dozens of other people," said Angela Vazquez, 33, a Covid 19 patient in Los Angeles. "We can't all be collectively hallucinating the same symptoms." Although social media groups provide validation, there is also some risk. Groups that do not moderate their content can contribute to the spread of misinformation when users share unverified medical advice. (Survivor Corps requires people to link to trustworthy sources, and Body Politic deploys volunteers to moderate posts.) Support group members also sometimes inadvertently reinforce one another's fears through detailed discussion of their own medical experiences, according to Jo Daniels, a psychologist at the University of Bath and an author of a recent study in the journal American Psychologist on Covid 19 and mental health. Some long haulers said that their doctors recommended limiting the time they spent on these groups daily so they could take in information without becoming overwhelmed. Immunologists speculate that long haulers' symptoms might persist because they harbor fragments of viral genes that are not infectious but that trigger violent immune reactions. There is limited knowledge of Covid 19's lingering impact, however, both because the illness is still new and because of broader gaps in understanding the long term effects of viral infections. Many long haulers said their mental health suffered when they faced skepticism about their symptoms from friends, family and even medical providers. Female long haulers pointed to numerous studies showing that medical providers were more likely to underestimate women's pain levels and misdiagnose their conditions. Ms. Smith said that in her first week of illness, her male doctor suggested she might have a sinus infection rather than Covid 19. Ms. Vazquez was told that her difficulty breathing could be a product of anxiety. Gina Assaf, a consultant in Washington, D.C., who helped write Body Politic's report, said that by week six of her Covid 19 course, her doctor asked if her symptoms could be bad allergies. "That felt like gaslighting," Ms. Assaf said. Her friends were dubious of her lingering symptoms. "I stopped talking about it with a lot of my friends because it felt like they couldn't understand." The pandemic has caused mental stress for many in its disruption to social, work and exercise routines. But these interruptions are often worse for long haulers. Some cut themselves off from community partly because they are sick, but also because they are loath to explain physical and mental problems that they themselves do not understand. The activities that they normally rely on to relieve stress, such as exercise, are difficult or impossible to undertake. In Dr. Lambert's survey of long haulers, "inability to exercise or be active" was the fifth most commonly reported symptom, cited by 916 respondents. Being unable to work and feeling unproductive can also hinder mental health, according to the National Alliance on Mental Illness. Losing income and health insurance brings its own form of anxiety.	N24News: A New Dataset for Multimodal News Classification	Health
FRANKFURT In a closely watched display of its firepower, the European Central Bank on Wednesday allocated to euro zone banks another huge round of the cheap, three year loans that have helped avert a banking crisis but have not yet revived lending to business and households. Banks asked to borrow EUR529.5 billion, or 713 billion, compared to EUR489 billion in December's offer of three year loans. The E.C.B. said that 800 banks put in for loans, compared to 523 in December, as many smaller lenders took advantage of the central bank's broader collateral rules. The E.C.B. wanted to encourage borrowing by community banks that are likely to lend the money in turn to businesses and consumers. Banks could borrow as much as they wanted at the benchmark interest rate of 1 percent, but had to pledge collateral typically bonds or other securities that can be bought and sold. Previously, the E.C.B. lent to banks for a maximum of about a year. The E.C.B. disclosed the amount that banks requested on Wednesday and will disburse the money on Thursday. Between the loan offers in December and this week, the E.C.B. will have lent banks a total of about EUR1 trillion. But the actual amount of new money flowing to banks is closer to EUR520 billion, because many banks shifted money from shorter term E.C.B. loans into the three year loans. The loans appeared to have headed off a funding crunch that could have caused some banks to fail and many others to run short of money to lend into the euro zone economy. The E.C.B. loans also have helped lower borrowing costs for countries like Spain and Italy, as many banks borrowed from the E.C.B. at 1 percent interest and bought government bonds paying more than 5 percent. The yield on the benchmark 10 year Italian government bond fell to below 5.2 percent Wednesday from 5.35 percent on Tuesday. "The big problem with the European economy at the moment is that there is a total lack of confidence in households," said Peter Westaway, chief economist for Europe at Vanguard Asset Management in London. "People were afraid the euro would break up or something really bad would happen. The very fact that something bad is less likely is an important step and that will help the real economy." But while the wall of money has bought time for banks and governments to deal with their formidable problems, the E.C.B. does not appear to have yet achieved its goal of reviving lending to businesses and consumers. Data released by the central bank this week showed that lending growth to business remains weak. In addition, the E.C.B. loans have not restored the crucial interbank market, in which banks lend excess cash to each other for short periods, ensuring that capital is never idle. Banks not necessarily the same ones borrowing this week have been depositing record amounts with the E.C.B., a sign that they are still afraid to lend it to peers on the interbank market. As of Tuesday, banks had deposited EUR481 billion at the E.C.B., which pays only 0.25 percent interest on the money but is considered the ultimate haven. The E.C.B. does not disclose which banks take out loans or where the banks are based, but it is likely there was again strong demand from countries like Italy and Spain. Government debt problems have spread to banks in those countries and made it difficult for them to raise money from private investors. For example, Intesa Sanpaolo in Italy borrowed EUR24 billion from the E.C.B., double the amount it drew in December, said Enrico Cucchiani, the bank's chief executive, according to Reuters. Smaller banks, including many from countries like Germany that have been less affected by the debt crisis, accounted for most of the increase in the total number of banks taking advantage of E.C.B. largesse. That was what central bank officials wanted, because community lenders are a crucial source of credit for smaller businesses and consumers. Companies that have in house banks were also eligible to draw on the credit line. For example, Volkswagen, Europe's largest automaker, said it would borrow from the E.C.B. via its financial services arm. The company would not say how much it would borrow, but VW has plenty of cash and is likely to have been attracted by the favorable terms. The company can lend the money on to buyers of its cars. "Within the frame of its diversified funding strategy, the Volkswagen Bank used the E.C.B. tender in an adequate volume," the company said in a statement. It declined to comment further. Banks from the United States and other countries outside the euro zone or European Union can also borrow from the E.C.B. if they have subsidiaries in Europe. The total amount borrowed was a little above expectations. Most analysts expected demand to be about the same as in December, but estimates ranged from as low as EUR300 billion to as high as EUR1 trillion. "In our view it is a Goldilocks outcome: not overly large as to generate concern about the fragility of the European banking system, but high enough to pre fund a substantial share of maturing bank debt and spark more buying of Italian and Spanish paper," Martin van Vliet, an economist at ING Bank, said in a note to clients. For this week's operation, the E.C.B. expanded its collateral standards to make it easier for smaller banks to access cash. Banks could pledge mortgages or other outstanding loan obligations, expanding the potential pool of collateral by about EUR200 billion, according to E.C.B. estimates. In November, tension in the euro zone banking system was acute and the risk of a catastrophe high. Institutions needed to roll over about half a trillion euros in bonds that were maturing. But the market for debt issued by banks, where lenders would normally expect to raise fresh cash, was all but dead. The longer term loans from the E.C.B. provided reassurance that banks would have enough money to keep operating even if they were shut off from capital markets. The increase in confidence also helped reopen the market for corporate bonds issued by banks at least the stronger ones. But some economists have expressed concern that the easy money from the E.C.B. could take pressure off ailing banks to deal with their problems. That could breed "zombie banks" which would act as a long term drag on the euro zone economy. Some economists also worried that the E.C.B. cash would encourage too much risk taking by banks. The E.C.B. has been noncommittal about whether it will offer subsequent rounds of three year loans. It is likely to gauge market reaction before deciding what additional policy moves to make, if any.	N24News: A New Dataset for Multimodal News Classification	Global Business
Thousands of jails and prisons across the United States use a company called Securus Technologies to provide and monitor calls to inmates. But the former sheriff of Mississippi County, Mo., used a lesser known Securus service to track people's cellphones, including those of other officers, without court orders, according to charges filed against him in state and federal court. The service can find the whereabouts of almost any cellphone in the country within seconds. It does this by going through a system typically used by marketers and other companies to get location data from major cellphone carriers, including AT T, Sprint, T Mobile and Verizon, documents show. Between 2014 and 2017, the sheriff, Cory Hutcheson, used the service at least 11 times, prosecutors said. His alleged targets included a judge and members of the State Highway Patrol. Mr. Hutcheson, who was dismissed last year in an unrelated matter, has pleaded not guilty in the surveillance cases. As location tracking has become more accurate, and as more people carry their phones at every waking moment, the ability of law enforcement officers and companies like Securus to get that data has become an ever greater privacy concern. Securus offers the location finding service as an additional feature for law enforcement and corrections officials, part of an effort to entice customers in a lucrative but competitive industry. In promotional packets, the company, one of the largest prison phone providers in the country, recounts several instances in which the service was used. In one, a woman sentenced to drug rehab left the center but was eventually located by an official using the service. Other examples include an official who found a missing Alzheimer's patient and detectives who used "precise location information positioning" to get "within 42 feet of the suspect's location" in a murder case. Asked about Securus's vetting of surveillance requests, a company spokesman said that it required customers to upload a legal document, such as a warrant or affidavit, and certify that the activity was authorized. "Securus is neither a judge nor a district attorney, and the responsibility of ensuring the legal adequacy of supporting documentation lies with our law enforcement customers and their counsel," the spokesman said in a statement. Securus offers services only to law enforcement and corrections facilities, and not all officials at a given location have access to the system, the spokesman said. The service provided by Securus reveals a potential weakness in a system that is supposed to protect the private information of millions of cellphone users. With customers' consent, carriers sell the ability to acquire location data for marketing purposes like providing coupons when someone is near a business, or services like roadside assistance or bank fraud protection. Companies that use the data generally sign contracts pledging to get people's approval through a response to a text message, for example, or the push of a button on a menu or to otherwise use the data legally. But the contracts between the companies, including Securus, are "the legal equivalent of a pinky promise," Mr. Wyden wrote. The F.C.C. said it was reviewing the letter. Courts are split on whether investigators need a warrant based on probable cause to acquire location data. In some states, a warrant is required for any sort of cellphone tracking. In other states, it is needed only if an investigator wants the data in real time. And in others no warrant is needed at all. The Justice Department has said its policy is to get warrants for real time tracking. The Supreme Court has ruled that putting a GPS tracker on a car counts as a search under the Fourth Amendment, but this was because installing the device involved touching a person's property something that doesn't happen when a cellphone is pinged. Phone companies have a legal responsibility under the Telecommunications Act to protect consumer data, including call location, and can provide it in response to a legal order or sell it for use with customer consent. But lawyers interviewed by The New York Times disagreed on whether location information that was not gathered during the course of a call had the same protections under the law. As long as they are following their own privacy policies, carriers "are largely free to do what they want with the information they obtain, including location information, as long as it's unrelated to a phone call," said Albert Gidari, the consulting director of privacy at the Stanford Center for Internet and Society and a former technology and telecommunications lawyer. Even when the phone is not making a call, the system receives location data, accurate within a few hundred feet, by communicating with the device and asking it which cellphone towers it is near. Other experts said the law should apply for any communications on a network, not just phone calls. "If the phone companies are giving someone a direct portal into the real time location data on all of their customers, they should be policing it," said Laura Moy, the deputy director of the Georgetown Law Center on Privacy Technology. Mr. Wyden, in his letter to the F.C.C., also said that carriers had an obligation to verify whether law enforcement requests were legal. But Securus cuts the carriers out of the review process, because the carriers do not receive the legal documents. The letter called for an F.C.C. investigation into Securus, as well as the phone companies and their protections of user data. Mr. Wyden also sent letters to the major carriers, seeking audits of their relationships with companies that buy consumer data. Representatives for AT T, Sprint, T Mobile and Verizon said the companies had received the letters and were investigating. "If this company is, in fact, doing this with our customers' data, we will take steps to stop it," said Rich Young, a Verizon spokesman. T Mobile said it "would take appropriate action" if it found any misuse of data. Securus, founded in Dallas in 1986, has marketed its location service as a way for officials to monitor where inmates placed calls. Securus has said this would block escape attempts and the smuggling of contraband into jails and prisons, and help track calls to areas "known for generating illegal activity." In an email, Securus said the service was based on cell tower information, not on phone GPS. Securus received the data from a mobile marketing company called 3Cinteractive, according to 2013 documents from the Florida Department of Corrections. Securus said that for confidentiality reasons it could not confirm whether that deal was still in place, but a spokesman for Mr. Wyden said the company told the senator's office it was. In turn, 3Cinteractive got its data from LocationSmart, a firm known as a location aggregator, according to documents from those companies. LocationSmart buys access to the data from all the major American carriers, it says. LocationSmart and 3Cinteractive did not respond to requests for comment. Securus said it got consent before tracking phone calls made from prisons, requiring those on the receiving end to press a button agreeing to the collection of the data. The location service has proved to be a selling point. Matthew Thomas, chief deputy of the Pinal County Sheriff's Office in Arizona, said that the department had been using Securus's location tool for about a month, and that it had already come in handy. "We use it for search and rescue operations, and at the jail they use it to maintain security and to put cases together," he said. Mr. Thomas said that only three people in the office could log in to the system, and that the office did monthly audits to ensure its proper use. About three weeks ago, Mr. Thomas said, someone mailed a letter containing methamphetamine to an inmate. By using the tool, Mr. Thomas said, investigators were able to link phone calls between the address and the inmate and make an arrest. For search and rescue cases, Mr. Thomas said, the Securus tool was more efficient than requesting data through the phone companies. "It makes it a lot faster response for our crew," he said.	N24News: A New Dataset for Multimodal News Classification	Technology
David Frost produces broadcasts of the Metropolitan Opera performances. His typical day requires being a musician, a technician and even something of a diplomat.Credit...Michael Kirby Smith for The New York Times If He Does This Met Opera Job Well, You'll Never Know He Exists David Frost produces broadcasts of the Metropolitan Opera performances. His typical day requires being a musician, a technician and even something of a diplomat. As a music producer for the Metropolitan Opera, he operates a soundboard you can see it through a window on the Grand Tier level of the house that feeds broadcasts for radio, movie theater screenings and, in the case of the season opening gala performance of Saint Saens's "Samson et Dalila" on Monday, a simulcast in Times Square. He sits in a booth, following along with a conductor's score and constantly adjusting several dozen faders, dials that control the levels on microphones set up onstage and throughout the orchestra pit. With the appearance of an organist juggling complex polyphony, he aims to match the high quality of studio recordings only in real time. If he does his job well, listeners shouldn't have any idea he's there. Seeming invisible takes preparation that begins weeks before opening night, by attending piano rehearsals and plotting where to plant microphones onstage and in the pit. Mr. Frost a Juilliard trained pianist who, since his late 20s, has also been a record producer, working with Renee Fleming and the Chicago Symphony Orchestra also studies the score, flagging passages he knows will be difficult at the soundboard. By opening night, Mr. Frost becomes part musician, knowing the score better than some of the singers; part technician, perfecting his soundboard and finding creative ways to hide microphones onstage; and part diplomat, negotiating with various backstage departments including the costume shop, which is occasionally tasked with incorporating microphones into its designs. I shadowed Mr. Frost during the gala performance on Monday, beginning with setup around two hours before the 6 p.m. curtain. With him in the booth was John Kerswell, the Met's operations director, who was busy communicating with people onstage to test each microphone and would later spend the night at Mr. Frost's side. Mr. Frost was also trying to account for anything that could go wrong. "The challenge here," he said, "is that people are running all over the stage." They can also move differently from how they did in dress rehearsals; singers sometimes unexpectedly turn away from their microphones, in ways that can have drastic effects on the sound. All Mr. Frost can do in a situation like that, he said, is brush it off and keep going. He tinkered with the microphones until the last possible moment, when the Met opened its doors to its black tie audience. As people took their seats, he finished setting up the soundboard. If Mr. Frost was nervous, he didn't show it; all evening, he was cool yet restless as he continuously adjusted the faders and flipped back and forth in the score. (He was also humble, never volunteering the fact that he has won 16 Grammy Awards, though he did mention that his father, a famed producer, worked on Vladimir Horowitz's recordings.) On the monitors in front of Mr. Frost, sound levels danced animatedly, like a "Fantasia" cartoon, but he was stoic, breaking his silence only rarely for brief comments like "What a master she is," referring to Elina Garanca's star turn as Dalila. There was little room for error, and none of the luxuries of studio production. Mixing sound live at the Met, Mr. Frost said, "couldn't be more different," because there's no opportunity to stop or try something again. He did, however, take notes for future broadcasts, especially during a surprisingly difficult stretch of Act II, as Ms. Garanca sang the famous aria "Mon coeur s'ouvre a ta voix." His score was full of Post its, color coded highlights of the text, and notes, such as a small sketch of eyeglasses a signal to look up and pay attention. "I'm constantly refining what I'm doing," he said.	N24News: A New Dataset for Multimodal News Classification	Music
The ballerina Natalia Osipova has celebrity. But when it comes to choosing repertory to express another side of her artistry through contemporary dance that all too familiar code for extending a career she needs help. Performing at City Center on Thursday, Natalia Osipova and Artists offered works by Arthur Pita, Sidi Larbi Cherkaoui and Russell Maliphant, who are among the usual uninspired go to choreographers on a Sadler's Wells London Production, which this is. Mr. Cherkaoui's "Qutb," from an Arabic word for "axis" or "pivot," places Ms. Osipova in an apocalyptic setting alongside Jason Kittelberger and James O'Hara. Smeared with red paint, they collapse and writhe against one another in backbends and lifts in a cliched depiction of survival against the odds. Apparent in the other works is the strained dancing of Sergei Polunin, Ms. Osipova's partner onstage and in life, who is perhaps best known for becoming the youngest principal at the Royal Ballet before he quit at 21, as well as his performance in a viral video filmed by David LaChapelle. In Mr. Maliphant's duet "Silent Echo," Ms. Osipova and Mr. Polunin appear under spotlights and circle the stage with arching backs, flowing arms and turns that quicken to a blur. Mr. Maliphant has been repeating the same tired formula for years. On the relatively bright side, while "Silent Echo" tells us nothing new, it doesn't achieve the same kind of low as Mr. Pita's "Run Mary Run."	N24News: A New Dataset for Multimodal News Classification	Dance
Addressing Michelle Obama's remarks about slaves having built the White House, Bill O'Reilly said Tuesday on his Fox News program that those slaves were "well fed and had decent lodgings provided by the government." His comments drew swift rebukes online. He fired back on his Wednesday program, saying that the nation's first president provided slaves with "meat, bread and other staples" and "decent lodging." It all began in a 90 second segment near the end of "The O'Reilly Factor" on the Fox News Channel on Tuesday night, when Mr. O'Reilly delved into the history of the White House dating to George Washington's selecting the site for it in 1791. Mr. O'Reilly, a conservative pundit and the author of historical books like "Killing Kennedy," appeared to be attempting to fact check a statement the first lady made on Monday at the Democratic National Convention, calling her words "a positive comment" and adding that "the history behind her remark is fascinating." A brick made by a slave from the construction of the White House. Tim Gruber for The New York Times "Slaves that worked there were well fed and had decent lodgings provided by the government, which stopped hiring slave labor in 1802," he said. "However, the feds did not forbid subcontractors from using slave labor. So, Michelle Obama is essentially correct in citing slaves as builders of the White House, but there were others working, as well." Twitter users seized on his comments, which were criticized as making light of the slaves' treatment and regurgitating the antebellum view of the "happy" or "content" slave. Then, on his program, Mr. O'Reilly attributed the criticism to "smear merchants" and called it "a given that slavery is an abomination." He then, again, addressed the conditions in which slaves worked. "As any honest historian knows, in order to keep slaves and free laborers strong, the Washington administration provided meat, bread and other staples, also decent lodging on the grounds of the new presidential building," he said. 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. "That is a fact. Not a justification, not a defense of slavery," Mr. O'Reilly added. Historians generally agree that slaves indeed helped build the White House. The White House Historical Association said African Americans enslaved and free provided "the bulk of the labor that built the White House, the United States Capitol, and other early government buildings." Slaves worked at the government's quarry in Aquia, Va., to cut the stone for the White House walls, the organization said. Jesse Holland, a journalist who wrote "The Invisibles: The Untold Story of African American Slaves in the White House," said he appreciated that Mr. O'Reilly acknowledged the slaves, considering others had disputed their role in the White House after Ms. Obama's comments. Most of Mr. O'Reilly's history lesson was accurate, he said. But there's no historical evidence either way on the question of how well fed the slaves were, he said. The slaves were indeed fed pork and bread, but it's unknown what kinds and how much they were given, he said. "We know as construction workers they were expected to do hard, grueling, backbreaking work," Mr. Holland said. "So they had to feed them enough so they could actually get their money's worth. Were they well fed? That's not something that, right now, history supports." Many of the slaves lived in a structure described as a barn, Mr. Holland said. There were houses built for workers, but it's unknown if the slaves got to live in them. Following is a transcript of Mr. O'Reilly's original remarks on the Tuesday program, in the video above: Finally tonight, Factor Tip of the Day. As we mentioned, Talking Points Memo: Michelle Obama referenced slaves building the White House in referring to the evolution of America in a positive way. It was a positive comment. The history behind her remark is fascinating. George Washington selected the site in 1791 and as president laid the cornerstone in 1792. Washington was then running the country out of Philadelphia. Slaves did participate in the construction of the White House. Records show about 400 payments made to slave masters between 1795 and 1801. In addition, free blacks, whites, and immigrants also worked on the massive building. There were no illegal immigrants at that time if you could make it here, you could stay here. In 1800, President John Adams took up residence in what was then called the Executive Mansion it was only later on they named it the White House. But Adams was in there with Abigail, and they were still hammering nails, the construction was still going on. Slaves that worked there were well fed and had decent lodgings provided by the government, which stopped hiring slave labor in 1802. However, the feds did not forbid subcontractors from using slave labor. So, Michelle Obama is essentially correct in citing slaves as builders of the White House, but there were others working as well. Got it all? There will be a quiz.	N24News: A New Dataset for Multimodal News Classification	Media
James B. Comey is currently a lot of things: ex director of the F.B.I., ex United States attorney, author, moral crusader, "slimeball" (according to President Trump) and so ubiquitous that he is impossible to ignore. But whether you think he is a heroic truth teller or a self aggrandizing grandstander, and there are arguments for both, what is indisputable is that he is also something else: a 21st century embodiment of a 20th century archetype rooted deep in American mythology. The ultimate G man. With all the associations and expectations that image implies. If the Trump administration is its own reality show, Mr. Comey represents a character from a different Hollywood tradition. And if the goal of his book, "A Higher Loyalty: Truth, Lies, and Leadership," is to define what "ethical leadership" looks like well. He's providing an answer in more ways than one. And he is only going to get more omnipresent, thanks to a media blitz that includes appearances on "Today," "The View," "The Rachel Maddow Show" and CNN, and a book tour that lasts until May 25, with stops in New York; Chicago; Portland, Ore.; Washington; and Los Angeles (among other cities). Demand for some of those events is so high that tickets are being resold on sites like StubHub for hundreds of dollars. Mr. Comey stares out from small screens and promotional pictures everywhere trailers, social media and reviews. He is steely eyed, often glancing upward, as to a higher goal, or resolutely ahead; dark, brush cut hair just beginning to be smudged with gray; the squareness of his jawline matched only by the squareness of his shoulders, his 6 foot 8 frame often draped in layers of true blue. Even in interviews, he rarely smiles (though there were a few grins with Mr. Colbert). His under eye pouches speak of sleepless nights worrying about the soul of the executive branch and the burdens of doing the right thing. Warner Bros. couldn't have cast him better if it had tried. The look is in many ways the culmination of a cinematic romance with bureaucratic iconography that began in 1935 with James Cagney's film "'G' Men," and continued through Kevin Costner as Eliot Ness in Brian De Palma's "The Untouchables." Mr. Comey fits neatly within this predetermined, easily read lens. It's both comforting and slightly unnerving to see how closely he resembles the fictive embodiments of his role. Life imitating art imitating life. In many ways, these men have formed our fantasy of the ultimate upstanding lawman: who subjugates his persona to his ideals and his institution by assuming the uniform of lore. At a time when casual Friday and the rights of the individual to self expression through clothes are on the rise, it's a clear pledge of allegiance to a different convention. It's a character Mr. Comey has been honing for years, since he took the oath of office as F.B.I. director in 2013, and immortalized in his testimony before Congress last June, when he appeared in a dark suit, pristine white shirt and dark red tie, caught forever in multiple cameras and the watching imagination. Even when he takes off his tie, as he has for his recent TV appearances, or swaps the jacket for a collared shirt in a dark shade, as he did for his Twitter page and his author photograph, as if to acknowledge his role as a private citizen, his clothes still convey sincerity and sobriety. There's nothing really casual about them. On Mr. Colbert's show, he wore a black shirt and matching trousers with a gray jacket finished in black buttons: Johnny Cash, the lawyer version. You can take the G man out of the suit (and the job), but not the suit out of the former G man. This has the Pavlovian effect of giving his words a believability (at least for those who buy into the cultural stereotype). It helps counteract the (understandable) perception that he is limelight seeking and self promotional, because even as he stands out there on his own, he is connected to a much bigger tradition. And it's an effective visual counterpart to the efforts of the White House and the Republican National Committee to label him as "Lyin' Comey." In the drama of opposition, where Mr. Comey is increasingly casting himself, and being cast by others, as the mission driven antipode to the president, his appearance acts as a kind of supporting argument. On the one hand is Mr. Trump, whose hair is an elaborate construction to hide a bald spot, whose skin is shaded to disguise whatever its true pallor may be, whose clothes billow around his body as if to conceal the girth beneath. On the other is Mr. Comey, whose optics imply discipline, self control and lack of guile. In case you missed it, he drew attention to the point himself, noting to Mr. Stephanopoulos and in his book that when he met Mr. Trump he was struck by his "impressively" coifed hair that "looked to be" all his own (but maybe it wasn't), his too long tie and the white pouches under his eyes, perhaps from goggles worn while fake tanning. (Former President Barack Obama, he writes, looked "thinner" in person.)	N24News: A New Dataset for Multimodal News Classification	Style
Even if you have never read Sally Rooney's "Normal People," you will immediately realize that the TV adaptation is a young love story. If the moony soundtrack doesn't clue you in, you will need only a few seconds in the presence of Marianne (Daisy Edgar Jones) and Connell (Paul Mescal), who have so much chemistry you may need lab goggles. It is also, as the series soon makes graphically clear, a young lust story, in which the copious, urgent sex is as much an expression of character as of hormones. But beyond the heavy emotions and heavy breathing, this gorgeous, melancholy series, whose 12 half hour episodes arrive on Hulu Wednesday, is really about growing up: the necessary, wrenching process of breaking down the person you were in order to become the person you're going to be. Set in Ireland in the early 2010s, "Normal People" introduces the small town schoolmates Marianne, who comes from money, and Connell, whose mother cleans house for Marianne's family. Their dynamic inverts the teen drama cliche of popular rich kid and alienated poor kid. Marianne is the outcast, bookish and sarcastic. Connell is beautiful, athletic and well liked, socially comfortable but self effacing. What they have in common are an instant attraction and a sharp intelligence. The first tumbles them into bed; the second makes them realize they can talk to each other as with no one else. When they first undress in front of each other there is much equal opportunity nudity here it feels less prurient than like a milestone: They're each about to get to truly know another person outside their family. Where in some teen stories sex is an end in itself, in "Normal People" it's a way of experimenting with your identity, with your relation to other people, with power and powerlessness. After an early flirtation, Marianne revels in Connell's attraction to her: "You were tempted. I tempted you." Sex, and then love, reveal Connell's insecurity despite his popularity. Marianne, whose self worth is also undermined by her villainously unloving family, eventually develops a streak of masochism. In bed and out of it, each has something the other craves and lacks: Connell's even keeled kindness, Marianne's decisiveness and bracing honesty. ("You just always know what you think," he tells her. "I'm not like that.") Rooney, who adapted the series with Alice Birch and Mark O'Rowe, has created a complex study of power wrapped up in a heartfelt teen soap. When Marianne suggests keeping their affair a secret, Connell afraid to be teased by his friends agrees too readily, a hurtful choice that echoes in their relationship for years. When they leave for Trinity College, however, Marianne finds the kind of sophisticated, sardonic people she's comfortable among, while Connell is now the one who feels out of place. Somehow, the differences between his class background and Marianne's are more conspicuous in Dublin than at home. But they reconnect as friends, then as friends with benefits. There's some plot to "Normal People" over their college years, Connell struggles with money and depression, Marianne with her family. But mostly, the story is simply: Time goes on, people grow older. The two have triumphs and setbacks, they travel and return, they talk each other through relationships with other people. They are like two sine waves on a graph, sometimes cresting at the same time, often out of sync until they converge again. (Hulu is releasing the series all at once, and it benefits from the time lapse effect that bingeing gives to their relationship over the years.) All of this is extremely faithful to the novel. The big difference is the series's tone and willingness to live in its feelings. Rooney precision mapped her self aware characters' psychological states in cool, piercing prose. Here, much of that interior work falls to the direction, split between Lenny Abrahamson and Hettie Macdonald, which renders the story warmer, dreamier, more tactile. I found it all moving and emotionally wrecking, in the best way. Some viewers, I imagine, will find it goopy, or much ado about a much told story. (You will need patience for long, earnest college talks about society and art and fairness.) The series never really develops any characters outside the central pair it only has eyes for them and the last third or so feels slack, moping from one flavor of melancholy to another. But to someone with a palate for those flavors (a sad tooth?), "Normal People" is something special, a complex teen romance that captures how love can be a kind of rivalry without pushing the viewer to join Team Him or Team Her. Edgar Jones and Mescal are radiant individually she's a beacon, he's an ember. But they also create something collectively. The relationship is a kind of character, something that Connell and Marianne have to build, and possibly destroy, in order to realize who they are. Even in the sex scenes, the feeling is something more than lust; it's as if Marianne and Connell were trying desperately to get at a hidden piece inside the other that they need to complete themselves. Which, in a way, is exactly what they're doing. "Normal People" looks and sounds like a teen melodrama about falling in love and getting it on. But more than that, it's a double barreled bildungsroman, an empathetic study of two young people coming, together, of age.	N24News: A New Dataset for Multimodal News Classification	Television
In the suburbs they say "good fences make good neighbors"; in Manhattan the corollary is "good party walls." A case in point is the scrupulous restoration of one of Rafael Guastavino's Moorish style rowhouses, 129 West 78th Street, covered for decades by red and white paint. If you think everyone partakes of the preservation ethic, well ... party walls are solid brick. The houses' developer, Bernard S. Levy, came to New York from France in the early 1880s and began in the real estate business right away. In the mid 1880s he teamed up with Guastavino, who had been an active architect in Barcelona until he moved to the United States around the same time. The Real Estate Record and Guide reported that "the fronts attract much attention by their novelty and beauty" and described the houses as having stained glass transoms over the interior doors, speaking tubes, bathroom fixtures encased in cherry. Referring to the rear yards, it commented that "the clean grass plots look as if they were already expecting the muslins and laces which will some day be laid on them for bleaching." These were not large houses, only 16 feet and 18 feet wide. That was good enough for Levy, who took 121 West 78th Street for himself, and then supervised the construction of another row with Moorish elements across the street. Also by Guastavino, it was of the more common (and much criticized) brownstone, instead of the contrasting brick and stone of the original row. Levy was typical of the sober, hard working early occupants. Well, perhaps not all of them: Elbridge Gerry Snow Jr., lived at No. 123 in what The Milwaukee Journal called in 1917 a "Chinese palace" for his 20 imported Pekingese dogs. He had a dog playroom, a puppy room, a show ring and a hospital. Five servants looked after the animals and the house, decorated with ebony, teak, Chinese glass and tapestries. The Journal said the training room was "decorated by Tiffany." The residents were equal to it, especially the show dogs Houx of Glebelands and ChungChang of Alderbourne; The New York Evening Call described them in 1917 as "the aristocrats of the dog world." At some point in the mid 20th century, the houses were all painted dark red with white trim; whether simultaneously or serially is hard to establish. Now Jeanne and Brian Kerwin, who own 129 West 78th, have finished a museum quality cleaning, uncovering all the original masonry. Anyone familiar with this unusual row will be pardoned for gaping, because it is quite a sight. Their cleaning has uncovered the soft gray green Nova Scotia stone trim, the same stone used on the Dakota. The red brick is 10 times more vivid than painted brick could ever be. The Kerwins and their architect, Zach Watson Rice, determined that the projecting metal oriel had been sand painted to match the Nova Scotia stone. The most startling discovery, and the one that seems most in line with Catalan architecture, of which color is such an important part, is that the pilasters separating the red brick facades had been a tawny brick, like that of a pottery kiln; the light color seems to make the brick come alive. In the center of the pilasters, at the third floor level, Guastavino put projecting busts of lions. The owners of 127 West 78th Street, Eric and Suzanne Walther, told the Kerwins it would be fine to clean the half of the pilaster that is on their side of the property line, which goes right up the center. The resulting deep red lion's head is a sight to see. However, it is quite outdone by the pilaster to the left, which is also split down the middle by the property line: a Janus like lion, half white, half red, the white half on the property of an adjacent co op at 131 West 78th. Mrs. Kerwin said in an email that she and her husband had tried to persuade the co op to allow them to strip the full width of the common pilaster. Actually, the Kerwins had the shared lion head stripped as a demonstration, she said, but the co op instructed them to repaint its half white, just as it had been. Jeanne Dennison, a shareholder who said she was speaking for the five unit co op, says that they "valued the uniform aesthetic of the 'red and whites' which for decades provided a unique feature to our beautiful block," adding, "The Kerwins' decision to pursue restoration is their choice, just as it is our choice to retain our red and white facade." That doesn't mean everything is hunky dory on the other side at 127. Although Dr. Walther said he is happy with the work, Mrs. Walther is less pleased. Contrasting it to the uniform red and white painted appearance that the buildings used to have, she said, "I hate it. It ruins the unity of the row. Everyone used to call them the red and whites."	N24News: A New Dataset for Multimodal News Classification	Real Estate
When peer to peer online lending first became possible in the United States five years ago, using the Web to make money by lending it to fellow citizens in need seemed wonderfully subversive. No more banks! Let the people play loan officer! The hype was literally suffused with the rhetoric of revolution when a company called Prosper began operations in February 2006. "Prosper gives people the opportunity to take back the marketplace for consumer credit," the company's co founder, Chris Larsen, said in its news release. The big idea went something like this: Borrowers would post a request for funds and explain why they needed the money. Lenders could put money into part or all of any loan that caught their fancy. And Prosper (and later, Lending Club) would run credit checks of aspiring borrowers for the lenders, watch for fraud, collect and distribute monthly payments and take some money off the top for itself. People borrowed for breast implants and home renovations, and lenders pored over payment data in search of patterns that could help them select better borrowers in the future. To the Securities and Exchange Commission, however, all of this looked like investing, not lending, and both companies stopped taking in new lenders for months in parts of 2008 and 2009 to get their regulatory houses in order. Even today, the companies are still trying to persuade over 20 states, including sizable ones like Texas, New Jersey, Pennsylvania and Ohio, to let individual lenders there put money into loans. And as it works its way through the states, the industry appears to be settling into something both less and potentially more than it once promised. All the stuff about taking back the marketplace aside, here's the far more basic function that these companies actually serve: the majority of customers who borrow use the loans to pay off higher interest debt. They are paying 18 percent or more to credit card companies, and they seek Prosper or Lending Club loans that charge, say, 10, 12 or 14 percent. So as an investor, your return would be the interest rate that borrowers pay, minus the companies' small fee and whatever money the borrowers fail to repay. Most lenders throw a couple of 20 bills into many dozens of these loans. And once they do they end up with a portfolio of sorts. So it isn't a stretch to see how these loans may look, in aggregate, like an entirely new asset class, one that could zig when bonds or stocks zag. This has attracted investors who are hardly motivated by helping the little guy or needling the banks. Hedge funds are writing seven figure checks to Lending Club to get in on the action. More conservative types, like money managers for wealthy families, are also dipping their toes in. In total, borrowers have signed up for more than 400 million in loans through the two companies in the last five years. And so the question is this: Just how badly could you get burned if you invested a little money? I've been asking this question ever since Prosper made its debut, and I'm glad I waited before investing any of my family's money. While the basic outline of the business hasn't changed much, there was more room to do something foolish when Prosper began. Back then, the company would accept loan applications from people with FICO credit scores as low as the subprime 520 (or lower in the first couple of months, before the frightening default rates caused the company to establish a floor). Lenders would bid, auction style, for the right to invest, with interest rates falling as more lenders piled in. Human nature being what it is, starry eyed lenders were attracted to the higher interest rates that people with low credit scores seemed willing to pay. But as the lenders' bids for those loans pushed the interest rates down, the rates ended up being lower than they should have been, given the risk the borrowers posed. And wouldn't you know it? Of all of the loans that Prosper helped originate in its first three years, just over one third went bad. The average investor lost 4.95 percent annually on the loans made during that period. Former lenders now spew bile toward the company on the user forums at Prospers.org, and the company is the target of a class action suit. Lending Club was much more conservative when it began in 2007. Its minimum credit score for borrowers was 640, and now it is 660, though most borrowers have had scores higher than 700. It set the interest rates for loans based on borrowers' credit history and other factors; there was no reverse auction as there was at Prosper. Lending Club's co founder, Renaud Laplanche, said that no lender who had invested more than 10,000 on his platform (generally spreading money among many loans) had ever lost money. Prosper is now aping Lending Club's approach, raising its credit standards and getting rid of the loan auctions so it can set the loan terms itself. It has also added credit risk experts and beefed up its collection efforts. And in a show of chutzpah, given the sorry performance of early Prosper loans, the company now claims that Lending Club is the one that underestimates the risks lenders face. (I've linked to a Prosper blog post that makes this case in the online version of this column.) Lending Club states quite plainly in its government filings that its estimated default rates for loans of varying credit quality are not based on its own (admittedly limited) experience. Instead, it bases the guesses on decades of credit bureau data that looks at repayment rates on other types of loans. But peer to peer loans may well perform differently. Aspiring borrowers, for instance, can and do make up all sorts of stories to make themselves more attractive or sympathetic. Lending Club does not necessarily check out all these tales. From April through the end of November 2010, the company verified income or employment data on about 60 percent of borrower applications. For the period ending in September, just 65 percent of the borrowers from those files provided it with satisfactory responses. The others ignored the inquiries, withdrew their applications or sent along data that did not match the original posting. In the end, fully one third of the applications did not pass muster. Frightening, right? Mr. Laplanche noted that Lending Club had flagged those loans for specific reasons, which would suggest that there were probably fewer errors or lies in the 40 percent of his overall portfolio that he did not double check. Still, it doesn't smell quite right. And if you cannot necessarily trust some portion of the borrowers, and the still young companies do not have much data on completed three year loans, which are the most popular ones, this sure seems less a bond purchase than a new type of casino game in Las Vegas. Mr. Laplanche does not much care for this characterization when it applies to high grade loans, noting that one life insurance company, which he will not name, has put 5 million to work on Lending Club. "I wouldn't qualify that as casino investing, unless you think insurance companies invest customers' premiums at casinos," he said. Meanwhile, his company is winning in the marketplace; it put about 14.8 million to work in new loans last month, more than four times what Prosper did. Still, this is precisely the sort of uncertain situation that experienced investors with a high risk tolerance (or a big collection of safer securities elsewhere) can capitalize on. Sure enough, Lending Club now has 25 accounts with more than 1 million at work or in line for lending. Robert Maroney manages money for a handful of wealthy families at the firm Connecticut Investments, and he put 500,000 to work on the Lending Club platform in the middle of last year. He invests money in higher quality loans, using an automated system that any investor can use to put small amounts of money into scores of loans. He thinks he will get a 7 percent annual return. His experience has been good enough that he is considering putting more money into similar loans, though even then the investment would be only a tiny fraction of the total amount of money he manages. He said he liked the loans in part because their terms were short; long term bonds could pose risks if interest rates were to rise. As for individual investors, he worries that the gaudy 12 or 14 percent returns that Prosper and Lending Club dangle in front of people who want to invest in the riskiest loans may prove too tempting. "I'm not sure they would make the right choices," he said. "I'd hate to see someone on a fixed income get sucked into that." So you could pile into the less risky loans with the professionals like Mr. Maroney. Or you could wait another year or two to see how things shake out for current lenders. After all, Mr. Larsen managed to bring Prosper back from the brink only by raising its standards. He is, in effect, calling a do over. "In some ways, the industry just starts now," he said. To my mind, though, that is a reason to wait a little longer before you invest much money.	N24News: A New Dataset for Multimodal News Classification	Your Money
The mysterious vampire squid live in the deep sea at depths of about 3,000 feet. While squid in shallower waters reproduce only once, vampire squid reproduce throughout their life span, according to a new study in the journal Current Biology. After examining 40 specimens from the Santa Barbara Natural History Museum, the study authors noted that one fertile female appeared to have laid 3,800 eggs over her lifetime, but still retained 6,500 oocytes. The finding suggests vampire squid may live longer than shallow water squid species.	N24News: A New Dataset for Multimodal News Classification	Science
"The president stepped out of his right wing media bubble to do a disastrous interview with Axios, and it went so badly, he immediately ran back to safe ground on Fox News." SETH MEYERS "He basically tried dating other shows and ended up back with his ex: 'Well, well, well, look who came crawling back.'" JIMMY FALLON "At this point, 'friendly side of the aisle' just means anyone who won't ask a follow up question." SETH MEYERS, on Rush Limbaugh's wondering why Trump would talk to Axios, which he said wasn't on "the friendly side of the aisle" "You know it's bad when even the president's allies talk about him the way a parent would warn a child to stay away from strangers. They talk about legitimate journalists like they're pulling up outside the White House in a windowless van: 'Psst! Hey, kid, you want to do an interview? Tough one? Follow up questions?' As Trump 'My friend Sean told me not to talk to strangers.'" SETH MEYERS	N24News: A New Dataset for Multimodal News Classification	Television
The revelation that federal prosecutors seized years' worth of email and phone records from a New York Times reporter drew criticism on Friday from news organizations and press rights groups, which expressed outrage at the first known instance of the Trump administration's pursuing the private communications of a journalist. The Committee to Protect Journalists called the move "a fundamental threat to press freedom." The Times, in its own statement, called the seizure "an outrageous overreach" and raised concerns about a chilling effect on journalists' ability to report on the government. The records were seized from Ali Watkins, a reporter for The Times in Washington, amid a Justice Department investigation into a former high ranking aide at the Senate Intelligence Committee who was suspected of leaking classified information to reporters. The aide, James A. Wolfe, 57, who retired last year, was arraigned in federal court on Friday on charges of lying to investigators about his contacts with several journalists. He has denied that he gave classified material to journalists, and prosecutors, for now, have charged him only with making false statements to the F.B.I. The Justice Department ramped up investigations into journalists and their sources under President Barack Obama, and the Trump administration was widely expected to follow suit. On Friday, President Trump called Mr. Wolfe "a very important leaker" and said his arrest "could be a terrific thing." "I'm a very big believer in freedom of the press, but I'm also a believer that you cannot leak classified information," Mr. Trump added. Ms. Watkins, 26, joined The Times in December. She and Mr. Wolfe had been in a three year relationship, which drew the attention of prosecutors who were investigating unauthorized leaks from the Senate Intelligence Committee, including articles that Ms. Watkins had written for two previous employers, Politico and BuzzFeed News. In February, Ms. Watkins received a letter from the Justice Department informing her that records from two personal email accounts and a phone number had been seized. Obtaining a journalist's data without permission is considered by First Amendment advocates to be a highly aggressive form of government intrusion. Ms. Watkins, after consulting with her lawyer, decided not to disclose the letter to The Times, according to Eileen Murphy, a spokeswoman for the newspaper. Editors learned of the seizure from Ms. Watkins on Thursday, as reporters were working on an article about Mr. Wolfe's impending arrest. "We obviously would have preferred to know, but the real issue here is the government's intrusion into a reporter's private communications," Ms. Murphy said. "This should be a grave concern to anyone who cares about an informed citizenry." 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. She added that Ms. Watkins would remain on her current beat, covering federal law enforcement. Ms. Watkins disclosed the relationship with Mr. Wolfe to The Times after she was hired, and before she started work at the paper on Dec. 18. On Thursday, Ms. Watkins told her editors that Mr. Wolfe was not a source of classified information for articles she had written during their relationship, which ended last year. Ms. Watkins joined McClatchy Newspapers as an intern in 2013, and became a finalist for a Pulitzer Prize there two years later as part of a reporting team that revealed C.I.A. spying on the Senate Intelligence Committee. She went on to cover national security matters, including the committee's work, at The Huffington Post, BuzzFeed and Politico. The records seized by the Justice Department span her time at those news outlets, as well as her undergraduate years at Temple University, when she was a reporting intern in Washington. Law enforcement officials did not obtain the content of the messages, according to the letter sent to Ms. Watkins by the Justice Department, but the information now in their possession whom Ms. Watkins was communicating with, and when could reveal her contacts. Reporters often rely on the trust of insiders who can offer insight into the workings of government, but often need their identities protected to preserve their livelihoods and, in some sensitive cases, avoid prosecution. Under Mr. Obama, the Justice Department prosecuted more leak cases than all previous administrations combined. Mr. Trump's attorney general, Jeff Sessions, said last year that the Justice Department was pursuing about three times as many leak investigations as were open at the end of the Obama era. Documents filed in the indictment of Mr. Wolfe suggested that prosecutors were especially interested in a scoop by Ms. Watkins published in BuzzFeed in April last year. The article revealed that Russian spies had tried to recruit Carter Page, a former Trump adviser, in 2013 information that had been furnished to the Senate Intelligence Committee. "I'm not going to comment at all on a reporter's sources in the middle of an unjustifiable leak hunt," Ben Smith, the editor in chief of BuzzFeed News, said on Friday. He added that he was "baffled" by the Justice Department's aggressive action against Ms. Watkins, given that Mr. Page had confirmed the information in the article. Brad Dayspring, a spokesman at Politico, where Ms. Watkins worked as a reporter for part of 2017, said that her role at the news outlet was "managed accordingly" after she disclosed to editors her relationship with Mr. Wolfe. When Ms. Watkins joined The Times, Mr. Wolfe was no longer working at the Intelligence Committee. On Dec. 14, days before her start date, F.B.I. agents approached Ms. Watkins and asserted to her that Mr. Wolfe had provided her with information; she did not answer their questions. Ms. Murphy, the Times spokeswoman, said Ms. Watkins had disclosed that conversation with the F.B.I. to her editors at the paper. Around the same time, according to court documents, Mr. Wolfe was also meeting with F.B.I. agents in Washington. Asked by the agents if he had engaged in regular electronic communication with a reporter, he answered no. Presented with photographs of himself with Ms. Watkins, Mr. Wolfe admitted that he had lied, the documents said. But he maintained that he had never disclosed to her any classified information that he had learned from his role on the Intelligence Committee.	N24News: A New Dataset for Multimodal News Classification	Media
David Schramm in a promotional photo for the long running NBC sitcom "Wings." He played the irascible owner of a small airline. David Schramm, an acclaimed stage and television actor best known for his role as the irascible owner of a small airline on the long running sitcom "Wings" in the 1990s, died on Saturday at his home in the Bronx. He was 73. Margot Harley, a founder of the Acting Company, where Mr. Schramm was an original member, announced his death. She did not give a cause. Though well known from his signature television role, Mr. Schramm was first and foremost a stage actor. He was drawing attention in New York while still a student at the Juilliard School, where he was a member of the first graduating class of the drama division. That division was created in 1968 under John Houseman, and its first class of students, graduating in 1972, also included Kevin Kline, Patti LuPone and David Ogden Stiers. The students' work was so well received that Mr. Houseman and Ms. Harley, the drama division's administrative director, formed the Acting Company, a professional troupe, in 1972, with the new graduates at its core. By 1973 the company was on Broadway with five plays in repertory, Mr. Schramm appearing in all of them. He was often, as Mel Gussow put it in The New York Times in 1978, "the company's resident old character man." That year, at age 30, he was playing King Lear. Previously for the company, he had played an aging wanderer in Maxim Gorky's "The Lower Depths," the philosophical old doctor Chebutykin in Chekhov's "Three Sisters," and the father of one of the young lovers in Moliere's "Scapin." After five years with the Acting Company, Mr. Schramm became a regular on regional stages as well as in New York theaters. A turning point in his career came in 1988, when he played the male lead in the Garson Kanin comedy "Born Yesterday" opposite Rebecca de Mornay at the Pasadena Playhouse in California. The production drew rave reviews. "His portrayal is a true heir to Jackie Gleason: loud, blustery, swift, an ungrammatical ball of suet, as unaware of his arrogance as of his limitations," Sylvie Drake wrote in a review in The Los Angeles Times. "In spite of it all, Schramm succeeds in making Brock remarkably appealing a sort of disconnected large pussycat, with the roar and the timing of the lion that he's not." "Because of those reviews, I landed in every casting office in town," Mr. Schramm told that newspaper in 1989. "I was the flavor of the month." He had done little television before that his main credit had been playing Robert S. McNamara in the 1983 mini series "Kennedy" but suddenly he was turning up in episodes of "Miami Vice," "Wiseguy" and other shows. And then, in 1990, came "Wings." Mr. Schramm was cast as Roy Biggins, whose tiny airline shared a terminal on Nantucket Island in Massachusetts with one owned by two brothers, played by Tim Daly and Steven Weber. The cast also included Thomas Haden Church, Rebecca Schull and Crystal Bernard; Tony Shalhoub and Amy Yasbeck joined the ensemble later. The show ran for 172 episodes across seven seasons, a mainstay of the NBC schedule. Biggins was a blustery, obnoxious fellow, who often played against Mr. Weber's laid back character. On Twitter, Mr. Weber remembered the skill that Mr. Schramm had brought to the role. "His timing was never less than perfect," Mr. Weber said, "his professionalism was always on display." David Michael Schramm was born on Aug. 14, 1946, in Louisville, Ky., to Orien and Laura Ruth (Thomas) Schramm. In school he won trophies for public speaking, and at 17 he was an apprentice at the Actors Theater of Louisville. "I got 25 a week to clean the toilets and be in a play," he told The Times of Trenton, N.J., in 2008, when he was in a production of Conor McPherson's "The Seafarer" at the George Street Playhouse in New Brunswick, N.J. "My big line in my very first one was, 'I'm the station master, madam,' and on opening night I said, 'I'm the station madam, master.' People must have been thinking, 'Get this kid off the stage.'" He kept at it, though, taking acting classes at Western Kentucky University, where a speech and theater professor, Mildred Howard, read about the new drama division starting at Juilliard and urged him to try out. Mr. Schramm made occasional appearances on Broadway after his initial turns in the 1970s, most recently in 2009 as the bigoted Senator Rawkins in a revival of the musical comedy "Finian's Rainbow." (Charles Isherwood of The New York Times called his performance "boisterously oily.") But the bulk of his stage work was in regional theaters. Critics praised his work in John Olive's "The Voice of the Prairie" at Hartford Stage in 1987, Beckett's "Waiting for Godot" at the Berkshire Theater Festival in 2008, John Patrick Shanley's "Outside Mullingar" at George Street in 2014, and many more. "My specialty seems to be playing the loud, pompous, bombastic, verging on hysteria guy," Mr. Schramm told The Los Angeles Times in 1989. "But I'd rather establish a totally different persona each time. It's why I act." Information on his survivors was not immediately available. Mr. Schramm is survived by a son, Brent Williams, and four grandchildren. A sister, Betty Jean Bick, died in 2009.	N24News: A New Dataset for Multimodal News Classification	Television
Until Thursday, the last known cases of paralysis caused by "wild" virus were all in Pakistan and Afghanistan. (Vaccination in many countries is still done with oral drops containing weakened live virus, which sometimes mutates to become more dangerous and start outbreaks of "vaccine derived polio," which also can paralyze. While alarming, those outbreaks can usually be brought under control quickly with further vaccination.) As recently as 2012, Nigeria accounted for more than half of all polio cases worldwide. Interrupting polio transmission in Africa was considered a major public health triumph. Only two diseases smallpox and rinderpest, a veterinary disease have ever been eradicated from the earth, and in both of them the last cases were found in Africa. The last few hundred cases of Guinea worm, or dracunculiasis, the only other disease as close to eradication as polio is, are also confined to Africa. Genetic sequencing of the Nigerian virus suggests that the new cases were caused by a wild strain last detected in Borno State, Nigeria, in 2011, which implies that it circulated for five years without being detected. Raids by Boko Haram, the Islamic fundamentalist militia including the kidnapping of 200 schoolgirls in Chibok two years ago as well as fighting between Boko Haram and the Nigerian Army have made many areas off limits for vaccinators and surveillance specialists. Massacres and fighting have driven thousands from their home villages. "That fluid movement of population complicates understanding of exactly where they've ended up," said John F. Vertefeuille, director of polio eradication for the Centers for Disease Control and Prevention in Atlanta. "This is a setback, but we need to double our effort to make sure we interrupt transmission," he added.	N24News: A New Dataset for Multimodal News Classification	Health
Now in my hundredth year, I cannot remain silent. I entered the United States in January 1921 as a poor immigrant boy, and I have felt obliged to repay the United States for the opportunities given to me. I was an American combat soldier in World War II, and was proud to serve my country as the chief prosecutor in a war crimes trial at Nuremberg against Nazi leaders who murdered millions of innocent men, women and children. The administration recently announced that, on orders of the president, the United States had "taken out" (which really means "murdered") an important military leader of a country with which we were not at war. As a Harvard Law School graduate who has written extensively on the subject, I view such immoral action as a clear violation of national and international law. The public is entitled to know the truth. The United Nations Charter, the International Criminal Court and the International Court of Justice in The Hague are all being bypassed. In this cyberspace world, young people everywhere are in mortal danger unless we change the hearts and minds of those who seem to prefer war to law.	N24News: A New Dataset for Multimodal News Classification	Opinion
The president was showing his successor around the White House when suddenly he burst into tears. "I'm a one termer!" George H.W. Bush sobbed. "I'm a Jimmy Carter!" Actually this was the great Dana Carvey doing his Bush 41 imitation on "Saturday Night Live" in November 1992. It was just a few weeks after the election, and Mr. Bush, of course, had lost to Bill Clinton. A second term? "Not gonna do it. Wouldn't be prudent." Bush 41 was the most recent president to serve but a single term. We tend to think of this as a rarity in American politics, but for most of our nation's history, one term or less than two full ones has been the rule, rather than the exception. Of the 44 men who have served as president, only 14 have completed two terms. (And I'd make the case that it's really 13, since Woodrow Wilson was largely incapacitated during his final year in office, after his stroke in October 1919.) If Donald Trump loses his bid for re election in November, he'll join the one termers club. And then he'll have to consider what his mission will be in the years remaining. Should this come to pass, history provides some good if varied examples of the ways ex presidents can continue to serve. More on that in a second. But first, let us consider how unusual it is that four of our past five presidents Ronald Reagan, Bill Clinton, George W. Bush and Barack Obama completed two full terms. This has happened only once before: at the founding, when George Washington, Thomas Jefferson, James Madison and James Monroe all did it. (Of the first five presidents, only John Adams, in 1800, failed to win re election.) In fact, there's a nearly 100 year stretch from 1837 to 1933 when only two men served two full terms: Ulysses S. Grant and Woodrow Wilson. (And again, I'd consider the post 1919 Wilson president in name only, as others including his wife, Edith determined his agenda.) In all, 23 men served as president during those years, including Grover Cleveland, who served nonconsecutive terms. Wilson and Grant were re elected and lived to see their successors inaugurated. What happened to the others? Well, five were denied their party's nomination for a second term: John Tyler, Millard Fillmore, Franklin Pierce, Andrew Johnson and Chester Arthur. Five more Martin Van Buren, Grover Cleveland (in 1888), Benjamin Harrison, William Howard Taft and Herbert Hoover gained the nomination, only to be defeated in the general election. Six others died in office: William Henry Harrison, Zachary Taylor, Abraham Lincoln, James Garfield, William McKinley and Warren Harding. Of the six, three Lincoln, Garfield and McKinley were assassinated. And five more simply chose not to run for a second full term: James Polk, James Buchanan, Rutherford Hayes, Theodore Roosevelt (in 1908) and Calvin Coolidge. Cleveland also opted out of another run in 1896; apparently two terms, even if not consecutive, were enough. (He did wind up getting his picture on the 1,000 bill, though, which, as my mother used to say, is not nothing.) In the postwar era, Dwight Eisenhower finished a second term in January 1961 but after him came another run of presidencies suspended. John Kennedy was killed in his first term. Lyndon Johnson, worn down by Vietnam, decided not to run again. Richard Nixon was re elected and then had to resign. Gerald Ford wasn't re elected; neither was Jimmy Carter. I'm in my 60s now. I was 30 years old before I saw a president finish a second term Reagan, in 1989. All of which may provide some perspective for Donald Trump, who if the current polls hold could find himself in Jimmy Carter's shoes this January. If so, he'll need to consider what role he might play as an ex president. Here too, history provides some good (and some not so good) models. First the bad news: A lot of former presidents kick the bucket fairly soon after they leave office (and this, of course, is not counting the eight who didn't reach the post presidency, thanks either to an assassin's bullet, heart attack or a bowl of bad cherries). Polk left office in March 1849 and was dead by June. Arthur was gone in less than two years. Four more survived less than five: Wilson, Washington, Coolidge and Lyndon Johnson. On the other hand, there's Ford, who left office in 1977 and lived for 30 more years. Or Hoover, who lived for 31. Or Jimmy Carter currently at 39 years and counting. So, assuming Donald Trump stays away from the death cherries, what might he do in the years to come? One president, Andrew Johnson, was re elected to the Senate. This was a real vindication for the first president to be impeached, although admittedly, dying of a stroke after only five months in the Senate took some of the shine off it. Then there was Taft, who first became a professor at Yale Law School, and then, in 1921, chief justice of the Supreme Court. Sure, I could see that. Professor Trump. Senator Trump. Chief Justice Trump. Are these titles really harder to imagine than, say, President Trump? But if none of these career paths is appealing to Mr. Trump, another example might be found in well, Jimmy Carter. In 1982, he co founded the Carter Center, devoted to democracy, human rights and curing disease. He helped provide housing for the homeless and underprivileged through Habitat for Humanity. He worked as a freelance ambassador mediating disputes around the world. He taught Sunday school at Maranatha Baptist Church in his hometown Plains, Ga. If Donald Trump has failed to make America great again and if one tried really hard, one might just be able to make that case he might consider whether his time post presidency might yet give him a chance to make America, well, better. Can you see him building homes for the homeless, given his history in New York real estate? Or negotiating peace in the world's hot spots, given his triumph with North Korea? Or perhaps teaching Sunday school, given his not at all cynical expressions of faith, what with waving that Bible around in Lafayette Square? For a moment let us consider Donald Trump dedicating the rest of his life to helping the poor. Or to bringing about world peace through negotiation. Or to teaching the precepts of his humble Christian faith. I want to imagine Donald Trump doing these things honestly, I do. But, you know. Not gonna do it. Wouldn't be prudent. 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
A NEW LOOK AND MENUS AT THE WATERGATE HOTEL A legendary hotel known for scandal wants to have a name for its good food and drinks, too: The Watergate Hotel in Washington, D.C., famous for the break in that led to President Nixon's resignation, will be home to three new restaurants and bars when it reopens this spring following a 125 million face lift. The property's new executive chef, Michael Santoro, who has worked at Michelin starred restaurants like the Fat Duck in England, has created the menus for all of them and is emphasizing seasonal dishes and modern cooking techniques in his approach. The outlets include Kingbird, a restaurant with both a casual dining area and an upscale one serving American cuisine with French influences; the Next Whisky Bar, featuring an expansive list of whisky, bourbon and rye from small batch producers and large distillers; and Top of the Gate, a rooftop lounge with a firepit that will offer cocktails and Asian street food. There's an Apple app today for just about everything, and one for renewing passports just got added to the list. ItsEasy.com, a government registered passport and visa expediting company, introduced the app this week and claims it is the first of its kind; it gives travelers the option to process their passport renewal application and take new passport photos through their iPhones. The pictures are reviewed and approved by one of the company's employees and can be delivered to customers by email or regular mail along with their ItsEasy order. Once the order is completed, ItsEasy will send users a passport application and a trackable United States Postal Service priority shipping label so they can mail back their documents to the company for processing. Prices for rush processing start at 140, while standard six week processing is 29.95. The app also has a free passport renewal reminder service that tells users to renew their passport via email nine months before it expires. NEW RAIL SERVICE BETWEEN LONDON AND PARIS Eurostar, the high speed train service between England and mainland Europe, recently introduced service between St. Pancras International Station in London and Gare du Nord in Paris on its new e320 train the first of a fleet of 17 trains designed by the renowned Italian design house Pininfarina. The trains carry 900 passengers 20 percent more than the old ones and can travel as fast as 200 miles an hour. They're equipped with free Wi Fi and have larger seats than their predecessors, all with USB sockets. The rest of the new trains will debut throughout the year. Also, Eurostar has partnered with the well known French chef Raymond Blanc and Silent Pool Distillery in Surrey, England, on a new spirit called Toujours 21 Gin. The drink has a combination of French and English botanicals such as juniper, citrus and angelica; business class passengers can enjoy it for free in Eurostar's business class lounges, and it's also available to purchase by the bottle for PS40 ( 55).	N24News: A New Dataset for Multimodal News Classification	Travel
You can feel the bafflement percolating in the audience when ushers have nothing to give out before a performance in New York. We theatergoers have gotten used to the fact that some shows don't want us getting our paws on a playbill until afterward they don't want us distracted, maybe, or a surprise spoiled but the new twist is no program at all. At least not one we can hold in our hands. Often, they want us to go online to read a digital version a money saving move, surely, but one that shortchanges artists and audiences alike. That lovely Palestinian actor, Khalifa Natour, who starred in "Grey Rock" at La MaMa in early January? I'd have loved to glance down at a piece of paper that evening and find out that he'd been in the movie "The Band's Visit," which I adored. But that fact was in the program, and the program was online. I don't mean to pick on La MaMa. Going digital has become such a trend Off and Off Off Broadway that I'm no longer surprised to be directed to a theater's website if I want to know whose work I'm seeing. It's not just a wrongheaded tack, though. It's also counterintuitive, because it's contrary to the spirit of live performance. Theater is one of our most intimate art forms, one that asks us to step away from the outside world and this sounds like yoga talk, but it's valid anyway be present for a while, our attention on what's unfolding in the room. But any information you access on a phone or tablet exists in a space that lets the whole restless world in, coming at you in a calm shattering barrage of text messages, emails and news alerts. A digital program doesn't stand a chance of holding someone's attention against all that. It's not a great place to send people to think about the art and artists they've just seen. And an e playbill, unlike a printed one, won't ease anyone into the experience of seeing a show, acclimating them as surely as an overture would. If that sounds like an exaggeration, think about how focused you feel reading a physical book or newspaper, and how relentlessly interrupted when your eyes are on a digital device. I don't say that as a Luddite; I'm writing this on a digital device. It's not that I'm unconcerned with saving trees, either, or unaware of the punishing economics of nonprofit theater. How do you feel about digital playbills? Do you save your paper programs? Please tell us in the comments. Programs, though, aren't extras; never mind what the British have decided, with their practice of charging for them. They're essentials that help spectators navigate the production and process it afterward. (That's why those one sheet playbills can be so frustrating, with their frequent lack of bios and other crucial information.) My youngest brother, who is in his 20s, isn't a habitual theatergoer, at least not yet. But when he goes with me to a show, he sits down and opens his program right up, reading it to see which actors he knows and what the director might have to say. He peruses the ads for other shows, too, in case any of them appeal. So it's not just the oldsters who like a good paper program, though they can be downright poignant in their dismay when they don't get one. Recently at Classic Stage Company, a good chunk of the row behind me went all aflutter when they thought for a moment that someone sitting nearby had printed out the online program. I'm sure that wasn't the effect Classic Stage intended. But when a theater bypasses paper playbills, it is outsourcing a job to its audience members saying that if they want to know more, that's on them. Why do that to people who've already proved their curiosity by their presence? If they don't want to take the thing home, they can always give it back. I'm not a program hoarder, either, actually; I hang onto all of them for a while, then keep the ones that mean the most to me. I find it comforting and useful that Playbill, the company, has an archive of its programs online, and that digitization is preserving other programs from long ago. But that's for history. In the moment, I want that tangible souvenir. When I admire something I've seen onstage, I often spend my subway ride home scouring the artists' bios, my paper program in full view of fellow riders advertising that doubles, sometimes, as a conversation starter. But honestly (and I'm talking here about shows I'm not writing about), if the onus is on me to track that information down, there's an excellent chance I won't do it. When I turn on my phone, I'll probably use it to read the news. Program wise it seems lately that many theaters whether they use e playbills or not are moving boldly in a direction to which the audience is meant to adjust. So it was heartening at the Public Theater's Under the Radar festival to see an about face midstream. Early in the run, ushers politely told theatergoers that if they wanted a festival program, they could find one in the first floor lobby not the most helpful response if you're two stories up at the time, and stymieing given the scarcity of booklets down there. (My personal quest to get one took two days.) Later in the festival, though, ushers would hand one right to you. Progress! Still, after that, I caught myself feeling relieved at the Prototype Festival to be given a program with my ticket. And I was completely charmed by the buoyant young usher at "Colin Quinn: Red State Blue State" who greeted each person with: "Would you like some programs?" Plural. The most sensible approach I've seen recently on the playbill front was at Rattlestick Playwrights Theater, where when I arrived for "Lewiston/Clarkston," the box office offered a choice: Printed program, e program or both? I went with printed, of course, and what I got was nothing fancy just a sheaf of pages stapled together. But, riffling through them, I found everything I needed.	N24News: A New Dataset for Multimodal News Classification	Theater
The trendsetting modern style of Scandinavian cooking known as New Nordic has guided the Danish capital's emergence as one of the world's great food cities. The manifesto for this cooking was signed by 12 of the region's most influential chefs in 2004. Among other things, it affirmed the importance of traditional Nordic recipes and cooking techniques, seasonal local foods and sustainable agriculture. Now, one of its quieter themes is providing new momentum to the Copenhagen dining scene's ascendance: "To combine the best in Nordic cookery and culinary traditions with impulses from abroad." A perfect example is Restaurant Brace, which the chef Nicola Fanetti, 27, opened in February with the idea of creating a kitchen where the produce and techniques of New Nordic cooking would be applied to traditional Italian dishes and vice versa. Mr. Fanetti, a native of Brescia in northern Italy, who graduated from Alma, one of the top culinary schools in Italy, formerly cooked at Era Ora in Copenhagen, generally considered the best Italian restaurant in Scandinavia. "There are unexpected similarities between Italian cooking and the New Nordic style," Mr. Fanetti said. "Both kitchens make a cult of freshness, the seasons and simplicity."	N24News: A New Dataset for Multimodal News Classification	Travel
Under normal circumstances, any author who raked in 600,000 for a series of self published children's books would be snapped up by a prestigious publisher and handed a lucrative multi book deal. But in the case of Baltimore's former mayor Catherine Pugh, the sales were a sham. Most of the "Healthy Holly" books bought by local health care companies and the Baltimore school system were never distributed, and Pugh used the money to finance her political campaigns and renovate a house. (She pleaded guilty to federal crimes on Thursday.) Politicians love to write books (whether readers finish them is another matter), and Pugh is hardly the first to come under scrutiny over hers. Here's a look at some others who have.	N24News: A New Dataset for Multimodal News Classification	Books
AN unnerving summer that has included a debt ceiling standoff, extreme volatility in the financial markets and fears of a double dip recession might seem a poor time to buy or sell expensive, impractical collectible cars. Yet more than 200 million of vintage automobiles changed hands on the Monterey peninsula this month, a 16 percent jump from the record set last year when the economic climate seemed somewhat brighter. David Gooding, president of the Gooding Company auction house, interpreted the results as further evidence that amid erratic financial markets, tangible assets like rare automobiles are viewed as sound investments. Indeed, 32 cars sold for 1 million or more at the auctions held around Monterey in conjunction with the Pebble Beach Concours d'Elegance. Mr. Gooding's company had the high sale of the weekend, 16.4 million (including commission) for the 1957 Ferrari Testa Rossa prototype. It also set a world record as the most expensive car ever sold at public auction. In an interview, Mr. Gooding said, "While we're thrilled and proud of the result, I think that this was the car out of all of those in the sale that will appreciate the most." Alluding to private party sales of Ferrari 250 GTOs well in excess of 16 million, he added, "I believe that the Testa Rossa is currently undervalued," given its greater success on the racetrack.	N24News: A New Dataset for Multimodal News Classification	Automobiles
As one of the country's leading trust and estates attorneys, Mr. Zabel said he's seen many instances in which the bankers, attorneys, accountants and other professionals in a small town close ranks when out of town attorneys arrive to challenge the decisions they've been making. The locals may favor the local children over the ones who moved away and can play favorites in subtle ways. Equal is not fair if one sibling gets cash and the other gets real estate or securities set to appreciate, for example. Of course, how this kind of situation is handled depends on the bank and the town. Some might argue they know the family and its needs far better than outsiders. Outsiders aren't impervious to mistakes. The widow of an American Airlines executive recently won an 8 billion judgment against J.P. Morgan Chase for how it managed distributions between her and the man's children from a previous marriage. This is an extreme case, but it behooves the person setting up the trust to put in provisions that would allow a trustee to be replaced. This generally requires the beneficiaries to agree on the terms but it must be put in the legal documents ahead of time, Ms. Klein said. READ MORE: Life After Your Death? Here's Why You Should Have a Trust. Another consideration is whether siblings should be expected to work out their disputes after parents die especially if they couldn't do it while their parents were alive. Separate trusts for each child not one large children's trust can mitigate some of this friction. "One sibling is then free to raise their own challenges," if he or she disagrees with something an adviser has done, Ms. Halpern said. "The other benefit of allowing different family members to have their own trusts is they can choose their own trustees, and they don't have to have the same trustees across the board." It also keeps siblings from knowing each other's business. Finally, to give your children the best chance of staying on good terms with each other, advisers say write both a financial will that leaves them the assets and an ethical will that conveys guidance to them.	N24News: A New Dataset for Multimodal News Classification	Your Money
WASHINGTON The United States and Brazil have reached an agreement on a limited trade deal that will facilitate commerce between the countries, strengthen regulatory practices and crack down on corruption, officials from the two countries announced Monday. The pact, the latest in a series of "mini" trade deals inked by the Trump administration, follows seven months of negotiations between the United States and Brazil, and comes as President Trump is eager to rack up trade wins ahead of the Nov. 3 election. But it's unclear how much the new deal will boost trade between the countries, given its limited scope. Speaking from an event hosted by the U.S. Chamber of Commerce on Monday, President Jair Bolsonaro of Brazil said the deal would open "a new chapter" in the relationship between the two countries. He said that Brazilian and U.S. officials had completed negotiations "in record time" on a package that would "slash red tape and bring about even more growth to our bilateral trade." Brazil was the United States' 11th largest trading partner in goods in 2018. That year, the United States exported 67.8 billion of goods and services to Brazil, including fuel, aircraft, machinery and chemicals, and imported 37.2 billion, including fuel, steel and aircraft.	N24News: A New Dataset for Multimodal News Classification	Economy
It seems that no car, truck or sport utility vehicle in General Motors' vast product lineup is immune to the automaker's blitz of safety recalls. The company on Thursday announced its latest round, for 2.7 million vehicles, bringing to nearly 11.2 million the number of vehicles recalled this year by G.M. in the United States and 12.8 million worldwide. Last year, it recalled almost 758,000 in the United States. What started in February with the long delayed recall of millions of older model small cars for defective ignition switches has snowballed into a series of repairs affecting some of G.M.'s most popular products. "Ever since the switch crisis, G.M. has decided that they are going to recall everything with a problem as fast as they can," said Joseph Phillippi, president of the consulting firm Auto Trends. Thursday's round covers five separate safety issues and includes some of G.M.'s top selling models, like the Chevrolet Malibu midsize sedan and the company's full size pickups. Millions of cars have taillights that could malfunction, and 477 trucks and big sport utility vehicles could suddenly lose steering because parts were not tightened properly. The steering issue is so dangerous that G.M. has advised owners not to operate the vehicles until they have been repaired. The company's top safety official, Jeff Boyer, said in statement that G.M. had stepped up its push to review complaints about vehicles and fix them promptly. "We have redoubled our efforts to expedite and resolve current reviews in process and also have identified and analyzed recent vehicle issues which require action," Mr. Boyer said. The largest of the new recalls covers 2.4 million midsize cars with faulty wiring that could cause brake lights to malfunction and not illuminate or could illuminate the lights without the pedal's being touched. It could also disable safety features like electronic stability control which tries to correct for skids and panic braking assist, which is designed to make sure the vehicle's full braking power is being used in an emergency. The vehicles with the faulty wiring include the 2004 12 Malibu, the 2004 7 Malibu Maxx, the 2005 10 Pontiac G6 and the 2007 10 Saturn Aura. The recall expands a 2009 recall of 8,000 vehicles, which federal regulators challenged as inadequate. That recall was limited to relatively few 2005 6 Pontiac G6 models for that brake light effect. Last year, safety regulators sought more information about why the automaker did not recall other vehicles that appeared to use a similar system. The automaker has now decided to recall the additional vehicles "based on data gathered through additional investigation and field evaluation process," a G.M. spokesman, Alan Adler, wrote in an email on Thursday. G.M. said it knew of hundreds of complaints and 13 accidents associated with the problem. The company said there were two injuries but no deaths as a result of the issue. "Brake lights come on for no reason, shut off cruise control," a driver of a 2004 Chevrolet Malibu complained to safety regulators in March 2013. And a driver of a 2005 Malibu said to regulators in June 2013 that he was "told by a driver who had been behind me coming up to a traffic light that my brake lights were not working. She said it looked as though they were on while I was accelerating and went off when I was stopping." In 2008, the automaker told dealers there might be a problem with the brake lights and explained how to fix it. But there was no recall until 2009, when the 8,000 vehicles were recalled. The action is the ninth time in about 16 months that the automaker has recalled vehicles for which it previously sent only a bulletin to dealers, an analysis by The New York Times found. G.M. has repeatedly sent these letters, called technical service bulletins, to dealers and sometimes to car owners as stopgap safety measures instead of ordering timely recalls, the analysis found. The company also said the financial toll of the recalls was increasing as well. G.M. said it expected to take a 200 million charge in the second quarter to cover recall related repairs. In the first quarter, the automaker took a 1.3 billion charge, which eliminated most of its profits for the quarter. The company is also recalling 140,000 Malibus from the 2014 model year for problems with hydraulic brakes that could extend the stopping distance when the brakes are applied. G.M. said it knew of four accidents in the vehicles, but was unsure whether they were related to the brakes. No injuries were reported, the company said. The other recalls cover 111,000 Chevrolet Corvettes from the 2005 7 model years for problems with low beam headlights, 19,000 Cadillac CTS sedans from the 2013 14 model years for faulty windshield wipers, and the 477 full size pickup trucks for mechanical problems with steering gears.	N24News: A New Dataset for Multimodal News Classification	Automobiles
Tiny turned out O.K., all things considered. At least that's the initial impression given by "Tiny: The Life of Erin Blackwell," a decades later follow up to "Streetwise," the Oscar nominated 1985 documentary from the filmmaker Martin Bell, the photographer Mary Ellen Mark and the journalist Cheryl McCall. That movie chronicled the lives of teenagers on the streets of Seattle. The subject who emerged most vividly, also captured in some of Mark's most recognizable pictures, was Erin Blackwell, who had the nickname Tiny. Early in "Streetwise," speaking to an off camera medical professional, Erin blithely discusses turning tricks, her suspicions that she has contracted another venereal disease and her thoughts on the possibility of being pregnant at age 14. "Tiny" mainly unfolds 30 years later, interspersing clips from "Streetwise" and its outtakes and from check ins from over the years. Erin is introduced going through old photographs with Mark (who died in 2015, before this film was completed). Erin plays with her children six out of 10 of whom live with her at the outset in the marshy Seattle area banks. Their home appears to be filled with puppies. She met her husband, Will, on a chat line. Knowing her past, he does not judge her. "You have to accept people for who they are," he says. But the Blackwell residence is not as even keeled as it first appears. Erin still struggles with addiction. There is friction between one of her sons, Rayshon, and Will, who wants to keep him out of prison. A grown son, Daylon shown as the parent of an infant talks about smoking heroin. "To smoke every day, it's nothing I would suggest to anybody, but I mean, it helps through stressful situations," he says.	N24News: A New Dataset for Multimodal News Classification	Movies
The reminders are valuable and often absorbing in their own right, though. Along with Redfield and Konyndyk, Smith enlists several doctors and a couple of New York Times reporters in recounting the Covid 19 story, beginning with its appearance in Wuhan, China, fatefully timed to the mass migrations of the lunar new year. Short segments cover the contrasting Chinese and South Korean responses to the disease and the deadly outbreaks in Iran and Italy. But the focus is on America, and on a series of missteps whose familiarity makes it no less tragic and maddening. Months of inaction by the government; the botching of test kits by the C.D.C. and their continuing unavailability; dismissive and contradictory statements by President Trump and his minions it's all there, just as we lived through it. "The Virus" is judicious in its use of footage from Trump's formerly daily news briefings. Hydroxychloroquine and detergent aren't mentioned. There is a clip of the classic couplet: And there's Trump's false claim on March 6 that Covid 19 tests were widely available, which becomes one of Smith's several opportunities to put Redfield on the spot. "I'm not going to comment on what I think the president believed or didn't believe" may be Redfield's lowest moment, rivaled by his bizarre decision to quote Theodore Roosevelt with regard to the administration's efforts: "At worst we'll fail by daring greatly." The absurd theater of the briefings is a sideshow, however, to the real tragedy, which the show places back in January and February, when virtually no preparations were being made in Washington despite the alarming news coming out of Wuhan and other parts of the world. The real story of Covid 19 in America, "The Virus" posits, was a lack of leadership that took the form of a failure of imagination. It was mediocrity rather than malfeasance. A quick programming note: ABC will carry a documentary about the 1992 Los Angeles riots while "The Virus" makes its national premiere on Tuesday night. The other major networks, meanwhile, have scheduled "World of Dance," "Gordon Ramsay's 24 Hours to Hell and Back" and a rerun of "FBI." Anyone looking for coverage of the ongoing protests will have to look outside network prime time apparently the revolution still isn't being televised there.	N24News: A New Dataset for Multimodal News Classification	Television
It was 8 a.m. Tuesday in St. Louis when the American chess grandmaster Fabiano Caruana, ranked second best in the world, moved his pawn to E4. It was 6:30 p.m., and over 8,000 miles away in Nashik, India, when his opponent, Vidit Gujrathi, responded from his home, just seconds after Caruana's opening: pawn to E5. And so began the Online Nations Cup, an unprecedented international team chess tournament borne of the coronavirus pandemic. While the outbreak has forced most sports around the world to shut down, chess has not only found a way to carry on it is thriving in some ways. In the past several weeks there has been a surge in grass roots participation in chess to go along with a few high profile professional events online. This past week, the Online Nations Cup brought 36 of the world's top players together in their homes across multiple time zones, from Brooklyn to Beijing. They have been moving pieces on their laptop chessboards in a competition that, at its core, is the same game they would contest under normal conditions. The tournament can be seen on multiple platforms, has a record purse of 180,000 and is being broadcast in a dozen languages. "It is one of the biggest things we've ever done on chess.com," said Daniel Rensch, the co founder of the site, who commentates on the action live. Video game versions of most sports entail entirely different skill sets from the real thing; manipulating a remote device from a couch bears little resemblance to being sacked by a 300 pound lineman. But online chess is essentially the same game, and when other sports were halted in March under a worldwide shutdown, fans were left starving for something to watch and do. With newfound time on their hands, people have turned to online chess by the millions. "Participation online has doubled, at least doubled," said Arkady Dvorkovich, the president of FIDE, chess's world governing body, which is co hosting the Online Nations Cup with chess.com. The flood of enthusiasm has left chess.com and the other big chess websites like Chess24 and Lichess scrambling to keep up. Nick Barton, the director of business development for chess.com, said server capacity had to be increased to meet demand, technicians and engineers were asked to work overtime, and others were hired to handle the global crush. The servers twice went down briefly once by design and officials could virtually track the spread of the virus through the geography of the new sign ups. "It has been sad in a way, because you could see it move country by country," Rensch said. "Italy went from 4,000 per day to 10,000 and it just swept across as different countries dealt with the Covid 19 pandemic." Barton said chess.com is on target to experience five years of growth in three months. In April, 1.5 million joined, compared to the more typical 670,000 new members recorded in January. They put it together in roughly three weeks, and most of the best grandmasters in the world signed up, save for Magnus Carlsen, who is ranked No. 1 and just finished hosting his own unique online event recently. Carlsen won that event on May 3, and when it was over, Jan Gustafsson, the grandmaster who was commentating, signed off by thanking fans for watching. He added: "Not that you guys have any other choices. Let's face it, there's no other sports going on." But there is real chess and two days later, the Online Nations Cup began as the richest online team event ever, with the winning team sharing 48,000. It is a double round robin that runs over six days with six teams the United States, China, India, Russia, Europe and one called The Rest of the World. The top two teams meet in the final on Sunday. There have been a couple of minor glitches, such as when Team Europe's Zoom conferencing went down briefly on Day 2. But after four rounds with 24 games per day 12 at a time this tournament, and the Carlsen event before it, have helped to quench a chess enthusiast's thirst. "There's a lot of games, a lot of drama and that's amazing," a somewhat exhausted Rensch said on Wednesday, after broadcasting the third and fourth rounds. "Sometimes it can get a little crazy, but it's been super exciting." Four players from each team compete in each round, seen via webcam in their offices, bedrooms and kitchens. The format is rapid chess with the same 25 minute time control used in world championship tiebreakers. The starting time was designed to accommodate so many different times zones: Rensch is in his studio in Phoenix, ready to broadcast before play begins at 6 a.m. there, but for the players in China, it is 9 p.m. when play starts. Each team has a captain Garry Kasparov, the former world champion, captains Europe and they decide each day's roster. One woman must play in each round for each team, and each team also has one male and one female alternate. Her opponent in that first match was the U.S.'s Irina Krush, who played from her home in Brooklyn. Saduakassova is playing from her home in Nur Sultan, Kazakhstan, where she set up a mobile router as backup. Wi Fi is as important to these events as bases on a baseball diamond. Anish Giri, a Dutch grandmaster playing from his parents home in Rijswijk, the Netherlands, said that he is obsessed with his connectivity. "I was playing in a smaller online tournament and the Wi Fi went out," Giri said in a telephone interview recently. "I was furious. I did a lot of research and I upgraded everything. Now my Wi Fi is absolutely insane." Another key issue is fair play. No one expects the top players to cheat, but FIDE and chess.com, which invest heavily in anti cheating methods, still must ensure the integrity of the tournament. So, an arbiter and a proctor are assigned to monitor every player, and multiple cameras can show every angle, including all the laptop screens, at all times. At live tournaments, players are permitted to walk around and go to the bathroom, but in online competitions players are all but glued to their laptops. That affected the tactics in at least one game. "I was just trying to play as quickly as possible because I kind of had to use the restroom," Caruana told Rensch in an interview after his win over Gujrathi. There are other subtle differences, too. Some of the intensity is lost in online chess with opponents sitting thousands of miles apart. Dvorkovich, the FIDE president who is also the captain of the World team, said that makes it harder for some players to concentrate. "We are missing the emotional part when people meet and shake hands," Dvorkovich said. "People love when they look over the board into the eyes of their opponent. People are missing that. But this is a very good substitute." It has been for millions of amateurs, too.	N24News: A New Dataset for Multimodal News Classification	Sports
Joe Maldonado Passage, known as Joe Exotic, in the Netflix series "Tiger King." He and other exotic animal keepers in the series built worlds all their own, marked by startling, animal influenced aesthetics. Of all the shocks in the new Netflix true crime series "Tiger King: Murder, Mayhem and Madness" and they are myriad few are more singular, more head tiltingly odd than the scenes in which the show's protagonists, particularly the sideshow zoo captain Joe Exotic, interact with animals. It's a disorienting, disquieting sort of normalcy. As if the television in your living room started lining up perfectly with the weather system outside your house. As if the Instagram filter on a selfie you posted leapt out of the phone and stuck to your actual face. Seeing a tiger in the passenger seat of a pickup truck, or watching Exotic pose for photos surrounded by dangerous big cats something isn't where it's supposed to be. Two timelines that are ordinarily parallel are instead intersecting. It is magical realism, but real. The seven part "Tiger King," a runaway hit on Netflix since it debuted almost two weeks ago, is a cascade of jaw dropping moments, sui generis self made characters, and plot turns that are sometimes fanciful, sometimes criminal, sometimes gruesome. It is filmed plainly, often with improbable intimacy, and buffeted with a rather astonishing amount of contemporaneous video documentation. It depicts behavior of dubious ethics, sometimes gleefully. It is also, because of its commingling of human and animal realities, a steady fount of radical, startling aesthetics. Practically all of the interview subjects are outlandishly decorative in their self presentation. Practically every surface is covered in animal print. Thanks to its singular, uncompromised, primal verging on lurid style, "Tiger King" has become the raw material for oodles of memes, inspo for a thousand fit pics. It is never visually stable almost every scene is a fresh shock. The protagonists' absorption of animal aesthetics indeed, they seem to be remaking themselves in the image of their animal compatriots is central to the show's titillation. Yes, the behavior the show documents is wild, but the way its characters present themselves while engaging in this behavior is the glue, a seemingly limitless pool of excess that telegraphs a capacity for unfathomable choices. The root is the luscious regality of these big cats it is difficult not to be transfixed by them. "Tiger King" loves a languorous shot of an animal stalking its cage purposefully, muscularly. The cats are coveted by late night hosts looking for an attention grabbing frolic, by Hollywood film and television productions, by regular folks willing to pay a few hundred bucks for a bit of petting and private playtime. Throughout the show, humans and fearsome animals interact intimately, intensely and, sort of, lovingly, if that is possible given the general horror of keeping wild animals in captivity. In the case of Exotic and the animal rights activist Carole Baskin dedicated enemies with many uncanny similarities both seem to enjoy becoming animal esque themselves. Baskin, painted in the series as something of a do gooder villain, dresses almost exclusively in animal print clothing. (Every now and again, she intersects with au courant style.) It scans as an act of sympathy for the cats at her sanctuary, as marketing savvy, and also as a bit of delusion, a sort of cross species passing. Exotic is something more creature like and is also streamlining an haute redneck approach to style. He wears sequined shirts tucked into crisp denim, has a phalanx of hoop earrings, has bullet holes tattooed on his torso. When he gets married, to two men at once, all three wear the same hot pink Western shirt. At one point he wears a hoodie with airbrushed tiger stripes on the arms. His hair is feral, too sandy beige on the shaved tight sides, and bleached yellow on the top and down to the end of his wispy mullet. Exotic born Joe Schreibvogel, later Joe Maldonado Passage, but never anything other than Exotic is also a character actor, a set designer, a country singer, a firearms enthusiast, a ramshackle political candidate, husband to at least three different men and more. He paid for one of his husbands to get a tattoo that reads "Privately Owned Joe Exotic" branded, in a way. His life is a marvel of self invention. Inspired by the cats they revere, these enthusiasts mark themselves for external appraisal. Even the secondary characters do so the zoo manager John Reinke and his loudly decorated, Ed Hardy style prosthetic legs; Lowe's awkwardly fitting biker chic, all leather and gauche fonts. Even Rick Kirkham, the ostensible neutral observer who produced an abandoned reality show about Exotic, wears a safari hat, as if a lion might creep up at any moment. That is useful when you are building your own reality. These animal preserves whether Exotic's zoo in Oklahoma, or Baskin's rescue facility in Florida, or Antle's compound in South Carolina are stand alone ecosystems, or try to be. (Exotic's animals, and his employees, rely on regular deliveries of just expired meat from Walmart for feeding time.) Even the people on the show aren't totally certain where Exotic's reality ends and theirs begins: In one scene, a tiger grabs hold of his leg and begins to drag him around its cage. But the co workers who are filming Exotic don't step in, or even seem to sense that things are amiss maybe in his reality, that's normal? until Exotic pulls out a gun and fires a couple of warning shots. Such disruption is rare, because rarely does Exotic break character. At one point, he invokes the Waco disaster in discussing what might happen if local authorities interfered with his zoo. He has built a world to his taste, on his terms, and he can't fathom any intrusion into his reality. In essence, "Tiger King" is a legal saga: Exotic is in jail, having been convicted of a plot (unsuccessful) to murder Baskin, whom he long had quarreled with. But so much of the back and forth takes place far from any courtroom. Both Exotic and Baskin are proficient in warfare on the internet, deploying highly stylized videos in which they are the champions battlefields of their own making. Exotic a local hero, sort of, and a hero in his mind, definitely sells shirts, hats, underwear, personal lubricant; he is a lifestyle brand. In Baskin's world, everything is feline, down to the fans she addresses at the top of each of her videos: "Hey, all you cool cats and kittens." What a peculiar vicarious pleasure this all provides the visual self invention, the unfettered self promotion, the melding of two realities, human and animal, into one. It's a raw jolt. If only actual reality wouldn't interfere. In the second half of the series, for Exotic, it does. (As it has in the real world subsequent to the show's release, with the leaking of footage of Exotic making racially insensitive statements.) His legal battles with Baskin drain him financially, his potentially criminal activities grow in scope, one of his husbands kills himself (it's described as accidental), and another leaves him. He loses control of his zoo, the fief of which he was king. Throughout the series, Exotic calls the show's directors from jail, generally indignant, but sometimes tearful. His reality has been taken from him, and he's not sure if he can function in the one everyone else lives in.	N24News: A New Dataset for Multimodal News Classification	Television
Theater of the absurd has nothing on the bizarre scenario endured by Britain's playhouses during 2020. March 16 was the first of several doomsdays on which the coronavirus pandemic forced them to close their doors, bringing to a halt a theatrical economy worth billions of pounds. Then came months of nothing, followed by the gradual emergence of outdoor shows, then indoor performances, when financially practical: no big musicals or Shakespeares, just bite size plays, performed in auditoriums newly configured to meet government guidelines. Several pioneering venues the Bridge Theater, in London, pre eminently opened again at the end of the summer, but not for long. They, too, were shuttered again by a second lockdown, in early November albeit a shorter one, which lifted on Dec. 2. This was replaced by a tiered system of geographical restrictions, which meant that theaters in parts of the country were open, while others had to stay shut. In London, this critic's diary was briefly filled with press night appointments that recalled the halcyon days of old. But now, as of Dec. 16, the city has entered the grim "Tier 3," and that surge in activity has proved to be short lived at least for in person performances, rather than events streamed via the internet. Theaters have responded to these whiplash changes with a nimbleness that wasn't in evidence this time last year. (Equally improbable back then was the notion of socially distanced seating, with legroom worthy of an airline's first class.) Shows have learned to be readily adaptable for online distribution: That was the path taken by "Death of England: Delroy," the production chosen to reopen the National Theater, in November. Its opening night turned out to be the closing one, too, when the second national lockdown was announced, but it went out on YouTube later that month. That brought Roy Williams and Clint Dyer's fiery solo play to audiences worldwide, and confirmed the prevailing awareness that smaller was better in these corona times. Throughout the pandemic, you had to marvel at the ability of theater people to follow the work, wherever it might lead. Juliet Stevenson, for instance, should by rights have spent much of this year leading the West End transfer of Robert Icke's production of "The Doctor." Instead, the stage veteran turned up first as a voice experienced not live, but via headphones in the astonishing Simon Stephens aural experience "Blindness," and then as a droll Lillian Hellman in an online version of a gossipy American play called "Little Wars." Caryl Churchill, a stalwart presence at the mighty Royal Court, was among the talents assembled for "The Lockdown Plays," a series of podcasts in which the 82 year old writer's ongoing interest in the quietly apocalyptic came to the fore once again. While the last year has shown the folly of forecasts, 2021 would seem to portend better theatrical times ahead. Hopefully, Britain's head start on the rest of the world with a vaccine suggests a return to cheek by jowl seating and full houses sometime next year. Without such confidence, Andrew Lloyd Webber wouldn't be looking at a start of performances in late April for his new musical "Cinderella," a major commercial venture set to open in the West End, even as Broadway will remain shuttered until May, at least. David Tennant, Megan Mullally and Adrian Lester are among the star names announced for some London openings during the first half of 2021. Their luster, with luck, will entice possibly wary playgoers to purchase tickets for live performance once again. Sure, we've learned to embrace Zoom and YouTube to savor virtual productions, which are preferable to none at all. But London feels ready to return to full theatrical form as soon as conditions allow and if not? Well, this strange new normal should give Britain's playwrights something to write about, for a long while to come. On paper, French theater has been relatively lucky in this pandemic year. Buoyed by high levels of public funding for the arts and rounds of government support, most venues resumed performances between the country's first lockdown, from March to May, and the second, which started in late October. No major company or theater has been forced to close its doors permanently (yet). That's more than many Western countries can say. Yet 2020 often felt like "Groundhog Day" a never ending grind of closures, reopenings, restrictions and curfews which, based on conversations with artists and administrators, has left many bone tired. Perceived slights to the culture sector, so integral to France's identity, have bred resentment. While the country's new culture minister, Roselyne Bachelot, appointed last July, scored points with the sector in the summer and early fall, the planned reopening of theaters and cinemas in December has now been postponed until January at the earliest, and the grumbling has returned. When theaters could welcome audiences, their hit rate seemed higher than in past seasons: Perhaps scarcity heightened the thill. In early October, the Comedie Francaise troupe teamed up with the film director Christophe Honore for "The Guermantes Way," a Proust adaptation that struck the perfect balance between immersion and irreverence. At the Theatre Gerard Philipe, Margaux Eskenazi and Alice Carre tackled the legacy of the Algerian decolonization war with great finesse in "And the Heart Is Still Steaming." Comedy, meanwhile, often felt like a public service. From a warm reinvention of an 18th century original (Emmanuelle Bayamack Tam's "A l'Abordage!") to the absurd humor of the excellent Chiens de Navarre collective, comedians played their part in keeping us sane. One notable exception was Marion Siefert's "Jeanne Dark," billed as the first French play to be offered live and via Instagram simultaneously. Helena de Laurens, the superb lead, played a teenager who confides in her followers, in a long Instagram Live session, about her Catholic parents and joyless school life. At La Commune in the Paris suburb of Aubervilliers, where it was created in October, the audience witnessed de Laurens filming herself, while Instagram users saw the show in real time on Jeanne's fictional account. "Jeanne Dark," which is set to tour in 2021, wryly captures the gap between the two dimensional feed and reality. This year has been a reminder that our definitions of theater are sometimes too narrow: Performances outside the big urban institutions are part of France's culture, too. The first show to be staged after the spring lockdown, Lena Breban's "Cabaret Under the Balconies," took place at a nursing home 200 miles from Paris, and I can't think of a more fulfilling experience this year than sitting with the elderly residents to watch pared down song and dance numbers after months of isolation. And if events that look a lot like performances are going to take precedence over theaters when coronavirus restrictions are eased, then they should probably be reviewed, too. The whiz bang productions on offer at the Puy du Fou, a historical theme park, reopened early to much controversy, in June; in late November, the drama of the Catholic Mass returned to France's churches, though playhouse doors remain shut. A critic's job doesn't have to stop when the curtain comes down. All the world's a stage, after all. In early June, the Stuttgart State Theaters, in the south of Germany, triumphantly drew back their curtains with a theatrical walkabout that was as momentous as it was meticulously executed. It was, without a doubt, the production of the year. Then came the defiant centenary edition of the Salzburg Festival, in Austria. It deserves a 21 gun salute for realizing its reduced but still formidable installment, which boasted two world premieres in its dramatic program, including one from a Nobel laureate. Subsequent stations for me included Leipzig, Berlin and Hamburg and then lockdown hit again. Critics are not in the predication business (except, maybe, when it comes to awards), so I'm not going to speculate about what 2021 might bring. In many places, the pandemic has proved a stress test for the arts and culture. Yet the coronavirus has not exposed fault lines and structural problems for the arts in the German speaking world the way it has in the United States. When the public health crisis is over, there won't be much need for the theaters, opera houses and orchestras here to "build back better." That, in itself, is reason for optimism.	N24News: A New Dataset for Multimodal News Classification	Theater
PARIS Facebook has been mired in mud for the past year, with its data sharing and disinformation scandals and the subsequent fallout. But there is a woman in Paris whose job it is to make the platform look as appealing as possible to an industry that is all about beauty and image: Morin Oluwole, the global head of luxury for Facebook and Instagram. Because she is good at her job and because she is a rare combination in the technology sphere a woman, a minority and a luxury brand acolyte the company has been touting her as one of its public faces. Not an easy assignment. With Facebook drawing attention for its data practices and use of personal information to make money, Ms. Oluwole, 34, and her particular area of expertise how to employ user's data profiles for targeted advertising on Facebook and Instagram have been encountering increased public scrutiny and pressure. So much so that she became visibly uncomfortable when the subject was broached. "It's a false idea that there is a collection, there is a transfer, there is a sale of data to clients," she said during a recent interview in a nondescript conference room at Facebook's headquarter s in the Paris's Second Arrondissement. "Data is not transferred." She stared, not blinking. "That's super, super clear and very important." Well, O.K.: Data might not be sold. But it is used. And luxury has benefited. When Ms. Oluwole opened her division four years ago, she said, she faced resistance from the old school fashion names, long averse to digital novelty. Slowly, she earned executives' trust not only because she is a savvy marketer with a master's degree in business administration from Columbia University, but also because she is a devoted luxury consumer. On the day of the interview, she had augmented her swishy navy Maje minidress with Chanel boots that had a golf ball size pearl suspended in each clear Lucite heel, a stainless steel Rolex Datejust watch and a Louis Vuitton ring adorned with the initial M. Her iPhone was enveloped by a Goyard case. Her business card holder: Chanel. This season, she attended the Christian Dior and Berluti shows. "Luxury is what I do," she said, "but it's also part of my innate life." Born in Lagos, Nigeria, to a family of doctors and lawyers, and educated in England, Ms. Oluwole joined Facebook in 2006, when she was a pre med undergrad at Stanford University and the start up was still an inter university network with just 150 employees. In 2013, she saw the potential of the fashion world, and persuaded her then boss Carolyn Everson, Facebook's vice president of global marketing solutions, to establish a department focused squarely on the luxury sector. In 2015, Ms. Oluwole opened her two person "global luxury hub" in Paris. She rented a small apartment in the hipster neighborhood of Montorgueil (and has since bought a home in the tony 16th Arrondissement) and enrolled in French classes at the Alliance Francaise. About the same time, Instagram hired Eva Chen , the well connected former editor in chief of Lucky magazine, as director of fashion partnerships for the platform in New York. Ms. Chen's brief has been to consult with fashionable figures, such as models, designers, stylists and celebrities, and help them create posts that increase their followers (her services are free). Ms. Oluwole runs the business side of the equation: counseling luxury brands on how to use Facebook and Instagram to their financial benefit, and she bills clients like advertising agencies do, based on consumer response, such as clicks per post. She said she doesn't ever tell brands what the message should be. Instead, she said, "we build a 360 degree communication strategy for brands to share content and drive business value via targeted advertising." That is how Ms. Oluwole talks: in jargon heavy M.B.A. speak that is, at times, hard to parse. Straight backed and no nonsense, she exudes authority. "And chic she is so chic," Ms. Chen said. "A great mix of strategy and style. Morin" pronounced MUH rhin "understands all the different aspects of Facebook and Instagram." Louis Vuitton and Dior were the first to grasp Ms. Oluwole's pitch and sign on. Gucci, Bottega Veneta, Hermes and others soon followed. Her division has grown to 10 staff members in Paris, with satellite offices in New York, London, Milan, Dubai, Seoul, Tokyo and Hong Kong. She wouldn't say how many brands are advertisers or partners on Facebook or Instagram but "we represent all the major players in the luxury business," she said. Ms. Oluwole's staff creates profiles compiled from user information, like date of birth, ZIP code, education and work history, favorite music, pages followed to pinpoint ad targets for brands. For several years, Facebook and Instagram also incorporated information from third party brokers like Acxiom but such data compilation was banned when the General Data Protection Regulation went into effect in the European Union in May. Facebook and Instagram were obliged to change their gathering process "across the board" to be compliant, Ms. Oluwole said: "We no longer get information from external sources. We can't see what kind of car someone bought, because we don't work with that data provider anymore." But say you live in 90210 Beverly Hills and you "like" Tesla, Fendi and Peninsula Hotels. That would make you a bull's eye for Ms. Oluwole's partners. "Facebook has all this data that you don't realize they have," said Scott Galloway, professor of marketing at NYU's Stern School of Business, and author of "The Four: The Hidden DNA of Amazon, Apple, Facebook and Google." "They know you better than your doctor, priest and rabbi." The problem, he said, is that "bad actors can weaponize that data," as Cambridge Analytica proved last spring, when the London based political consulting firm revealed that it had harvested personal data from millions on Facebook specifics that investigators said swayed elections and Britain's vote to leave the European Union. No one is saying that Gucci, Louis Vuitton and Ms. Oluwole's other clients are involved in anything similar. But it is true that she has built a business, and a lucrative one, on capturing user information and exploiting it to the profit of Facebook, Instagram and their luxury partners. While she would not specify the division's revenue, she said her division's piece of the Facebook pie was "quite significant" and added, brightly, "our potential is still large." She is not the only one who thinks so. Last summer, YouTube hired the "CNN Style" host Derek Blasberg, and Snapchat lured Selby Drummond from her longtime editor's post at American Vogue; they, too, have been charged with forging alliances with luxury, apparel and beauty brands. Data mining methods have caught the attention of regulatory agencies . One, Germany's Federal Cartel Office, ruled last month that Facebook could no longer combine user data with information from its other platforms, such as WhatsApp and Instagram, without the person's explicit consent. Facebook said it would appeal. Whatever the outcome, it may be moot. "These platforms used to be separate companies Facebook, Instagram and WhatsApp with separate databanks," Mr. Galloway said. "Now they are integrating their back ends one back end and three different interfaces. And, in my mind, that is dangerous. Facebook will have all this data in one place. And it's porous it's easy for others to access. "The Centers for Disease Control has your health records, but they took extraordinary measures to protect that data," he said. "Facebook hasn't done that." Other platforms have begun to muscle in on Ms. Oluwole's territory. In August, Ms. Drummond had a preview of Adidas's Falcon W shoe on a new Snapchat show called "Fashion 5 Ways;" the stock sold out in six hours. Mr. Blasberg teamed with Rihanna to stream her Savage x Fenty lingerie show on YouTube during New York Fashion Week last September; they further amped up the noise by packing the front row with popular social media influencers. As a result, Facebook is increasing its efforts or, as Ms. Oluwole said, putting "more functionalities in the pipeline." IGTV, or Instagram Television, is becoming a more important channel on the app. "Stories" are expanding at Facebook. And there is "Shopping," a new Instagram tab dedicated to exactly that. "One day," Ms. Oluwole said, technology will "create some sort of system that allows you to intelligently guess what the next items are that a consumer wants to purchase." She looked excited. That time, she said, would be "great."	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
has written what must be judged a brave book. That it must be is a badge of shame for the "progressive" America with which she identifies. Should it call for courage for a politically liberal American Jew like Weiss to point out that Jews, though a tiny percentage of the population of the United States, are the victims of over half of its reported hate crimes? That anti Jewish rhetoric, once confined to right wing extremists, now infests the American left, too? Should someone like Weiss, an editor and opinion writer at The New York Times, have to expect brickbats from her colleagues for observing that a vicious demonization of Israel and its supporters has become routine in much of the American left and endemic on college and university campuses? That whatever its failings, Israel is a remarkable human adventure that deserves at least as much sympathy as criticism? That it is only natural for a Jew to care deeply about a Jewish state's welfare and survival? That Jewish solidarity is as legitimate as any other form of human solidarity? Should she have to fear ostracism or damage to her journalistic reputation for pointing out that anti Zionism and anti Semitism, while theoretically distinguishable, have long merged into a single ugly phenomenon? Or that it is obscene, less than a century after the Holocaust, to class Jews with their historical "white oppressors"? Unfortunately, as Weiss writes in "How to Fight Anti Semitism," the answer to all these questions is yes. 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. Weiss's book, whose careful organization and articulate prose belie its hurried composition in the wake of last October's Pittsburgh synagogue shooting, is not just about the left. (A native of Pittsburgh herself, she retains a strong attachment to its Jewish community.) The Pittsburgh shooter was a lunatic fringe white supremacist, and "How to Fight Anti Semitism" seeks to be evenhanded: Its chapter on the anti Semitism of the left is preceded by a chapter on the anti Semitism of the right and followed by a chapter on the anti Semitism of radical Islam. Though not claiming to be original, Weiss is admirably succinct in her explanation of why groups having nothing else in common are united in their dislike or hatred of Jews. "In the eyes of the anti Semite," she writes, "the Jew is ... everything." It is not the actual Jew that most anti Semites hate (many of them have never met one) but what they project onto him. "He is whatever the anti Semite needs him to be." It is in writing about the left, however, that Weiss is at her most passionate. Here she is, after all, on her home territory a home that she feels lately has rejected her, precisely because she is a proud Jew and lover of Israel (though one critical of its current policies). She writes about how others who share her feelings have been forced to deny who they are. "I meet such people in every Jewish community I speak to," she relates. "They tend to wait until late in the evening, after the crowd has thinned out or after they've had a few glasses of wine, to make their confession. But the confession is always the same: I'm in the closet. It's not their sexuality or gender expression they are closeting. It is their Jewishness and their Zionism." Weiss writes well about the tendency of liberals to imagine that whereas the political right has always been an incubator of anti Jewish ideologies, the political left has been traditionally free of them. This falsehood has enabled more than one anti Semite on the left to protest that they can't possibly be anti Semitic because their political worldview rules out such a thing. As Weiss explains, however, the classical left has been riddled with contempt for the Jewish people from its inception, starting with the vile attacks of early socialists like Pierre Joseph Proudhon (whom she does not discuss) and the seminal figure of Karl Marx (whom she does), and down to the persecution of all expressions of Jewish culture and national feeling by Lenin, Stalin and Stalin's heirs. Of course, American liberalism was staunchly anti Stalinist. Yet the intellectual terror that has much of the American left in its grip today, not only in regard to Israel and Zionism but relating to a wide variety of issues on which one can be pilloried for being a millimeter out of step, strongly suggests that Stalinism, though it lost its political battle with liberalism, is winning the cultural one. The United States is no longer a society in which, in "progressive" circles, freedom of expression (and perhaps even of thought) can be said to exist. And it is here that I found "How to Fight Anti Semitism" disappointing, because nowhere in her book does Weiss indicate that apart from its anti Zionism she has any problem with the deadening mental conformity of contemporary American liberalism. The question she never raises is why someone of her intelligence should want to belong to such a world. "Maintain your liberalism," a section of her book's last (and least convincing) chapter exhorts the reader as one of its prescriptions for fighting anti Semitism. To what end? At what intellectual and moral price? Weiss fails to realize that she herself is an example of the wishful thinking about Judaism that is ubiquitous among American Jewish liberals. One might call this the Judaism of the Sunday school, a religion of love, tolerance, respect for the other, democratic values and all the other virtues to which American Jews pay homage. This is a wondrous Judaism indeed and one that has little to do with anything that Jewish thought or observance has historically stood for. "We've always been there," Weiss approvingly quotes a friend of hers, hurt to the quick by the proposed banning of "Jewish pride flags" at the 2019 Washington Dyke March. Always? As if the right to define oneself sexually as one pleases were a cause Jews have fought for over the ages! As a matter of historical record, it was Greek and Roman high society, not the Jews, that practiced and preached polymorphous sexual freedom. Judaism fiercely opposed such an acceptance of sexual diversity, against which it championed the procreative family, the taming of anarchic passions, and the cosmically ordained nature of normative gender distinctions that goes back to the first chapter of Genesis: "So God created man in his own image. ... Male and female created he them." And while we're at it, it was the Greeks, not the Jews, who invented democracy. What mattered to Jews throughout nearly all of their history (and still does to a considerable number of them today) was the will of God as interpreted by religious authority, not free elections. Judaism as liberalism with a prayer shawl is a distinctly modern development. It started with the 19th century Reform movement in Germany, from which it spread to America with the reinforcement of the left wing ideals of the Russian Jewish labor movement. As much as such a conception of their ancestors' faith has captured the imagination of most American Jews, it is hard to square with 3,000 years of Jewish tradition. Weiss has delivered a praiseworthy and concise brief against modern day anti Semitism, but if she thinks this long tradition is ultimately compatible with contemporary American liberal beliefs, she might want to take a closer look. Honestly regarded, Judaism tells another story.	N24News: A New Dataset for Multimodal News Classification	Books
ANIARA (2019) Stream on Hulu; Rent on Amazon, Google Play, iTunes, Vudu and YouTube. This sci fi drama from the directors Pella Kagerman and Hugo Lilja is based on a downbeat 1956 poem by the Swedish Nobel laureate Harry Martinson. Like its source material, the movie tells a story that is, despite being about humans traveling beyond the confines of earth's atmosphere, supremely claustrophobic: It centers on a spaceship knocked off course, out of fuel and running out of hope. The crew of the ship, which had left an earth in environmental ruin and was bound for a human colony on Mars, includes MR (Emelie Jonsson), the story's protagonist, whose situation becomes increasingly grim. "At times, the commitment to bleakness feels artistically admirable," Teo Bugbee wrote in her review for The New York Times. "The film unblinkingly faces the void, and it refuses to console the audience, which has come along for the ride. But mostly, this is a movie that simulates the experience of losing the will to live, a daunting premise even for the bravest voyagers." CLIMATE FORUM 2020 Stream on NBC News Now. Following a town hall on global warming held for Democratic presidential candidates earlier this month by CNN, the Georgetown Institute of Politics and Public Service, MSNBC, the environmental news service Our Daily Planet and New York magazine will host a climate forum at which several candidates will have further opportunity to communicate their views on how to address the issue of climate change. Those scheduled to be in attendance include Senators Bernie Sanders and Cory Booker, Mayor Pete Buttigieg of South Bend, Ind., the former housing secretary Julian Castro, Andrew Yang and Marianne Williamson. The town hall begins livestreaming on Thursday at 10 a.m. EST and will continue on Friday.	N24News: A New Dataset for Multimodal News Classification	Television
Ariana Grande reached No. 1 on the Billboard chart for a third time this week, while Aretha Franklin continued to draw listeners in the week after her death, taking the Queen of Soul to her highest position on the chart in 50 years. Ms. Grande's new album, "Sweetener," had the equivalent of 231,000 sales in the United States last week, which included 127 million streams and 127,000 copies sold as a full album, according to Nielsen. Her 2013 debut, "Yours Truly," and its 2014 follow up, "My Everything," both reached No. 1; the 2016 LP "Dangerous Woman" peaked at No. 2. The LP is Ms. Grande's first full release since the Manchester Arena bombing in 2017. As with several other artists recently, including Travis Scott, Ms. Grande's sales were helped by a twist in the sales gimmick of bundling copies of the album with ticket sales she gave away digital copies of her album when fans bought a 10 "tour pass," which simply gave them access to buy tickets before others. (The tour has not been announced yet.) Nicki Minaj, who slipped from No. 2 to No. 3, complained last week that Mr. Scott had benefited from enticing fans to an unannounced tour. Ms. Franklin's "30 Greatest Hits," a compilation from 1985, rose one spot to No. 6, the highest position she has held since 1968, when her album "Aretha Now" went to No. 3.	N24News: A New Dataset for Multimodal News Classification	Music
The company now known as the Polish National Ballet has an august history, tracing its origins to 1785. Its fortunes, like those of Poland, darkened greatly during and after World War II, but in recent years, as the country has become a member of the European Union, the ballet troupe has worked to rejoin, and catch up with, the rest of Europe. The success of that effort was evident on Tuesday, when the company made its New York debut at the Joyce Theater. Since 2009, it has been under the direction of Krzysztof Pastor. He is Polish but spent many years with the Dutch National Ballet before becoming that group's resident choreographer in 1998, a position he still holds. The program he brought to the Joyce suggests that he has transformed Polish National into something quite like Dutch National: a standard European contemporary ballet troupe. The dancers are attractive, agile, limber and fully equipped for contemporary ballet's technical demands. Mr. Pastor's two works on the program, though, are thoroughly competent but not very interesting. His "Adagio Scherzo" is set to a recording of the second and third movements of Schubert's great String Quintet in C. The choreography responds to the music and its changing moods but without much subtlety: When the scherzo kicks in, the previously downcast and yearning dancers suddenly grin and bounce about. In a program note, Mr. Pastor takes pains to specify that he is not telling a story, as if semi abstraction were not the default mode of contemporary ballet. "Adagio Scherzo," a work for four couples, does hint at a love triangle at times, but its predictability is less narrative than structural.	N24News: A New Dataset for Multimodal News Classification	Dance
Facebook was once the most nimble company of its generation. The speed at which it adapted to every challenge was legendary. It needed only about a decade to go from a dorm room start up to the largest and most influential communications platform in the world. But it's been two years since an American presidential campaign in which the company was a primary vector for misinformation and state sponsored political interference and Facebook still seems paralyzed over how to respond. In exchanges with reporters and lawmakers over the past week, its leaders including Mark Zuckerberg, Facebook's chief executive have been comically tripped up by some of the most basic questions the site faces. Mr. Zuckerberg, in an interview with the journalist Kara Swisher that was published Wednesday, argued that Facebook would not ban Holocaust denialism on the site because "there are things that different people get wrong." He later explained there were many other ways that Holocaust deniers could be penalized by Facebook yet lucidity remained elusive. Mr. Zuckerberg's comments fit a larger pattern. Presented with straightforward queries about real world harm caused by misinformation on their service, Facebook's executives express their pain, ask for patience, proclaim their unwavering commitment to political neutrality and insist they are as surprised as anyone that they are even in the position of having to come up with speech rules for billions of people. Testifying before Congress in the spring, Mr. Zuckerberg vowed to address lawmakers' concerns about the site. Even though his business has continued to prosper, he repeatedly warned investors that he would take actions to address Facebook's social impact that could negatively impact its bottom line. Yet Facebook executives' tortured musings in recent weeks suggest that the task ahead remains difficult. The company that was once pilloried for its heedlessness its motto was "move fast, break things" and it put up posters around its offices asking employees "What would you do if you weren't afraid?" is now moving slow, fixing little and taking no stand. "I think Facebook is trying to thread this needle of trying to claim they're not a publisher with responsibilities here, when they clearly are," said Sarah Szalavitz, chief executive of the design agency 7 Robot, who has closely followed social media companies' efforts to address their shortcomings. "But they need to have a perspective." The present dust up began last week, when Oliver Darcy, a reporter for CNN, asked an obvious question at a press event that Facebook had convened to explain its new plan for fighting misinformation. Why allow Infowars, a site that traffics in conspiracy theories including that the Sandy Hook school shooting was fake to maintain a page on Facebook, Mr. Darcy said. In Mr. Darcy's telling, Facebook officials seemed taken aback by the question. John Hegeman, Facebook's head of News Feed, stumbled through an answer about how "just being false doesn't violate the community standards," and how Infowars was a publisher with a "different point of view." Later, the social network argued that banning organizations that repeatedly peddle misinformation would be "contrary to the basic principles of free speech." The company insisted that even if Infowars and other sites that push misinformation are not banned, they might still be penalized. Facebook has contracted with dozens of fact checking organizations around the world; if its fact checkers determined that a specific Infowars story was false, people would be allowed to share it with their friends, but Facebook would push it so far down in everyone's feeds that most of them would not see it. Part of the reason Facebook defended Infowars seemed to become evident this week on Capitol Hill. That was when Monika Bickert, Facebook's vice president of global policy management, showed up at a congressional hearing along with other social media executives to answer questions about whether they may be biased against conservatives. In the hearing, Ms. Bickert apologized to Diamond and Silk, two pro Trump social media stars who had claimed they were treated unfairly by Facebook. Then came Mr. Zuckerberg's comments to Ms. Swisher on Wednesday about Holocaust denialism and the question about what Facebook would or would not allow on its site became even more confusing. Even setting aside Mr. Zuckerberg's bizarre idea that there are good faith Holocaust deniers who are merely misinformed about the past, his argument raised several other issues, including hate speech. Facebook's code of conduct prohibits hate speech, which it defines as attacks on people based on "protected characteristics" like race, ethnicity, or religion. Wouldn't Holocaust denialism fall into that category? That wasn't all. On Wednesday, Facebook also rolled out a new policy on misinformation that complicated matters some more. The company said it had decided that, actually, it would remove and not just downrank certain false posts if it determined that they might lead to imminent violence. The policy is global, but so far it is operating only in Myanmar and Sri Lanka, where Facebook posts have been linked to ethnic cleansing and genocide. And what exactly constitutes imminent violence is a shifting line, the company said it is still "iterating on" its policy, and the rules may change. So to recap: Facebook is deeply committed to free expression and will allow people to post just about anything, including even denying the Holocaust. Unless, that is, if a Holocaust denial constitutes hate speech, in which case the company may take it down. But if a post contains a factual inaccuracy, it would not be removed, but it may be shown to very few people, reducing its impact. On the other hand, if the misinformation has been determined to be inciting imminent violence, Facebook will remove it even if it's not hate speech. On the other other hand, if a site lies repeatedly, spouts conspiracy theories or even incites violence, it can maintain a presence on the site, because ultimately, there's no falsehood that will get you kicked off Facebook. All of this fails a basic test: It's not even coherent. It is a hodgepodge of declarations and exceptions and exceptions to the exceptions. "Personally, I think you can have straightforward boundaries around hateful content that don't have to be this complicated," Ms. Szalavitz said. "Holocaust denial is hate. That's not hard."	N24News: A New Dataset for Multimodal News Classification	Technology
A Harlem shoeshine man, sitting at the feet of Ellsworth (Bumpy) Johnson and watching Adam Clayton Powell Jr. and Malcolm X argue nearby, exclaims, "I just love seeing those silver tongued Negroes go at it." He's a character in the new series "Godfather of Harlem," beginning Sunday on Epix, and he's just delivered a succinct review of it. The show's central trinity Johnson the gangster, Powell the congressman and Baptist pastor and Malcolm X the Muslim minister and revolutionary are played by Forest Whitaker, Giancarlo Esposito and Nigel Thatch. And the main pleasure "Godfather of Harlem" affords, through five of its 10 episodes, is watching those actors go at it. Throw in a quirky performance by Vincent D'Onofrio as the mafia boss Vincent Gigante, Johnson's primary antagonist, and there's a high probability of entertainment at any given moment. The show around them, "inspired by" Johnson's life, doesn't consistently live up to its cast. It's part crime saga and part cultural historical pantomime, jumbling together real people, places and events from early 1960s Harlem. The style is familiar from other New York TV dramas like "The Get Down," "Vinyl" and "The Deuce" set in the recent past, and as often happens, the different elements end up working against one another. The action starts in 1963 with Johnson's release, in his late 50s, after an 11 year stretch at Alcatraz . He's welcomed by a party in the sleek and luxurious apartment his wife, Mayme (Ilfenesh Hadera), has secured for them in the Lenox Terrace high rises, but he also gets bad news about the neighborhood's shifting fortunes: The Italian crime families are encroaching on the heroin trade, and the competition is driving up the number of junkies on the street. The first episode, directed by John Ridley ("American Crime"), quickly and elegantly sketches out the show's themes. In a direct homage to the show's namesake, "The Godfather," we see Johnson at the party alternately dispensing benevolent patronage and receiving quiet updates about weapons caches and the activities of "the Italians." He sneaks out and shares an ice cream with his daughter but immediately gets pulled back in, called away to deal with a violent situation on 146th Street. His new nemesis is Gigante, and one main strand of the plot is their escalating battle, carried out partly with guns but largely through insult laden face offs, in which Whitaker's reserve plays off D'Onofrio's eccentric volatility. More space is taken up, though, with the uncomfortable question of Johnson's role in the community, and his twinges of guilt over the damage done by the heroin he peddles. The story is arranged so that he bounces between Powell, who treats him with breezy condescension, and Malcolm X, who confronts him with scolding righteousness. Both decry the effects of his drugs, but both are happy to use him for their own political or personal gain. And Johnson conducts his business in a kind of dark parallel to theirs, organizing the community in his own way and engaging in what's essentially a race war with Gigante and his crew. It's a promising setup, but the show doesn't build on it after the opening episode. The story starts to veer off into tangents that are melodramatic (a fairly insipid Romeo and Juliet subplot involving Gigante's daughter), distractingly implausible (an episode built around attempts to fix a Cassius Clay fight) or both (a family member of Johnson's caught up in drugs and prostitution). Each of these plot strands tries to tie together all of show's big issues race, drugs, family, the radical ferment of the '60s and the effort is as exhausting for the audience as it must have been for the writers. (The show's creators, Chris Brancato and Paul Eckstein of "Narcos," wrote the first four episodes.) The tone tends to be restrained and talky, but there are regular doses of more sensationalistic material, like a recurring blaxploitation style character named Big Dick Buster who has a distinctive way of getting information out of male captives. Through it all, Whitaker keeps a tight rein on his performance, letting his storied intensity break through in just a few flashes. His portrayal is more smoothly imposing than it is interesting, at least through half of the season maybe we'll get a clearer sense of Johnson's demons in later episodes. Part of the problem might be that unlike James Gandolfini or Bryan Cranston in earlier iterations, he has to play the criminal antihero with an overlay of racially determined pride and guilt. Esposito, as the suavely amoral Powell, and D'Onofrio, as the unapologetically racist Gigante, don't have such constraints, and their performances are correspondingly both more relaxed and more nuanced. They, along with Luis Guzman as an associate of Johnson's, Paul Sorvino as Frank Costello, Antoinette Crowe Legacy as a heroin addict and others in the large cast, are a reason to stick with "Godfather of Harlem." Another is nostalgia, with the high production values dedicated to recreations of one time neighborhood institutions like Twenty Two West, Eddie's Sweet Shop and the record store Bobby's Happy House. And of course the music, with great, off the beaten track selections like Little Anthony's "I'm on the Outside" and Barrett Strong's "Misery." In the opening scene, Johnson drives by the Apollo and asks, who's this James Brown? It seems likely that we'll get to see the answer.	N24News: A New Dataset for Multimodal News Classification	Television
In 2016, Shaunae Miller sprawled across the finish line to win an Olympic gold medal over Allyson Felix. They will race again this summer virtually. At the last summer Olympics, Allyson Felix and Shaunae Miller Uibo dueled down the final stretch of the 400 meters. In a photo finish, Miller sprawled across the finish line to win the gold medal by seven hundredths of a second. They will race again on Thursday at a much greater distance in the Inspiration Games, the latest and most elaborate attempt to stage a virtual track and field meet during the coronavirus outbreak. Organizers of the Weltklasse Zurich, a prestigious one day meet that has been canceled this year because of the pandemic, are staging the event. Separated by two lanes in Rio in 2016, Felix and Miller Uibo will now be thousands of miles apart for their 150 meter race, which also includes Mujinga Kambundji of Switzerland. When Felix lines up in Walnut, Calif., Miller Uibo will do so in Bradenton, Fla., and Kambundji will toe the line in Zurich. Twenty eight athletes will compete in eight disciplines at seven different tracks in Europe and the United States. Some of the events are seldom contested distances including the 300 meter hurdles, 100 yards, and 3x100 meter relay chosen to take the pressure off athletes who might be far from their top form in their usual events. "I'm the type of athlete who does better in a situation where I'm racing against someone," Felix, a six time Olympic gold medalist from the United States, said in a teleconference this week. "I feel like I rise to that occasion and feed off that so I think this will definitely be challenging to be out there by myself. Essentially it's a time trial, but I love challenges and am always looking for a new goal, so this will be something different to accomplish." Using satellites and synchronizing technology, organizers will start each of the three participants simultaneously with digitally controlled starting guns. Races will be broadcast with a two minute delay to account for the lag in transmission to the broadcast center in Zurich, which will synchronize the television images from all three venues and use a triple split screen. No spectators will be allowed at most of the sites, but 300 officials and volunteers are expected to attend at Letzigrund Stadium in Zurich. "One choice you have is to stick your head in the sand, but the other is to ask what is possible," said Stefan Koch, an executive with the host broadcaster, SRF. "We can do something, so let's do whatever is possible right now." Track and field has indeed taken an innovative approach during the pandemic, which has disrupted the regular schedule and caused the 2020 Tokyo Olympics to be postponed until 2021. In early May, Renaud Lavillenie, the French pole vaulter and former world record holder, created a virtual competition between men's pole vaulters largely because the world's three leading competitors Lavillenie, Mondo Duplantis and Sam Kendricks all had training facilities in their backyards. "Renaud came up with the idea, and our staff ran with it and made it happen on a tiny budget at a time when sport was shut down around the world," said Sebastian Coe, president of World Athletics, the sport's international governing body, in an email. "I am heavily in favor of innovation in our sport, and modern technology has enabled us to find new and inventive ways to stage competition this year." There have been similar events since for women's pole vaulters and for decathletes. On June 11, organizers of the Bislett Games, the canceled Diamond League meet in Oslo, staged an alternative event without spectators: the Impossible Games. Karsten Warholm, the Norwegian star, ran on his own in the rarely contested 300 meter hurdles and broke the world record. His shouts of delight reverberated through the nearly empty Bislett Stadium. In the most avant garde event of the evening, a team of five Norwegians in Oslo raced a virtual 2,000 against a team of five Kenyans in Nairobi. While the Norwegians, led by the three Ingebrigtsen brothers, raced live, the Kenyans' race was prerecorded and they actually ran twice. The French newspaper L'Equipe reported from Nairobi that when the Kenyans' first effort on June 9 was a disappointing five minutes, 3.71 seconds, local officials cited a problem with the timing system and had the runners return to try again the following day. The weather had worsened by then, however, and the Kenyans' second attempt was made in driving rain and much cooler temperatures. Their time of five minutes, 3.05 seconds was only a slight improvement. But the split screen television images of them running in a downpour while the Norwegians raced on a clear night in Oslo made for quite a contrast. More disparities could surface during the Inspiration Games. Of the eight events, only the 100 yard race will have all three competitors in the same location with Andre De Grasse, Jimmy Vicaut and Omar McLeod running directly against each other in Bradenton, Fla. The other events could offer up a wide range of wind and weather conditions across the different locations as runners compete for 10,000 for first place, 6,000 for second and 4,000 for third. "It will not be really 100 percent comparable of course," said Andreas Hediger, one of the meet directors. "In one stadium there probably will be a tailwind and in another venue maybe a headwind. But it will give a lot of topics to discuss for commentators and other experts. We will have Swiss timing in every venue, and there will be a ratifiable result for each athlete at the venue. We have photo finish and wind gauges."	N24News: A New Dataset for Multimodal News Classification	Sports
Ta Nehisi Coates, the author of "Between the World and Me" and one of the country's best known public intellectuals, announced Wednesday he would begin writing the Captain America title for Marvel Comics in July. Mr. Coates, a longtime comics fan who began creating them a little more than two years ago, announced the news in The Atlantic, for which he is a national correspondent. He described his vision of the character and laid out his plans for addressing what he confessed he saw as an artistic challenge. "Nothing should really scare a writer more than the moment when they are no longer scared," he wrote. "I'm not convinced I can tell a great Captain America story which is precisely why I want so bad to try." The writer has previously worked on Black Panther, reinvigorating the title two years before the movie based on the character became a blockbuster success. The comic sold briskly while in his hands, and one collection, Black Panther, Volume 1: A Nation Under Our Feet, was nominated for a Hugo Award in 2017. But Mr. Coates has not had unbridled success in comics: His spinoff series, Black Panther the Crew, was canceled in May after it failed to sell as well as expected. Mr. Coates, who is widely known for his reporting and commentary on race, brought his experience with nonfiction to bear as he was writing Black Panther, taking on politics and culture in the fictional African nation of Wakanda, where the series is set. He challenged the kingdom's monarchical tradition, introduced an insurgency and questioned the Wakandan religion. In contrast with Black Panther, Captain America is one of the oldest and best known characters in the Marvel universe. He first appeared during World War II and is often seen as the ultimate patriot, a man dedicated to the ideals of his country and willing to fight for them no matter what. But as Mr. Coates outlined in his announcement, Captain America, who was born Steve Rogers and is frequently referred to simply as Cap, often has an uneasy relationship with the American government. He is a more nuanced character than his film analogue, played by the actor Chris Evans, might suggest. For 15 months, starting in May 2016, the comic character was somehow the evil leader of Hydra, an organization reminiscent of the Nazis. This could make the character an interesting match for Mr. Coates, who throughout his career has written about his complicated relationship with and views about patriotism, and has often been accused of being pessimistic about the United States' future. In a 2016 profile of President Barack Obama, he wrote that what separated Mr. Obama from many African Americans (including, it was implied, himself) was the ability to trust "white America." Mr. Coates will join a small number of black writers who have taken on the character, including Christopher Priest, who worked on the series Captain America and the Falcon in 2004 and 2005. "Finding the right voice to tell the tales of Marvel's beloved characters is never an easy task, but when it came time to hire the new hand to guide Captain America, we just knew it had to be Ta Nehisi Coates," Marvel's chief editor, C. B. Cebulski, said in a statement. "After re inventing the Black Panther for the modern era, Ta Nehisi now brings his sharp scripting sensibilities to Steve Rogers and his new place in the Marvel Universe." In his Captain America announcement, Mr. Coates said writing the character, the embodiment of the optimism expressed in the American dream, would allow him to challenge himself. "What is exciting here is not some didactic act of putting my words in Captain America's head, but attempting to put Captain America's words in my head," he wrote. "What is exciting is the possibility of exploration, of avoiding the repetition of a voice I've tired of." Mr. Coates will work with the artists Leinil Yu, who will draw the interior panels, and Alex Ross, whose painted covers, reminiscent of Norman Rockwell, have made him a favorite of comics writers and fans. The first issue is set to be released July 4.	N24News: A New Dataset for Multimodal News Classification	Books
What to Do if You Have Medical Debt The share of people with medical debt has fallen in recent years, but past due medical bills remain a stubborn burden, especially among younger adults, according to reports published this month by the Urban Institute. "It's more common than you think," said Signe Mary McKernan, a senior fellow at the Urban Institute, a think tank based in Washington. About a quarter of adults ages 18 to 64 reported having past due medical debt in 2015, down from nearly 30 percent in 2012, the researchers found. (The institute's research was funded by a grant from the Financial Industry Regulatory Authority Investor Education Foundation.) But millennials and Generation Xers people ages 18 to 50 reported comparatively higher levels of medical debt, Ms. McKernan noted in a related brief. About 25 percent of this group had past due medical debt in 2015, compared with 20 percent of those aged 51 to 64 and 10 percent of people over 65. While people over 65 are more likely to have health problems, they have access to health insurance coverage through the federal Medicare program, Ms. McKernan said. Baby boomers are also more likely to have health insurance, which may contribute to their lower rates of medical debt. The higher proportion of younger adults with medical debt was a bit surprising, Ms. McKernan said, because they tend to have fewer health problems. But they are less likely to have health insurance, she noted, and have not been accumulating wealth as quickly as earlier generations. Millennials also tend to have a lower level of financial knowledge, which may make them more vulnerable to medical debt, another institute analysis found. Congress is debating repealing and replacing the Affordable Care Act, commonly known as Obamacare, spurring concerns that more Americans may lose health coverage and become more vulnerable to medical debt. People with health insurance are less likely to have medical debt, but even those with health coverage have trouble paying medical bills on time, institute researchers noted. Here are some questions and answers about medical debt: The high level of medical debt among young adults, Ms. McKernan said, is an argument for buying health insurance, even if you feel you don't need it. "Get health insurance, even if you're young," she said. A health plan may not cover every cost incurred, she said, "but it sure helps." Likewise, she said, even a modest emergency savings account say, between 250 and 750 can help cover unexpected bills. A recent analysis by the JPMorgan Chase Co. Institute found that 16 percent of American families had paid at least one "extraordinary" medical bill, typically of just over 1,100, from 2013 to 2015. Caitlin Donovan, director of outreach for the National Patient Advocate Foundation, urged consumers to look beyond monthly premiums when choosing a health plan; deductibles, co payments and other out of pocket costs can add up quickly when you need care. If you get a medical bill that's unexpectedly large, don't ignore it doing so may mean that the bill is sent to a collections agency, where it can dent your credit history, Ms. Donovan said. Start by asking your provider for an itemized bill, she suggested, to check that you were not mistakenly charged for services you didn't receive. Particularly if your insurer has denied coverage, call and ask whether the provider used the correct billing codes. "Ask, 'What code needs to be used to have this covered?'" she said. Be polite, Ms. Donovan advised, but don't be put off: "It's not an unreasonable thing to ask." Once you have confirmed the bill is correct, contact your health care provider directly, she said, and ask if you can negotiate the amount due. Ask if the provider will accept a discount if you pay right away, or if it will accept the Medicare rate, which is typically lower than the rate charged by private insurers. "They want to actually get paid," Ms. Donovan said, "so they may be willing to work with you." Be sure to ask if the hospital or clinic has a financial assistance program. Many providers do, she said, but "they may not offer it up front." Barring any discount or financial help, she said, ask if the provider will accept a monthly payment plan, so you can pay the debt off over time. Where can I find more information about managing medical debt? The Consumer Financial Protection Bureau, which has taken action against medical debt collectors, offers tips for handling medical debt on its website.	N24News: A New Dataset for Multimodal News Classification	Your Money
Gabriela Vieira and Matthew Hargraves opted for a one bedroom with a patio when they picked an apartment last winter. It's one of the many features they've been grateful for during the pandemic. In early March, Gabriela Vieira and Matthew Hargraves moved into a new one bedroom apartment in Midwood, Brooklyn. The couple, both 25, had spent the last few years in an older building in Gravesend. They were planning a big July wedding and were looking forward to upgrading to something a little more luxurious for the next chapter of their lives together. As it happened, the best part of their new home wasn't the dishwasher or the private patio, although they have used both every day since the start of the pandemic. Instead, it was the building's courtyard, where they held a 10 person wedding on July 18. "It was the day I told everyone I was going to get married," said Mr. Hargraves, who had intended to have a 150 to 200 person gathering with Ms. Vieira before the coronavirus forced them to cancel those plans. "We'd been planning to share it for so long; I didn't want to lose that day." "It's been a long time coming," said Ms. Vieira, who became friends with Mr. Hargraves in 2007, when they attended the same high school on Staten Island. They started dating in 2012. "Without the courtyard, we'd have been in my parents' backyard. Which is definitely not as scenic." The couple began looking for a new home last winter. Mr. Hargraves, in particular, was eager to reduce his hour and a half long commute to Midtown, where he works as a trader at J.P. Morgan. But they didn't necessarily want to leave South Brooklyn, as Ms. Vieira teaches seventh grade English in Marine Park. They also liked the area and being close to Staten Island, where their parents still live. Browsing on StreetEasy, they came across the Vitagraph, a development that opened this year on the site of an early 20th century movie studio. It was near the Q train, which would cut Mr. Hargraves's commute to 45 minutes. There was also a gym in the building, a big plus for Mr. Hargraves, who used to go to a neighborhood gym after a long commute at the end of a 12 to 14 hour workday. (As the gym has been closed, they have been taking walks around the courtyard, and Ms. Vieira has been doing yoga on the patio.) And while the rent was a lot more than they were paying for their spacious, if no frills, Gravesend one bedroom 2,600 a month vs. 1,600 a month compared with the cost of renting in new buildings elsewhere in Brooklyn, it was relatively affordable. "We looked at some apartments with similar amenities in Downtown Brooklyn, but this was more bang for our buck," Ms. Vieira said. They decided to pay an additional 250 a month for parking, so they wouldn't have to drive around looking for a spot when they came back from dinner with family at 11 p.m., a not infrequent occurrence. They were so excited and distracted by the move that the onset of the pandemic barely registered. "I was like, 'Great a two week quarantine we'll get everything done,'" Ms. Vieira said. Occupation: Mr. Hargraves is a trader at J.P. Morgan; Ms. Vieira is a middle school English teacher in Marine Park, Brooklyn. A building with some perks: They had no idea how useful the dishwasher, private patio and in unit washer and dryer would be. Or that the building's courtyard would be the site of their wedding. Meeting the neighbors during a pandemic: "We've slowly seen the building getting filled, but we haven't really had the chance to sit and talk to people," Mr. Hargraves said. "People are friendly, but there have been a lot less neighborly conversations." After it became clear that they would both be working at home for months, Mr. Hargraves set up a workstation in the living room with multiple computer monitors. Ms. Vieira works in various other places around the apartment. "The only time it gets tricky is when we both have meetings," she said. "But as a public school teacher, I did not have a desk at work, so I'm used to being creative." "As you can see, we have a patio, so you know who won," Mr. Hargraves said, adding that he was happy with their decision. "The two bedroom was beautiful, but I see her out there every day, eating, reading, napping. The patio has definitely been worth every dollar." "I just love being outside, not feeling cooped up," Ms. Vieira said. "Normally, in the summer, I'm going to the beach or hiking." Spending so much time at home, they have also gotten around to many things they might not have otherwise: staining a bureau, learning how to put up shelving (pre pandemic, Ms. Vieira's father would have come by to do it) and expanding their cooking repertoire beyond the five or six standbys they used to cycle through before going out to eat. "We've never been particularly fond of cooking," Ms. Vieira said, adding that they've been glad to get good use out of the high end appliances in their new kitchen, although they still haven't figured out what to do with the second sink. The research also came in handy when planning their small July wedding. They knew, for example, that they could call ahead to order from Di Fara Pizza, the Midwood joint that draws sidewalk crowds waiting for hours to get a slice of pizza. But the rice balls they served as appetizers came from an old favorite: Bassett Caterers, on Avenue X in Sheepshead Bay. They were sitting on their sofa, looking out at the courtyard as they frantically tried to plan a small wedding reception, when they realized the courtyard would be a perfect place for it. "We felt like we had nothing to lose, so we sent the management an email," Ms. Vieira said. "The building manager responded within the hour and was excited to accommodate the request."	N24News: A New Dataset for Multimodal News Classification	Real Estate
An old Dodge S.U.V. roared up our driveway, horn blasting. A head popped through the driver's window. "Your secret weapon has arrived!" shouted Tanya, our friend and veteran donkey trainer. She climbed out and stood by the backseat as I hurried out of the house. In the weeks since we'd adopted Sherman, an ailing donkey who'd been liberated after years inside a filthy stall, we'd been trying to figure out how to turn him into my running partner. Tanya was a genius at nursing Sherman back to health, but when it came to getting over his skittishness, even she was stymied by the Eternal Equine Enigma: How do you persuade nature's most stubborn creature that what you want him to do is actually his idea? Sherman was especially tricky, because his years of seclusion made him nervous about even stepping onto the road, let alone jogging down it for miles. We were making progress, but fighting a tight deadline: By summer, we were hoping he'd be ready to race through the Rockies with me in the Pack Burro World Championship. At the rate we were going, we didn't stand a chance. Then Tanya had her breakthrough. "Behold!" she said, throwing open the Dodge's back door. There, in all its tiny glory, was the mini donkey she'd rescued from the slaughterhouse. Matilda hopped down out of the car. We opened the gate and she barreled inside to check Sherman out. While Matilda snuffled him eagerly from nose to tail, Sherman remained frozen and uncertain. Whatever Matilda had survived in her past, it had made her Sherman's opposite: Where he's calculating and reluctant, she's curious and fearless. Matilda is also a fine runner, thanks to her jaunts alongside Tanya's horse carriage. I could guess what Tanya had in mind, and it was more brilliant than she realized. I've spent years researching ancient sports and I'd come to understand that the entire history of distance running could be summed up in three words: Humans are hunting pack animals. Long before we figured out how to sharpen sticks into killing tools, our only natural hunting weapon in the wild was our ability to team up and chase other animals until they collapsed from heat exhaustion. We're fantastic at sweating out heat, and that gave us a tremendous advantage against creatures that can cool off only by panting. Donkeys are prey, so they live or die by the herd. Like antelope, a donkey's best hope of surviving an attack is by sticking tight to its mates. Even when stampeding, donkeys run side by side, maintaining formation to prevent an attacker from pulling one of them down. Out there on the savanna, it's gang warfare, pack versus herd. No human could run down an antelope alone, and no antelope was safe if it broke from the group. Survival was a numbers game for both predator and prey: The bigger your posse, the better your chances. Nowadays, we like to romanticize running as a solo sport, each of us slapping along to the heroic echo of our solitary footsteps, but our ancestors knew that in nature, a solitary runner is doomed. Maybe that's why, today, we feel the weird urge to shell out hundreds of dollars for the privilege of running 26.2 miles surrounded by 50,000 strangers. Logically, there's no reason you can't just scoot out the door and run a marathon on your own without spending a dime. That urge to gather suggests the hunting pack is still in our DNA. It also may be why you can work out twice as long with a buddy while feeling much less pain. For Sherman, I was hoping for something even better. I didn't want him to just tolerate our runs; I wanted him to love them, finishing each one happier than when he started. I'd read that group exercise had an additional surprising effect: Instead of making people more hyped and competitive, it actually reduced stress and left them calmer. Maybe teaming Sherman up with another donkey would not only improve his running but also his peace of mind. We were all set to try until Tanya pointed out a problem: She doesn't run. "Oh good God," she said. "I'd die." I went inside to see if I could recruit my wife, Mika. She was raised in Hawaii and is more about hula and her ukulele than running. But as soon as she met Matilda, Mika was in. Tanya led us all out to the street. "Walk on," she commanded and Matilda was gone, breaking into a trot so quickly that Tanya barely had time to hand the rope to Mika. Sherman's nervousness vanished just as quickly. He was still scruffy and barrel shaped from being locked in a stall for so long, with bald patches in his fur where Tanya had shaved off dried dung. But beneath his prison pudginess was a wild spark. He snorted and galloped like a zebra until we pulled even with Mika and Matilda.	N24News: A New Dataset for Multimodal News Classification	Well
Q. I have years of personal AutoCorrect data entries I have made for Microsoft Word. Is it possible to transfer these settings to another computer running Word? A. It is possible to transfer your collection of AutoCorrect entries that you have been compiling over the years to fix habitual typos, insert characters and shortcut other keystrokes in Microsoft Word. Recent versions of Microsoft Office for Windows and Mac store the customized data in two places, depending on whether the AutoCorrect entry is formatted or unformatted within Word. Unformatted entries are stored in AutoCorrect List files in a folder on the computer, and entries that have formatting are stored in the program's Normal template, which contains your chosen default styles and other preferences for the Word documents you create. As with any major computer fiddling, it's always a good idea to back up your current system before moving anything around. Make sure the Microsoft Word program is closed as well. Next, you need to find the AutoCorrect List files stored on the computer, drag a copy of those files onto an external drive or cloud server, and then copy them to the right place within Microsoft Word on the other computer. Microsoft has sample instructions for various versions of its Word program, including Word 2007 and Word 2010, and you can get an idea of what to expect on the Mac from the WordMVP site. The exact location of these files varies based on the computer system and the version of Word you have been using. On a Windows PC, try looking in C: Documents and Settings username Application Data Microsoft Office or try entering the %AppData% Microsoft Office shortcut in the Windows Explorer (or File Explorer in Windows 10) address bar. On a Mac, select your user folder and then go to /Library/Application Support/Microsoft/Office/Preferences/Office 2011. Users with older versions of the program might try going down the path of USER /Library/Preferences/Microsoft instead. Once you locate the Autocorrect List files on the old computer, copy them onto a USB drive or server and then copy them to the same location within Word on the new computer. Keep in mind that this will wipe out any AutoCorrect entries you have previously created on the new computer. After transferring the unformatted entries to the new computer, move the formatted entries. To do this, transfer a copy of the Normal.dot or Normal.dotm file to the corresponding folder on the other computer. On a PC, try going to C: Documents and Settings username Application Data Microsoft Templates. On a Mac, start with your user folder and go to Library Application Support Microsoft Office User Templates to find the Normal template. Before dragging a copy of the template from the older computer to the templates folder on the new one, rename the existing file Normal.bak to create a backup. Now, open Word on the new machine and check that your custom entries are there. As an alternative, you might be able to find utility programs to do the heavy lifting for you. Kutools for Word is one such option intended to simplify the process for Windows.	N24News: A New Dataset for Multimodal News Classification	Technology
TRIBUNE PUBLISHING, owner of newspaper institutions like The Los Angeles Times, created a near riot in its newsrooms this month when it abruptly announced a major change to vacation and sick day policies for most employees beginning in the new year: no more separate vacation, sick and personal days. Under its new discretionary time off policy, it would be up to each employee and supervisor to agree on almost all time off. Employee fury instantly filled the Internet. "People here are completely outraged," said one employee, who asked not to be named out of fear of reprisal. "Traditionally there was a compact. You put in your hours and you get a certain amount of vacation. And suddenly that's gone." Lawsuits were threatened. Dissent grew. And last week, Tribune rescinded the policy, saying it created "confusion and concern within the company," and it apologized for the lack of input from employees. That policy, which drew so much anger among employees, is the very one that Netflix, Virgin and other companies promote with pride. Only they don't call it discretionary time off. They call it unlimited vacation time. This shows how bewildering paid leave has become. The conventional way most people think of it established time off for vacation (which increases the longer someone works at one place), sick days and maybe a few personal days thrown in is changing. But with that shift, it's not always clear what employees are gaining and what they are losing. First of all, employees in the United States, unlike those in most of the rest of the industrialized world, have no legal right to paid vacation time. There is no federal law requiring paid sick days, although some states do mandate it. The Tribune move, although couched by the company as a way to give workers more flexibility, was seen by its employees as an effort to remove the cost of all unused vacation days from its books. According to the most recent Bureau of Labor Statistics report, about a quarter of full time employees in private industry don't receive paid sick days off, while about 10 percent don't get paid vacation days. And even those who have it often don't take it; research this year by the U.S. Travel Association found that 41 percent of those questioned did not plan to use all the vacation days they were entitled to. The traditional policy of separate vacation, sick and personal days is still the most popular leave plan offered by companies, but is losing ground to what is known as paid time off when employees receive a bucket of a set number of days they can take off for whatever reason they want. It usually also increases with seniority. WorldatWork, a nonprofit research association, which surveyed about 700 large companies, found that between 2002 and this year the number offering traditional leave plans dropped to 56 percent from 71 percent, while those choosing the one bucket system grew to 41 percent from 28 percent. Unpaid family leave is separate and mandated by federal law, although employees can use their paid leave to supplement it. Susan Heathfield, a co owner of TechSmith, a Michigan software development company, said her company went to the one bucket system four years ago. "We wanted to treat our employees like adults," she said. "We saw no value in managers asking adult employees why they were out." The feedback from her approximately 300 workers has been positive. "They like not having to account to their managers," she said, adding that there had been very little abuse, such as people calling in absences at the last minute. The one bucket system increases flexibility and encourages honesty, said Lucy R. Ford, an assistant professor of management at St. Joseph's University in Philadelphia: no more lying that you have the flu when you really have to take your child to the doctor. It also makes bookkeeping easier for employers, as they only have one type of time off to track. Younger employees who may be healthier or not have children and therefore may leave more sick days on the table than older employees or parents also can view the system as fairer, said Bruce Elliott, manager of compensation and benefits for the Society for Human Resource Management. On the other hand, employers report that employees tend to come in coughing and sneezing more often under a system that doesn't have separate sick days, because they don't want to use vacation time to lie in bed with a cold. Research also shows that companies on average drop two days when they conflate vacation, sick and personal days, Professor Ford said, and employees often accumulate days more slowly than with traditional time off. And what about this discretionary time off or unlimited vacation that caused all the furor at Tribune? Much has been written on the pluses and minuses of this approach, which is offered by less than 1 percent of companies and those are generally in the high tech field, said Leonard Sanicola, senior benefits practice leader for WorldatWork. For employers, the pros are clear. Companies don't carry that liability of set time off on their books, which, at a large operation, could run into millions of dollars, Mr. Sanicola said. And when employees quit or are laid off, there is no unused vacation time to pay off. So far, Mr. Elliott said, little abuse of such systems has been reported. In fact, employees seem to take about as much or as little time off under discretionary plans as they did under more traditional ones. But, he acknowledged, more senior workers sometimes have a hard time accepting that "the guy who started yesterday can get the same vacation time as someone who has been there for 25 years," he said. And companies need to understand the best way to adopt such a drastic change; it can easily backfire, as shown by the Tribune Company's about face. The shift shouldn't be abrupt, and the terms need to be made clear. For example, if you leave the company, will you still be paid for the vacation time you earned under the old policy? Even if the arrangement is put into place smoothly, the idea of negotiating for all time off did not appeal to some. "I'm on good terms with my supervisor now, but what if she changes?" said the Los Angeles Times employee. Most workers will not have to deal with the system that Tribune experimented with, since it is so rare; it is more likely they will see a switch to one bucket plans. Here are some questions to ask when it happens: Does the time roll over into the next year? At least three states California, Nebraska and Montana prohibit a "use it or lose it" policy, although the number of days that roll over can be capped, Professor Ford said. Employers also can choose to pay out the vacation time at the end of the year. Are bereavement leave and federal or state holidays included in the paid time off package? What if the company shuts down between Christmas and New Year? Is that part of the overall paid time off or separate? Does the time accrue during the year, as is typical with most companies, or is it handed out in one lump sum at the beginning of the year? Are there a specified number of days an employee can call in absent without advance notice? No matter what the system, if an organization alters the way it offers paid leave, it also needs a change in attitude, Professor Ford said. "It's one thing to have the policy in place," she said. "It's another thing to make sure workers use it."	N24News: A New Dataset for Multimodal News Classification	Your Money
PARIS Will Brussels try to give bees a break? In a case closely watched on both sides of the Atlantic, European officials plan to vote Friday on a proposal to sharply restrict the use of pesticides that had been implicated in the decline of global bee populations. The vote in Brussels, by officials from all 27 European Union member states, follows a January report from the European Food Safety Authority recommending that none of the chemicals of a class known as neonicotinoids should be used on crops that are attractive to honeybees, because of the risk the insects would be poisoned. Although even some bee scientists say the evidence is inconclusive, the European Commission, the Union's administrative arm, has embraced the food safety authority's findings. The proposal calls for a two year prohibition of neonicotinoid use on the flowering crops that lure bees, as well as the seeds of such crops. That would mean, for example, that farmers could no longer use the products on the colorful fields of rapeseed, or canola, that stretch across huge areas of Europea's agricultural heartlands. "The Commission has come to the conclusion that a high risk for bees cannot be excluded except by imposing further restrictions," the draft proposal says. Companies that produce neonicotinoid based pesticides, including the German giant Bayer CropScience and Syngenta, the big Swiss biochemical company, have lobbied strenuously against the moratorium. Monsanto incorporates the chemical into some of the seeds it produces; in the United States, neonicotinoids are heavily used on the country's huge corn crop. The European proposal would need the backing of a so called qualified majority of member states to become law, a system that assigns greater voting weight to larger countries like Germany, which is said to be reluctant to back the measure. Uses of the chemicals that would be allowed under the moratorium would be restricted to professional growers, eliminating the danger that home gardeners would unwittingly wreak havoc on bee colonies. At the end of the two years, the results would be reviewed for further action. E.U. nations already have the authority to restrict neonicotinoids. Initial approval for chemicals is granted by Brussels, but responsibility for approving the commercial products that contain them rests with member states. As a result various nations, including France and Italy, already restrict their use. Germany moved to restrict the use of some products after one such pesticide was blamed for millions of bee deaths in the Rhine Valley. According to U.N. studies, bee populations including honeybees, bumblebees and solitary wild bees are dying in Europe, North America and around the world, with a significant upturn in mortality over the last decade. The exact reasons for the decline are unknown, but the implications are disturbing because the insects are essential for feeding the planet. The U.N. Food and Agriculture Organization says that bees pollinate 71 of the 100 crops that provide 90 percent of the world's food. Peter Neumann, a biology professor who studies bee health at the University of Bern, Switzerland, said the extent of the bee die off varied across Europe, but that in Switzerland, 50 percent of colonies were lost in the winter of 2011 12, compared with about 10 percent in a normal year. And yet, "the role of the neonicotinoids is really hard to pin down," Mr. Neumann said. "It's hard to believe that they're not contributing to the problem, but we really have no data." In the United States, studies by the Agriculture Department's Bee Research Laboratory show colonies declining by as much as 30 percent annually over the last five or six years. As a result, about two thirds of all the remaining honeybees in the country are needed in California each spring just to pollinate the state's almond crop. 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. Bayer CropScience and Syngenta emphasize the lack of scientific certainty that the use of their chemicals is responsible for bee deaths. "We share the concerns surrounding bee health," said Utz Klages, a spokesman for Bayer CropScience. But, he added, "any disproportionate action would jeopardize the competitiveness of European agriculture and finally lead to higher costs for food, feed, fiber and renewable raw materials and have an enormous economic impact throughout the whole food chain." His company and Syngenta say the proposed restrictions would bring the loss of 50,000 jobs and billions of dollars in costs to European farmers and companies. Syngenta, in a statement last month, called on the European Commission to retract its proposal. The food safety authority's study, Syngenta said, was "fundamentally flawed" because it was based "on unrealistic and excessive seed planting rates between two and four times higher than would be used under modern agricultural practice." Whatever might be killing off the bees, there is no doubt about the lethality for insects of neonicotinoids, which are also used in forestry and tree nurseries even in flea collars for pets. Once plants or seeds are treated with the chemical, it permeates their tissues; it then attacks the nervous system of any bug feeding on a leaf or root, or a bee that collects nectar or pollen. Even if a bee does not receive enough of the poison to kill it, there is a fear that "sublethal" doses it carries back to the hive may be weakening already stressed colonies. Two studies reported last year in the journal Science suggested that low levels of neonicotinoids from a common pesticide can have significant effects on bee colonies. But pesticides are just one of several threats to bees, along with mites and viruses, environmental changes and poor nutrition. Those factors may work individually or in combination to weaken colonies and kill bees. Paul de Zylva, an environmental campaigner in London with Friends of the Earth, said that while the pesticide makers "adamantly deny" that their products are affecting bee health, the range of the testing they had carried out was too narrow to be conclusive. Those studies, he said, looked only at possible effects on honeybees and not the effects that "sublethal" doses might be having in the hive, including on larvae. He noted that in its January report, the European Food Safety Authority said it was unable to reach any conclusions in a number of areas "due to shortcomings in the available data." "How can they know if it's safe?" Mr. de Zylva asked. Noa Simon, a veterinary scientist who acts as a technical adviser to the European Beekeeping Coordination, an industry group, argues that the chemicals should be banned for at least five years to provide time for further studies.	N24News: A New Dataset for Multimodal News Classification	Global Business
Traveling in a horse drawn buggy, a group of schoolgirls dressed in white pass through a small Australian town and pull off their gloves, their expressions giddy and relieved. They are headed to a picnic and a tragedy in the Australian countryside, and their headmistress, Mrs. Appleyard, had instructed them to wear their gloves until they escape the townspeople's watchful glares. The scene is part of Amazon's six episode remake of "Picnic at Hanging Rock," the story of the disappearance of three girls and a teacher during a school outing. It was famous first as a novel by Joan Lindsay and then as a 1975 film by Peter Weir that was so moody that it has served as inspiration for designers as diverse as Alexander McQueen, Erdem Moralioglu and Raf Simons. They were all taken by the dark edged innocence of the original designs, and now the remake is set to do the same for a new generation. Starring Natalie Dormer as Mrs. Appleyard, a headmistress hiding a secret about her past, "the whole thing is about repression," said Larysa Kondracki, one of the show's directors and its showrunner. The costumes are not decoration, Ms. Kondracki said, but an extended symbol of the societal oppression women faced during the Victorian era. The series opens with Mrs. Appleyard, dressed as a widow, surveying the house that she will purchase and turn into a school for girls. "We always knew that opening shot had to have an impact to immediately establish what the Appleyard character was about. It's often quite difficult wearing black in film or TV. I don't usually use a lot of black because it disappears. So we did a lot of beadwork. It was about finding things that would reflect the light. Our costume attachment spent two weeks sewing all of those beads onto the back and the front. The beading shows her wealth, all that detail, but from a practical point of view, it gives a lot more definition to the outfit. I bought the bones of that coat that she's wearing as a starting point. Then we completely pulled it apart." When the four girls break off from the rest of their schoolmates during a picnic, they're wearing summery white dresses. "The white dresses are very much a look from Victorian times. We asked ourselves, 'Are we going to take any artistic license or are we going to stick with the iconic picnic dresses?' It seemed obvious that we had to stick with what was of the time, of the period. Though it's a lighter fabric, it still had all the layers underneath. That would apply to fairly young women all the way up to the older ladies. We were very true to the layering, of having a liner underneath the corset, and the corset, and the corset cover, and the chemise, and then the outfit ." Before the girls leave for the Valentine's Day picnic, they take a group photo with Mrs. Appleyard, whose red dress stands out against their all white palette. "That braid that goes around the edge of that dress around the bodice for me was a key to her character. It was quite bold and strong, but it wasn't busy in the way a lace or something floral would be. I bought the braid in Sydney from a woman who had the most incredible shop when I was a teenager. In Australia there isn't a lot of stuff as old as the 1900s. She had undergarments and bloomers and bits of lace. One of the things she was also selling was vintage sari trim, for Indian saris. I bought a number of them from this woman without knowing necessarily what I was going to do with them. You stockpile stuff that feels right and start putting those things together. I built the costume around that trim. It was a real eureka moment." Mrs. Appleyard is shown several times wearing a pair of small sunglasses that look similar to ones recently worn by Kendall Jenner, Rihanna and Bella Hadid "The glasses came into play as a bit of a mask. Having such small ones, you're still aware of her eyes and the person behind the glasses. That was the shape that was quite common from the late 1800s into the 1900s. They kind of became everybody's favorite. They snuck into a few more scenes than was the idea initially ." The most religious of the teachers working at Appleyard College for Young Ladies is Dora Lumley, played by Yael Stone of "Orange Is the New Black." "Lumley was very much a religious person, a simple kind of woman from a quite lowly background. Her outfits weren't matched very well and were quite busy in that Victorian way, in exact opposition to what we were trying to do with Appleyard. For Lumley, it was cotton and it was dark colors, and it wasn't particularly flattering in any way." Samara Weaving of "SMILF" plays Irma Leopold, a student at Appleyard College for Young Ladies who disappears. "Irma was an international traveler and had to be distinctively different. She goes through the development of becoming a young woman. We were trying to reflect that in the costume. When she goes to the fete, her outfit has a lot more netting and lace and things you can see through. There's a lot more skin revealed than on anybody else. By the end, when she's leaving to go back to England, she wears a mushroom y kind of silk, and has quite dark red gloves on and a hat and a gold sort of cape. She's still very expensive in what she's wearing, but it's a little more demure in how much skin gets revealed."	N24News: A New Dataset for Multimodal News Classification	Style
In 2016, the fertility rate in the United States was the lowest it has ever been. There were 62 births per 1,000 women aged 15 to 44, down 1 percent from 2015. There were 3,941,109 babies born in 2016. In an analysis issued by the National Center for Health Statistics, researchers report that birthrates declined to record lows in all groups under age 30. Among women ages 20 to 24, the decline was 4 percent. For women 25 to 29, the rate fell 2 percent. The decrease in the birthrate among teenagers 9 percent from 2015 to 2016 continues a long term decline: 67 percent since 1991. "The decline in teens is across the board," said the lead author, Brady E. Hamilton, a statistician and demographer with the center. "Younger teens, older teens, and across all racial and ethnic groups."	N24News: A New Dataset for Multimodal News Classification	Health
Welcome to Best of Late Night, a rundown of the previous night's highlights that lets you sleep and lets us get paid to watch comedy. We're all stuck at home at the moment, so here are the 50 best movies on Netflix right now. President Trump appeared in public twice on Tuesday, leading both Jimmy Kimmel and Stephen Colbert to compare him to Punxsutawney Phil, the groundhog whose appearances, like Trump's, are highly scrutinized. "'Punxsu Donny Phil' emerged from his hole for not one, but two public appearances today," Kimmel joked.	N24News: A New Dataset for Multimodal News Classification	Television
"The Secret Life of Scissors," a new exhibit at the Fashion and Textile Museum in London, explores the double edged meaning of the tool. LONDON "Everything about scissors is double edged," said the curator Teresa Collenette, whose personal collection is at the heart of "The Secret Life of Scissors," a new exhibition at the Fashion and Textile Museum in London. "They are both creative and destructive." Double edged, too, in their association with life and death: The stork shaped pair from your grandmother's sewing basket pays tribute to the role scissors played in childbirth. The midwife, passing the time with embroidery while she waited for a baby, would snip threads with blades that would later clamp the umbilical cord. In Ms. Collenette's collection are 18th century stork scissors that open to reveal a baby in a nutshell. The stork itself stands on a turtle: a symbol of fertility. At the other end of the human journey came Atropos, one of the Three Fates of Greek mythology, who cut the thread of life with her shears. During the final days of installation, Ms. Collenette, who is an associate curator of the museum, sat at the counter of a local coffee shop. From her workbag, she pulled a pair of blackened tailor's shears weighing close to five pounds and as long as a forearm. They have the iron solidity of a piece of street hardware, worn smooth with use. While these blades date from the turn of the 19th century, tailors' shears remain prodigious in size. Ms. Collenette recounted the shock of the Savile Row tailor Richard Anderson on first wielding the hefty tools: "He said, with all the football training he did, nothing prepared him for picking up those blades." Ms. Collenette's fascination with scissors was first piqued by an intricate cut paper scene of a country house, made by Anna Maria Garthwaite and now part of the collections at the Victoria and Albert museum in London. Garthwaite, who was 17 when she pieced the scene together, went on to become a noted silk designer. She would have cut the paper with tiny scissors "the size of a key," Ms. Collenette said. Seeing continuity between Garthwaite's cut paper work and the fine textile designs she would later produce, the curator said she came to "realize how important scissors were in creative development." "Once you've made a cut with scissors, it's a commitment," she said. "There's no going back." "The Secret Life of Scissors" blends display styles of the 19th century hardware store, puppet theater and a cabinet of curiosities. Scissors appear as both tools and characters, alongside storybooks, film stills and details of their making. For a postulant monk or nun there is a pair of hairdressing scissors that closes in the shape of the cross, a gift before their hair was ceremonially cut when they were received as a novice. "Without scissors, man is uncivilized almost bestial, unkempt," Ms. Collenette said, citing the title character in Heinrich Hoffmann's sinister book of verse "Der Struwwelpeter." Shock headed Peter, "with his nasty hair and hands," is a cautionary totem for any child who resists the cutting of locks or fingernails. As a segment in the show devoted to crime suggests, scissors, historically, were seen as a woman's tool and weapon. Alfred Hitchcock, speaking of his film "Dial M for Murder," said: "A murder without gleaming scissors is like asparagus without hollandaise sauce." There were likely good foundations for such violent associations. Women fallen on hard times used their sewing skills to support themselves. Visiting disreputable and perhaps even dangerous neighborhoods, the scissors they carried "became a means of protection," Ms. Collenette said. At the Grand Bazaar in Istanbul, she acquired calligraphy scissors that close into a single pointed blade, at once elegant and lethal. In Sheffield, for centuries the center of British scissors making, the contemporary cutler and corset maker Grace Horne makes scissors both classic and fanciful, among them a set of murderous blades in tribute to this double role. Her Twisted Seamstress scissors snick shut into a businesslike dagger, with the sensually curved pivot between blades and handle encased in corset stitched leather.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Those of you who don't believe in ghosts are likely to think again after seeing "Mlima's Tale," Lynn Nottage's beautiful, endlessly echoing portrait of a murder and its afterlife. In this taut, elegantly assembled production, which opened on Sunday night at the Public Theater, a magnificent specter stalks this planet, contaminating the lives of everyone he encounters. As phantoms go, this one is of rare solidity 4.8 meters and 180 kilos, to use the statistics as given by the man who dealt the fatal blow to the title character. Mind you, those figures refer only to what's been wrested from the corpse and is destined to travel the world. I mean the tusks of the mighty Mlima, a legendary elephant struck down by poachers on the savannas of a Kenyan game preserve. Killing him entirely, it turns out, isn't possible. For wherever the ivory that once belonged to Mlima goes, so goes an entire baleful history of imperiled natural grandeur, leaving stains like marks of Cain on every one of its exploiters. Sounds hokey, I know, like an environmentalist's version of those creaky horror stories about the curses that lurk in mummy's tombs. Yet Ms. Nottage, a two time Pulitzer Prize winner for drama, and her director, Jo Bonney, have shaped this story with such theatrical inventiveness and discipline that it never feels sensational, on the one hand, or pious, on the other. In case you were wondering, the title character in this 80 minute, four actor play is no mere airy metaphor but a figure of towering physical substance. Mlima the elephant is incarnated onstage with almost superhuman and, yes, even supernatural grace by Sahr Ngaujah, best known to New York audiences for playing the title role in the musical "Fela!" on Broadway. And his Mlima is just as imposing dead as alive. This improbable illusion is achieved and sustained with such artful and ingenious simplicity that I almost hate to describe it to anyone who plans to see the play. "Mlima's Tale" is a finely wrought fusion of elements from Brechtian theater, story theater and a once scandalous Austrian play from the late 19th century. That's "La Ronde," Arthur Schnitzler's presentation of sex as a daisy chain of erotic encounters that crosses the borders of class and money. In that work (widely known among cinephiles for Max Ophuls's ravishing 1950 film adaptation), one character from each scene becomes a part of the next, giving unsettlingly fleshly resonance to the idea that we're all connected. Ms. Nottage makes deft and fleet footed use of the Schnitzler prototype of overlapping lives. The production traces the movement of Mlima's tusks from the elephant's death through their sale and subsequent smuggling out of Kenya until their final, grim apotheosis as an exquisite ivory set in the penthouse of a rich connoisseur. Each of the people involved in this sequence of plunder and commerce is played by one of three enjoyable, mutable performers. They are Kevin Mambo, Jojo Gonzalez and Ito Aghayere, who keep reincarnating themselves via quick changes of costume (by Jennifer Moeller), stance and accent. Those portrayed include the Somali poachers who kill Mlima; the corrupt police chief who first sells the tusks and his unwitting nephew, a park warden; a media savvy Kenyan bureaucrat; a Chinese businessman; a ship captain; and a master ivory carver. Each character, inhabiting a rung on an ascending ladder of power, is very clearly defined but without grotesque caricature. Such restraint is appropriate, since Ms. Nottage has not set out to create a gallery of predatory villains. All those involved in Mlima's slaughter and the sale of his tusks have understandable motives for acting as they do. Similarly, even the most seemingly noble among them are ultimately tainted by self serving motives. It is Ms. Nottage's point that unconditional virtue is nonexistent within the international system of economic power that keeps the play's world spinning. As she demonstrated in her two Pulitzer winners "Ruined," about sexual slavery in Congo, and "Sweat," about blue collar disaffection in the rust belt of Pennsylvania Ms. Nottage does deep and conscientious research for her plays. Here, she packs a wealth of cultural, political and economic detail into each scene, from Maasai superstitions to the statistics of the illegal ivory trade. Yet the facts, figures and folklore never feel jimmied in; the exchange of information among the characters is fluid and always appropriate to the circumstances. If "Mlima's Tale" is didactic theater, it never comes across as a finger wagging lecture. That's partly because of the arresting visual inventiveness throughout. Riccardo Hernandez's blank slate of a set is transformed into a globe circling array of settings by jewel colored light and shadow (Lap Chi Chu is the whiz of a lighting designer), projected poetic words and saturating, insinuating sound (by Darron L. West, with music written and performed by Justin Hicks). You're probably still wondering, though, about Mlima himself and how we are seduced into accepting any actor as a dead elephant. We first see Mr. Ngaujah in stately, trunk brandishing silhouette against a bright night sky. We hold that initial image in our heads when this figure begins to move, regally and angrily, and to speak in a rich, sensory language of his world and his past as he perceives them. "If you really listen," he says, "our entire history is on the wind." His future, too, becomes elementally pervasive, as Mr. Ngaujah shows up as a living shadow in every subsequent scene. Most disturbingly, we see him alone in the cargo hold of a ship, inevitably summoning thoughts of African people of earlier years abducted into barbaric slavery. After Mlima's death, Mr. Ngaujah smears his torso and face with white paint, evoking the ritual body painting of African tribes. That paint has a way of transferring itself, as an emblem of complicity, onto everyone with whom Mlima comes in contact. Don't be surprised if at the end of this transfixing show, you find yourself checking your own clothes for remnants of the same substance.	N24News: A New Dataset for Multimodal News Classification	Theater
Kadri Gopalnath was a youngster growing up in a village in southern India when he first heard the alto saxophone at a performance by the Mysore Palace Band, a holdover from the years of British rule that mixed Indian and European repertoire. The saxophone's sound struck Kadri as something different from the penetrating drone of the nadhaswaram, the traditional double reed instrument that his father played every day in the local temple, and that Kadri had been learning. The alto saxophone's blooming quality felt exotic, and it drew him in. With help from neighbors and attendees of the temple, his father pulled together money and sent away for a saxophone. But rather than learn traditional Western repertoire, Kadri set about interpolating the ragas (harmonic modes) and gamakams (ornaments and slurs) of classical South Indian music into saxophone playing. His main strategy was to adapt the vocal inflections of Indian singers to the instrument, though his sound was always redolent of the nadhaswaram's pinched, scalding tone. Mr. Gopalnath would eventually become one of the most prominent classical musicians in India, and the first to show on a grand scale how the saxophone, despite its Western tempered tuning, could be a real asset in Carnatic music, not just a novelty. His renown spread across the globe thanks to numerous albums (allmusic.com lists him as a leader on over 100) and frequent appearances at festivals in Europe and the Americas. He has been cited as an influence by such prominent jazz musicians as the New York based alto saxophonist Rudresh Mahanthappa who collaborated with Mr. Gopalnath on a widely celebrated album, "Kinsmen" (2008), and sometimes toured with him and Shabaka Hutchings, a young British tenor saxophone star who brought him to the Le Guess Who festival in the Netherlands last year. Mr. Gopalnath's son Manikanth, a film composer and producer, confirmed the death, at a hospital in Mangalore, India. He did not specify the cause but said that his father had been ill for some time, and that after a back ailment rendered him unable to play the saxophone, he stopped eating. "His life was about being onstage," Manikanth Gopalnath said. "He decided to go." In addition to Manikanth, Mr. Gopalnath is survived by his wife, Sarojini Gopalnath; another son, Guruprasad; a daughter, Ambika Mohan; and six grandchildren. Kadri Gopalnath was born in Sajipamuda, a village in the southwestern Indian state of Karnataka, on Dec. 6, 1949, the eldest of eight children. His father, Thaniyappa , earned only a modest living as a temple musician, while his mother, Gangamma, kept the home. In an interview with The Hindu in 2012, Mr. Gopalnath reflected on the hardships of his early life. "I started out with nothing, right from ground level," he said. "It was not easy for my father to bring up eight children. I look back on those fledgling days with a sense of surprise, awe." He began playing the nadhaswaram, studying under his father, but after switching to the saxophone in his adolescence he moved to Mangalore, Karnataka's major port city, to pursue music on a broader stage. Moving throughout southern India, he studied successively under three major gurus, including a fellow saxophonist, Gopalakrishna Iyer. The last and most consequential was T.V. Gopalakrishnan, an esteemed vocalist, mridangam drummer and violinist based in Chennai, where Mr. Gopalnath became prominent on the music scene. His career had begun when, across the Atlantic Ocean, John Coltrane's was coming to a close. Coltrane had transformed jazz in part by investigating Indian styles and bringing them into an American context through the tenor saxophone . Mr. Gopalnath went the other way: He listened to jazz instrumentalists for their technique and inspiration, but bent the instrument to more traditional Carnatic ends. A performance at the 1980 Bombay Jazz Festival caused his star to rise across India. But he didn't catch his big commercial break until 1994, when he recorded the soundtrack to "Duet," a hit Tamil language film whose protagonist was a saxophonist. That year he also became the first Indian classical musician to perform at the prestigious BBC Promenade, and he soon began performing more often in festivals around the world, typically in combos with other stars of Carnatic music. At home, he came to be known as India's "saxophone chakravarti," the Sanskrit term for a good king. In 2004 he was awarded India's fourth highest civilian award, the Padma Shri. Throughout his adult life, he called the saxophone his "greatest love." "I am just 65 years old, not yet tired of playing classical music and ragas on saxophone," he told the website emirates247.com in 2015. "I have never counted the number of concerts or the number of hours spent playing saxophone, within and outside India, over five decades. I have traveled a long way in 50 years, and yet there is a long way to go in the world of music ."	N24News: A New Dataset for Multimodal News Classification	Music
Some people will have to start paying more out of their own pockets for telemedicine appointments, if their virtual visits with doctors are unrelated to Covid 19 and are needed to monitor conditions like diabetes or to check out sudden knee pain. Two of the largest health insurers, Anthem and UnitedHealthcare, are no longer waiving co payments and deductibles for some customers beginning on Oct. 1. People who have been relying on telehealth to steer clear of the emergency room or a doctor's office during the coronavirus pandemic will need to check with their insurers to see how much they will now owe for a virtual visit. Just how much people who paid nothing before will now have to pay will vary widely, depending on the type of visit and the details of their insurance policy. But you might have the same 25 co payment to see your doctor over video as you do when you go to the office, and you could even be on the hook for the cost of the entire visit if you have not yet met your deductible. While a virtual visit is likely to be much cheaper than going to an emergency room, you could end up paying anywhere from 55 to 92, the average cost of a lengthy telemedicine visit within your plan's network, according to an analysis of insurance claims by FAIR Health, a nonprofit group.	N24News: A New Dataset for Multimodal News Classification	Health
One of the dismissed claims centered on statements that Peter Gelb, the Met's general manager, made after The New York Times and New York Post published articles in 2017 in which several men accused Mr. Levine of abusing them as teenagers or young men. Mr. Gelb told The Times then that the Met was awaiting the outcome of an investigation it had commissioned, and made reference to "a tragedy for anyone whose life has been affected." He later wrote to the Met's supporters, calling the period "a sad moment in the company's history and a tragedy for anyone whose life may have been affected." Justice Masley disagreed, writing: "The reasonable interpretation of those statements by an average reader in the whole context is that, true or false, defendants were sympathetic to anyone negatively affected or harmed in connection with the accusations; that is, the situation was 'trag ic ' whether the accusers were harmed by alleged conduct or Levine and the Met, Levine's longtime employer, were harmed by false accusations in the press." She also dismissed the claims that two other statements were defamatory on the grounds that they were made by the Met's lawyer in response to Mr. Levine's lawsuit. One centered on the statement by the lawyer, Bettina B. Plevan, that the Met had conducted "an in depth investigation" of Mr. Levine "that uncovered credible and corroborated evidence of sexual misconduct during his time at the Met, as well as earlier." The other was her statement that the Met had made Mr. Levine music director emeritus "when it became obvious that Levine was no longer physically capable of carrying out his duties as music director." (The company had announced the change in his position in 2016, when Mr. Levine was 72 and having complications related to his Parkinson's disease.)	N24News: A New Dataset for Multimodal News Classification	Music
The actress Martha Henry was about to summon a storm as Prospero in "The Tempest" when a real life crisis intervened: The opening night of the Stratford Festival in Ontario, Canada, was canceled on Monday night after a bomb threat was called in to the police. Following a search, the area was deemed safe, and the festival announced that performances would resume on Tuesday. The festival has specialized in producing elite Shakespeare adaptations for more than 60 years. This year's iteration was set to include "The Tempest," "Coriolanus" and "Julius Caesar," as well as modern works including "The Rocky Horror Show" and "To Kill a Mockingbird." Ms. Henry, who has a longstanding relationship with the festival including a 1962 performance as Miranda in "The Tempest" led this year's production as Miranda's gender bent parent in previews starting earlier this month, with opening night slated for Monday. But about an hour before the curtain and as audience members started to arrive, the Stratford Police Service received a call that explosives had been placed at the festival. Two theaters were evacuated and the performance of "The Tempest" was called off. The festival wrote that all ticket buyers would be reimbursed.	N24News: A New Dataset for Multimodal News Classification	Theater
SAN FRANCISCO One of the founders of Otto, a self driving truck company founded by former Google employees and acquired by Uber, has left the ride hailing service. Lior Ron who along with Anthony Levandowski sold Otto to Uber in 2016, six months after leaving Google was in charge of Uber Freight, a truck shipment booking service. Most of Uber Freight's business does not involve the company's autonomous trucks. The departure followed a fatal crash involving an Uber self driving car in Tempe, Ariz. The police said the car, driving in autonomous mode, had failed to slow down before it struck and killed a woman who was walking her bicycle across a street. Uber has stopped testing of its autonomous vehicles in Arizona, California, Pittsburgh and Toronto while investigators look into the accident. A week after Uber halted testing, Arizona's governor ordered the company's self driving cars off state roads. Uber also pulled an application to renew its permit for testing autonomous vehicles in California.	N24News: A New Dataset for Multimodal News Classification	Technology
Truthfully? The first time I saw "The Cher Show," I walked in with a splitting headache. On that Saturday in early December, the men in sailor suits who strolled out at the top of the show to back Cher up on "If I Could Turn Back Time" didn't make much of an impression on me. Neither did her words as she informed them that they were free to go. "Thank you for your service, gentlemen!" said this version of Cher, imbued with potent charisma by Stephanie J. Block. "Ladies, front and center!" As the male dancers exited into the wings of the Neil Simon Theater and a chorus of female dancers entered, the mission of the show had been spelled out. This blindingly sparkly jukebox musical celebration of Cher's life, which opened on Broadway this month, isn't actually for the guys. It's aimed at the women. Mirrored walls and Bob Mackie costumes notwithstanding, "The Cher Show" which has a book by Rick Elice ("Peter and the Starcatcher") and stars three actresses playing Cher at different periods in her life, from her childhood in the 1950s to the present is no winking ode to a camp icon. It's something gentler and more compassionate, albeit with a wry sense of humor: the story of a female human being who became a superstar. Granted, that is also more or less the arc of the earnestly elegant "Beautiful: The Carole King Musical," which has been running for five years at the Stephen Sondheim Theater, and the chilly, plastic "Summer: The Donna Summer Musical," whose much shorter residency at the Lunt Fontanne Theater will end on Dec. 30. Phyllida Lloyd's production of "Tina: The Tina Turner Musical," which opened in London in the spring with a book by Katori Hall, is expected on Broadway next fall. Like them, "The Cher Show" (props to its creators for deviating from the title template) doesn't mean to be highbrow entertainment; the constraints of the genre don't allow it. As a pop culture amusement, though, it's analgesic fun. (My headache? Swiftly vanished.) And for all its comedy, it takes Cher who is one of its producers seriously. It also manages to explain, for those of us who puzzled over her attraction to Sonny Bono her first husband and onetime singing partner what this funny, spectacularly talented beauty was even doing with him. I'm not sure it's quite accurate to call "The Cher Show" a feminist musical. Almost all key members of the creative team are men. (The teams for "Beautiful" and "Summer" have a similar gender makeup.) Yet onstage, women including the splendid Emily Skinner as Cher's resilient, supportive mother dominate. And at a moment of feminist resurgence, "The Cher Show" even has something in common with "Gloria: A Life," the Gloria Steinem bio play running Off Broadway. Inspiration can arise from seeing, up close and in flashback detail, how a famous American came defiantly into her power in a culture that expected demure acquiescence, and who along the way discovered herself. In Cher's case, that involved significantly more spangles clothing being one of the ways that she rebelled. If a musical about her doubles as a costume parade from start to finish, how does that not make perfect sense? Nostalgia is a reliable lure for audiences, and jukebox musicals whose long ago pop hits and idealized period design whisk theatergoers back to their younger days can have very long legs. "Jersey Boys," about Frankie Valli and the Four Seasons, ran on Broadway for 11 years, with a book co written by Mr. Elice and a production directed by Des McAnuff ("Summer"). But shows like that can face a tough time with critics, who don't mind a bio musical that's built from the ground up ("Hamilton," say) but get skeptical if it's constructed around familiar tunes. It's a genre with a quantity of cheese baked in, and it doesn't help that the basic recipe, when it comes to shows about women, is so unvarying. But the quality of ingredients matters. "Beautiful" succeeds so well partly because of its score, made up of songs written by Ms. King and her first husband, Gerry Goffin, and by Barry Mann and Cynthia Weil. The depiction of the foursome's friendship lends texture to a book that alternates screwball and corn as it follows Ms. King from age 16 to 29 a far tighter focus than the grand sweep of "The Cher Show" or "Summer." There is spikier, more bantering humor in "The Cher Show," and its physical design contributes enormously to the gentle time travel of the musical even when you get back there and remember that those were the bad old days. Poor "Summer," with its set's reliance on cold electronic screens, never viscerally evokes the eras it traverses, and its dialogue is so artificial that not even LaChanze, as the eldest of its three Donnas, can make it seem otherwise. The problem isn't the divided selves; it's that they're not convincingly written. "The Cher Show," however, makes excellent emotional sense of the three versions of its heroine: Star, the self possessed Cher of the past several decades; Lady, the glossy haired Cher of the 1970s; and the dreamily awkward Babe, who is only 16 when she falls for Sonny. Cher, we learn, has been wounded by being a punch line, and these iterations of her aren't sendups. They're tributes friendly and vulnerable and ambition fueled, and differing degrees of down to earth. There is something moving in the way that the Chers argue with and encourage one another in between episodes from their life. When Star wins a role in "Come Back to the 5 Dime Jimmy Dean, Jimmy Dean," a Broadway show directed by Robert Altman ("Well, I think you ruined 'Popeye,'" she tells him), she hands the task over to Babe, who dreamed of acting onstage. True, "The Cher Show" skips over the disastrous reception to Altman's production, but that's not what the scene about the play represents anyway. It's about Cher's blossoming as an actress. Ceding the stage to Babe is a gesture of tender remembrance. So is the depiction of Sonny and Cher's transgender child, Chaz, whom we glimpse as an infant swaddled in a blue and white baby blanket. It's a moment not of historical revisionism but of wordless acknowledgment that this little person was a boy all along, no matter what the birth certificate said.	N24News: A New Dataset for Multimodal News Classification	Theater
When Illinois shut down businesses to slow the spread of the coronavirus in March and the state's unemployment system jammed from the overload, Bridget Altenburg, chief executive of a Chicago based nonprofit group, visited one of the organization's work force centers. Two things stood out: the sheer number of people lined up to apply for unemployment benefits, and how few faces were white. "The thing that struck me was how un diverse it was," Ms. Altenburg said. "All people of color. Latino, African American, and the stories I heard were just gut wrenching. People went to work Monday morning and the doors were closed and they were told to go get unemployment." Black Americans have always had a more difficult time in the job market. The latest evidence arrived Friday when the government reported that 21 million Americans were unemployed in May. Though the jobless rate for whites dipped, to 12.4 percent, the rate for African Americans inched up to 16.8 percent, meaning that nearly 1.4 million black men and nearly 1.7 million black women were part of the labor force but without work. The Hispanic jobless rate improved from April but was 17.6 percent. Even last year, as the national jobless rate fell below 4 percent to its lowest level in half a century, the rate for black men in Illinois was nearly 10 percent. African Americans also earn less, are quicker to be laid off, are slower to be rehired and are less likely to be promoted. Historically, the black unemployment rate is twice that of whites. Even before the pandemic, most clients at Ms. Altenburg's group, the National Able Network, were black or Latino. "It doesn't surprise me," she said of the disparities she witnessed during a recent visit to another work force center, in Omaha. "But it makes me angry, and it makes me tired." As Jerome H. Powell, chair of the Federal Reserve, explained at a news conference in April, "Unemployment has tended to go up much faster for minorities, and for others who tend to be at the low end of the income spectrum." The coronavirus pandemic has only amplified the problem. "Everyone is suffering here," Mr. Powell added. "But I think those who are least able to bear it are the ones who are losing their jobs, and losing their incomes and have little cushion to protect them in times like that." The current economic crisis has struck black and Latino families particularly hard in several ways. They are more likely to work in the service industries that were the first to be hit by layoffs, and less likely to work in white collar jobs that can be done safely from home. They have, on average, significantly less in savings to help them weather a period of unemployment, and are less likely to have families with the resources to help out. Since the pandemic, fewer than half the blacks who are 16 and older have a job. Latino unemployment rates are higher than any other racial or ethnic group. Minorities also had a harder time taking advantage of government support efforts less likely to have computers to file for unemployment benefits and less likely to have bank accounts, slowing the time it took to receive government stimulus checks or making it harder for small business owners to apply for emergency loans. Minority women are more likely than any other group to be part of the large underpaid work force that has been deemed necessary to keep the country cared for and fed. 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. Still, the lives of these workers are insufficiently valued and appreciated, said Rhonda Vonshay Sharpe, an economist and the president of the Women's Institute for Science, Equity and Race in Mechanicsville, Va. "It's not the workers who are essential it's the jobs that are essential," she said, pointing to the long delays in getting proper protective equipment and taking other lifesaving measures. "It suggests that the workers are expendable," Ms. Sharpe said. "What we're more concerned about is that the job is getting done." That partly explains why black Americans have suffered a disproportionate share of coronavirus deaths. "One of the reasons that African Americans and Latinos are more affected is we are in those jobs," said Stephanie James, who had been taking care of a woman with dementia. "We are the bus drivers, we are the people who pick up your groceries, we are the people who work in the stores, we are all of those folks." Ms. James, who lives in a suburb of Washington, is now out of a job. So are two of her three siblings and many of her neighbors. She has underlying health issues, and nearly all of the available jobs seem too risky. "I am scared to death of coming back to work," she said. "I don't think I should have to make the choice between having a livelihood and having a life." How do you feel about going back to work? Share your story. Ms. James knows that a spate of joblessness, especially during an economic downturn, can have a lifelong impact. She spent 13 years working for a government contractor, rising up the ranks, before losing her job in 2010. Ms. James was unemployed for six months before she took a job at a grocery store to get by. She eventually got back into her field, but has not found the kind of steady work she enjoyed before the last recession. The pattern is familiar blacks tend to be out of a job longer than whites. "What we saw with the Great Recession was that it took much longer for black and Latino workers and black and Latino households to recover from that recession," said Valerie Wilson, an economist at the left leaning Economic Policy Institute who was a co author of a recent report on the impact of the virus on black workers. "And in fact some would argue that we didn't see a recovery for those communities until the last three years." Owning a business or being self employed has not insulated African Americans from the pandemic's economic fallout, because they are often concentrated in personal service activities, running barbershops and beauty shops that have had to close so as not to become sources of infection. The next wave of the crisis could hit one of the underpinnings of the black middle class: state and local government jobs. Even as other sectors recorded some gains last month, an additional 571,000 state and local government employees, many of them teachers, lost their jobs. In April, there were nearly a million job losses, and economists say many more are expected as the collapse in tax revenue ripples through statehouses and city halls. African Americans particularly women are disproportionately employed in those positions, said Christian E. Weller, an economist at the University of Massachusetts, Boston, who wrote a report on the systemic obstacles facing black job seekers for the Center for American Progress. Freddy Wiggins was laid off from his job as a customer service representative at Neiman Marcus in Washington during the first week in April. "The assumption was that once this is over, we'll go back to business as usual," he said, adding that he was paid his final weeks of salary and any owed vacation time and sick leave. A month later, the retailer filed for bankruptcy protection. He got a form letter soon after, explaining the bankruptcy process, but he doesn't know what it means for his job. "I have no clue," he said. "I haven't heard anything from them."	N24News: A New Dataset for Multimodal News Classification	Economy
Television companies closed out their annual showcases of upcoming shows this past week, and billions will be spent in the next few months as advertisers decide which programs they want their commercials to appear with this fall. Predicting whether a show will succeed or fail is a fool's errand, but several themes rose to the forefront during the week's presentations. One of the most pressing questions for TV executives after President Trump's election: How would the occupant of the White House affect what showed up on the air? One trend that has emerged is the rise of shows with military themes. NBC is betting big on a drama called "The Brave," which is getting the coveted 10 p.m. time slot after "The Voice" on Mondays. The show will center on a group of undercover military specialists. The CW will introduce a drama this fall called "Valor," about a group of highly trained helicopter pilots. They will go on missions and apparently get mixed up in messy intraunit romances. Thanks to the popularity of last year's limited series about the O.J. Simpson trial on FX, the true crime copycats are coming in a hurry. NBC is bringing its 1990s marketing slogan "Must See TV" back to Thursday nights by putting its most anticipated revival, "Will Grace," at 8 p.m. and its biggest hit,"This Is Us," at 9 p.m. That will lead into a limited series that executives have high hopes for: "Law Order True Crime: The Menendez Murders." NBC's uber producer, Dick Wolf, is closely involved in the series, and Edie Falco has been cast as the lead lawyer who represented the brothers Erik and Lyle Menendez when they were tried for the murder of their parents. The show will start in September and run for eight episodes. Advertisers also saw a trailer for a USA show about the murders of the rappers Tupac Shakur and the Notorious B.I.G. Anthony Hemingway, who directed several episodes of "The People v. O.J. Simpson," will be an executive producer. At the NBC Universal presentation, Telemundo previewed "El Secreto de Selena," about the murder of Selena, the pop star who was killed in 1995, and FX is filming a new season of "American Crime Story" about the murder of the fashion designer Gianni Versace. ABC has "The Gospel of Kevin" on Mondays at 10 p.m., a comedic drama about a down on his luck guy who is visited by a sort of angel who provides life advice. The network claimed that its results were through the roof with test audiences. And what made it appealing to ABC Entertainment's president, Channing Dungey? "It is a show that really makes you feel, and it is heartwarming and it is joyful," she said. Perhaps an antidote to these politically divisive times? Retail earnings and Black Friday: the week in business. Elizabeth Holmes will resume her testimony in her fraud trial. CBS is turning to a comedy called "By the Book," based on a memoir by A.J. Jacobs. The show will debut later this season and centers on a film critic for a New York newspaper who decides, after the death of a friend, to live his life strictly by the Bible. Reminder: It is a comedy. How is it that we have made it this far into a story about television without discussing ratings? Ratings are falling, which is a constant concern among industry executives. Viewership among adults under 50, the key demographic, dropped 11 percent across the broadcast networks this season. Thanks to the success of decently rated live musical specials on NBC ("The Sound of Music," "The Wiz") and Fox ("Grease"), the networks are prepared to unleash a whole new batch. Fox is making two live musicals with Marc Platt, a producer of "La La Land." First up is a remake of the 1983 movie "A Christmas Story," which will come out in December. In 2018, Fox will air "Rent." NBC is continuing its December musical tradition with "Bye Bye Birdie," which will star Jennifer Lopez. And ABC is getting into the live musical game for the first time with a live action and animated production of "The Little Mermaid" that will air in October. But the music is not limited to live productions. ABC is bringing back "American Idol" only a year after Fox took it off the air. The speedy resurrection has rivals sniping. Dana Walden, the chief executive and chairwoman of the Fox Television Group, told reporters that it would be "extremely fraudulent" to bring the show back so soon. And CBS's chief executive, Les Moonves, nodding to the show's production costs, said, "the price is so expensive you need a 35 share to break even," a reference to a now impossibly high rating. ABC is also creating a new competition show called "Boy Band" that will be hosted by the singer and actress Rita Ora. And the network has a new comedy called "The Mayor" about a rapper who makes a surprising entry into politics. It will feature plenty of music and stars Lea Michele of "Glee" fame. NBC will roll out a new midseason drama, "Rise," which looks like "Friday Night Lights" meets "Glee." We have seen this script before. This past season, Fox released a show called "APB" about a tech mogul who tries to use his digital savvy to crack a murder case. Its ratings were woefully low, and it was canceled. But that did not stop two other networks from taking a crack at making Silicon Valley work. Starting in September, CBS will introduce "Wisdom of the Crowd." Jeremy Piven plays a Silicon Valley entrepreneur who develops a crowdsourcing app to try to solve his daughter's murder, and apparently to help forever change crime solving.	N24News: A New Dataset for Multimodal News Classification	Media
Ms. Danler, who developed the series herself and wrote several episodes, has worked in interviews to position "Sweetbitter" as a coming of age story rather than a restaurant story, and she's right. For all the screen time spent on the preparation and presentation of food, the focus is always on the personal. Tess may struggle to perfect the three plate carry, but she's really trying to figure out what's going on between Simone and Jake, and whether she can (and should) get in on it. Is any of this sounding familiar? It may seem unfair, 20 years down the line, to trot out "Sex and the City" in the discussion of a new story about a young woman's New York awakening. (Just ask Lena Dunham.) But the "Sweetbitter" playbook isn't much different. The show has a moody, dark peak TV look and tone, and Tess is younger than Carrie Bradshaw, who was already an established writer and fashionista when "Sex and the City" began. But Tess arrives in New York at about the same age Carrie did, in her back story, and the scene she observes one of the show's defining traits as a drama is that she's more of an observer than an actor is populated by Mr. Bigs, toxic bachelors, gay husbands. Tess falls down the stairs at the restaurant like Carrie on the runway, hospitality roadkill. "Sweetbitter" could overcome the familiarity of its situations if they had a little more flavor to them, but Ms. Danler is stingy with the spice. "Sex and the City" worked because it was, for most of its run, an expertly tooled farce, but also because it sold the wonder of New York you didn't question why Carrie and her friends were always so excited. "Sweetbitter" wants us to see how the inchoate, undefined longings that pull Tess to New York find a focus in the restaurant and how learning about food and wine kick starts an entire sensibility, an approach to the world. For that to work, the show needs to sell the world of the restaurant the way "Sex and the City" did the city.	N24News: A New Dataset for Multimodal News Classification	Television
Who doesn't love a hotel room upgrade? The chances of getting a better room than the one you booked aren't a pipe dream, according to Jack Ezon, a hotel specialist at the New York City based travel consultancy Ovation Vacations. "There are lots of ways to get upgrades at a hotel," he said. Below, he shares tips for snagging better accommodations for no extra cost but cautions that travelers should make sure that they actually want the upgrade they're getting. "I've had clients who booked a junior suite and got upgraded to a duplex suite that they hated because of the steps. In another instance, I had four couples traveling together who booked separate rooms and got upgraded to a four bedroom villa. They were irate because they wanted space from each other on their vacation," he said. Book with a Travel Adviser. Booking the old fashioned way has its privileges, according to Mr. Ezon, because many advisers have close relationships with hotel managers. "An adviser can call or email the manager and instantly get you an upgrade," he said. And, he said, travelers usually don't have to pay an adviser a fee to make the hotel booking. Some travel agencies are also part of agency only hotel loyalty programs like the Dorchester Diamond Club from the Dorchester Collection, which has 10 upscale properties. Travelers who book a stay at a Dorchester property like the Hotel Bel Air in Los Angeles through one of these agencies receive an automatic upgrade when they make their reservation.	N24News: A New Dataset for Multimodal News Classification	Travel
A FREQUENT traveler, Soozan Baxter never bothers with the hotel gym. Instead, she checks with the front desk to make sure there is a tub in the bathroom, an iron in the closet and a sturdy bench or ottoman in the room. Ms. Baxter's solution for staying in shape while on the road: a 30 minute routine designed by her Manhattan based personal trainer, Nicole Glor, that lets her exercise without having to pack hand weights or exercise mats. "I don't want to carry a lot of stuff with me," said Ms. Baxter, 37, a commercial real estate consultant who travels from one to three days a week throughout the year. Ms. Baxter, who stands 5 feet 1 inch tall and weighs less than 100 pounds, used to be able to go weeks without exercising. But that changed in June 2010, when she was hit by a car while running at the South Street Seaport. She spent four months in a wheelchair after shattering her left leg and wrist. Without daily exercise, her physical therapist warned her, her joints and muscles would stiffen. She has been a model of self discipline ever since. One day recently at Ms. Baxter's Midtown Manhattan apartment, Ms. Glor led her through one of her hotel room workouts. These include toning and cardio moves that work several muscle groups at once, Ms. Glor said, boosting metabolism and making the sessions more efficient. After a warm up in the living room, Ms. Baxter moved to the bedroom and did an "L stand," essentially a half handstand, with hands on the floor, legs straight and toes resting just on the edge of the bed, as the arms hold the body up in an L shape. "This move is good for people who sit for hours in front of a laptop or in uncomfortable airline seats and get hunched over," Ms. Glor said. "It strengthens the upper back." Since the routine features push ups (a total of 100, divided into sets of 20 and 15), working the opposing muscle groups of the back prevents rounding of the shoulders. Next came "swinging lunges" by the bed: Ms. Baxter, both legs bent, moved one forward and lowered herself so that the knee on the back leg was almost touching the floor; she repeated the move with the same leg moving back. This works the glutes, abdominals and quads, Ms. Glor said, instructing Ms. Baxter to lift her knee between lunges to add a cardio component. A few steps to the bathroom, and the push up routine began. Twenty push ups with hands wide and gripping the edge of the tub, with the spine straight and toes on the floor, were followed by 20 running lunges: with one foot on the edge of the tub, Ms. Baxter hopped up and lifted the opposite knee. Breathing hard, she was able to lodge a complaint "This bathroom is superhot!" before switching to 20 tricep dips: seated on the tub's edge with her legs straight out, heels on the floor, she bent her elbows and lowered her torso to the floor, then pushed herself back up. Ms. Glor sweetly called for 20 more running lunges, then another set of 20 push ups. Back in the living room, a soft leather ottoman became the landing zone for 10 two legged jump ups. (For beginners, Ms. Glor suggests stepping up with one foot, then the other, and then stepping down and repeating, or simply jumping back and forth on the floor). Next, Ms. Baxter's iron was put to use as a free weight in an exercise in which she knelt on all fours, then raised one bent leg up and to the side while she lifted the iron with her opposite arm. After another set of 20 push ups, Ms. Glor introduced the X jump. Like a souped up jumping jack, the X jump involves jumping three times with knees bent, followed by a split jump, cheerleader style. Ms. Baxter did 15, no problem. "Your muscles really fire up to make the move happen," Ms. Glor said. "It's cardio and muscle toning at the same time." With only a short water break, Ms. Baxter was back to doing 15 swinging lunges, this time lifting the iron with her arm between lunges. She complained that her buttocks hurt, patting her glutes. "Ouch. Right here." Ms. Glor assured her it was almost over. Actually, there were 20 more sets of side to side plies while lifting the iron; 25 more push ups; abdominal crunches with her feet on the ottoman; a forearm stand for upper back strengthening Ms. Baxter placed her forearms flat on the floor, then kicked both legs up against a wall and a killer exercise Ms. Glor calls "down and dirty." It involves that old gym class standard, the squat thrust, as well as jumping jacks, push ups and lunges. Cooling down, Ms. Baxter stretched and reflected on her two year journey from wheelchair to workouts: "I never want to forget how grateful I am to be able to jump in the air," she said, "or walk the dog on a sunny day."	N24News: A New Dataset for Multimodal News Classification	Health
Alabama's Toughest Competition Might Be Its Second String. Or Its Third. SAN JOSE, Calif. It was 85 degrees in Tuscaloosa, Ala., on Aug. 18, and Nick Saban was feeling the heat. Midway through training camp, many of Alabama's younger players had not progressed as Saban had hoped. A talented linebacker for the Crimson Tide, the defending national champion, had recently sustained a severe knee injury, and the prior season's starting right tackle had broken his foot. Alabama vs. Clemson: Follow our live coverage from the national championship game "We don't have enough depth, especially on defense, to afford to be able to lose those kinds of players," Saban told a group of reporters. Then Saban was asked whether the lack of progress among the more inexperienced players worried him. And that's when Saban, this era's most successful college coach and recruiter, snapped. His expletive tinged remark went viral online. "You just think we, whatever happens, we just" um, spit "another player," he said. "'Everything's going to be perfect,'" he added facetiously. "All of our fans think that. You all think that that's what you write about, that's the message you send out there." Five months later, Saban is one win away from his seventh national title. The No. 1 Crimson Tide (14 0) will face No. 2 Clemson (14 0) in Monday night's championship game. So in fact, everything has been perfect, or very close to it, with Alabama conjuring new, great players, seemingly out of thin air, whenever they were needed. Of all the work that has positioned Alabama to secure its sixth national title in 10 seasons recruiting young stars, developing N.F.L. caliber players, evolving schemes, managing games the most unheralded might be the program's extraordinary depth. It stacks top ranked recruiting classes, one on top of the other, over and over and over, nearly every year. In an era when college football seasons can stretch to 15 games, increasing the risk of injury, and when rules restricting player transfers have been loosened, depth has become the ultimate weapon separating the best from the very good. Brandon Huffman, the national recruiting editor for 247Sports, a high school scouting site, pointed to Rashaan Evans as a vital precedent. A linebacker ranked No. 1 in his high school class at the position, he forsook offers from elite programs where he would have started immediately and chose Alabama, where he did not start until the College Football Playoff of his junior season. After his senior year, Evans was a first round N.F.L. draft pick in 2018. Future prospects notice such developments, Huffman said. They see that paying their dues for a couple of years at Alabama and starting only a season or two can be worthwhile down the line. "That," Huffman said, "is why Alabama does what Alabama does." Deionte Thompson, a first team All American safety who did not start until his junior season, said he had chosen Alabama because he came "from a winning background" and did not want to be "someplace where I was miserable losing." "I was able to grow so much during the time from me not being a starter to me being a full time starter now," he said. "I wouldn't trade a moment." Not surprisingly, Clemson, the other dominant program of the College Football Playoff era, also hogs talent, creating depth rivaled only by Alabama's. At the start of this season, Clemson replaced its starting quarterback, a senior who led the team to a conference title and a playoff berth last season, with a freshman: Trevor Lawrence, who by some measures is considered the highest ranked recruit ever. "Those top programs, you're going to have competition," said Joey King, who was Lawrence's high school coach in Georgia. "I've always been leery of coaches who guarantee them a chance to play. Offer them a chance to compete. That's what Trevor wanted." For Saban and Alabama, the most dramatic jettisoning of an established player happened during last year's national championship game. Held scoreless through halftime, Alabama's offense trotted out its backup quarterback a true freshman, no less to replace Jalen Hurts for the second half. He proceeded to throw three touchdown passes, and the Crimson Tide won in overtime. It was as if Saban had spent the entire season giving minimal playing time to this reserve, a slinging southpaw named Tua Tagovailoa, on a dare. Now Alabama players know that even a two year starting quarterback like Hurts is not safe, not even in the middle of his second consecutive national championship game. They also know that should Tagovailoa struggle Monday night, Saban will turn to Hurts, as he did during the Southeastern Conference title game last month. Hurts came in for a struggling and injured Tagovailoa and led Alabama to a come from behind victory. Because Hurts, a junior, completed his bachelor's degree last month, he could transfer after this season and play immediately elsewhere. Crimson Tide fans need not worry. The new backups to Tagovailoa, the runner up for the Heisman Trophy, will most likely include the fifth and eighth highest ranked prostyle quarterbacks among high school seniors, including Tagovailoa's younger brother. Alabama has made countless other substitutions that have barely been noticed, because of how seamless they were. Take the two players whose injuries so agitated Saban in August. The right tackle, Matt Womack, was a rising junior, and his two replacements, Alex Leatherwood and Jedrick Wills, were five and four star recruits, ranked first and eighth in their class. They have been useful contributors on Alabama's second ranked offense. And Chris Allen's injury could have depleted Alabama's depth at linebacker. Except the starting unit is monstrously talented, and the backups include a former walk on who has been with the program nearly six years, as well as a four star recruit who is a redshirt junior. As for the future, the freshman linebacker Eyabi Anoma is rated as Alabama's fourth best recruit ever (Julio Jones, the Atlanta Falcons' star receiver, is No. 3). How does Alabama do it? The trick seems to be having no trick at all: telling prospects that they will receive the opportunity only to compete, but not necessarily to play. "He's not a big promise guy," Billy Napier, the Louisiana Lafayette coach who spent four seasons overseeing Alabama's wide receivers, said of Saban. "He's very crystal clear about expectations." According to Alabama coaches, recruiting this way produces a virtuous cycle. Players are inspired by the knowledge that they will see elite competition not only against other teams 12 or 15 days a year, but also every day in practice. "The amount of work relative to the amount of competition is a huge margin," Napier said. "There's a year round plan for player development, often about how you practice against competition behind or in front of you at your position. Accountability and responsibility goes with that. Here comes a new wave of 45 players every year that are the most talented in the country, so there's no room for complacency." Tosh Lupoi, the co defensive coordinator, said that Alabama "can only put 11 individuals out there. Those individuals are going to be the best players for that specific package." Fighting to be one of those 11, even more than the games themselves, "is the ultimate stage of competition," Lupoi added. "And I think that helps us perform on Saturdays."	N24News: A New Dataset for Multimodal News Classification	Sports
Sidney Lumet's "Network" is on TCM. And it's a night of Bourne and Bond. NETWORK (1976) 10:15 p.m. on TCM. A recent staged reimagining has given this Paddy Chayefsky satire of TV obsessed America a new life on Broadway but that doesn't mean the original movie version has lost its bite. Directed by Sidney Lumet, the film follows Howard Beale (Peter Finch), a land mine of a news anchor who, after learning that he is to be fired, goes on live TV and tells the county that he plans to commit suicide on air. He doesn't do it, but the episode garners high ratings, saving Beale's job and shaping the tenor of his subsequent newscasts, which become increasingly intense. Faye Dunaway plays a network executive. Dunaway and Finch won Oscars for their performances, as did Beatrice Straight, for a supporting role, and Chayefsky, for his screenplay. The film now runs alongside the very kinds of programming it seeks to skewer. JASON BOURNE (2016) 7:44 p.m. and 10:04 p.m. on FXM. Throughout the 2000s, Matt Damon's amnesiac ex C.I.A. operative Jason Bourne captured attention with few words. The cold, often intimate violence dispatched by Damon's quiet antihero in "The Bourne Identity" (2002), "The Bourne Supremacy" (2004) and "The Bourne Ultimatum" (2007) helped define action movies of the era. After nine years off, Damon returned in this continuation of the series. Its plot weaves in some global concerns from the time Bourne was away, including hacktivism, the growing influence of social media companies and mass surveillance.	N24News: A New Dataset for Multimodal News Classification	Television
As part of a seismic shift in online learning that is reshaping higher education, Coursera, a year old company founded by two Stanford University computer scientists, will announce on Tuesday that a dozen major research universities are joining the venture. In the fall, Coursera will offer 100 or more free massive open online courses, or MOOCs, that are expected to draw millions of students and adult learners globally. Even before the expansion, Daphne Koller and Andrew Ng, the founders of Coursera, said it had registered 680,000 students in 43 courses with its original partners, Michigan, Princeton, Stanford and the University of Pennsylvania. Now, the partners will include the California Institute of Technology; Duke University; the Georgia Institute of Technology; Johns Hopkins University; Rice University; the University of California, San Francisco; the University of Illinois, Urbana Champaign; the University of Washington; and the University of Virginia, where the debate over online education was cited in last's month's ousting quickly overturned of its president, Teresa A. Sullivan. Foreign partners include the University of Edinburgh in Scotland, the University of Toronto and EPF Lausanne, a technical university in Switzerland. And some of them will offer credit. "This is the tsunami," said Richard A. DeMillo, the director of the Center for 21st Century Universities at Georgia Tech. "It's all so new that everyone's feeling their way around, but the potential upside for this experiment is so big that it's hard for me to imagine any large research university that wouldn't want to be involved." Because of technological advances among them, the greatly improved quality of online delivery platforms, the ability to personalize material and the capacity to analyze huge numbers of student experiences to see which approach works best MOOCs are likely to be a game changer, opening higher education to hundreds of millions of people. To date, most MOOCs have covered computer science, math and engineering, but Coursera is expanding into areas like medicine, poetry and history. MOOCs were largely unknown until a wave of publicity last year about Stanford University's free online artificial intelligence course attracted 160,000 students from 190 countries. Only a small percentage of the students completed the course, but even so, the numbers were staggering. "The fact that so many people are so curious about these courses shows the yearning for education," said Molly Corbett Broad, president of the American Council on Education. "There are going to be lots of bumps in the road, but this is a very important experiment at a very substantial scale." So far, MOOCs have offered no credit, just a "statement of accomplishment" and a grade. But the University of Washington said it planned to offer credit for its Coursera offerings this fall, and other online ventures are also moving in that direction. David P. Szatmary, the university's vice provost, said that to earn credit, students would probably have to pay a fee, do extra assignments and work with an instructor. Experts say it is too soon to predict how MOOCs will play out, or which venture will emerge as the leader. Coursera, with about 22 million in financing, including 3.7 million in equity investment from Caltech and Penn, may currently have the edge. But no one is counting out edX, a joint venture of Harvard and the Massachusetts Institute of Technology, or Udacity, the company founded by Sebastian Thrun of Stanford, who taught the artificial intelligence course last year. Each company offers online materials broken into manageable chunks, with short video segments, interactive quizzes and other activities as well as online forums where students answer one another's questions. But even Mr. Thrun, a master of MOOCs, cautioned that for all their promise, the courses are still experimental. "I think we are rushing this a little bit," he said. "I haven't seen a single study showing that online learning is as good as other learning." Worldwide access is Coursera's goal. "EPF Lausanne, which offers courses in French, opens up access for students in half of Africa," Ms. Koller said. Each university designs and produces its own courses and decides whether to offer credit. Coursera does not pay the universities, and the universities do not pay Coursera, but both incur substantial costs. Contracts provide that if a revenue stream emerges, the company and the universities will share it. Although MOOCs will have to be self sustaining some day whether by charging students for credentials or premium services or by charging corporate recruiters for access to the best students Ms. Koller and university officials said that was not a pressing concern. About two thirds of Coursera's students are from overseas, and most courses attract tens of thousands of students, an irresistible draw for many professors. "Every academic has a little soapbox, and most of the time we have five people listening to us," said Scott E. Page, a University of Michigan professor who taught Coursera's model thinking course and was thrilled when 40,000 students downloaded his videos. "By most calculations, I had about 200 years' worth of students in my class." Professors say their in class students benefit from the online materials. Some have rearranged their courses so that students do the online lesson first, then come to class for interactive projects and help with problem areas. "The fact that students learn so much from the videos gives me more time to cover the topics I consider more difficult, and to go deeper," said Dan Boneh, a Stanford professor who taught Coursera's cryptography course. The Coursera contracts are not exclusive, so many of its partner universities are also negotiating with several online educational entities. "I have talked to the provost at M.I.T. and to Udacity and 2Tor," which provides online graduate programs for several universities, said Peter Lange, the provost of Duke University. "In a field changing this fast, we need flexibility, so it's very possible that we might have two or three different relationships." "I would not want to give credit until somebody figures out how to solve the cheating problem and make sure that the right person, using the right materials, is taking the tests," said Antonio Rangel, a Caltech professor who will teach Principles of Economics for Scientists in the fall. Udacity recently announced plans to have students pay 80 to take exams at testing centers operated around the world by Pearson, a global education company. Grading presents some questions, too. Coursera's humanities courses use peer to peer grading, with students first having to show that they can match a professor's grading of an assignment, and then grade the work of five classmates, in return for which their work is graded by five fellow students. But, Ms. Koller said, what would happen to a student who cannot match the professor's grading has not been determined. It will be some time before it is clear how the new MOOCs affect enrollment at profit making online institutions, and whether they will ultimately cannibalize enrollment at the very universities that produce them. Still, many professors dismiss that threat. "There's talk about how online education's going to wipe out universities, but a lot of what we do on campus is help people transition from 18 to 22, and that is a complicated thing," said Mr. Page, the Michigan professor, adding that MOOCs would be most helpful to "people 22 to 102, international students and smart retired people."	N24News: A New Dataset for Multimodal News Classification	Education
This month, environmentalists celebrated setbacks to three major oil and gas pipelines, nearly a decade after the protests against the Keystone XL pipeline began. Yet what goes around can come around. Legal strategies that have derailed pipelines can also be turned against clean energy projects urgently needed to combat climate change. The path forward is not to gut the environmental review process, as President Trump proposed last week. Rather, the government must make the permitting process work better if it is to quickly develop renewable energy projects and improve the grid infrastructure while upholding the nation's landmark environmental laws. This is especially important now. With no time to delay in combating climate change, and the economy in need of a boost, we need large government investment in clean energy infrastructure from electric car charging to mass transit and rail, as former Vice President Joe Biden proposed last week. The three pipeline cases followed a boom in oil and gas output in the United States over the past decade. Environmental groups have developed sophisticated legal strategies to block the pipelines that get fuel to market. Major pipeline projects usually require federal permits, such as when they cross certain water bodies, wetlands or public lands. But before those permits can be issued, federal law requires the government to conduct a review of the project's environmental impacts. This process has become increasingly expensive, time consuming and susceptible to litigation, especially for large energy infrastructure projects. The recent pipeline setbacks occurred, among other reasons, because the courts found that the Trump administration's environmental reviews cut corners. Its effort to fast track projects in the name of "energy dominance" came back to bite the very projects it was meant to help. First, a Montana court ruled in the Keystone XL pipeline litigation that the federal government had failed to properly consult on threatened and endangered species when it reauthorized a program to streamline water permits. The Supreme Court then rejected a request from the Trump administration to allow construction of parts of the pipeline that had been blocked by the judge. In addition, two of the nation's largest utilities announced they were abandoning plans to build a 600 mile natural gas pipeline crossing the Appalachian Trail because of rising costs, ongoing delays and regulatory uncertainty arising from the Montana ruling. And that was followed by a federal court ordering another high profile oil pipeline, the Dakota Access project, which has been a focus of protests from Native Americans and environmentalists, to shut down pending revisions to an environmental review that the court found to be deficient, an order since stayed pending appeal. These pipeline defeats reflect an increasingly sophisticated legal strategy to use complex environmental laws designed to protect public lands, water, endangered species and air quality to block fossil fuels projects based on flaws in environmental reviews and regulatory approvals. Yet those very tactics can now be used to impede clean energy projects, which have impacts as well. For example, solar projects sited in the deserts of Western states may affect the habitat of the endangered desert tortoise. Commercial fishermen in the Northeast have opposed offshore wind projects they claim will interfere with their fisheries. Delay is problematic not only because time is short to curb emissions, but also because the need for large government spending to boost an economy reeling from Covid 19 shutdowns may create a unique opportunity to invest in clean energy. The very nature of economic stimulus means the faster funds can be deployed, the more effective they can be. The Trump administration's approach of shortcutting environmental reviews and avoiding meaningful community engagement has been self defeating. His so called reforms which would set arbitrary time limits, exclude from review certain project impacts such as climate change, and give short shrift to input from local communities are misguided and provide grist for years of litigation. The environmental review process needs to be improved, but not by cutting corners. There is no simple solution, but there are several actions the federal government can take. First, more should be done to invest the resources necessary and use the authorities available under the FAST Act of 2015 to achieve the law's aim to improve coordination among federal agencies on major infrastructure projects, hold them accountable to reasonable timetables, and track progress. Second, to see the full consequences of environmental impacts, environmental benefits of clean energy projects like lower emissions should be considered along with potential harms. Finally, communities near these projects should be included to address concerns, develop solutions and defuse opposition. Environmental activists will view the legal blows landed on pipelines as a victory. But if the federal environmental review and permitting processes that stymied those projects are not improved, the massive clean energy investments required to transform our energy economy may fall victim next. Jason Bordoff is director of Columbia University's Center on Global Energy Policy and was on the staffs of the National Security Council and Council on Environmental Quality under President Barack Obama. 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

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