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About 70 miles north of the I 70 corridor that feeds Colorado's busiest ski areas, Steamboat Springs seems removed from the usual luxury designer shops and rampant condo development so often seen in ski towns these days. Local craft makers, artists, brewers and restaurant owners lend indie flair to the town's main street, lined mostly with early 20th century buildings. Supplementing Steamboat's "champagne powder" and Western appeal, improvements at Steamboat Ski Resort by its owner, Alterra Mountain Company which also owns Deer Valley in Utah, and Squaw Valley Alpine Meadows in California in its 14 resort portfolio include a new gondola that shortens the ride from 12 to less than 10 minutes and boosts capacity 38 percent to 3,600 people an hour. Given Steamboat's in town diversions, hot springs and variety of winter sports (including snowshoeing and biking), many visitors come without Alpine ambitions. The town makes it easy even for those without a car free buses circulate nearly every 10 minutes in winter between downtown and the ski resort, supplemented by ride sharing services . To adjust to the climate and altitude, take in the stunning surroundings with a snowshoe hike on the trails around Fish Creek Falls about four miles east of town. Rent a pair of snowshoes from downtown's Straightline Sports ( 10) and head out to watch the ice climbers at the frozen falls before ascending the steep trails shared by local dog walkers and trail runners. If you're in the mood for skiing, wait until darkness falls. Visitors landing early at Yampa Valley Regional Airport can night ski for free at Steamboat Ski Resort by showing their airline boarding pass at the ticket window. Steamboat offers a refreshing break from the parade of luxury and outdoor brands that fill most American ski towns. Here, it's possible to shop local for everything from paintings to down parkas. Look for artwork at Pine Moon Fine Art where many of the artists can also be found working in the gallery. Both The North Face and Marmot have shops on the main drag, Lincoln Avenue, but so does Bap, the local brand of fleece and outdoor apparel. (Many shops also carry socks by SmartWool, a popular outdoor company founded here.) For gifts and accessories, visit Ohana, which designs its own clever T shirts and carries locally made jewelry, leather bags, knit hats and kitchen goods made with wood from trees killed by invasive beetles. In just two years, Steamboat Whiskey Company has outgrown its original distillery and plans to open a new bar on Lincoln Avenue. For now, visitors can still belly up to the rustic wood bar in view of the stills on the other side of the windows and order one of the craft cocktails that showcase Steamboat Whiskey's spirits, including its 100 proof Territorial Moonshine. Run by Nathan Newhall, a former Navy SEAL, and his wife, Jessica Newhall, the bar offers free tastings and donates a portion of the proceeds from the sale of its bottled Warrior Whiskey to veterans' causes. Try the Mountain Smoke Manhattan, which comes with a cloud of smoke captured under a glass cloche or, for something deemed "curative" or botanical, the Medicinal Courage, a blend of whiskey, bitters, lemon juice, amaro, star anise and rosemary. Steamboat is surrounded by rolling ranch land and cowboys still have a presence in town, especially at F.M. Light Sons, the outfitter that has been dealing boots and Stetson hats since 1905. Winter horseback riding at Del's Triangle 3 Ranch, about a 30 minute drive north of town, offers an introduction to ranch life and a glorious ride in the snow covered wilderness ( 105, including round trip shuttles from the ski area). The adventure features the cowboy and skier Ray Heid, a fourth generation local who was an alternate on the 1960 Olympic ski jumping team. At 82, he still leads two hour rides through Aspen forests and between fields frosted in fondant coats of deep snow, with occasional sightings of elk, coyote and fox. If you think every turkey sandwich is built alike, reconsider your theory at the Paramount, a cozy spot next to the Right O Way run on the north side of the ski base. Because the kitchen prides itself on cooking from scratch, that turkey is actually roasted in house and stacked on thick grilled bread with avocado, peppers, Swiss cheese and spicy mayo ( 12). Two fisted sandwiches are served indoors or out at picnic tables in view of the lifts. Open daytime only, this is a great breakfast option, too, for breakfast sandwiches made with eggs and bacon ( 9) or filling chilaquiles ( 11). Steamboat Springs calls itself Bike Town USA, largely for road, mountain and commuter biking in the snowless months. In the winter, cyclists turn to fat tire bikes that grip the snow. Test your balance, your quads and your lungs fat biking, as it is known, at the Haymaker Nordic Center, a seasonal golf course that turns into a groomed cross country ski area in the winter. Haymaker also grooms 10 kilometers of single track trails specifically for fat biking, which allows cyclists to stay atop the compacted routes or risk a soft landing in deep powder (two hour bike rental 19; trail pass 20 to 22). Native Americans came to the Yampa Valley for its mineral springs long before the early 19th century French trappers who, according to legend, mistook the gurgling water for a chugging ship and named the area Steamboat Springs. The most natural setting for a spa, Strawberry Park Hot Springs, about a 40 minute drive from downtown, dams up several naturally fed pools, whose temperatures range from about 101 to 105 degrees (admission from 15). For chills, bathers jump into the icy river adjoining the pools or roll in snowbanks. Be aware that the springs are adult only and clothing optional after dark. Since the mountainous road requires a four wheel drive vehicle, take a shuttle with Sweet Pea Tours ( 45, including transportation and springs admission). If you're a lap swimmer or traveling with children, hit the newly expanded Old Town Hot Springs, which has 25 yard lanes and, in a separate pool, water slides, all heated by the downtown Heart Spring (admission 18). Ski town restaurants tend to camp out at the culinary poles anchored by affordable hamburgers and expensive steaks. Mountain Tap Brewery resides somewhere mid spectrum with wood fired cooking and house brewed beer. The co owner and brewmaster Rick Tucciarone spent a dozen years at Kona Brewing Company in Hawaii before opening Mountain Tap in 2016. He makes a range of styles, including the light Locals' Lager and piney, dry hopped Picking Hops (most pints are 6). Pair a pint with a mini kettle of the rich and spicy popcorn made with chili oil and Grana Padano cheese ( 3), then move on to a margherita pizza with San Marzano tomatoes ( 13) or the roast Rocky Mountain trout ( 23). Like your shuttle driver or Airbnb host? Buy them a beer here in advance via the "Beer it Forward" chalkboard. Don't leave town without dining at one of the popular Rex's Family of Restaurants, which masters a portfolio of cooking styles, from convivial Mexican at Salt Lime to Mediterranean small plates at the romantic Laundry Kitchen Cocktails. For pre ski sustenance, hit Rex's downtown Creekside Cafe, a cozy breakfast and lunch spot where the servers are quick with coffee refills. The kitchen specializes in eggs Benedict, offering seven varieties. including the BAT, with bacon, avocado and tomatoes ( 15), alongside filling breakfast burritos ( 13.29) and chile or bacon infused Bloody Marys ( 9). 12) 9 a.m. Will ski for tacos At 2,965 acres spread over six peaks, with runs nearly split between intermediate (42 percent) and advanced (44 percent), Steamboat Ski Resort is an explorer's destination known for powder stashes in its glades (lift tickets from 115). Wherever you ski, by 11 a.m. take a break and make your way to the Taco Beast, a snowcat cum food truck (check TacoBeastSBT on Twitter for its location). The menu of four taco varieties includes elk chorizo and beef barbacoa ( 5 each). Save room for esquites, roast corn mixed with sour cream,, queso fresco and spices ( 5). Eat to the beats broadcast over speakers at the pop up patio in the snow, furnished with picnic tables and camp chairs. The kitchen shuts down when the tacos sell out, usually around 1 p.m., when thirsty crowds ski down to T Bar at Steamboat, a self described "dive bar" at the base of the mountain. Across the street from the Old Town Hot Springs, next to a bus stop for the ski base and within walking distance of all the shops, restaurants and parks downtown, the Rabbit Ears Motel caters to the car free as much as the budget tight. Breakfast is included, which guests frequently supplement with groceries from the coop next door. Rooms from 119; rabbitearsmotel.com. Those who prefer to stay at the ski base have a range of options, including the slope front Steamboat Grand, home to a generous pool and two hot tubs (rooms from 97; steamboatgrand.com). There are also many rental condos here listed on Airbnb, including a one bedroom condo near a gondola that delivers guests to the mountain base, three hot tubs, a pool and fire pits ( 329; airbnb.com).	N24News: A New Dataset for Multimodal News Classification	Travel
LOVE on Netflix. Judd Apatow has a history with characters that fit the "nice guy" and "manic pixie dream girl" tropes, as seen in movies like "The 40 Year Old Virgin" and "Superbad." But "Love," which he helped create, sets up the archetypes only to knock them down. It follows the nebbish Gus (Paul Rust) and the impulsive, beautiful Mickey (Gillian Jacobs), who begin dating and quickly realize the other is far more damaged and complex than their caricature would suggest. "'Love' is a funny, winning version of the format, and the casting is spot on," James Poniewozik wrote in his Times review. The show's third and final season, in which Gus and Mickey once again try an honest, adult relationship, arrives on Friday. MY NEXT GUEST NEEDS NO INTRODUCTION on Netflix. David Letterman is very much in his comfort zone on his new Netflix talk show; he's stripped back the snark that long drove his persona in favor of a warm empathy for his distinguished guests. In this episode, a day after International Women's Day, he welcomes the young activist Malala Yousafzai to the stage.	N24News: A New Dataset for Multimodal News Classification	Television
Suicide rates rose steadily in nearly every state from 1999 to 2016, increasing 25 percent nationally, the Centers for Disease Control and Prevention reported on Thursday. In 2016, there were more than twice as many suicides as homicides. The figures were released two days after the death of celebrity designer Kate Spade. The New York City medical examiner's office has ruled her death a suicide. She had struggled with depression and anxiety for years, according to a statement released by her husband, Andrew Spade. "She was actively seeking help and working closely with her doctors to treat her disease," he wrote. C.D.C. officials, however, said that the national increase in suicide rates cannot be linked to a particular mental health diagnosis. The new analysis found that nearly 45,000 Americans aged 10 or older died by their own hand in 2016. The increase varied widely by state, from a low of 6 percent in Delaware to more than 57 percent in North Dakota. The rate declined in just one state, Nevada, where it has historically been higher than average. Social isolation, lack of mental health treatment, drug and alcohol abuse and gun ownership are among the factors that contribute to suicide. Suicide is the tenth leading cause of death in the United States, and one of three that is increasing. The other two are Alzheimer's disease and drug overdose, in part because of the spike in opioid deaths, said Dr. Anne Schuchat, principal deputy director of the C.D.C. Firearms were by far the leading method, accounting for about half of suicides. That number has remained steady over recent decades, she said. Suicide rates varied from 6.9 per 100,000 residents a year in the District of Columbia to 29.2 per 100,000 in Montana. The analysis found that slightly more than half of people who had committed suicide did not have any known mental health condition. But other problems such as the loss of a relationship, financial setbacks, substance abuse and eviction were common precursors, both among those who had a mental health diagnosis and those who did not. Other studies have found much higher rates of mental health disorders among people at high risk of suicide, experts noted. "The reason most suicide decedents don't have a known mental disorder is that they were never diagnosed, not that they didn't have one," said Dr. David Brent, a professor of psychiatry at the University of Pittsburgh. Access to guns can make it more likely that an impulsive or intoxicated person will attempt suicide even if he or she has no clear mental health problem, Dr. Brent added. "We have worked really hard to explain to the public that suicide is not simply a matter of too much stress, but that it involves the identification and treatment of mental disorders as one important component," he said. In a conference call with reporters on Thursday, Dr. Schuchat and Deborah Stone, the lead author of the C.D.C. analysis, stressed that other factors were also critical to preventing suicide. Effective strategies, she said, included teaching coping and problem solving skills to those at risk, establishing more social "connectedness," and safe storage of pills and guns. The C.D.C. found that men accounted for three quarters of all suicides, and women one quarter. The numbers were highest among non Hispanic whites, and among those aged 45 to 65 years old. Previous C.D.C. reports have found rate increases of 80 percent among white, middle aged women since 1999, and of 89 percent among Native Americans. The rates declined slightly among black men and people over age 75 during that time. Suicide rates have waxed and waned over the country's history and tend to reach highs in hard times. In 1932, during the Great Depression, the rate was 22 per 100,000, among the highest in modern history. The rate in the new C.D.C. data was 15.4 per 100,000. The past three decades have presented a morbid puzzle. Rates have risen steadily in most age and ethnic groups, even as rates of psychiatric treatment and diagnosis have also greatly increased. The reasons are many, experts sid. The biggest increases have been in states like Oklahoma, Montana and Wyoming where gun ownership, drug use and economic hardship are common. Among middle aged people across the country, marriage rates have declined, and social isolation has increased. Prevention has been elusive, in part because doctors have not had programs that reliably reduce suicide rates. Crisis hotlines can save lives; so can psychiatric treatment. But suicide is such an unpredictable, often impulsive act that no single intervention has proved sufficient. "A big problem that has not yet been addressed in practice is that we continue to rely almost entirely on people themselves to proactively tell us if they are suicidal," said Matthew Nock, a professor of psychology at Harvard University. "Our data show that suicide is more than a mental health issue," said Dr. Schuchat. "We want improved access to care and better diagnostics, but we think that a comprehensive approach to suicide is what is needed." If you are having thoughts of suicide, call the National Suicide Prevention Lifeline at 1 800 273 8255 (TALK). You can find a list of additional resources at SpeakingOfSuicide.com/resources.	N24News: A New Dataset for Multimodal News Classification	Health
No city divides the French like Marseille. For every admirer cooing about the sun warmed sea, craggy coastlines, fish rich bouillabaisse and the Mediterranean melting pot (thanks to 20th century immigration from Greece, Spain, Italy, Corsica, Morocco, Tunisia and Algeria), someone else is grousing about corruption, dirty streets and eroding Frenchness. And where the port city's champions see a swaggering no nonsense metropolis free of bourgeois pretensions, others see a lack of refinement. Everyone agrees, however, that Marseille is a city in metamorphosis. Major urban renewal projects have upgraded the waterfront into a sprawl of state of the art cultural venues, shopping centers and skyscrapers from five star architects. At the same time, ambitious seasonal cooking, artisanal cocktails and indie fashion concept stores once nearly unheard of are making noticeable inroads, infusing the city with something it had mostly lacked: cool and cachet. Perhaps inevitably, some now lament that Marseille is losing its distinctive working class character and southern French soul. And, predictably, some now gush that the city has never been more modern, ambitious or happening. The sea gave birth to Marseille, carrying the Greek and Roman settlers who laid the earliest stones of ancient Massilia. Marseille has repaid the favor with MuCEM, a waterfront museum complex devoted to the Mediterranean and its civilizations. A high footbridge connects Fort St. Jean to MuCEM's dramatic cube shaped museum, known as J 4. Panoramic vistas come courtesy of a rooftop lounge and glass exterior catwalks on each facade, while two ground floor exhibitions provide panoramas of Mediterranean history. Alas, some might find "Ruralites," dedicated to the agricultural history of the basin, as dull as dirt. Fortunately, "Connectivites" impresses with its colorful evocation of Renaissance era maritime powers including Istanbul, Venice, Seville and Lisbon through Ottoman ceramics, Italian silks and more. The bookshop concludes your local education with French language guidebooks, maps, literary works and historical studies like "Marseille Ou La Mauvaise Reputation." Many of Marseille's immigrant waves washed up in the Panier district, a village like maze of narrow cobbled streets, tiny squares and weather beaten houses in sherbet colors. Rue de Lorette serves up two classic flavors of Mediterranean Marseille. Start your two stage ethno bloat with one of the two thin, crispy pizza options anchovy or cheese (15 euros) at Chez Etienne, a lively tile and timber restaurant founded by Sicilians in 1943. The former is all zesty red sauce and fresh fish; the latter is agreeably gloppy and gooey. Crossing the street, you arrive in Morocco at Ahwash, a stylish living room like restaurant and boutique. For your main course, you can plunge into roasted lamb, chicken tajine with preserved lemons (16 euros) or an excellent tajine of stringy soft beef, long stewed peppers and caramelized onions (16 euros). Take home Moroccan glassware, ceramics or candles . What are your recommendations for a weekend in Marseille? Tell us in the comments section. Formerly a hospital, the grandiose 18th century building holding the Intercontinental Marseille Hotel Dieu now offers sedation in the form of wines, beers, spirits (notably gin) and cocktails, courtesy of Le Capian bar. A soaring space outfitted with plush couches and carpets, the establishment pours out numerous Provencal products, including Doucillon beer (10 euros) and Le Daviel cocktails (pastis, lychee liqueur, spice syrup and Champagne; 21 euros). If those don't stupefy you, the view of the illuminated harbor almost certainly will. When your shopping list includes a concrete rendering of Yoda's head and socks embossed with erotic cartoons, visit Chez Laurette. After working in Paris for Marc Jacobs, the namesake owner returned home to southern France and opened a concept store where every item from beers to bath products is made in France. Fashion reigns, with rugged leather boots by La Botte Gardiane, shimmery retro 1960s dresses by Mood eh and other Gallic garments. Nearby, Le Diable Meridien will accessorize you in French leather, from watches by Les Partisanes to satchels from Bleu de Chauffe, while Jogging boutique cafe runs the couture route occupied by cult designers like Simon Jacquemus (preppy fashion) and Marine Serre (rock 'n' roll chic dresses and accessories). Run by a tattooed young staff and playfully overdecorated with nautical kitsch decor, La Boite a Sardine at first seems a silly take on the traditional seafood shack. But the daily changing menu will please purists: All is fresh, and the cooking is mostly straightforward with occasional embellishments. A winter afternoon visit found oysters, sea urchin, calamari and sole on the menu, along with cold crunchy pink shrimp (meant to be torn apart with your hands and dunked in aioli mayonnaise) and slabs of thick bonito, pan fried in a charred bread crumb crust. A glass of fruit forward Coteaux d'Aix en Provence white wine is a worthy accompaniment. A two course lunch for two costs about 50 euros. Don't insult Friche La Belle de Mai by calling it an "art museum." Sprawling across the vast grounds of a 19th century tobacco works, the hodgepodge of historical and contemporary buildings might best be described as a multispace, polypurpose cafe restaurant bar bookshop skatepark playground graffiti gallery concert hall nursery school and sometime yoga workshop that also happens to host multiple rotating contemporary art exhibitions. In other words, this onetime cigarette factory is still lit up, day and night. Museum admission: 5 euros. The trademark innovations are all there: rows of vertical pilotis that lift the concrete apartment building off the ground; horizontal bands of windows; panels of bright primary colors to enliven the gray exterior. Massive and modernist, the so called Cite Radieuse could only come from the forward looking mind of Le Corbusier although, admittedly, the pioneering Swiss architect was looking forward in the 1940s and '50s, when Brutalism was still futuristic. Named a Unesco World Heritage Site in 2016, the building contains several areas open to the public, including the rooftop MAMO art gallery (summer only) a new bookshop (a trove of architecture tomes, posters and even paints) and the 21 room Hotel Le Corbusier. The outdoor terrace of the hotel's restaurant, Le Ventre de l'Architecte, is a prime spot to sip a Pietra beer from Corsica (4 euros) while watching the Mediterranean sunset. Someone must rename Sepia. The moniker evokes a colorless and static scene, frozen in the past. This new lively restaurant is none of those things. The chef, Paul Langlere, a veteran of some Alain Ducasse gastronomic temples, has elevated a disused snack bar into one of Marseille's hottest tables. Situated on a leafy hillside, the simple industrial cool dining room and outdoor tables offer views of the twinkling city while serving up an ever changing chalkboard menu of fresh ingredients in freestyle preparations. A February visit included a house smoked slab of local mackerel that burst with citric crunch and radiant hues (courtesy of beetroot spaghetti, diced apple and horseradish yogurt) followed by a filet mignon as thick as a Dickens novel that was topped with charred seaweed for a crisp, smoky briny mouthful. Three courses are 39 euros. As night falls in Marseille, three friends approach the darkened storefront of a cheesy souvenir shop, fumble with the door handle and vanish inside. Minutes later, more do the same. On and on couples and small crowds arrive, giddy to be creeping into a closed shop. What the devil? This is Carry Nation, a bar so secret that one must register online to obtain the address, door code and entry instructions. Within awaits a Roaring Twenties universe of vintage furniture and bartenders in suspenders who mix cocktails like Un Automne en France (whiskey, creme de peche, Racine de Suze bitters, yellow wine and verjus; 13 euros). For drinks without the rigmarole, nearby Gaspard is a tiny wood lined bar whose specialties include La Sieste de Shiva (whiskey, chai spice and pineapple; 12 euros), a sweet sour concoction.	N24News: A New Dataset for Multimodal News Classification	Travel
Rare Necklaces and Rings Are Items to Appreciate. Just Ask Investors. Diamonds, as the song says, are a girl's best friend. But certain diamond jewelry like rings, bracelets and earrings can be a great investment. This week, Tiffany Company, the established American jeweler, celebrated its 180th anniversary, while Sotheby's hosted an auction in London that sold 2.57 million pounds (about 3.5 million) worth of jewelry. The market for high end baubles remains strong. Rahul Kadakia, international head of jewelry at Christie's in New York, said jewelry sales had been strong for the last three years, driven by the prices of colored diamonds like blues and pinks, which are rarer than white diamonds. Last year, the auction house sold a 14.6 karat vivid blue diamond in Geneva for 57.5 million, or just under 4 million a karat. Twenty years earlier, it sold a different vivid blue diamond in Geneva for 500,000 a karat. But necklaces, rings, bracelets and other pieces made by top designers Bulgari, Boucheron, Cartier, Tiffany and Van Cleef Arpels during their signature periods continue to appreciate. Jewelry, of course, has an intrinsic value. It's made of gems like diamonds, emeralds, rubies and sapphires and set in metals like platinum, gold and silver that are valuable in their own right. Many pieces also have sentimental value, having come from family members or been given on a special occasion. But the pieces with the most investment potential have a level of craftsmanship in addition to scarcity that makes them stand out from the beautiful baubles that are produced year after year and appreciate beyond the value of their metals and gems. These are not the run of the mill pieces that mall jeweler might sell. In fact, people buying these pieces would be hard pressed to see significant appreciation over time. She singled out a pink tourmaline ring designed by Paloma Picasso for Tiffany. When she showed it to an appraiser, she said, "He said you couldn't buy that pink tourmaline alone today for what you paid for the ring 10 years ago." Alison Minton, a philanthropist in Manhattan, bought a limited edition Alhambra necklace by Van Cleef Arpels in malachite 10 years ago. The clover style of the necklace has become well known, but the company made only 100 of the necklaces and numbered each one. Ms. Minton sold it recently for more than 12,000, which was double what she had paid for it. "It was a great investment, and I wore it," she said. From her grandmother, who was part of the family that founded Bloomingdale's, she inherited a rarer piece of jewelry with a better story. In 1964, her grandmother went to the World's Fair in Queens; when she came home, her apartment had been burglarized and her jewelry was gone. Instead of trying to replace the stolen items, she bought a single piece: an 18 karat gold bracelet with rubies and sapphires from Tiffany. It cost about 400 at the time. When Ms. Minton took it to Tiffany for a repair in 2002, the jeweler valued it at 9,000. "I don't know what it's worth today," she said. "I don't wear it often because it's so special." In the annals of rare jewelry for sale sits Pope Paul VI's ring and cross. After the pontiff addressed the United Nations General Assembly in 1965, he donated his diamond encrusted papal ring and diamond and emerald cross to the U.N., so they could be sold to help the poor. At one point, the stunt driver Evel Knievel owned them. Bill Rau of M.S. Rau Antiques said he had acquired the set through a couple in North Carolina. It is priced at 1.9 million. Like any object, from art to cars to jewelry, the fallback position if the investment fails is to consider the aesthetics of the piece. And that's a benefit, because sometimes the jewelry turns out to be worth less than the value of its stones and metal because of that very same uniqueness. It could be difficult to wear or it could be valuable but out of fashion. David Webb, a jewelry maker active in the 1950s to early 1970s, designed a necklace with 682 karats of opals and used smaller emeralds and diamonds to separate the pearl shaped stones. The 36 inch necklace is for sale at 335,000. For people approaching jewelry for investment purposes, strategy and advice count for a lot. First, they have to think of the brand. There are a half dozen jewelry designers that are known worldwide for their quality. That recognition makes reselling their jewelry easier. "Every time something from the 1920s, 1950s and 1970s from Van Cleef, Cartier, Boucheron comes up for auction, they always do significantly better than they did the first time around," Mr. Kadakia of Christie's said. Of course, not all brands make great pieces all of the time (and many lesser known designers have produced fantastic pieces, like Mr. Webb's opal necklace, that stand out). But for the big houses, time periods matter for investing. "Of all the periods people want to collect, I always tell them Art Deco of the 1920s and 1930s," said Diane Lloyde Roth, owner of L'Armoire, a store in New Canaan, Conn., that has been selling investment quality jewelry for three decades. It "was probably the most beautiful period of all in jewelry production." She recalled some of the pieces she sold to Anne Lichtblau, a philanthropist who died last year. Mrs. Lichtblau bought a Van Cleef mystery set ruby bracelet for 140,000 in 2003; her estate sold it at auction last year for 348,500. Mrs. Lichtblau also bought a 1920s emerald, ruby and diamond bracelet by Oscar Heyman Brothers in 1998 for 90,000. It sold for 223,500 at auction last year. "She always wanted Art Deco," Ms. Roth said. "She bought what she loved, but she spent real money on jewelry." Scarcity is important. Colored diamonds fit into this category because they are not as plentiful as white diamonds. Ms. Minton said she bought a bracelet from Verdura that the jeweler had made as a prototype and jokes that she keeps checking with the jeweler to make sure it hasn't made another one. The location where a jeweler made a piece can also affect its value. For instance, vintage Cartier pieces made in France are worth more than Cartier pieces made in New York, Ms. Roth said. When it comes to Tiffany, which of the jeweler's designers made the piece matters considerably. Pieces made by Jean Schlumberger in the 1950s and 60s are more valuable than other Tiffany pieces from the same time because of his style but also his limited production. And jewelry made by Louis Comfort Tiffany, son of the company founder Charles Tiffany, from the 1880s to 1910 commands a greater premium still. He is known for his stained glass lamps and precious objects, but Mr. Rau said he made about 100 pieces of jewelry as well. Yet that scarcity and a lack of knowledge among buyers increases the need to be aware of fakes. "I go to the cities where people have worn Tiffany or Van Cleef through the years, and family members have sold them," said Allison Weiss Brady, a fund raiser in New York. "One of the keys is buying it from someone you trust," she said. But even then, she asks for documents proving the piece's history and also the basics on the gemstones. Contemporary jewelry is a tougher market for buyers to predict investment potential. The top houses are still producing exceptional pieces, but given the high cost of metals and stones, many of the pieces are lighter and less intricate than a generation ago. "When all of your raw materials go up, something's got to give somewhere," Ms. Roth said. There are exceptions, like the Parisian designer JAR, the initials of Joel Arthur Rosenthal. When Ellen Barkin, the actress, sold jewelry given to her by her ex husband, the billionaire Ronald O. Perelman, she had 17 pieces by JAR, who produces fewer than 100 pieces a year. One pair of JAR earrings at last year's auction fetched 1.8 million.	N24News: A New Dataset for Multimodal News Classification	Your Money
Part 5 of "City So Real," shot after the first four debuted at Sundance, followed up on the 2019 Chicago mayoral election to look at how the city has managed amid the pandemic and Black Lives Matter protests. CHICAGO When Rahm Emanuel opted against running for a third term as Chicago mayor, the 2019 election became the political equivalent to "It's a Mad, Mad, Mad, Mad World," with a colorful cast of characters barreling through a calamitous race for the prize. For the first round of voting, Chicagoans faced a ballot of 14 candidates, whittled down after many others had withdrawn or had their petitions rejected. The eventual winner, Lori Lightfoot, had never held elected office. A classic plot twist. "It was an election in which you could almost make the case that every demographic of Chicago had a candidate in the hunt," said Steve James, the director of "City So Real," a five part docu series that will air in full on the National Geographic Channel Thursday night and arrive on Hulu the next day. "Now, one that could win? Different story." For years, James had wanted to make a documentary about Chicago, a city of neighborhoods that have distinct ethnic and racial identities, sharp class divisions and competing political constituencies. The election gave James the opening he needed. Whoever won would have to make sense of this mosaic of a city. So would he. As perhaps the city's most celebrated documentary filmmaker, James had already laid out pieces in this mosaic. His landmark 1994 documentary "Hoop Dreams" followed two African American basketball prospects as they trekked from inner city Chicago to the suburban private school attended by the N.B.A. Hall of Famer Isiah Thomas. More recently, James's "The Interrupters" (2011) detailed a bold strategy to curb the city's gun violence, and his 10 part Starz series, "America to Me," spent a year at a multiracial Oak Park high school that doesn't always live up to its ideals. Then the pandemic happened. Then the Black Lives Matter protests erupted. And suddenly Mayor Lightfoot's first term was livelier than anyone could have expected. So James and his crew masked up and took to the streets for Part 5, an 80 minute postscript that has never been screened publicly. On a Skype call from his home in Oak Park, James talked about a city that had changed dramatically before his camera but in certain ways may never change at all. These are edited excerpts from the conversation. You made "City So Real" and "America to Me" as docu series. But aside from Ken Burns's documentaries, the docu series as a form hasn't been that common until recently. Has that changed your thinking about what types of films you want to make? I think I've been trying to make docu series all along by making really long films. Laughs. My favorite thing about television, period, is when you're fully engrossed in a multipart story and living inside of it. And I have that feeling often as a filmmaker out in the field. I feel like I'm living inside this story, and so it appeals to me to be able to translate that to the screen in a more expansive way. Did that change your approach in terms of perspective, too? Would there have been an inclination to, say, follow this story from one angle if you had only two or three hours to tell it? One of the things we were clear about going into this is that we didn't want to do a more traditional political campaign documentary. I've seen many of them, and I've loved many of them, but in those films you usually are aligned with one candidate. We wanted this to be more expansive in its point of view looking at the political process in Chicago through this election, not looking at a specific candidate and their attempt to become mayor. And I didn't want it to just be about politics or the Laquan McDonald trial. I wanted it to be a portrait of Chicago. I loved the idea of a kind of kitchen sink approach to telling the story of a city where everything is fair game. How would you describe the dynamics of this particular mayoral election? There was a huge cross section of people who decided they wanted to be the mayor of this city, which is a daunting job. The range of people that were passionate about wanting to lead this city was really fascinating to me. Chicagoans love to brag about how tough it is politically here. And I think that that's in some ways a virtue, and in other ways it's part of the problem. The politics here in Chicago are weighted down by corruption and hardball politics, and we don't always focus on what's really important. And I think in that way we're very much like America as a whole. Chicago is arguably the most segregated large city in America. Even the way gentrification is working here is very different than, say, New York City. In Chicago there are large swaths of the South and West sides that are not in any real danger of gentrification in the immediate future. If anything, they're in danger of becoming ghost towns. And yet, you have other parts of the city where the gentrification is full on, like what's gone on in other big cities. A G.O.P. pathway in Virginia. The win by Glenn Youngkin, who campaigned heavily in the governor's race on education and who evaded the shadow of Donald Trump, could serve as a blueprint for Republicans in the midterms. A rightward shift emerges. Mr. Youngkin outperformed Mr. Trump's 2020 results across Virginia, while a surprisingly strong showing in the New Jersey governor's race by the G.O.P. candidate unsettled Democrats. Democratic panic is rising. Less than a year after taking power in Washington, the party faces a grim immediate future as it struggles to energize voters and continues to lose messaging wars to Republicans. A new direction in N.Y.C. Eric Adams will be the second Black mayor in the city's history. The win for the former police captain sets in motion a more center left Democratic leadership. Mixed results for Democrats in cities. Voters in Minneapolis rejected an amendment to replace the Police Department while progressives scored a victory in Boston's mayoral race. You identify and map out the neighborhoods for each scene. Was this your way of getting non Chicagoans not to think so monolithically about the city? Chicago is known as the city of neighborhoods. That's been historically true, and I think there's still a lot of truth to that. One of the things I love about the series is that we could do things like be with trick or treaters on the northwest side, in a largely white community, and then go to Hyde Park and see a largely Black community of trick or treaters and then go to a Day of the Dead parade in Pilsen. We could start at the Bears' playoff game at a South Side bar and then finish it in a North Side bar, and those are two very different worlds, although they are all rabid Bears fans. There's so much pride in the city. For the city as a whole, there's neighborhood pride. There's North Side pride. There's South Side pride. There's West Side pride. And we wanted to get at all of that. We felt like the neighborhood map was a way to underscore that and situate you without having an expert explain it all. Is there a particular criticism or a point of view that outsiders have of Chicago that especially rankles you? It rankles me that the city has become the poster child for urban violence. Yeah, we have a really serious problem in Chicago. We absolutely have a serious problem in Chicago, and the city has been struggling with how to deal with that for a long time now. But when Trump uses Chicago as a poster child for murder and mayhem, it's not true and it's so reductive. The violence in this city is confined largely to about 10 percent of the city. And that's unfortunate because there's a lot of violence. At what point did you kind of come to the decision do a fifth episode? When the pandemic hit, I said to my colleagues and then Diane Weyermann at Participant Media, which funded this series, "I really think we should do some kind of postscript that deals with the pandemic." Diane, because she knows my proclivities for length, said: "OK. Like 15 minutes you're thinking?" And I was like: "Sure. 15 minutes. Maybe 20." And we just thought it would be valuable to whoever ultimately buys this series to have that. And when George Floyd happened, it was like, We're not doing a postscript anymore. We have got to be out there getting this story because it's the story of America. It's the story of this city. It's also the story of the Lightfoot mayoral administration and how she was trying to grapple with and be the mayor of this city at this very difficult time. What do you expect the city to look like when the pandemic is over? I think that's above my pay grade to give a really intelligent answer. I can tell you what I worry about is what a lot of people worry about. I worry that a lot of small businesses are going to go under. That if they're hanging on at all, they're hanging on with some federal support and they're just sort of hoping and wishing that they'll get through this and things will get back to normal. And then of course, the massive debt that is being racked up by the city to just deal with this and try to keep everyone's head above water. It was already daunting before the pandemic hit. I do think there's a will and determination here and a spirit that we will prevail. We're not going to turn into Detroit a few years ago. But it ain't going to be easy.	N24News: A New Dataset for Multimodal News Classification	Television
Samantha Paradise is starting eighth grade in Manhattan next week, but she won't be decked out in all new gear on the first day. At 13, Samantha doesn't want to be stuck with untrendy items, so she will wait to see if the Superga sneakers that were cool at summer camp are still in fashion, and whether her classmates choose JanSport backpacks or revive the Longchamp and LeSportsac bags from last year. "I don't want to be the only one wearing a different kind of backpack," she said. In a shift that is upending retailers' plans, many children, teenagers and their parents are delaying their school purchases. A desire to get the trends right accounts for some of the hesitation. But retailers and analysts say the sluggish economy and unusually hot weather have also made for a surprisingly slow start to the back to school spending season, one that was expected to be the strongest since before the recession. If people do not go to stores once schools start, it will be bad news for an economy heavily dependent on consumer spending to stay afloat. And the postponed spending is complicating how stores stock, promote and sell their back to school items, some of which have been on the shelves for almost two months. Charles M. Holley Jr., chief financial officer of Wal Mart, said stores were seeing customers "wait until school starts, and they don't buy things until they absolutely have to." Office Depot's head of retail, Juan Guerrero, said many shoppers were even holding off on buying staples like pens and notebooks. "People are waiting for deals to occur," Mr. Guerrero said. The consequences could be serious if sales do not rebound. The back to school season is the second largest sales period for retailers, after the winter holiday period, and it offers a spate of new designs and a firm reason for shoppers to head to stores. Beyond the profits retailers make from back to school sales, what is popular and what is not provides an important barometer as they prepare for the holidays. This month, when the National Retail Federation surveyed consumers with school age children, less than 8 percent had completed their back to school shopping, the lowest figure in four years. More than a quarter of respondents said they had not done any shopping, and by that point, school had already started in cities from Georgia to Arizona. J. C. Penney is trying to cope by adding styles that will go on the racks in early September. Adrienne Tennant, an analyst with Janney Capital Markets, said Abercrombie Fitch, Old Navy and American Eagle Outfitters had extended sales to attract later shoppers. Looking to next year, the teenage store Hot Topic is rethinking its back to school timing. "The post back to school numbers are up, and the pre back to school numbers are down a little bit," said Lisa Harper, chief executive of Hot Topic. "Next year, we'll probably delay." "A few weeks into school, a couple things happen," she said. "Weather happens it gets cooler and kids obviously see what their friends are wearing, particularly for teens, and then they go back to the stores." J. C. Penney has been running a free haircut promotion since the beginning of August to attract early shoppers, but it is also stocking up for later shoppers. Ms. Sweney said the retailer had ordered a wider selection of merchandise to arrive in early September than it did last year. And as the fall goes on, it will emphasize layering pieces, like hoodies and varsity style jackets, that students can add to what they have already purchased. Today in On Tech: Imagine not living in Big Tech's world. Dollar Tree will raise prices to 1.25 by the end of April. But not all retailers have been as nimble. John D. Morris, an analyst with BMO Capital Markets, said the too early arrival of wintry gear at Abercrombie Fitch was among the reasons the company performed poorly in the quarter that ended July 28, with sales at stores open for at least a year falling 10 percent. "Abercrombie in July was flowing in heavier weight goods down vests when it's 95 degrees out, sweaters, outerwear, jackets," Mr. Morris said. Ms. Tennant, the Janney analyst, said retailers that extended their August sales were most likely reacting to a slower start to August than they expected. Later school start dates are one possible explanation. Mr. Guerrero of Office Depot and Ms. Harper of Hot Topic said that a number of school districts near where they had stores were starting later this year than last. But students may also be waiting to shop this year in part because trends are so definite that there is little room for error, Ms. Tennant said. (No one wants to show up in high top sneakers and a chartreuse sweatshirt on the first day of school when everyone else has left the '80s trend behind.) Older students, especially, seem to be waiting until after Labor Day, most likely so they can see what their friends are wearing, said Cathy Beaudoin, president of fashion for Amazon. Ms. Tennant and Mr. Morris said colored jeans (which became ubiquitous in the spring but are still selling well), printed denim, pleated skirts and dots and floral patterns were currently popular among teenagers. "Especially when you have a momentous change in fashion," Ms. Tennant said, "with young girls, when you're going into a big trend season, the early adopters will certainly be there, but the fashion followers will buy some stuff to start themselves off with, but go back to school and make sure they got the right color, the right fit and the right trend." Samantha Paradise, the Manhattan eighth grader, said that while she liked a lot of the trends she had seen in magazines and online, that was not enough to get her into stores before classes started. "I'm looking to wait," she said.	N24News: A New Dataset for Multimodal News Classification	Economy
A neurosurgeon at the University of California, San Francisco, Dr. Starr was treating people with Parkinson's disease, which slowly destroys essential bits of brain tissue, robbing people of control of their bodies. At first, drugs had given his patients some relief, but now they needed more help. After the surgery, Dr. Starr closed up his patients' skulls and switched on the electrodes, releasing a steady buzz of electric pulses in their brains. For many patients, the effect was immediate. "We have people who, when they're not taking their meds, can be frozen," said Dr. Starr. "When we turn on the stimulator, they start walking." First developed in the early 1990s, deep brain stimulation, or D.B.S., was approved by the Food and Drug Administration for treating Parkinson's disease in 2002. Since its invention, about 100,000 people have received implants. While D.B.S. doesn't halt Parkinson's, it can turn back the clock a few years for many patients. Yet despite its clear effectiveness, scientists like Dr. Starr have struggled to understand what D.B.S. actually does to the brain. "We do D.B.S. because it works," said Dr. Starr, "but we don't really know how." In a recent experiment, Dr. Starr and his colleagues believe they found a clue. D.B.S. may counter Parkinson's disease by liberating the brain from a devastating electrical lock step. The new research, published on Monday in Nature Neuroscience, may help scientists develop better treatments for Parkinson's disease. It may also help researchers adapt D.B.S. for treatment of such brain disorders as depression and obsessive compulsive disorder. To treat Parkinson's disease, neurosurgeons insert electrodes into a region called the basal ganglia, near the base of the brain. The disease kills a small patch of neurons in the basal ganglia that normally produce a neurotransmitter called dopamine. In the early days, some scientists thought that D.B.S. worked by shutting down neurons that were malfunctioning because of a lack of dopamine. But later experiments revealed this was not the case. So scientists began looking at other ways in which Parkinson's disease changes the brain. Among other things, the condition alters the brain's electrical rhythm. The brain normally produces a set of electrical waves at different frequencies. One of these waves, called the beta rhythm, has a distinctively low frequency of between 13 and 30 cycles each second. A number of studies suggest that the beta rhythm serves an important purpose: It keeps the different regions of the brain synchronized, like the sections of an orchestra. Each time the brain reaches the crest of a beta rhythm, scientists have found, neurons get primed to send their signals. By coordinating these signals, the beta rhythm may keep distant regions of the brain on the same timetable. "It makes communication more efficient," said Coralie de Hemptinne, a post doctoral researcher at the University of California, San Francisco, and co author of the new study. The strength of beta rhythms can also change, scientists have found, becoming stronger or weaker. The stronger beta rhythms get, the more overpowering they become, forcing more neurons to fire in unison. If beta rhythms become too strong, the regions of the brain may get stuck in a sort of neural lock step, unable to disengage from one another to generate new signals. "If you don't have it, that's bad, but if you have too much of it, that's also bad," said Bradley Voytek, a neuroscientist at the University of California, San Diego, who was not involved in the study. To take a step or reach for a doorknob, the brain first generates commands in a region called the motor cortex. Before the motor cortex generates commands, scientists have found, its neurons become desynchronized. That shift may allow the motor cortex the freedom to produce new electronic messages. When people get Parkinson's disease, the synchronization of the beta rhythm becomes stronger throughout the brain. Dr. Starr and his colleagues wondered if this change might give rise to some of the symptoms of the disease. To find out, the scientists planned out a series of experiments during surgeries to implant D.B.S. devices. They temporarily placed a strip of sensors on the motor cortex and eavesdropped on the signals coming from neurons in different parts of that region of the brain. The scientists found that in people with Parkinson's disease, parts of the motor cortex were more tightly synchronized than in people without the disease. This lockstep might help account for the problems people with Parkinson's disease have with movement: Perhaps it's hard for their brains to break out of synchronization and to generate a new pattern of signals that can start moving the body. Dr. Starr and his colleagues suspected that D.B.S. affected this synchronization in people with Parkinson's. In another round of surgeries, the scientists monitored the motor cortex before people's implants were switched on, and then listened to it afterward. They found that D.B.S. caused the motor cortex to become less synchronized. Dr. Starr's patients remained conscious during the surgery, so he and his colleagues were able to test their movements. The patients reached out to touch dots that appeared on a touch screen placed in front of them. Their motor cortex became less synchronized as their movements improved. "Starr's work is excellent," said Michael S. Okun, a professor of neuroscience at University of Florida Health and the national medical director of the National Parkinson Foundation. But while synchronization may well cause some Parkinson's symptoms, he added, it probably doesn't account for all of them: "A whole bunch of biology happens in Parkinson's."	N24News: A New Dataset for Multimodal News Classification	Science
The A.C.L.U. took up the case and brought it all the way to the United States Supreme Court, which struck down miscegenation laws those that enforced segregation in intimate relationships in 1967. Lin Manuel Miranda, nominated for best original song, wore a ribbon, too (as did his mother, Luz Towns Miranda). He paired his with a slightly more low key option than Ms. Negga's: a tuxedo from San Marko Formals in Yonkers, N.Y., the same place that supplied his outfit for prom in 1998.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
The Hearst Tower in Manhattan. As media companies go, Hearst Communications is discreet, without the public dramas of its more glamorous rival, Conde Nast. One evening in August 2018, Maximillian Potter, then a writer for Esquire magazine, was sitting in a restaurant in California's inland empire, trying to persuade a man in his 30s to share his memories of rape and abuse at the hands of powerful men in Hollywood in the late 1990s. Mr. Potter ordered a glass of wine and instantly regretted it. The other man at the table had given up alcohol but seemed so shaken that Mr. Potter worried he might trigger a relapse. The dinner came toward the end of a year of reporting by Mr. Potter and a fellow investigative journalist, Alex French, on allegations against Bryan Singer, the director of "The Usual Suspects," "X Men" and "Superman Returns." Mr. Potter assured his reluctant interview subject that he and the powerful media company behind him, Hearst Communications would have his back. But Mr. Potter was not following the intricate corporate succession drama taking place inside the Hearst Tower, a 21st century skyscraper in Midtown Manhattan built atop the Hearst Building, a 1928 structure commissioned by the press baron William Randolph Hearst. There, Hearst's chief executive officer, Steven R. Swartz, had been trying to get to the bottom of complaints about the workplace conduct of Troy Young, the company's first head of digital media and a leading candidate to take over the magazine group. Mr. Swartz, a former journalist, had enlisted Lincoln Millstein, a longtime Hearst executive who had recently retired from full time employment, to help him get frank feedback from top editors. Mr. Millstein said last week that he told Mr. Swartz that Mr. Young had "overwhelming support" to carry out the company's transformation into a digital operation. On July 25, 2018, Mr. Young was named the president of Hearst Magazines, a job that put him in charge of Esquire, Cosmopolitan, Town Country, Harper's Bazaar and Good Housekeeping among its more than two dozen titles. Along with the promotion came a plan to give him "considerable mentoring and coaching," a Hearst executive told me. His departure came shortly after my colleague Katie Robertson and I reported on the lewd and otherwise inappropriate remarks and years of complaints about them that had characterized his time running a company built largely on publications aimed at empowering women. In the Hearst cafeteria, for instance, he approached a heavily pregnant employee and said, "So, is the baby mine?" Mr. Young, who did not reply to email inquiries for this article, previously told The Times that the accusations against him were "either untrue, greatly exaggerated or taken out of context." On Halloween, three months after Mr. Young had become the Hearst Magazines leader, the two reporters found themselves in a meeting led by the division's head of content, Kate Lewis. A former human resources executive at Conde Nast, Ms. Lewis had worked with Mr. Young at a start up, Say Media, before signing on as his deputy in Hearst's digital unit. Soon after his promotion to the top magazine job, Mr. Swartz and Mr. Young had named her the magazine group's chief content officer, a job she still holds. The Halloween meeting, which included Esquire editors, took place in Ms. Lewis's brightly lit office at a time when the article on Mr. Singer was in the late stages of editing for the December/January issue. As the meeting progressed, Ms. Lewis expressed doubt that the sources would stand up to scrutiny, the two reporters said. Ms. Lewis, who had little experience with investigative journalism, offered suggestions that struck the reporters as unhelpful. She told them the story could use a sympathetic victim, like Gwyneth Paltrow, the writers said. She also suggested serializing the story online, or publishing it as a kind of blind item, three people who attended the meeting told me. The next week, she informed Jay Fielden, then Esquire's editor in chief, that the article would not run. (Ms. Lewis did not reply to requests for comment sent by email and through a company spokesman.) In retrospect, Hearst seems timid, at best. Mr. Potter and Mr. French, who had been working as contract writers for Esquire, took their work to The Atlantic, which ran the article in January 2019. For Jeffrey Goldberg, The Atlantic's top editor, the decision to publish was not difficult. "There's not a lot of nuance here," Mr. Goldberg told me last week. "They spiked a story that should have been published in the public interest for reasons unknown." The Hearst executives I spoke with said they couldn't recall Mr. Young having expressed a view on the Singer article. And even while speaking on condition of anonymity, they refused to say who made the final decision to spike the Singer story. At the time, Ms. Lewis told the Esquire staff that it was an editorial decision, which the company repeated publicly. 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. Hearst's chief legal officer, Eve Burton, said in a statement to the New York Post media reporter Keith Kelly shortly after the article appeared on The Atlantic's website that the company's decision not to publish it was "made based on our editorial standards." Pressed for detail on Sunday, Ms. Burton said in an email: "We simply believed, both my lawyers and our senior editorial team, that we did not have a story that was defensible and fair. One of the hardest things to do sometimes is to not publish. It was a close call. We stand by that decision." The Atlantic, which has been around since 1857, is hardly a run and gun tabloid operation, and its publication of the article was an important part of Hollywood's metoo reckoning. The piece won praise in part because it was a nuanced story about damaged young men, and it sent Mr. Singer's career into a tailspin. Mr. Singer denied the article's allegations shortly after it was published. "It's sad that The Atlantic would stoop to this low standard of journalistic integrity," he said in a statement at the time, describing the article as a "homophobic smear piece." A movie he was scheduled to direct, "Red Sonja," was put on hold in February 2019, and he was later replaced on the project by the writer director Joey Soloway. Hearst's call on the article was probably the highest profile journalistic decision of Mr. Young's two year tenure as the magazine division's president. It raised questions that still hang over the media industry, even three years after The New York Times and The New Yorker published their first investigative articles on the sexual misconduct of Harvey Weinstein. How much do the values of the men who control much of the culture industry trickle down into the culture? Is there a line to be drawn between a top media executive who asks a pregnant writer if the baby is his and what his company chooses to publish? Mr. French, the reporter, said he still doesn't know why Hearst decided against publication. Mr. Fielden, the former Esquire editor, has told friends he still doesn't know the reason, but a person close to him told me that when Hearst "made the decision to kill the Singer piece without any explanation, and in violation of editorial standards, Jay knew it was time to go." This is not to say that media organizations wrestling with internal cultural issues as virtually all are cannot publish important work. Virtuous journalists do not always come up with worthy articles. No editor, reporter or newsroom is without sin and yet we're all in the business of throwing stones from our glass houses. But for many reporters who have covered the media industry's recent bouts of self examination, the issue of who, exactly, decides which subjects merit journalistic investigation is at the heart of the matter. She added, "It's damning that Hearst would promote someone with multiple documented complaints against them in the middle of a national reckoning about the same behavior it really speaks to what, and who, actually matters at the top there." Hearst executives, speaking anonymously, hotly disputed the notion that Mr. Young's workplace issues had spilled into the company's journalism. He was, they said, focused on salvaging Hearst's advertising business, which has battled the same headwinds as the rest of the media industry. As Ms. Robertson and I reported, Hearst executives described Mr. Young's behavior as part and parcel of sharp elbowed digital disruption, while hinting that his detractors were tired print editors unable to get the hang of the internet. Shrinking businesses make for bitter workplaces, and it's true that Mr. Young shifted Hearst away from the freewheeling era of glossy print journalism toward the new reality of clicks and algorithms. But I've never seen crude talk as part of the digital transformation. In recent months, Mr. Young tried and failed to keep alive a valuable print publication, O: The Oprah Magazine, which Hearst had published in conjunction with Oprah Winfrey's Harpo Entertainment Group since 2000. Ms. Winfrey has decided to discontinue it as a print magazine, Hearst acknowledged to the Business of Fashion's Chantal Fernandez on Friday night. A Hearst spokeswoman called the plan to end the print edition of O: The Oprah Magazine after its December 2020 issue "a natural next step for the brand." But the scaling back of the relationship between the company and Ms. Winfrey is a major blow to the magazine group, and Hearst's leaders had wrestled for weeks with how to make it public. On the day he left the company in May 2019, he posed for a photograph that captured him striding out of the Hearst Tower while dressed impeccably and carrying four luxury brand bags. The image, an immediate Instagram hit, subjected him to one of Twitter's great roastings, and The Cut declared him a "fancy man." The last thing the photo projected was an editor who had taken a professional risk for the cause of journalism. But Mr. Fielden ignored pressure from above to prevent the story from appearing elsewhere, according to three people with knowledge of what happened, and had encouraged The Atlantic's Mr. Goldberg to take it. "I told Jay that if we publish a version of this story, it could be embarrassing for Esquire and it could get him in trouble," Mr. Goldberg recalled. In the end, Mr. Goldberg added, Mr. Fielden "stood up for his writers, and he stood up for a story that was true, and he doesn't get the credit he deserves for doing that."	N24News: A New Dataset for Multimodal News Classification	Media
The draconian drug policies of President Rodrigo Duterte of the Philippines look positively devastating from the remove of the United States. "Watch List," a new movie directed by the American Ben Rekhi, gives viewers a close up look at these policies in the form of a fictional thriller. It's grim stuff. Maria (Alessandra de Rossi, excellent) and Arturo (Jess Mendoza) are a couple with three children, living in a claustrophobic Manila slum. One hot afternoon, cops turn it upside down seeking pretty much anyone who's ever used narcotics. Arturo protests but goes along, and despite not having used drugs in years, Maria lets herself be rounded up as well. Soon they're with a crowd doing a "recovery dance" under the aegis of Project Tokhang, an ostensible community rehabilitation center.	N24News: A New Dataset for Multimodal News Classification	Movies
HIPNESS is contagious in Brooklyn, where expanding the global brand seems to be a done deal. On a scorching July afternoon, the frisson of hustle and bustle that delineates the weekday rush hour was in full swing at the intersection of Greenpoint and Manhattan Avenues, the dowdy commercial heart of Greenpoint. Horns blared, and unlike other times of day or night, when the traffic ranges from intermittent to invisible, pedestrians actually did have to look both ways before jaywalking. In this, the genuine Brooklyn, crosswalks are for sissies, classic apartments are walk ups, loud is the default sound level, and burly men of a certain vintage still wear sleeveless undershirts in public. Until Greenpoint's artsy sister neighborhood to the south, Williamsburg, set a brash example by surrendering to glassy condominium and hotel towers and urbane renewal that yanked the cost of shelter in a Manhattan ish direction, vinyl sided six family tenements were the backbone of the housing stock here. And century old trees shaded the crumbling sidewalks. But lately the biggest shadow being cast in Greenpoint belongs to Williamsburg. Vinyl siding doesn't represent Greenpoint's cachet any longer; virtual doormen, rooftop farms, artisanal gin and brick faced condominiums do. The virtual gatekeeper is a prime amenity at the sold out 93 unit Pencil Factory condominium on West Street, where the penthouse sold for just over 1 million, a neighborhood first. For young men, and for some young women, sculptured hair, baggy shorts and tattoos, not the clingy undershirt, are the new sartorial normal. Tomcats Barbershop, specializing in pompadour, punk and glam rocker concoctions, and Hair Metal Salon (branching out from none other than Williamsburg) have arrived to coif the wired in and amped up young consumers who are the reason the neighborhood expects to build 7,300 new housing units by the end of 2013. The future seems to be invested in repurposing Greenpoint's 1.2 square miles of grit and quaintness. Especially seductive is its western waterfront, currently occupied by warehouses that block the panoramic Manhattan skyline views but already spoken for by a slew of developers who envision a chain of residential towers fronting a grassy esplanade along the East River. One of them, Benjamin R. Bernstein of RedSky Capital, even built a pier at the base of the India Street property his firm controls so that the city sponsored East River Ferry could add Greenpoint to its itinerary: 18 minutes to Manhattan! Further justification for Amanda Burden's mantra about water's being the sixth borough of the city. Besides two luxury waterfront towers currently navigating the city's approval process, Mr. Bernstein's Greenpoint portfolio includes 100 apartments and 15 condominium units. On the commercial side, he is installing a Sleepy's franchise at Manhattan and Meserole because, thinking ahead, he figured, "Hey, when the residential thing blows up, everybody's going to need mattresses." Mr. Bernstein predicts that Greenpoint's residential waterfront quay will ultimately stretch for approximately 13 blocks: "It's going to be bigger than Williamsburg, it's going to dwarf Dumbo, and be twice the size of the Long Island City waterfront, like a massive version of the West Village waterfront. It's going to be nothing like Hoboken: it's going to be really cool." His clients, he said, are "young families and the 'digerati.' We're going to build in a way that maintains the character of the neighborhood: eclectic, gritty and cutting edge. We're going to keep things contextual." If and when those 20 to 40 story towers sprout, Greenpoint's population will increase "to the tune of another 10,000 people just along the waterfront," said Heather Roslund, an architect who heads the Land Use Committee for Community Board 1, which encompasses Greenpoint, where she lives, and Williamsburg, where she works. "Greenpoint," she added, "is still a family oriented place with a large section of landmarked blocks, so I don't see it becoming an entirely different place. I don't see quite the same demand there was with Williamsburg. Even if the waterfront gets entirely built out, it's going to be 20 years before every stick and brick is in place, but at that point, yes, it will be shocking." The biggest chunk of waterfront, 20 acres at the foot of Newtown Creek, is being developed by the Park Tower Group, which in 2005 acquired the development rights to the old Greenpoint Lumber Exchange (lately the setting for the boardwalk scenes in HBO's "Boardwalk Empire"). Now called Greenpoint Landing, the parcel will contain 4.2 million square feet of mixed use development with approximately 4,000 housing units, 20 percent of them designated as affordable, spread among 10 luxury residential towers designed by Gary Handel, the architect responsible for Trump SoHo. Alfred Bradshaw, the executive vice president of the Park Tower Group, confirmed last week that Phase One of the project could break ground by next summer, and will include two rental towers of 30 and 40 stories offering a combined total of 900 units. "The beauty of the whole redevelopment of the waterfront is that it will create a continuous greenbelt, a seamless environment just like on the West Side of Manhattan," he said. According to Ward Dennis, a Community Board 1 member who is also a chairman of Neighbors Allied for Good Growth, the Brooklyn waterfront was designated as a potential garbage transfer station back in the Giuliani era. "In the '70s and '80s," Mr. Dennis said, "the vision for the Brooklyn waterfront included power plants, incinerators and garbage dumps. So where we are now, with these towers coming to the horizon or, in Williamsburg's case, already there, I guess can be seen as an improvement of what might have been. But even with nothing happening on Greenpoint's waterfront yet, upland development is kicking up, and the sense is that what we've seen in Williamsburg is a blueprint for what will continue to happen in Greenpoint." While Manhattan Avenue retains its sprinkling of Polish butchers, bakeries, pharmacies and funeral homes, Franklin Street is morphing from a corridor of boarded up stores into an upscale retail, residential and restaurant row reminiscent of Bedford Avenue in Williamsburg. "Greenpoint is what Williamsburg was five years ago," said Erica Dobbs, who nine months ago opened Ana Chronos, a boutique at 135 Franklin Street that sells "artisanal clothing" and "aged couture." On the side streets, the renovations in progress are so pervasive that the predominant window treatments on many blocks consist of city issued building permits. "Here it is, sandwiched between the two development darlings of the outer boroughs, Long Island City and Williamsburg, and I suppose I'm the perfect case study for imminent gentrification," said J. P. Horton, 28, an I.T. consultant wearing orange shorts, sandals and a designer T shirt, as he strolled along Manhattan Avenue with his brindled French bulldog lagging at the end of a leash. On the advice of friends who live here and like the "slightly chill" ambience, Mr. Horton moved to Greenpoint in February 2011 after five years in Astoria. He found a 1,000 square foot apartment in a new five story brick building at Manhattan and Freeman and was able to negotiate the rent: 1,900 the first year, 2,000 this year. "Next year we'll probably have to move," he said. "Rents in the newest buildings are 3,500 for one bedrooms, and even if the infiltration of cool people with discretionary money to spend isn't to the point of Williamsburg, you sense it coming. For now, the remnants of the old time neighborhood are hanging on. You can find the best Polish food in the city right on this street." "It's not a question of if Greenpoint is going to become the next Williamsburg, it's when," said Lauren Baggett, 27, who rents a small converted garage on Dupont Street for 1,500 a month with her partner, Megan Paslawski, a graduate student at the City University of New York. "It was a stroke of luck to find the garage, but now it's for sale, so it's just a matter of time before our luck runs out and somebody buys it and turns it into condos." The patchouli oil of Gen Y gentrification is scenting the air. A two bedroom three bath garden duplex on Russell Street recently sold for 772,000. And, yes, on Meserole Avenue, a thoroughfare named for one of Greenpoint's founding families, Cafe Grumpy, a Wi Fi compliant virtual office for hoards of freelancers, set up shop and started roasting its own beans in a vintage Probat in 2005. Also, a bellwether of the area's emergent after hours vigor materialized this month with the grand opening of the Well, a behemoth bar and performance space just south of Greenpoint in East Williamsburg. Its co owner, Joshua Richholt, who lives in Greenpoint, says it boasts the largest beer garden in New York. "On weekend nights," said Randy Taylor, a photographer who moved to Milton Street from Miami in 1999, "the intersection of Franklin and Greenpoint is party central." He says the upside of Greenpoint's being livelier is that it is safer. The downside is a demand for Internet connectivity that outweighs the bandwidth supply: "The technology providers have yet to realize that this is a rapid growth community with a certain amount of wealth." For now, the division of the population between longtime Polish and Hispanic residents and a steady influx of defectors from Manhattan and other quadrants of Brooklyn seeking lower rents or a bigger bang for their investment buck has been peaceable not counting a bit of admonitory yet brand conscious graffiti scrawled on a West Street warehouse a block from the waterfront, "Give Your Prada To The Poor No Masters." At Apteka, a tiny Manhattan Avenue pharmacy that caters to Polish speakers, Josef Konopski was waiting for a prescription. He fled to the United States from Poland in 1983 to escape a Communist regime, and in 1984 he moved to Greenpoint, where he owns a six family house on Eagle Street, with all but two units occupied by family members. "When I first got here," Mr. Konopski said, "the rent on a two bedroom apartment was 100 a month, and now I'm getting 1,500. It is 100 percent better now, the neighborhood: new sidewalks, new street lamps, new shops. The new people don't bother me. And people still come here from Poland because the neighborhood is safe now." The line convened at the meat counter inside Kiszka Meat Market, an old school purveyor of myriad versions of kielbasa, including a blog worthy wiejska, contained a multicultural mash up of sharp tongued Polish grandmothers in orthopedic shoes (the regulars) and a self assured contingent of 30 something seekers (newbies) of an enlightened form of hot dog for their Weber grills. Outside, commuters poured up and down the stairs of the dreaded G train station at Greenpoint Avenue, one of just two underground hubs in this one line, two stop neighborhood where access to Manhattan via subway includes a mandatory transfer in Queens. "It is what it is," Mr. Maundrell said of the G train. "Most people can handle a two train commute; a three train commute, not so much." There are those who think, or hope, the sheer minor inconvenience of its transit status might turn out to be the saving grace that spares Greenpoint from a fate worse than gentrification: an overdose of hipsters whose roots in the community are superficial. Greenpoint does not want to be the next Williamsburg. "Maybe," Ms. Roslund said wistfully, "having HBO set 'Girls' here is a harbinger that Greenpoint isn't hot, that it's already over."	N24News: A New Dataset for Multimodal News Classification	Real Estate
Every Friday, pop critics for The New York Times weigh in on the week's most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist nytimes.com and sign up for our Louder newsletter, a once a week blast of our pop music coverage. Missy Elliott's first studio collection in 14 years is an underwhelming EP called "Iconology": only four new songs plus the a cappella vocals for one of them, the doo wop style "Why I Still Love You." Yes, she was an icon a remarkable, incontestable groundbreaker in the late 1990s and the early 2000s. She wrote hits (particularly for Aaliyah), rapped, produced, sang, danced and claimed a place for hardheaded talent. But on "Iconology," her assurance is flecked with anxiety. The video for "Throw It Back" begins with a museum scene featuring a young girl who never heard of Elliott. And a big part of Elliott's rap on "Throw It Back" is her resume: "I did records for Tweet before you could even tweet," she reminds us. Her delivery surrounded, in the video, by dancers in bright matching colored outfits is pure deadpan confidence: "What you're doing now, I did for a while," she notes, adding, "Don't look for another Missy 'cause there'll be no other one." But the production, by Elliott with her longtime collaborator Timbaland and Will Hendrix, is also a throwback: just a three note synthesizer bass line and vintage drum machine sounds. Elliott deserves to be acknowledged, but hip hop moves a long way over a decade plus. "Iconology" doesn't prove that the icon is still innovating. JON PARELES Melina Duterte, who records as Jay Som, makes most of her music by herself in a home studio. Yet her songs are anything but spartan or simplistic; within three or four minutes, they repeatedly transform themselves, musically and emotionally. "Anak Ko," which means "my child" in the Tagalog language of the Philippines, is the title song of her second album. It's at once flinty and vulnerable and dreamlike, expanding from an understated beat to psychedelic inner worlds, leaving her stranded with her voice chopped into sampled syllables as she ends up, "Somewhere I can feel it when you're gone." PARELES Maybe it was inevitable that "Green Eyes" the sassy, smitten closer of Erykah Badu's album "Mama's Gun," featuring a trumpet arrangement by Roy Hargrove would enter jazz's 21st century songbook. And who better to enshrine it there than Badu's fellow Dallasite, the 28 year old vocalist Jazzmeia Horn, whose new album, "Love and Liberation," cements her as the next big carrier of straight ahead jazz's vocal tradition? Horn stakes her claim to the song through what she leaves out (its cute opening verse, talking about vegetables and lovesickness; any trumpet playing at all) as much as through what she puts in (braided vocal harmonies and a coda of scatted improvisations). GIOVANNI RUSSONELLO Up at 3 a.m., all alone, Baby Rose ponders drunk dialing her ex, even though she remembers how badly he hurt her. Her voice is low, tearful and torchy, building drama as she argues with herself; her backup is sustained and hymnlike, complete with a gospelly organ. The song is from "To Myself," a debut album full of songs about the damage love can inflict, sung with deep soul insight. PARELES That Dog., 'If You Just Didn't Do It' To make "Good Day for Cloud Fishing," his latest album, the clarinetist Ben Goldberg gathered up the guitarist Nels Cline and the trumpeter Ron Miles two players with curious minds and patient hands, like his own and showed them some poems by Dean Young. The trio then played gentle, warmhearted, slowly unspooling music, each piece inspired by a different poem, as Young sat with them in the studio. Unaware of which poem was guiding them at any given moment, he wrote new verses as he listened. "So now," Goldberg reflected after the recording session, "we have a new poem which is like the old poem filtered through a song." But maybe don't worry about all that: Even if you never knew the conceit, there would be plenty to love about this music. On "Reality" (inspired by Young's melancholic poem of the same name), hear Goldberg and Cline alternate between embracing and giving each other space, as if their instruments were bodies full of heat and pulse, shyness and desire. RUSSONELLO	N24News: A New Dataset for Multimodal News Classification	Music
LONDON As politicians in London and Brussels continue their tussles over Britain's exit from the European Union, the British capital received a vote of Continental confidence on Sunday, when two of the biggest names in Italian fashion Giorgio Armani and Donatella Versace decided to show the latest collections from their younger, more accessible lines during London Fashion Week. Recently Ms. Versace unveiled plans for a Gianni Versace scholarship at Central St. Martins, a tribute to her brother on the 20th anniversary of his death. And it was within the soaring glass main atrium at the heart of the famous design school that she chose to present her Versus spring 2018 looks to a crowd that included the singer FKA Twigs. "Versus is about individuality, bravery and pleasure," Ms. Versace said before the show, looking resplendent in a button down blouse and red and black skirt with leather paneling. "This is for everyone who dares to express themselves in everything they do." It was also seemingly for everyone who ever emerged from the grungy belly of a cool nightclub (a continual source of inspiration for Versus). A giant, floor to ceiling set of speakers set the booming tunes for the smoldering male and female models, who appeared in everything from semi sheer bell bottom pants and miniskirts with diamante studded Versus logo bikini bottoms peeking through, to studded and silver fringed cowboy boots and black and red Western style jackets. Also, a softer series of mint green chain and belt foulard prints from the Versace archives was cut with a more contemporary twist a la Versace lite. A few hours later, across town, Mr. Armani staged a glittering return to the London schedule for the first time in 11 years, with a show and star studded party held amid the tobacco docks of the city's East End. The event was a celebration: the Emporio Armani flagship in Mayfair recently underwent major renovations, and the latest collection all 100 pieces of it reflected the feeling (and sometimes confusion) of a fresh start. There was the palette: chirpy pops of neon on softly tailored suits or checked pants teamed with box fresh trainers, and a procession of diaphanous candy colored minidresses with fanned tutu skirts. Copious amounts of sequins made the afterdark looks very sparkly. And underwater motifs were everywhere; think a large crab continually scampering across iridescent bombers, T shirts and jersey skirts. Satchels shaped like shells emphasized the theme. Then the visual spectacle carried on into the night. Emulating the interior of the Armani hotel in Milan, Mr. Armani, 83, transformed a drafty warehouse on the Thames into a sleek nightclub, all lilac uplighting, low leather couches and what seemed to be a never ending flow of Champagne. Guests were treated to a private concert from A ha (everyone's favorite 1980s crush) and the British pop star Ellie Goulding, among other acts, before eventually heading off into the night in Armani branded black taxis.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
A recent evening on Broadway in downtown Nashville, where masks are required by law and signs encourage social distancing. The Nation Wanted to Eat Out Again. Everyone Has Paid the Price. Across the United States this summer, restaurants and bars, reeling from mandatory lockdowns and steep financial declines, opened their doors to customers, thousands of whom had been craving deep bowls of farro, frothy margaritas and juicy burgers smothered in glistening onions. But the short term gains have led to broader losses. Data from states and cities show that many community outbreaks of the coronavirus this summer have centered on restaurants and bars, often the largest settings to infect Americans. In Louisiana, roughly a quarter of the state's 2,360 cases since March that were outside of places like nursing homes and prisons have stemmed from bars and restaurants, according to state data. In Maryland, 12 percent of new cases last month were traced to restaurants, contact tracers there found, and in Colorado, 9 percent of outbreaks overall have been traced to bars and restaurants. It is unclear what percentage of workers transmitted the virus among themselves, or to patrons or whether customers brought in the virus. But the clusters are worrisome to health officials because many restaurant and bar employees across the country are in their 20s and can carry the virus home and possibly seed household transmissions, which have soared in recent weeks through the Sun Belt and the West. Since late June, scores of popular restaurants throughout the country, including in Nashville, Las Vegas, Atlanta and Milwaukee, had to close temporarily because of cases among employees. Texas and Florida also had to close bars this summer after a surge of new cases hobbled those states. In a recent week in San Diego, 15 of the 39 new cases in community settings stemmed from restaurants. And in Washington, D.C., cases have begun to sneak up since the city reopened indoor dining. In New York City and many other places, indoor dining, which has proved far more dangerous than outdoor eating, remains banned. Epidemiologists roundly agree that indoor dining, especially in bars, is far more likely to spawn outbreaks than outdoor settings. "As of recently, we still hadn't traced a major U.S. outbreak of any sort to an outdoor exposure," Lindsey Leininger, a health policy researcher and a clinical professor at the Tuck School of Business at Dartmouth, said. In Spokane, Wash., 24 customers and an employee, most of them between the ages of 19 and 29, all tested positive for the virus. Their cases were linked to a taco restaurant, even though health department officials indicated that the restaurant was practicing all the recommended prevention methods. "They are a factor that has to be managed," said Kelli Hawkins, a spokeswoman for the Spokane Regional Health District. Since the beginning of the pandemic, a few business sectors, most notably health care (especially nursing homes) and meat processing, have accounted for a large share of cases in many states. But as cities and states have moved to reopen and many restaurant owners struggle to survive, the virus has come along for the ride. When the coronavirus finally reached the last California county to see a case, remote Modoc in the far northeastern part of the state it came via a little Basque restaurant in the middle of nowhere. While millions of restaurant and bar employees who were laid off during lockdowns have been desperate to get back to work, many have found themselves caught between bosses who want them back as soon as possible and customers who balk at following safety rules, like mask wearing and maintaining social distancing. "I 100 percent felt forced back to work at the bar," said Jennifer Welch, a bartender at a large pool hall in Baton Rouge, La. "Even though I have an immunocompromised 1 year old and, at the time, my 58 year old father was in hospice for Stage 4 small cell lung cancer." Although unemployment would have paid more, she yielded to the pressure, Ms. Welch said, and worked 10 hour shifts. Among food service workers, these cases appear to have particularly hurt Latinos, who have been already disproportionately hit by the virus. Brian Biondi, a bartender in the French Quarter in New Orleans, did not yearn to return to his job in June after three months off, because he was wary of getting the virus. By late July, his fears materialized and he came down with a mild case of Covid. "There are still a lot of people that are denying the intensity, a lot of non maskers," he said. After three weeks off, Mr. Biondi is waiting to be returned to the schedule. "I feel great, he said. "I still worry about long term effects. I still worry this took years off my life." Restaurants find themselves in a bind. Federal aid approved by Congress this spring mainly went to businesses that kept most of their workers employed, but restaurants and bars were forbidden to open. Then many officials on the local, state and federal levels including President Trump pressed restaurants to reopen, even as others cited them as reigniting the virus this summer. Who should get a booster shot? It depends, Dr. Scott Gottlieb says. "Restaurants generate a lot of sales and payroll tax revenue, so some of the pressure came from city and state governments," said Daniel Patterson, a chef and a restaurateur in California, where cases exploded this summer. "And I think one of the factors behind the quick openings is that our society sees restaurants as disposable and those who work in them as disposable, so in general, people are less concerned with restaurant worker safety than they are with their own needs. They want a taco and a cold beer when they want it." Like many businesses, restaurants have been unable to tap business interruption insurance money because the virus did not cause physical damage to the properties. To get federal aid, restaurants were first required to spend 75 percent of that relief on payroll (this was later reduced to 60 percent). They also faced a short deadline to rehire workers. But the only way this was useful to businesses, restaurant owners said, was if they were able to reopen and generate revenue in that period, which was nearly impossible. Most places were allowed to operate at 50 percent capacity, and the pandemic has stretched on longer than anyone expected. "We scrambled to get as many people in as fast as possible," said Michael Shemtov, who was forced to close two of the 10 restaurants that he owns in Charleston and Nashville. "The only way to lure them in was to pay them for 40 hours a week, no matter how much they worked or didn't work." "But you can't make up labor costs with crazy busy days on the weekend anymore," he added. At the same time, "the conversation in May moved from keeping restaurants closed to getting back to work and life," he said. "There wasn't a sympathetic ear in the South Carolina governor's office when we said we need to get the numbers down before we reopen." In Louisiana this spring, Republican lawmakers threatened Gov. John Bel Edwards, a Democrat, with removing his power to enforce emergency orders if he did not permit businesses to reopen. In a few states, the dynamic was reversed: Restaurants pushed governments to let them reopen, arguing that they would otherwise close for good. "We were all understandably nervous about opening up, but any bartender worth their salt knows that when it's time to go to work, you leave your baggage at home in order to take care of your guests," said Waites Laseter, the head bartender at the Backspace Bar Kitchen, a New Orleans hot spot. Mr. Laseter said the early days of safe practices and big tips waned as more businesses opened and tourists trickled in. Many of them nastily opposed rules and made his beloved job a misery, he said. The Landscape of the Post Pandemic Return to Office None Delta variant delays. A wave of the contagious Delta variant is causing companies to reconsider when they will require employees to return, and what health requirements should be in place when they do. A generation gap. While workers of all ages have become accustomed to dialing in and skipping the wearying commute, younger ones have grown especially attached to the new way of doing business. This is causing some difficult conversations between managers and newer hires. How to keep offices safe. Handwashing is a simple way to reduce the spread of disease, but employers should be thinking about improved ventilation systems, creative scheduling and making sure their building is ready after months of low use. Return to work anxiety. Remote work brought many challenges, particularly for women of color. But going back will also mean a return to microaggressions, pressure to conform to white standards of professionalism, and high rates of stress and burnout. "A friend of mine was threatened with a gun over putting on a mask," he said. "I've always approached a bar as a safe space. Anybody can make a vodka and soda at home." But, he said, "Improper bar behavior has become an act of political rebellion." Contact tracing can help keep restaurant outbreaks at bay, experts say, but only in places without widespread infections. "I like to think that due to contact tracing and quickly quarantining close contacts, we have not had large outbreaks in restaurants yet," said Melissa Lunt, the director of nursing at the Graham County Health Department in Arizona. When workers were sickened in two restaurants in the area, the health department moved quickly to quarantine them to prevent further community spread. Testing is its own problem for workers. While many cities offer tests for free, results can take days or even weeks to return, leaving employees out of a job while they wait. "A lot of times the restaurant will foot the bill if they want quick testing through a private company," said Dr. Alex Jahangir, the chairman of a coronavirus task force in Nashville who has studied the role of restaurants and bars in his area. "Sometimes the restaurant will tell their employees to come to one of our city sites, which are free, but the results may take three days. If people are symptomatic, sometimes the restaurant will refer the person to a local medical center and will have their health insurance pay for the test." Of course, low wage restaurant workers, especially part time employees, may not have health coverage. Or if they did, layoffs might have jeopardized their ability to make payments on those plans. In the meantime, some proprietors are doing what they can to keep operating and keep people safe, at great cost and worry. Benjamin Goldberg, a founder of Strategic Hospitality, a group that runs eight spots in Nashville, has opened some places with indoor dining and kept other places closed. In the interim, he and his staff members have become mini public health experts. "We did research on what places around the world were doing and learned from them," he said. "City and state guidance were only the baseline of our expectations." Short of testing everyone who worked in or entered his restaurants an impossibility they moved to take the temperature of every customer, worker and vendor before they are permitted to enter. Employees are tested regularly for the virus. All silverware comes in a bag sealed with stickers, menus have gone virtual and pens used to sign checks are sanitized and placed in a sealed bag. "We felt if we could build that trust in the short term, it would pay off in the long term."	N24News: A New Dataset for Multimodal News Classification	Health
Almost at the end of "Other People," 's 369 page, 73 chapter collection of what? Short essays? Aphorisms? Letters? Long emails to us? Fragments after the German Romantic style? he remarks, in response to an early critic of his work: "Doesn't everybody have a pitiable heart? Aren't we all Bozos on this bus?" This plaintive, heartfelt, deeply endearing observation appears in "All Our Secrets Are the Same," a three page essay about rereading hostile reviews of his first five books (he's got 20 to his name), which is really about the nature of "confessional" writing and, by way of Robert Dana, the poetry of Keats. An author can do nothing more embarrassing than admit he reads his own reviews, with the possible exception of defending himself against them, so, naturally, at the end of "Other People," Shields does both. He is fearless about making himself vulnerable to the reader; so fearless he is willing to say, over and over in this triumphantly humane book, that he is a coward. But at the same time and this is the we've come to love and doubt we never know when he is making it all up, when he's just pretending, when he's pulling our leg. He's our elusive, humorous ironist, something like a 21st century Socrates, who happens to be particularly interested in sex, sports, selfhood, actors and fiction (all of which Plato's character Socrates also discusses, for that matter). Whether you love this book or find it incredibly annoying might depend on how you feel about irony. Many of the pieces in this collection seem unashamedly all about . An authentic sounding letter to his father apologizes for a character who resembles him in the novel "Dead Languages." The hilarious one page "Love Is Illusion" details the cliched but unforgettable techniques of Shields's most memorable sexual partner, from a yearlong affair three decades ago. Even in "Blindness," his essay about Tiger Woods (the dozen essays about athletes could have been published as a classic sports book on their own), Shields manages to strike a dangerously confessional tone: "My initial reaction when I saw on the web the report that Tiger Woods was seriously injured was What's the matter with me that I hope he's been paralyzed or killed? Jealousy. The much vaunted Schadenfreude. The green eyed fairway. Tiger is extremely rich, famous (now infamous), semi handsome (losing his hair), semi black, the best golfer ever (was going to be), married to a supermodel (no longer, of course). I wanted him to taste life's darkness. . . . I was disappointed that Tiger was O.K. (for the nonce). But, really, I think we all were." Shields goes on to develop a familiar thesis about human nature: that we are divided, vertiginous, self deceiving beings who somehow, like good old Oedipus, can't help using our strengths to destroy ourselves. In about three pages the essay discusses Freud, Milan Kundera, Bill Clinton, the British television series "Cracker," Picasso, Renata Adler's books "Speedboat" and "Gone," and Shields's own evolving views of Greek tragedy. You worry that he is merely name dropping, being hasty or superficial, but he's not. It's pithy, and it works. The shortest essays here tend to be the best, reminiscent of Roland Barthes's "Mythologies" and also the reviews and shorter essays of Jean Paul Sartre. This is a very French book, really, and relies on the old fashioned idea of an essay as an attempt. But there are fragments of interviews, too, and mysterious pieces of what seems to be fiction a la Diane Williams or Lydia Davis, and a long, bad poem by one Thomas Emmet Moore, which was saved, Shields suggests, by his father among copies of his mother's obituary (an obituary she wrote herself). For whatever reason, Shields seems particularly good at about three pages. In one essay at that length, "Surviving With Wolves," he mounts a passionate defense of the memoirist James Frey, who was (he says) "crucified for a handful of inaccuracies in no way essential to the character and spirit of the book." Shields doesn't like Frey's writing: His point is the narcissism and hypocrisy of our harsh response to the fictionalizing. "Our hatred of Frey," he writes, "was due to the fact that he didn't hurt himself badly or violently enough to justify himself as self perpetrator."	N24News: A New Dataset for Multimodal News Classification	Books
Arthur Miller's "The Price," from 1968, is a tragedy disguised as a rummage sale. It plucks the slipcovers off the autobiographical material that Miller worked over for so much of his career what sons owe to fathers, what brothers owe to each other, what the world owes to men of reasonable integrity. Women might owe things, too, but that was rarely Miller's concern. Sympathetically directed and ardently acted, there's much to enjoy in this Roundabout Theater Company revival, which opened Thursday night at the American Airlines Theater. Yet it shows "The Price" as a smaller, more stolid work than it wants to be still just a little out of style. As the play opens, Victor Franz (Mark Ruffalo), a policeman 28 years on the beat, arrives at the attic of a Manhattan brownstone mounded with dusty furniture. Chests jostle with tables; sofas and wardrobes tumble together. Victor winds up an old phonograph and puts on a novelty record of people laughing. He also laughs. Why not? It's either that or sneeze. Now all that remains of his patrimony is enough hefty wood and tatty brocade to churn the stomachs of every Design Within Reach customer in the first three rows. Victor's disenchanted wife, Esther (Jessica Hecht), doesn't want a stick of it ("Oh dear God" is her tipsy response). So he has hired a used furniture dealer to appraise it. That dealer, Gregory Solomon, arrives in the rumpled form of Danny DeVito, who has decided that just because he's in a Miller drama doesn't mean he can't have some fun. ("The Price" may be Miller's funniest play, a low bar.) Heaving himself and his battered three piece suit up the stairs, he declines an offer of refreshment with the borscht belty line, "Water I don't need; a little blood I could use." Solomon's accent is supposed to be Russian Yiddish. Mr. DeVito's isn't. So what? He makes a meal of the scene and then eats a hard boiled egg for an encore. The biblical Solomon had to divide up a baby (or threaten to, anyway); this one only has to appraise side tables and a cracked harp. But he's wise, too. Also brash and digressive. ("Jews been acrobats since the beginning of the world.") He and Victor are just about to seal their deal when Victor's brother, Walter (Tony Shalhoub), enters unexpectedly. They haven't seen or spoken to each other since their father's death 16 years earlier. Walter, a successful surgeon in his fine camel coat, and Victor, an undistinguished patrolman in his clumsy uniform, are placed in opposition. Under Terry Kinney's direction, so, too, are Mr. Ruffalo a late replacement for John Turturro and Mr. Shalhoub. Both are intensely likable actors, though Mr. Ruffalo has a line in Everymen, whereas Mr. Shalhoub seems to gravitate toward more rarefied roles. Here, it's as if the costume designer Sarah J. Holden has placed lead weights in Mr. Ruffalo's epaulets and helium lifts in Mr. Shalhoub's shoes. Mr. Ruffalo's body looks slumped and stunted, his speech a mumble. Mr. Shalhoub meanwhile keeps straining upward. His arms and hands reach high, his voice rises until it cracks. These are both thoughtful, textured performances. And if you believe that old quip defining good acting as not bumping into the furniture, then hand them a couple of Tonys. Ms. Hecht affords Esther pragmatic sympathy. But this is not Esther's play. At one point Solomon tells her, "Darling, why don't you leave it to the boys?" and "The Price" treats her with a similar condescension, sidelining her in her pert pink suit while the brothers argue, stranding her with domestic concerns while they debate moral philosophy. Recent Miller productions on Broadway have goosed the plays with counterintuitive casting, like the Mike Nichols "Death of a Salesman," with its young Willy and reedy Biff, or radical staging, like the Ivo van Hove productions of "The Crucible" and "A View from the Bridge." Mr. Kinney's quieter, more faithful style emphasizes the fine roles for actors but doesn't make a strong case for the play itself. Though Derek McLane's set boasts a view out over the roofs of Manhattan, hinting at something symbolic and substantial, the play never quite escapes the room, narrowing to a quarrel about personal choices made in the past. Miller maintained he wrote "The Price" as a response to the war in Vietnam and that it was not based on his own relationship with his brother, who dropped out of college to shore up the imperiled family business. Neither assertion seems especially credible. Did Walter betray his family by following his ambitions? Did Victor betray himself by staying to care for their father? Who has had the more successful life? Walter with his money and prestige or Victor with his unbroken marriage and flatfoot honor? These are good questions, and Miller keeps the argument more or less evenhanded, tossing in a new twist every time one man's claim threatens to dominate. Yet if the debate is involving, it's not especially consequential. The price? It has been paid long ago. Little that the brothers say or do can change the past or affect the future. Instead, "The Price" ends more or less as it began, as Solomon, alone onstage, plays that laughing record again. Maybe we laugh, too: at human foolishness, at human intransigence, at how people, like furniture, fade and scuff, but still endure.	N24News: A New Dataset for Multimodal News Classification	Theater
RAIPUR, India Forget the old American campaign slogan of a chicken in every pot, or the Indian politician's common pledge to put rice in every bowl. Here in the state of Chhattisgarh, the chief minister, Raman Singh, has promised a smartphone in every home and he is using the government issued devices to reach voters as he campaigns in legislative elections that conclude on Tuesday. Chain Sahu, a mother of two who cooks at a school on the outskirts of Mr. Singh's district in Rajnandgaon, said her free phone rang last Sunday, just before her village voted. The caller, who claimed to be from "the Raman government," asked if she had benefited from government programs and urged her to vote for Mr. Singh's Bharatiya Janata Party. When she complained about her pay and work conditions, she recalled, "They said, 'We'll carry your concerns to Raman.'" The phones are the latest twist in digital campaigning by the B.J.P., which controls the national and state government and is deft at using tools like WhatsApp groups and Facebook posts to influence voters. The B.J.P. government in Rajasthan, which holds state elections next month, is also subsidizing phones and data plans for residents, and party leaders are considering extending the model to other states. But this election season, many of the 2.9 million people who have received the phones have found themselves targeted by the B.J.P. Working out of a government owned building near the capital, about 350 contractors, originally hired by the state but now paid by the B.J.P., have been calling people who received the phones. Reading from a script that pops up on their screens, the callers ask the recipients if they are happy with the device and the mobile service, and also poll them on their satisfaction with other government programs championed by Mr. Singh. The callers then ask people whether they plan to vote and which party they intend to vote for, according to half a dozen people who made or received the calls. The state B.J.P. uses the data to steer party activists to visit voters who said they intended to vote for the opposition Indian National Congress or abstain, according to a longtime B.J.P. worker briefed on the strategy. "They are misusing state machinery for personal gains," said the worker, who requested anonymity before discussing confidential party matters. "When we are in the government and have done so well, why do we need to do this?" The phones themselves also actively promote Mr. Singh, who has run the state for 15 years and is seeking a fourth term. His smiling face is set as the background image on the home screen, prompting some to nickname it the "Raman mobile." The phones come loaded with two campaign apps: one for Mr. Singh that features his news releases and speeches, and a similar one for Narendra Modi, India's prime minister, who also hails from the B.J.P. and is up for re election next year. When phone users first open the apps, they are asked to grant full access to contacts and to share other personal information with the B.J.P. The Congress Party has filed complaints about the B.J.P.'s tactics to the Election Commission of India, arguing that if the state is giving one party access to the database of phone recipients, other parties should also be given the data. Congress officials also accused the call center operator, Magnum Group, of violating laws that prohibit election work by the government. Subrat Sahoo, the chief electoral officer for the state, said in an interview on Saturday that the B.J.P.'s use of Magnum to make calls was legal as long as the party paid the bills. But he said that commission officials in New Delhi were examining whether the B.J.P. was given improper access to the list of phone recipients. Mr. Sahoo wrote the Chhattisgarh agency in charge of the data on Nov. 1 and told it not to share it. Magnum, an Indian outsourcing firm that does call center work for both private companies and government agencies, has ties to Mr. Singh's government and the free phone program, which is formally known as Sanchar Kranti Yojana. In September 2017, the state hired Magnum to survey residents on their overall satisfaction with government programs. The company leased space in a state building and opened a new call center to handle the work. At the televised ribbon cutting, Mr. Singh donned a headset to make one of the first survey calls. After the SKY program was started in July, the phones' manufacturer, Micromax, hired Magnum to manage customer service. Separately, the state asked the company to interview about 200,000 recipients about the quality of the SKY phones and the service. The state paid research stopped about two months ago to comply with routine Indian pre election rules that forbid the use of government resources to promote a political party. "At the present time, we are calling on behalf of the B.J.P. party," Qadir Baksh, the deputy manager for operations at the Magnum call center, said in a brief interview in the lobby on Friday. "I cannot disclose the questions we ask of the people to you." Mr. Hussain said that a single client had hired the entire call center after the state stopped its surveys. He said that the deal had been struck by his boss, the company's managing director, and he claimed not to know the identity of the client or the specifics of the contract. "We have rented out the manpower and the infrastructure to another company," he said. "How and what they are doing is not my business." Alex Paul Menon, the chief executive of the Chhattisgarh Infotech Promotion Society, which runs the SKY program, said India was keen to spread digital literacy. In a state like Chhattisgarh, where simple access was a problem, mobile phones were an obvious first step. In 2016, Mr. Menon's agency began to seek a mobile carrier to build towers in sparsely populated areas. The contract, which will be worth more than 100 million when completed, went to Reliance Jio, a fast growing carrier run by a billionaire supporter of Mr. Modi, Mukesh Ambani, and to Micromax, a financially struggling Indian phone maker. The first batch of phones, which each cost the state about 2,500 rupees, or 35, was distributed over the summer. "It's not like someone woke up this morning and said, 'Oh, this is going to get votes,'" Mr. Menon said. "It's nation building." He said his agency kept a tight leash on user data and had not shared it with anyone. Mr. Menon said a committee of top state officials was appointed earlier this year to choose apps for the phone and decided to load the Singh and Modi political apps along with government apps that help users tap national and state services. The state says that its research shows that customers are using the phones to speak with family members, surf the web and send WhatsApp messages. But about a dozen recipients interviewed last week in Rajnandgaon said they were barely using the phones. They complained of poor battery life, apps that crash, and a tiny monthly allocation of free data concerns that also popped up in the state surveys conducted through October. Micromax and Jio said no one was available to answer questions about the program. Ms. Sahu and her fellow cooks at the village school said that rather than spend millions of dollars on phones that do not work, the government should raise their daily wage of 40 rupees, about 56 cents, and give the school a gas stove so they do not have to cook over a smoky wood fire. Standing at the door of the school kitchen clad in a purple sari, Ms. Sahu said that when she got the phone call urging her to vote for the B.J.P., she gave a quick response over the scratchy line: "I told them, 'You should raise our income or we will not vote.'"	N24News: A New Dataset for Multimodal News Classification	Technology
CHEVROLET Camaros with clanking torque converters and Chrysler minivans with noisy wheel bearings are among the topics covered in automakers' recent technical service bulletins. The service bulletins, compiled by alldatapro.com, offer car companies' insights into some recurring problems with various models. The bulletins, known as T.S.B.'s, are not recalls; they are information provided by manufacturers to dealers' service departments and mechanics. Unless otherwise noted, the carmakers do not offer payment assistance for the repairs beyond normal warranty coverage. Alldata.com sells a more comprehensive version of the bulletins to consumers. Here are some recent examples: CHEVROLET The bolts that fasten the automatic transmission torque converter of some 2011 Camaros may need to be replaced. In T.S.B. 10432 issued on Jan. 3, General Motors said a campaign to replace the bolts applied to models with the 6.2 liter V 8 engine. The factory installed bolts may not be properly sized to secure the torque converter, leading to a clanking sound. Also, some minivans may develop a squeak or grinding noise at the pillar between the front and sliding doors. In T.S.B. 23 001 11 issued on Jan. 7, Chrysler said the noise, in 2008 10 Chrysler Town Country and Dodge Grand Caravan models, can occur when driving or when opening the front or sliding doors. Lubricating the doors should stop the squeak. DODGE Some Dakota pickups may need new software to assure proper operation of their side impact air bags. According to T.S.B. K03, issued on Jan. 5, the air bags in some trucks from the 2005 7 model years may not deploy in a side impact collision; the remedy is to reprogram the computer module that controls the air bags. Owners should receive a letter notifying them of this service campaign. FORD Some 2 wheel drive F 250 Super Duty trucks may need new rear springs. In T.S.B. 10B21 issued on Jan. 7, Ford said incorrect springs might have been installed in some 2011 models, causing the pickups to feel unstable when pulling trailers. Ford will offer free replacement springs on affected vehicles through Jan. 31, 2012. Owners should receive a letter notifying them of this campaign. GENERAL MOTORS Some 2011 Chevrolet Equinox and GMC Terrain crossovers may have a dashboard electrical problem causing the battery to drain. In T.S.B. 11004 issued on Jan. 10, G.M. said backlighting in the instrument panel might illuminate even after the vehicle is shut off. Reprogramming the module that controls the lighting, and charging the battery, should solve the issue. Also, some 2008 9 Cadillac CTS and 2009 Chevrolet Cobalt and Pontiac G5 models may develop a problem with their ignition locks. In T.S.B. 10256 issued on Dec. 14, G.M. said the key might get stuck in the ignition switch and the vehicle might not shut off if it is running. Replacing the ignition lock cylinder should free things up. HONDA Civic owners may be hearing unusual noises from their car's engine. In T.S.B. 06 060 issued on Dec. 24, Honda said some 2006 7 Civics might have a rattling noise from the right front of the vehicle, caused by a defective right side engine mount. Replacing the engine mount should stop the racket. MAZDA The rear window glass in some 2010 11 Tribute S.U.V.'s may break easily. In T.S.B. 0905210 issued on Dec. 2, Mazda said the glass was most susceptible to breaking in cold weather. Replacing the window with a revised design that has a through bolt striker should prevent the breakage from recurring. NISSAN Some 2007 9 Sentras may have a problem with their fuel filler tubes. In T.S.B. NTB09 069a issued on Dec. 10, Nissan said that the grommet that holds the top of the fuel filler tube in place might be detached. Replacing the filler tube and filler shield, and installing a new clip on the shield, should solve any problems. SUBARU Owners of some 2010 11 models may complain of high oil consumption or see smoke coming from the exhaust. In T.S.B. 02 115 11 issued on Jan. 20, Subaru said the problem in 2010 Foresters and 2011 Legacy, Outback and Impreza models probably stems from faulty machining of the holes for the intake valve guides. The cure requires replacement of the cylinder head. VOLVO In some 2008 9 XC90 models, a click may be heard from the steering column when making a turn. In T.S.B. TJ19965 issued on Dec. 15, Volvo said the noise might be from an improperly built steering column. To restore peace and quiet, the column must be replaced.	N24News: A New Dataset for Multimodal News Classification	Automobiles
WASHINGTON American businesses and consumers, not China, are bearing the financial brunt of President Trump's trade war, new data shows, undermining the president's assertion that the United States is "taxing the hell out of China." "U.S. tariffs continue to be almost entirely borne by U.S. firms and consumers," Mary Amiti, an economist at the Federal Reserve Bank of New York, wrote in a National Bureau of Economic Research working paper. The other authors of the paper were David E. Weinstein of Columbia University and Stephen J. Redding of Princeton. Examining the fallout of tariffs in data through October, the authors found that Americans had continued paying for the levies which increased substantially over the course of the year. Their paper, which is an update on previous research, found that "approximately 100 percent" of import taxes fell on American buyers. The findings are the latest evidence that voters and American businesses are paying the cost of Mr. Trump's penchant for using tariffs to try to rewrite the terms of trade in favor of the United States. Manufacturing is slumping, a fact economists attribute at least partly to uncertainty stemming from the trade spats, and business investment has suffered as corporate executives wait to see how or if the tensions will end. The United States and China have reached a trade truce and are expected to sign an initial deal this month, but tariffs on 360 billion worth of Chinese goods will remain in place. The levies, which are as high as 25 percent, have forced some multinational businesses to move their operations out of China, sending operations to countries like Vietnam and Mexico. Mr. Trump and his supporters say that the United States had no choice but to resort to tough tactics to try to force China to abandon unfair economic behaviors, like infringing on American intellectual property and providing state subsidies to Chinese firms. And Mr. Trump has continued to incorrectly assert that China not American companies and consumers is paying the cost of the tariffs. The authors of the latest study used customs data to trace the fallout, examining import values before and after the tariffs. The research showed that the tariffs had little impact on China. 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. "We're just not seeing foreigners bearing the cost, which to me is very surprising," Professor Weinstein said in an interview. They also found a delayed impact from the tariffs, with the decline in some imports roughly doubling on average in the second year of the levies. That is because "it takes some time for firms to reorganize their supply chains so that they can avoid the tariffs," the authors write. Reaction to the tariffs has varied across business sectors, however. In the steel industry, for example, companies that export to the United States have dropped their prices suggesting that other countries are in fact paying "close to half" of the cost of tariffs, according to the paper. Because China is only the 10th largest steel supplier to the United States, though, exporters in the European Union, Japan and South Korea are most likely bearing much of that cost. And as foreign prices drop, domestic steel production has barely budged, which bodes poorly for hiring in the United States steel industry, the authors note. "The steel industry isn't getting that much protection, as a result," Professor Weinstein said. In previous research, the authors found that by December 2018, import tariffs were costing United States consumers and importing businesses 3.2 billion per month in added taxes and another 1.4 billion per month in efficiency losses. They did not update those numbers in the latest study. Their analysis joins a growing body of research examining the effects of the escalating tariffs Mr. Trump has imposed since the beginning of 2018. A study released in late December by two economists at the Fed, Aaron Flaaen and Justin Pierce, found that any positive effects that tariffs offered American companies in terms of protection from Chinese imports were outweighed by their costs. Those costs include the higher prices companies must pay to import components from China, and the retaliatory tariffs China placed on the United States in response, the economists said. Another study, published in October by researchers at Harvard University, the University of Chicago and the Federal Reserve Bank of Boston, also found that almost all of the cost of the tariffs was being passed on from businesses in China to American importers. The October study found that the situation was not the same for the tariffs that China has placed on American goods in retaliation. The researchers found that American businesses had less success passing on the costs of those tariffs to Chinese importers, most likely because of the types of goods being sold. Many of the products that the United States sells to China are undifferentiated commodities, like agricultural goods, but China sends many specialized consumer goods like silk embroidery, laptops and smartphones to the United States. China can easily swap Brazilian soybeans for American ones, but the types of goods that China sends to the United States are harder for American businesses to substitute, the researchers said. Ms. Amiti's colleagues at the New York Fed have traced the costs of tariffs in other research. Their study similarly found that import prices on goods coming from China had remained largely unchanged as tariffs rolled out, and argued that already narrow profit margins ones that leave no room for cutting and a dearth of competitors could be among the factors insulating Chinese exporters.	N24News: A New Dataset for Multimodal News Classification	Economy
A lot has changed since the first "American Pie" movie came out in 1999. The latest superfluous installment in the series, "American Pie Presents: Girls' Rules" follows the sexual escapades of teenagers who are the right age to be the children of the generation that buried their penises in pie. This time, girls run the show. Directed by Mike Elliott, the movie follows Annie (Madison Pettis), a high school senior who is desperate to lose her virginity. Annie is supported in her quest by a gaggle of libidinous and high achieving girlfriends who have made a pact to only date boys who are worthy of their time. Their search for the perfect partner turns up only one obvious candidate, Grant (Darren Barnet), the handsome and humble son of the school's new principal.	N24News: A New Dataset for Multimodal News Classification	Movies
Bradley Cooper, Willie Nelson's son and a real pop star masquerading as a fake pop star are among the musicians celebrating a chart topping album this week. The soundtrack to "A Star Is Born," the remake in which Cooper plays the country rock singer Jackson Maine and Lady Gaga co stars as the Gaga esque Ally, is No. 1 on the Billboard 200, selling a total of 231,000 album equivalent units, including streams, downloads and purchases. The album totaled 162,000 units in traditional sales and 48 million streams, according to Nielsen Music, easily topping the first week sales for the oddly popular two person band Twenty One Pilots. "A Star Is Born" was released by Interscope, doubling as both Lady Gaga's real label and as Ally's label in the film, which grossed about 28 million in its second week for an estimated box office total so far of 94.2 million. The soundtrack features songs by its leading actors, along with songwriting contributions from Lukas Nelson, Jason Isbell, Mark Ronson, Diane Warren and Andrew Wyatt, from the band Miike Snow. With its rising hit single "Shallow," the release also continues a run of blockbuster albums with movie tie ins like "The Greatest Showman" and "Black Panther: The Album," another Interscope release (overseen by Kendrick Lamar). Never miss a pop music story: Sign up for our weekly newsletter, Louder. The most streamed album of the week came in at No. 4: "Drip Harder," by the Atlanta rappers Gunna and Lil Baby, had a total of 165 million plays, according to Nielsen Music, for a total of 130,000 album units. The single "Drip Too Hard" was also the most streamed song of the week with 41 million plays, topping hits by Juice WRLD ("Lucid Dreams"), 6ix9ine and Nicki Minaj ("FEFE") and Travis Scott ("Sicko Mode"). But the album, a digital only release, was purchased just 6,000 times as a whole, an increasingly common divide with hip hop projects.	N24News: A New Dataset for Multimodal News Classification	Music
WASHINGTON The landmark 1899 post office tower on Pennsylvania Avenue the second tallest building in Washington looked out of place in the Federal Triangle of neoclassical government buildings constructed mostly in the 1930s. To complete the Triangle in an architecturally compatible style, the government wanted to tear it down, leaving only the building's clock tower to rise above its replacement in homage to the Richardsonian Romanesque structure that would be no more. The 1970 plan gave rise to Don't Tear It Down, an organization (now the D.C. Preservation League) that successfully fought the demolition. Yet efforts to reuse the old building as offices for other federal agencies, with a ground floor food court pavilion below the soaring nine story atrium, also failed. The Old Post Office, a preservationist success, was a governmental flop, a federal white elephant saved from the wrecking ball but for what? In 2011, the General Services Administration, which owns and manages federal properties, invited interested parties to consider the prospects. More than 80 initially showed interest. Ultimately, 10 firms made formal proposals. Last August, the agency signed a 60 year lease with the Trump Organization to renovate and convert the iconic building into a luxury hotel. Trump formally takes possession on Saturday, allowing work to begin on a 200 million makeover. The deal also includes two 20 year lease renewal options. According to Donald J. Trump, chairman and president of the Trump Organization, the two year project is to be completed in time for the 2017 presidential inaugural parade, which will pass right in front en route from the Capitol to the White House. (A place occupied now by a frequent target of Mr. Trump's barbs President Obama.) "It's very unusual to have that frontage on such an unusual thoroughfare," Mr. Trump said. "We're looking to make that one of the great hotels of the world." "It has such incredible potential and has been totally underutilized," enthused Ivanka Trump, executive vice president for development and acquisitions for the Trump Organization and Mr. Trump's daughter, who is perhaps better known for her lines of women's jewelry, shoes and handbags. "You just couldn't build something like this today," she said, "having a nine story glass top atrium, having solid granite turrets, the level of detail carved into the stone. There is unbelievable wainscoting detail and incredibly intricate molding." Ms. Trump, who attended Georgetown University and graduated from the Wharton School at the University of Pennsylvania, has been intimately involved in planning the interior renovation of what will formally be known as Trump International Hotel, the Old Post Office Building. The project will also incorporate an adjacent annex built in the 1980s, to include a 13,000 square foot ballroom and 36,000 square feet of meeting space. The main building will have 271 rooms prices to be determined including two "presidential" suites in the former postmaster general's office, 3,600 and 5,000 square feet in size. The hotel rooms "will be the largest of any of the rooms in D.C.," Mr. Trump said. "We have on average 16 foot ceilings unheard of in a hotel and soaring double bay windows. You look at these four to five feet thick granite walls. Today, you couldn't even buy a piece of it. When the U.S. was so rich, this is the way they would build them." While the Trump hotel portfolio numbers nine at the moment, the addition of hotels in Vancouver, Rio de Janeiro and the Old Post Office will bring the number to 12 by 2016. The Old Post Office will include street level restaurants, a cafe and a library. Its atrium is to have a fitness center, the 4,000 square foot Mar a Lago spa by Ivanka Trump, and meeting space. Why Trump? Mr. Tangherlini, who became the agency's acting administrator in April 2012 and administrator last July, said, "It was a combination of the viability of the business plan, the quality of the commitment to preserving the asset and a sense that this was the best deal on the table for the American taxpayer." The Trump Organization has been involved in other renovations of historic properties, including the Hotel Delmonico in Manhattan and the former Mar A Lago estate of Marjorie Merriweather Post in Palm Beach. The lease with the G.S.A. for the Old Post Office calls for Trump to pay the government 3 million a year in rent from the hotel's opening date, with additional payments tied to the Consumer Price Index. In addition, Trump will be paying "possessory interest" taxes to the District of Columbia. Trump has also applied to the Internal Revenue Service for a 20 percent federal preservation tax credit on money spent on the renovation. Uniquely, Trump will be mostly investing its own equity in the project, rather than relying primarily on outside financing. "Much of it will be cash up front," Mr. Trump said. After the hotel's grand reopening, the National Park Service, which has had a small presence at the building, will continue to maintain a modest museum about the structure and to take tourists on an elevator to its 270 foot high observation deck for sweeping views of the nation's capital.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Jaheim Jones, left, and Roovenson Guillaume did math problems at Dillard Elementary School in Fort Lauderdale, Fla., which has single sex classes. Old Tactic Gets New Use: Public Schools Separate Girls and Boys POMPANO BEACH, Fla. In one third grade classroom, the walls are bordered by cheetah and zebra prints, bright pink caddies hold pencils and glue sticks, and a poster at the front lists rules, including "Act pretty at all times!" Next door, cutouts of racecars and pictures of football players line the walls, and a banner behind the teacher's desk reads "Coaches Corner." The students in the first class: girls. Next door: boys. Single sex education, common in the United States until the 19th century, when it fell into deep disfavor except in private or parochial schools, is on the rise again in public schools as educators seek ways to improve academic performance, especially among the poor. Here at Charles Drew Elementary School outside Fort Lauderdale, about a quarter of the classes are segregated by sex on the theory that differences between boys and girls can affect how they learn and behave. Teachers "recognize the importance of understanding that Angeline learns differently from Angelo," said Angeline H. Flowers, principal of Charles Drew, one of several public schools in Broward County that offer some single sex classes. The theory is generally held in low regard by social scientists. But Ms. Flowers notes that after the school, where nearly all students are eligible for free or reduced price lunches, started offering the classes two years ago, its state rating went from a D to a C. Similar improvements have been repeated in a number of other places, causing single sex classes to spread to other public school districts, including in Chicago, New York and Philadelphia. The federal Education Department says there are about 750 public schools around the country with at least one single sex class and 850 entirely single sex public schools. Although government figures are not available for earlier years, the National Association for Single Sex Public Education estimated that in the 2004 05 school year, 122 public schools offered at least one single sex class and 34 public schools served just one sex. Critics say that there is little evidence of substantial differences in brain development between boys and girls and that dividing children by gender can reinforce entrenched stereotypes. Rebecca Bigler, a psychologist at the University of Texas, said that segregating by sex or any social category increases prejudice based on stereotypes. "You say there's a problem with sexism," Ms. Bigler said, "and instead of addressing the sexism, you just remove one sex." That worries the American Civil Liberties Union, which this year filed complaints with the Education Department against four Florida school districts, accusing them of violations of federal civil rights law and of using "overly broad stereotypes" to justify separating girls and boys into different classrooms. The A.C.L.U. also filed a complaint in Austin, Tex., against two new single sex middle schools, and has pending complaints in Idaho and Wisconsin and a nearly two decade old complaint in New York. Lawsuits in Louisiana and West Virginia have resulted in single sex classes there reverting to coeducation. Advocates of single sex classes often cite the struggles of boys, who persistently lag behind girls in national tests of reading comprehension and are much more likely to face disciplinary problems and drop out of school. Educators also argue that girls underperform in science when compared with boys and benefit from being with other girls. And school officials say that children can be easily distracted by the opposite sex in the classroom. This week, in response to the A.C.L.U. complaints and the growth in single gender classrooms, the Obama administration is issuing guidance for school districts. Schools may set up such classes if they can provide evidence that the structure will improve academics or discipline in a way that coeducational measures cannot. Students must have a coeducational alternative, and families must volunteer to place their children in all boys or all girls classes. But the guidance says that "evidence of general biological differences is not sufficient to allow teachers to select different teaching methods or strategies for boys and girls." "I am very concerned that schools could base educational offerings on stereotypes," Catherine E. Lhamon, assistant secretary for civil rights, said in an email. "No school should be teaching students to live down to diminished expectations for who they can be." Supporters say girls have more in common with other girls and boys with other boys than with the opposite sex of the same age. "Yet we segregate on the basis of age, not based on any evidence," said Leonard Sax, a pediatrician and author of several books on gender differences, including "Why Gender Matters." According to the A.C.L.U.'s complaint in Broward County, the district relied on materials from Mr. Sax as well as from the Gurian Institute, a Colorado based business founded by Michael Gurian, the author of several books, including "Boys and Girls Learn Differently." The training materials, the complaint says, noted that "gently competitive lessons may be more impactful for boys" and that "lessons that incorporate emotions and emotional vocabulary" may have more impact for girls. Teachers were also advised to be "more tolerant of boys' need to fidget or girls' need to talk during class." Many of the schools that offer single sex classes have struggled with student academic performance and are in high poverty neighborhoods dominated by racial minorities. "Parents really are starving for better options," said Galen Sherwin, a senior staff attorney with the A.C.L.U. Women's Rights Project. "And oftentimes school districts sell these options as the solution with inflated, unsupported supposed evidence." On a recent morning at Dillard Elementary in Fort Lauderdale, where 98 percent of the students are black and nearly all come from low income families, MeLisa Dingle Mason, a third grade math teacher, echoed some of her training. "I am able to push them to their level and include sports and different things," she said of the boys she teaches for part of the day before swapping with a reading and social studies teacher to work with girls. She added that she liked to turn math sessions into games because boys "like competition." The boys in her class appeared busy and eager to work. Jaheim Jones, 8, said he preferred a girl free zone at school because girls are "bossy." Down the hall in a third grade reading and social studies class, Ruth Louissaint, who was overseeing all girls at the time, showed a crate she kept in a storage room of fuzzy pastel blue sweaters for girls, saying they were more likely to feel cold than boys. For spelling and vocabulary lessons incorporating physical activity, Ms. Louissaint brought out hula hoops and small rubber balls for the girls. The boys would get yo yos, bats and badminton rackets. She said she taught the same curriculum to both but changed background details. So when playing music in class, for example, she tends to put on Michael Jackson for the boys, switching to more soothing music by groups like Enigma for the girls. Angela Brown, the principal at Dillard, said boys in single sex classes had better attendance than those in coeducational classes as well as better scores on state reading and math tests. But the biggest improvement was a decline in disciplinary infractions and bullying. "Boys are trying to impress girls, and girls are trying to impress boys," Ms. Brown said. "And we have removed that variable out of the way." Throughout Broward County, an external evaluation by Metis Associates, a research firm, found that after two years of offering single gender classes in five schools, nearly half of the students experienced a decline in disciplinary referrals, detentions and suspensions compared with a year earlier.	N24News: A New Dataset for Multimodal News Classification	Education
PARIS In some ways, Maria Grazia Chiuri, the artistic director of Christian Dior women's wear, should have been made for this particular sociopolitical moment: a time when a former campaign staffer is no longer afraid to sue the president of the United States for alleged sexual misconduct, and women who kept silent for decades are finally bringing an R B star to justice for what they say was predatory sexual behavior. After all, Ms. Chiuri has made it her mission since arriving at the house the New Look built to put different women's voices (literally) on her runway, from her first collection featuring a phrase from Chimamanda Ngozi Adichie to the collection she showed on Tuesday. It began with the octogenarian Italian artist Tomaso Binga a pseudonym that Bianca Menna adopted in the 1970s to "question male privilege in the art world," according to her bio standing at the end of the runway and reading a poem, while around her the walls of the show space were filled with photographs (her own) of a woman forming various letter shapes with her naked body. Think of it as the ABCs of feminism. And then out came the first look: a full gray skirt and T shirt featuring the title of a book by the poet/Ms. editor/women's rights advocate Robin Morgan, "Sisterhood is Global." Which was in turn followed by a show built largely on the playsuit. Yup: the kind of romper worn by small children, most often associated in people's minds with words like "cute" and "dependent" and "infant." Is it possible to believe it is essentially a feminist garment? Who decides what constitutes female power now? Who gets to define what is "appropriate" gear for the current battle of the sexes? What liberation looks like? These are entirely valid subjects for debate. Women have been shrugging off the straitjacket of the power suit for awhile now. Maybe freedom really is the ability to replace it with a onesie. Besides, Ms. Chiuri is not the only designer positing options. At Saint Laurent, Anthony Vaccarello offered an alternative to trousers and miniskirts in the form of what looked like a fancy diaper. Ms. Chiuri's playsuits, for example, were both smarter and more nuanced than they sound. Offered in a multitude of fabrics and styles (ruched, draped, beatnik black knit), they appeared as trompe l'oeil bustier tops in 1950s frocks paired with those long full skirts, most often fabricated from technical jacquard or taffeta, so while they looked heavy they were light enough to practically float around the body. Anchored at the waist by elasticized corsets, the skirt and belt could be discarded to reveal the activewear beneath. It's not a bad idea, except for the whiff of the playground which speaks to one of the core issues with Ms. Chiuri's Dior, and one of the reasons her feminism sometimes feels an uncomfortable fit: well meaning as it is, it isn't always entirely thought through. By contrast, the cool cropped leather pants and sculpted tartan bar jackets, inspired by the British Teddy girls of the same time period, as well as some really terrific fringed pea coats in palm tree toile de Jouy (a combination of references that was as wacky and charming as it sounds) worked very well. As for Mr. Vaccarello's diapers actually sort of blouson short shorts in black tie fabrics these were shown with gorgeously ornate gold and crimson jackets or tuxes, all with power linebacker shoulders and spotty sheer tights and high platform stilettos or feather topped ankle bootees. And simply proffered up as a contemporary answer to a miniskirt (albeit one that can show even more leg), built on the inspiration of the 1980s, the YSL fragrance Opium and brand muses such as Betty Catroux and Bianca Jagger. There was also a white tuxedo suit. With pants. It looked pretty good. And long, tiered gypsy skirts in sparkling black, ditto. Which were an alternative to the tuxedo that came without pants, and suggested the benefits of those puffy shorts/diapers: no worrying about tugging down hemlines when you sit. But still: diapers. At the end, an infinity mirror finale reflected dancing lights and a series of neon feather frocks and bright pumps stretching back and back into the past. You could just make out the outline of the clothes, which were more like abstract shapes and shades than actual garments, but the point the way history follows us always was impossible to miss.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Hannah Lash was just 28 when her first chamber opera, "Blood Rose," premiered in 2010. But while it was a success, Ms. Lash was not fully satisfied with the piece, which drew on the story of "Beauty and the Beast" to explore themes of vulnerability, conflict and intimacy. "I realized," she said in a recent interview, "that in order to say what I wanted to say better, I needed to be just a little bit older and just a little bit craftier." Nearly a decade older and substantially craftier, Ms. Lash has returned to some of the same thematic territory in her new work, "Desire," which premieres at the Miller Theater at Columbia University on Wednesday. A stylized allegory, the opera meditates on the wonder, struggle and ephemeral nature of the creative process, of finding one's own voice. It is also chamber music in the truest sense of the term: The septet of performers (a string quartet and three singers) will perform without a conductor, a rarity for opera of any size.	N24News: A New Dataset for Multimodal News Classification	Music
In an unusually public flare up, one of MSNBC's television personalities clashed with the network on Friday in a dispute about airtime and editorial freedom and said she was refusing to host the show that bears her name this weekend. The host, Melissa Harris Perry, wrote in an email to co workers this week that her show had effectively been taken away from her and that she felt "worthless" in the eyes of NBC News executives, who are restructuring MSNBC. "Here is the reality: Our show was taken without comment or discussion or notice in the midst of an election season," she wrote in the email, which became public on Friday. "After four years of building an audience, developing a brand and developing trust with our viewers, we were effectively and utterly silenced." In a phone interview, Ms. Harris Perry confirmed she would not appear on the show this weekend. She said she had received no word about whether her show, which runs from 10 a.m. to noon on Saturdays and Sundays, had been canceled, but said she was frustrated that her time slot had faced pre emptions for coverage of the presidential election. She said she had not appeared on the network at all "for weeks" and that she was mostly sidelined during recent election coverage in South Carolina and New Hampshire. (She was asked to return this weekend.) In her email, Ms. Harris Perry wrote that she was not sure if the NBC News chairman, Andrew Lack, or Phil Griffin, the MSNBC president, were involved in the way her show was handled recently, but she directed blame toward both. "I will not be used as a tool for their purposes," she wrote. "I am not a token, mammy or little brown bobble head. I am not owned by Lack, Griffin or MSNBC. I love our show. I want it back." Ms. Harris Perry is black, and Mr. Lack and Mr. Griffin are white. In the phone interview on Friday, Ms. Harris Perry clarified her remarks and said she did not think race played a role in her recent absence from the air. 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. "I don't know if there is a personal racial component," she said. "I don't think anyone is doing something mean to me because I'm a black person." An NBC News spokesman said in a statement, "In this exciting and unpredictable presidential primary season, many of our daytime programs have been temporarily upended by breaking political coverage, including M.H.P. This reaction is really surprising, confusing and disappointing." For MSNBC, this is unwelcome news during a heated election. Last year, after its scandal involving Brian Williams, Mr. Lack, the former head of NBC News, was brought back to run the news division, and one of his chief missions was to fix the ailing MSNBC, which significantly trails Fox News and CNN in viewership. In the last few months, Mr. Lack has steered MSNBC away from its liberal identity and moved it toward harder news in the daytime hours. Since January, the network has had round the clock election coverage (including the reintroduction of Mr. Williams as co anchor on primary nights), and notched strong ratings gains year over year in the mornings and afternoon. Ms. Harris Perry, who is also a professor at Wake Forest University, has hosted her MSNBC show since 2012. She has used the show to explore issues like social justice and racism, and diversity has been the centerpiece of the show since its start. "I care only about substantive, meaningful and autonomous work," she wrote in her email. "When we can do that, I will return not a moment earlier." She said that last month the onscreen branding for her show was replaced by MSNBC's slogan, "The Place for Politics." With the election heating up, her show was pre empted each of the last two weeks and for the most recent edition, on Super Bowl Sunday, she was told to talk mostly about the presidential race. She still did speak about other topics, including Beyonce's new video for her song "Formation" and how it addressed race. But perhaps in a sign of the network's shifting priorities, as she and her guests engaged in a lengthy discussion about the video, live video of rallies for Jeb Bush and Chris Christie in New Hampshire played in a box on the screen as well. Ms. Harris Perry, who is under contract, said that she was told that pre emptions and election coverage were going to play out for the "foreseeable future." Joy Reid will take over her time slot on Saturday, just as she has for the last couple of weeks. Ms. Harris Perry said not being able to talk to her viewers felt like a "betrayal." "It is perfectly fine, 100 percent reasonable and perfectly acceptable for MSNBC to decide they no longer want the M.H.P. show," she said. "But they should say that. They should cancel the show; they should stand up. And maybe it would be rewarded with huge ratings, but they shouldn't kill us by attrition and take us off the air without telling anybody, including us. That for me is what's painful and difficult."	N24News: A New Dataset for Multimodal News Classification	Media
The final episode of "The Affair" begins and ends with different versions of the same song. In its opening minutes, "The Whole of the Moon" by the Irish folk rock band the Waterboys blares forth while Noah Solloway drills friends and family in a dance routine for his daughter Whitney's wedding. As sung by the vocalist Mike Scott, the lyrics regard a loved one with awe that borders on pagan devotion: "I saw the crescent," he joyfully yelps. "You saw the whole of the moon." By the time the episode ends, Noah is an old man, alone with his memories on the shores of Montauk. This time, Fiona Apple, who provided the show's opening theme, performs the song. In her ragged voice, the lyrics sound less like praise and more like accusations: When she sings "I sighed, but you swooned," the words catch and drag in her throat like a curse. Yet the sense that Apple is in love, deeply, with the person to whom she is singing is no less palpable here than it is in Scott's original. Rather, her performance reflects the way the people we love can confound, even infuriate us while at their best as well as at their worst. Sometimes, loving someone who feels bigger and better than we are can be an enormous burden. Sometimes we want to see only a sliver of the sky rather than the whole thing, and to hell with those who would force us out of ourselves to do otherwise. If you've watched all five seasons of "The Affair," you can see where this is going. To Helen Solloway, her ex husband, Noah, is maddeningly impulsive and self pitying but also patient and sweet. To Noah, his ex wife Helen is infuriatingly Type A and judgmental but also caring and almost impossibly together. Sometimes their virtues are nearly as difficult to tolerate as their vices. But that's love, isn't it? Written and directed by the series's co creator, Sarah Treem, the grand finale is really grand only in its feature length running time. Compared to some of the show's baroque twists and turns getting to this point, the plot is simplicity itself. In the present( ish) day, Whitney Solloway gets married with a great deal of help from her father, whom she has banished from the festivities because of the sexual misconduct accusations against him. When she learns he was in town, planning everything behind the scenes, she whisks her new husband and her siblings off to his motel where she discovers, to her mingled horror and amusement, that her mother has, shall we say, gotten there first. Despite it all, Noah and Helen still love each other, and they've rekindled that love at last. Thirty years later, Joanie, the adult daughter of Noah's ex wife Allison, debates whether or not to reunite with her own estranged husband, whom she left after cheating on him for years. Two chance encounters seal the deal for her. First, she is tracked down once again by her two night stand epigeneticist, E.J., who it turns out is the son of Helen's partner Vik and his one night stand Sierra. ("My mother is your mother's ex husband's ex wife's new partner's lover," is how he phrases it. Try saying that five times fast!) E.J. lets slip that the chatty old owner of the run down Lobster Roll is none other than Noah, with whom she then has a long heart to heart. E.J.'s story of how Helen and Sienna became close friends despite the tempestuous origins of their relationship, and Noah's argument that "if trauma and pain can echo through generations, so can love," drive her back into the arms of her husband and children. The show, too, seemed to be making a welcome retreat into safety and security after prolonged periods of tumult. Noah's reunion with Helen, at whose grave we later see him reading a book by their daughter Stacey , washes away many of his sins against her and other women or at least serves as an acknowledgment that his flaws were not irredeemable. Their kids giggle together, sharing champagne and wedding cake outside their motel room as their parents make love inside; it's a very weird family dynamic, but the important thing is that they're a family again, just as with Joanie and her family years later. For crying out loud, the final shot shows Noah dancing by himself as he looks out at the sea, the Montauk lighthouse standing tall behind him. It doesn't get much more valedictory than that. In the main, I think the show earned that valediction. No drama I can think of dug as deep into contemporary gender mores, or was as unflinching in dragging its discoveries into the light. Few come even close to matching its ambition in terms of the difficult adult issues it addressed, including veteran PTSD and the grief of losing a child and sexism in the publishing world and dealing with senile dementia and ... you know, just being really horny and letting that screw up your life. And the show's central conceit, showing events from overlapping and often contradictory perspectives, forced not only the writers but also the actors to present multiple takes on each of those issues. The hero of one segment could be the heel just a few minutes of screen time later, and it fell on the shoulders of Dominic West, Maura Tierney, Ruth Wilson, Joshua Jackson, Julia Goldani Telles and a host of other fine and fearless actors to pull it off. Even if the writing stumbled now and then I still can't get over Joanie's encounter with her mother's supervillainous murderer I'm hard pressed to think of a time when the performances dropped the ball. Of course, two of the aforementioned performers were nowhere to be found in the finale, as Wilson and Jackson departed the show after its fourth season. To the extent that this hail and farewell ending strikes any serious bum notes, it's in papering over how important Jackson and Wilson's characters were to the show and to what it stood for. If you think back on the first season in particular, on the erotic and emotional tension of Noah and Alison's unfolding relationship, the idea that this, in the end, was Noah and Helen's love story is a hard one to swallow. But like the characters, I find myself in a forgiving mood. For five seasons, "The Affair" gave me food for thought on topics I would perhaps have not thought too much about, given how painfully hard they are to resolve in real life. The message of the finale is that you can't resolve them, not really you can resolve only to accept them and move on. You have to make an effort to see the whole of the moon, but hey, there it is. None My least expected, most welcome grace note: John Doman's normally insufferable Bruce Butler. First, in a shockingly moving scene, he mistakes Noah for his own kid brother Michael, who appears to have died in Vietnam. Second, after regaining lucidity later that night, he pretends to fall into his own pool so that Whitney, her husband and the kids can all escape the reception undetected. He was such an unrelenting jerk for most of the series that these moments of redemption hit me hard. None When Helen shows up at Noah's motel room, he's reading Philip Roth. Difficult literary men have to stick together! None I remain fascinated by how the costumes shift from viewpoint to viewpoint: Helen's dress is much more va va voom in Noah's version of events than it is in her own, while the kids' outfits are all more dandyish and decorative in hers than in his. None I know I kicked off this review by talking about this, but it bears repeating: Fiona Apple's version of "The Whole of the Moon" was an unexpected delight to hear. When she sings, she holds nothing back. For this show, it works.	N24News: A New Dataset for Multimodal News Classification	Television
If Cornell University were to win the city's competition to build a new science graduate school, it would install on Roosevelt Island almost four acres of solar panels, 500 geothermal wells, and buildings with the rare distinction of generating as much power as they use. Stanford University's proposal for the island calls for minimizing energy use, creating a marsh to filter water, and recycling water from storm runoff and sinks, and possibly from toilets as well. In an expansion under way in West Harlem that would house Columbia's proposed graduate school, the university is recycling more than 90 percent of the material in buildings it is demolishing, and taking unusual steps to minimize construction pollution. The Bloomberg administration's contest to create a school of applied sciences sets high environmental standards, but some competing universities are going much further to out green one another. As the Oct. 28 deadline for proposals was approaching, several of the top contenders discussed their environmental plans as part of a public relations war intended to impress city officials who will decide which institution wins up to 400 million in land and infrastructure improvements. Stanford and Cornell, vying for the same city owned site on what some involved in the process have begun to call Silicon Island, are widely seen as the universities to beat. Their plans are far grander two million square feet of space to be built over a generation with price tags of over 1 billion and they have proposed more ambitious plans to incorporate innovative environmental measures. Cornell officials said their campus would generate up to 1.8 megawatts of power, enough to supply 1,400 American homes, with elements like fuel cells and the city's biggest solar array. Two major academic buildings, out of 10 planned structures, would meet a "net zero energy" standard, meaning that on average, they would consume no more electricity than they produce. On hot days, when demand is highest, they would actually generate excess power and feed it into the grid. Very few large structures meet that standard, according to the National Renewable Energy Laboratory, a federal agency, and Cornell plans to go a step more: The buildings would be energy neutral even taking into account all the devices plugged into outlets inside. "From an architectural and sustainability point of view, we're entering some pretty novel territory," said Kent Kleinman, dean of Cornell's architecture school, who contributed to the plan. Stanford and Cornell both propose to take advantage of the steady temperature deep underground, using it to cool air in summer and heat it in winter. Cornell's geothermal wells, circulating water through pipes, would make up the largest system of its kind in the region, university officials said. Stanford would use ground source heat pumps that store and release heat without water. Cornell, hoping to gain a strategic advantage in the increasingly intense competition, shared far more of its plans than other applicants, including architectural drawings. Stanford's renewable energy plans seem less specific: Officials said that the proposal would make extensive use of solar and geothermal power, but that they could not give figures on either, and that other innovations were considered possible but not definite. Stanford's stated goal is to use 50 percent less energy, and generate 80 percent less in greenhouse gases, than the efficiency standards set by the American Society of Heating, Refrigerating and Air Conditioning Engineers. "We'll look at three or four different combinations of solutions to meet that, and determine how to go," Laura Goldstein, Stanford's director of project management, said. "A new campus is a big opportunity to look at campus wide systems, to showcase technologies." Whatever the approach, she said, the New York project would be greener than anything on Stanford's California campus, where several buildings have won environmental design awards. Cornell said that its buildings would use 40 percent less energy than the engineers' society standard somewhat higher consumption than Stanford's goal but that the campus would generate so much clean energy that its demands on the grid would be 75 percent below the standard. Both Cornell and Stanford promise to include extensive measures to capture and reuse rainfall, including green roofs some of Cornell's structures would be almost entirely hidden under landscaping as well as recycling "gray water" that usually goes into storm drains. But Stanford takes the unusual steps of proposing to build a wetland to filter runoff naturally, and to recycle "black water" from toilets, if it is feasible. The graduate school would also be connected to a Roosevelt Island system that collects garbage by sucking it through tubes at high speed. Each university also mentions exploring experimental technology, like using the East River for heat exchange, or harnessing tidal energy. Both universities say their buildings would be aligned to maximize sun exposure and natural ventilation. Cornell's drawings show structures of various sizes, with rooflines and other surfaces tilted to catch sunlight. Both plans would also provide ample open space to the public and gardens for cultivation. But officials at competing universities cautioned against taking the ambitious plans of Cornell and Stanford at face value, if only because of cost. They spoke on the condition of anonymity, saying it would appear unseemly to criticize a competitor's plans. "It's already so expensive to build in New York City, and this stuff adds more," one said. "It could all change in negotiations with the city, or as the technology evolves." Columbia and a coalition led by New York University want to build in more urban settings, hemmed in by roads, subways and buildings, with less flexibility and space for parks or solar panels. But Columbia is already going beyond required environmental requirements in an enormous expansion in West Harlem, where construction began a year ago, and where the university proposes to incorporate a new science school. Using low sulfur fuel and particulate filters, the cranes and trucks working on the project do not belch visible exhaust. Each vehicle leaving the site is sprayed from below by water jets, to keep it from trailing dirt and dust. The school is splitting a major wastewater pipe under the site into a separate sewer and a storm drain, to reduce the risk of sewage overflows. N.Y.U. wants to acquire the old New York City Transit headquarters in Downtown Brooklyn and overhaul it inside and out. John H. Beckman, a university vice president, said such renovation could be environmentally preferable to demolition and new construction.	N24News: A New Dataset for Multimodal News Classification	Education
Credit...Kyle Johnson for The New York Times In the opening pages of "Wonder Woman" No. 58, Ares, the god of war, sits imprisoned in a dark cell. He has had an epiphany. It isn't glorious conquest or love that accords immortality to the honorable. It is justice. It's a perversely compelling moment war personified, becoming a crusader for righteousness. But for the writer G. Willow Wilson, the ancient Greek god's conversion gives her the chance to question 21st century values. How do we define justice today? Can war, and the violence it begets, ever be just? DC Comics tapped Wilson, an author (her second novel, "The Bird King," is due out next year) already highly regarded among comics fans for co creating Kamala Khan for Marvel Comics's "Ms. Marvel," to write Wonder Woman this year. The first issue of her "Just War" arc is out this week. Wilson and I spoke recently by phone. We discussed mythology, social justice and even her own reproductive health. (Days after we talked, she had a hysterectomy.) These are edited excerpts from the conversation. Why did you take Wonder Woman on to begin with? It was a great opportunity to figure out what kind of new stories could be told about this iconic character who's already been around for the better part of a century. I think the real challenge with characters like Wonder Woman and Superman and Batman is to keep them fresh, keep them relevant and, at the same time, honor that history that has meant so much to so many people. Does writing comics in this political moment feel significant to you? Obviously, we are in an extremely contentious political climate right now, and everything in pop culture feels quite fraught in a way that it didn't when I was first breaking into comics. We were coming out of a decade of what I would almost describe as political quietism, where talking about politics was considered a little bit gauche and art was separate from everything else and was supposed to be above politics. We're in a very different place now, and I think even books and TV shows and movies that might not have been made with any particular kind of specific political message in mind have become profoundly symbolic and gained a kind of importance that I think they would not have in a different historical moment. I'm thinking, of course, of shows like "The Handmaid's Tale," which just happened to come on the scene in this political moment where all of these women's rights that we thought were a done deal are suddenly back up for debate. I think any responsible artist in this particular climate has to take those things into consideration , and know, in a clearheaded way, what they believe, what the character stands for and how best that character can serve the audience in this time. And not use the art form as some kind of political bludgeon, but also not be naive and pretend that these aren't issues that are affecting people's lives in very real ways, and that they aren't looking to their heroes to make a stand. Your story arc is called "The Just War." What does that tell us about where you're taking Wonder Woman? What I wanted to do in this arc is take some classic, beloved or notorious Wonder Woman characters, and kind of hold them upside down, shake them and see what falls out of their pockets. In this case, that meant bringing back Ares in a form and in a way that we really haven't seen him before. So, he's coming back thinking that being the god of war doesn't necessarily mean being unjust. That maybe he can bend his powers to bring about positive change. He kind of becomes a caricature of what Wonder Woman herself stands for. She has to reckon with her own modus operandi and what she thinks her role is in the face of this extremely powerful old enemy who's now suddenly wanting to be her best friend. It's, in many ways, a meditation on violence and whether wars are fought in the same way as they've been in the past, whether there is such a thing as a just war anymore. In your work on "Ms. Marvel," you've tried to balance the fantastical with everyday American concerns. Will you keep doing that in this series? That's exactly what I was looking for. I think what's fun about Wonder Woman, especially in some of her more recent incarnations, is the way that she juxtaposes these mythological features with the very banal, everyday facts of living in our society in the 21st century. For me, it's really about re examining those Greek myths that have timeless themes in the context of a society that has smartphones and Wi Fi and international espionage and gentrification and income inequality and all the things that you encounter on a daily basis. To see whether they're still relevant and to keep them relevant is an interesting artistic challenge. You needn't answer if you don't want to, but how is your upcoming hysterectomy affecting you as you look ahead to the release of this book? It's not easy to be creative on command and to be creative in a way that allows you to hit consistently these monthly deadlines and turn out a book that hopefully has a steady, high quality every single month or twice a month or however many books and deadlines you have. That's not easy in the best of times. It does not allow for a lot of personal ups and downs. And it's not like having a salaried job, where you have laws to protect you and you can take sick leave. This isn't the first time that I've had to write around large personal changes. I was back on deadline within two days of the births of both of my children. And that was not by choice or me trying to be tough. That's just what I had to do. Otherwise, I would not have had a job. I think that kind of speaks to bigger issues in the creative industries. It's one of those things especially as unexpected like this one was that has an inevitable impact on how you see the world, and that shows up in your writing. You've never shied away from politics in your work, whether it's about profiling or the acidification of the world's oceans. This year has been called the Year of the Woman. Where does that put you artistically? It's been difficult to watch events unfold over the course of the past 18 months. In many ways, it's made me feel frustrated, because I think in the best of times, we really lionize writers and artists and say, "Oh, you can change the world." What you write and what you draw, you never know what it's going to kick start and who it's going to inspire. But then when push comes to shove, and things get really bad, as they have recently, you start to realize how limited your power is. Before this administration, I kind of bought into the "artists change the world" values in a very uncritical way. It's not that I think that's untrue. I think demonstrably art changes the world. But I don't know that it's really the art itself. I think it's the way that art inspires people who then go out and put their physical bodies between people who are in trouble and the people who want to hurt them. Those are the real heroes. I 've come to understand that I think in a visceral way. That the symbols are important. I've come to see my role as much more service oriented. That I'm supporting the leaders, and trying to be a bastion for them, and to give them things that are useful, and ideas and concepts that are useful to them in their day to day lives. Because I think the critical thing now is not to give up hope. So, if you can provide hope fuel, that is what you can do. It's both a very small thing and a very great thing.	N24News: A New Dataset for Multimodal News Classification	Books
The coronavirus pandemic has brought wave after wave of catastrophic economic data: The worst decline in gross domestic product in a decade. The worst retail sales report on record. The worst week ever for unemployment claims, and then two more twice as bad as that. But even by those recent standards, the April jobs numbers could stand out. Economists surveyed by MarketWatch expect the report, which the Labor Department will release on Friday, to show that U.S. payrolls fell by 22 million jobs last month a decade's worth of job gains, wiped out in weeks. The payroll processing company ADP said on Wednesday that the private sector lost more than 20 million jobs in April, with the cuts spread across every sector and size of employer. To put that in perspective: In the worst month of the last recession, the U.S. lost 800,000 jobs. The worst monthly loss on record was nearly two million jobs in September 1945, when the country was demobilizing after World War II. (The population has grown since then, but not enough to account for the difference.) The April unemployment rate is likely to hit 15 percent or higher, by far the worst since the Great Depression. And the deterioration has happened with almost unfathomable swiftness: Two months earlier, the rate was 3.5 percent, a 50 year low. "It's not just the magnitude of these numbers; it's the speed with which they're happening that's really stunning," said Nick Bunker, who leads North American economic research at the Indeed Hiring Lab. Friday's report will paint the clearest picture yet of the economic devastation, and could provide some important hints about the eventual recovery. But it will also bring complications that will make the numbers difficult to interpret. The numbers will be more complete but less timely. It's no surprise that employers have cut millions of jobs; weekly data on filings for unemployment benefits have tracked the destruction. The most recent report, covering the last full week of April, showed that roughly 30 million Americans had filed jobless claims since the new coronavirus began to shut down the economy. The next weekly report, due Thursday, will probably add millions more. Those figures are more up to date than the monthly jobs report coming Friday, which will cover hiring and firing through mid April. But the monthly numbers are more comprehensive than the weekly ones, which almost certainly understate the damage. Not everyone who has lost a job qualifies for benefits, and many who do qualify have not yet filed a claim because the flood of applicants has overwhelmed state unemployment offices. The monthly data, based on surveys of businesses and households, should provide a more complete estimate of job losses. It will also reflect the extent to which hiring at companies like Amazon and Walmart has offset them. And unlike the weekly data, which mostly counts losses, the monthly report includes data on working hours, which will help quantify the millions of people who have held on to their jobs but had their hours cut. Friday's report will also provide the most detailed breakdown yet of job losses by industry. That could help answer a question that could be crucial to the eventual recovery: How far has the damage spread? The last jobs report, based on data from early March, showed large losses in restaurants, hotels and other industries hit hardest by the first wave of shutdowns. Those cuts were no doubt even larger in April, and the report will also show large losses in retail, which has seen a tidal wave of business closings and bankruptcies. If the losses are concentrated in sectors that have been directly affected by the virus, that could bode well for the recovery, because it suggests the damage has been contained, at least so far. But if it has spread to industries like finance and professional services, that could suggest a cascade effect is underway, with laid off workers pulling back on spending, leading to lost revenues and still more layoffs. It could take much longer to climb out of that kind of hole. The unemployment rate could be misleading. In the 70 plus years that the government has been keeping track, the unemployment rate has never exceeded 10.8 percent. It will almost certainly pass that level on Friday, and some economists think the rate could be twice as high. That would rival the worst periods of the Great Depression, when economic historians estimate unemployment reached 25 percent. 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. But the rate probably should be even higher. To be considered unemployed in the government's official measure, people generally must be actively looking for a job. (Or else they can be on a temporary layoff more on that in a bit.) But during severe recessions, people often stop looking for work because they don't believe jobs are available, leading the unemployment rate to understate joblessness. That issue could be particularly significant now, when not only are jobs scarce but people are also being urged to stay home to avoid spreading the virus. In fact, the government is easing the pressure to search for work by offering more generous unemployment benefits, and many states are waiving work search requirements to qualify. And with schools and day care centers closed, many parents can't work because of child care responsibilities. The Labor Department publishes several broader measures of unemployment and underemployment that address some of these issues by including people who aren't looking for work or whose hours have been cut back. But the government's employment survey wasn't designed for a pandemic, and it is unclear how well it will capture all the unusual nuances that the current crisis presents. "There's not one number about the labor market that's going to tell you everything you want to know," said Erica Groshen, a Cornell University economist who led the Bureau of Labor Statistics in the Obama administration. Some economists recommend looking at a simpler measure: the share of the population that is working. That is subject to fewer definitional challenges, and should provide a clearer picture of the damage. Expect it to show the biggest one month drop on record. How many job losses are permanent? Perhaps the single most important factor that will decide the speed of the recovery is how many people can go back to their jobs when businesses reopen. Friday's report won't answer that question. But it could provide a hint. The monthly numbers distinguish between people who have lost their jobs permanently and those on a temporary layoff or furlough. The larger the share of workers in the second category, the faster the recovery could be. The problem is that many temporary layoffs could turn into permanent job losses as the shutdowns drag on. "One thing I've been worried about is that temporary layoffs will not remain temporary," said Martha Gimbel, an economist and labor market expert at Schmidt Futures, a philanthropic initiative. It might make sense to think of these numbers as a benchmark: Workers who were temporarily laid off won't necessarily get their old jobs back, but they might, if the recovery goes smoothly. Permanently laid off workers will in most cases need to start their job searches from scratch. "Temporary layoffs are a measure of what could happen if we do this right," Ms. Gimbel said. There is more uncertainty than usual. The monthly jobs figures are a preliminary estimate, and are always subject to revision. But this month, there is extra reason for caution. For one thing, the pandemic has made it difficult to collect the data that the numbers rely on. The call centers where workers conduct the surveys are closed. In person interviews have been suspended. And households and businesses have been disrupted in ways that might make them less likely to respond to surveys. The widespread business disruptions could also skew the data in another way. Government statisticians use a model to estimate how many businesses have opened or closed in a month. But when economic conditions deteriorate rapidly, the model can struggle to keep up. In the last recession, the Labor Department initially underestimated job losses, and this collapse has been much faster. The Labor Department said last week that it would modify the model to better account for the current situation, but it has released no details.	N24News: A New Dataset for Multimodal News Classification	Economy
SEVEN years ago, Steve E. Norwitz, who was then a 61 year old executive at the Baltimore mutual fund group T. Rowe Price, proposed a scaled down work schedule that would reduce his duties. "I didn't figure it would go beyond two years," said Mr. Norwitz, who started working at T. Rowe Price in 1977. In fact, "10 years ago, I thought I'd retire at 60." Now 68, he is still at it. Instead of managing the media relations department, as he once did, Mr. Norwitz now works on specific projects and takes 13 weeks off a year. He accepted a 25 percent cut in pay in exchange for more personal time to spend with his wife, a retired teacher and tutor, and to attend cultural events and travel. Since then, they have cruised the Rhine and visited places like Ecuador, China and Slovenia. Like an increasing number of older Americans, Mr. Norwitz opted for a "phased" retirement that scales back work over a period of years instead of a cold turkey withdrawal from the work force. As many Americans enjoy greater longevity and a healthier old age, they are seeking more flexibility in their work schedules. Many of them simply want to stay connected to their workplace and colleagues while others are seeking an improved work life balance with more time for involvement with their families and communities. Others need to work or have to build up their nest eggs. "Few employers have formal programs," said Helen Friedman, director of global work force analytics and planning for Towers Watson, a human resources consulting firm. "Phased retirement can look quite different across organizations, although the biggest challenge employers are trying to address is simple: replacing people with critical skills." Phased retirement may be offered in bits and pieces, like fewer hours or off site work. Nearly half of human resource professionals surveyed by the Society for Human Resource Management, a trade organization, said they "offered reduced hours or part time positions to older workers." About 40 percent said they "hired retired employees as consultants or temporary workers." According to an AonHewitt/AARP survey published last year, roughly 80 percent of workers in their 50s or older said they would be interested in the opportunity to stay in the work force in a more limited capacity past their planned retirement date. "They are picking up in momentum," said Roselyn Feinsod, senior partner in the retirement practice at the insurance and human resources firm AonHewitt and an author of the AARP study. "It's part of a broader approach to offer flexibility in the workplace." For workers who are winding down their careers, the opportunity to make a gradual and productive departure has great appeal. Beyond the need to sustain their income, many enjoy the immersion of work and the learning and social opportunities it offers. And a tapered exit can help avoid some of the tensions that may arise at home when plunging into full time retirement. "It helps to have outside interests and your spouse's support," Mr. Norwitz said. "When I first broached the subject with my wife who had already retired years before her immediate response was: 'O.K., but if you think you're going to sit around here playing the piano all day you have another think coming.' " Locast, a nonprofit streaming service for local TV, is shutting down Capital One's chief executive was fined after being called a 'repeat offender.' For employers, phased retirement not only helps them retain experienced employees whose skill sets are not easily replaced, but also keeps valued people around to help guide younger employees. It is costly to replace experienced workers ranging from about 7,000 to 32,000, depending on the industry the AonHewitt/AARP study found. Since there is no standard template for phased retirement, those considering the move can often customize their arrangement. One of the many variations of phased retirement is leaving the full time work force, then re entering on a project specific or part time basis, or in a specialized role. Mike Mouton, 71, a former petroleum engineer for Halliburton, the oil field services company, left his company in 2009 when he was 65, only to be asked back to serve in a recruitment role. These "boomerang" retirees are often asked to perform jobs well suited to their experience, skills and personality, although on a limited basis. When Mr. Mouton returned to his new company role Halliburton was expanding and needed new engineers he worked mostly from home for about three years, then returned to full retirement. "When the company first contacted me after I retired the first time, I felt there was a degree of boredom in my life," Mr. Mouton said. He was playing golf several times a week at the time. "They caught me at the right time. It was an opportunity for me to stay in the game. It really felt like a good fit. I also felt I was providing a service and a chance to renew acquaintances." So if you are interested in a phased retirement for yourself, how should you proceed? Start by figuring out whether you can afford to live on a reduced income. If you want to cut back at 62, for example, you will be eligible to receive Social Security, but at sharply reduced levels compared with the disbursements upon retiring at 66, now considered the full retirement age. A better move would be to postpone drawing Social Security as long as possible. Social Security will give 8 percent more in payments for every year after full retirement that you delay taking benefits, up to age 70, leading to a significantly larger income for the rest of your life. That is one of the best insurance policies you can buy. Also, you will not qualify for Medicare until you are 65, which could mean facing higher health insurance costs depending on how your employer handles your coverage during a phased retirement. "Every year you work, it adds two more years to your assets," said Kristi Sullivan, a Denver based certified financial planner who has advised her father, Mr. Mouton. "It's important to plan ahead, preferably five years in advance. Whether you can do it depends upon the individual, their assets and their health." Talk with a trusted adviser like a financial planner or an accountant. Consider asking for a computerized "Monte Carlo" simulation to see how long your nest egg will hold up under different situations. If the numbers still look good, then decide what you want from your employer. How many hours do you want to work, and how often do you want to be in the office? How much of a salary cut will you consider? Can you work remotely? When do you want to be completely out of your company's sphere? Finally, you will need a yardstick to measure how well your new retirement transition is working. Ms. Feinsod suggests that you fully discuss with your employer the "roles and skills required, measures of success and a rate of comparable pay." If you find a workable arrangement, which could require some fine tuning, you may find that the flexibility offers a chance to balance work and leisure well into your 60s, 70s or beyond, without going overboard on either.	N24News: A New Dataset for Multimodal News Classification	Your Money
DAYTONA BEACH, Fla. Denny Hamlin edged his teammates Kyle Busch and Erik Jones to reach the checkered flag first in a destruction derby style overtime finish of the 61st Daytona 500, the crown jewel of Nascar's Monster Energy Cup Series. Three multicar wrecks in the final 25 miles scrambled the order and ended the hopes of more than half of the 40 car field. But through it all, Hamlin, 38, maintained his spot near the head of the lineup. On the final restart, Hamlin, a native of Tampa, Fla., sprinted away to gain a two lengths lead ahead of the pack and then held on as Busch, Jones, Joey Logano and Michael McDowell tried in vain to catch him. The dash to the finish featuring the three teammates for Joe Gibbs Racing was an especially emotional one for the team, as the co founder J. D. Gibbs died at 49 in January after a long illness. It was the Gibbs team's 100th victory for Toyota since they joined forces in 2008. "I've got to tell you I am so emotional I am not sure I can put it into words," Joe Gibbs, J. D. Gibbs's father and an owner of the team, said after the win. "J. D. must have reached down and given Denny a little push tonight, because No. 11, Denny's car number, was J. D.'s favorite number." Added Hamlin, who also won the Daytona 500 in 2016: "We dedicate this one to J. D. That was one the closest finish in history, and I could barely catch my breath after that one. But this one I will remember the rest of my life. Maybe this proves the first one wasn't a fluke." The race was on a near record pace until the final stages. Then the crashfest began in earnest, with a three huge pileups involving about half the cars in the field over the last 25 miles, each one stopping the race. It was an unusual race by Daytona's every man for himself standards, with long stretches dominated by strings of cars from Ford, Toyota and Chevrolet, the three auto manufacturers contesting the sport, trying to run in packs to protect their alliances. William Byron, the pole winner, led the field to the green flag in his Chevrolet. But Ricky Stenhouse Jr. soon passed him in his Ford. By Lap 7, Matt DiBenedetto was at the front in his Toyota, showing the relative parity of the three manufacturers. He ultimately led 49 laps, more than anyone else, before being knocked out in one of the late crashes. Manufacturer solidarity was on display early, as all of the Ford drivers came to the pits together for fuel only no tires on Lap 16 of 200. The Chevrolet and the Toyota drivers came to the pits in bunches, too. The unusual pit stop exchanges resulted in the fastest Fords trying to align in formation to run at the front, taking the high line, closest to the outside wall. At that point, everyone's cards were on the table, from the manufacturers' standpoint, and it was up to the teams and individual drivers to demonstrate who had the winning combination. The first crash came at Lap 50, when Stenhouse and Kurt Busch collided, and collected Darrell Wallace Jr. along with them. The damage was minor all were able to continue but the ensuing caution negated the Ford pit stop advantage, which they had hoped would take them to a scheduled segment break at Lap 60. Kyle Busch showed the strength of his Camry, despite his lowly starting position at 29th, by holding on to the lead at end of Segment 1. He had been relegated to the back because he was involved in an accident during Thursday's qualifying races. But six Fords, led by Logano, managed to come back together at the head of the field to break away and into the next 60 lap segment. But again, they all peeled off the track together to pit earlier than expected, at Lap 74, hoping again to stick close and draft together, and one step ahead of their rivals. That put DiBenedetto and Kyle Busch back out in front for much of a confusing segment, in which the manufacturer strategies were out of sync. The Ford strategy nearly backfired, as the faster Toyotas, which stayed on the track, almost lapped them before the segment ended. Ryan Blaney, a Ford driver, managed to get credit for leading the segment, however, followed by the top qualifier, Byron. Byron took the point when green flag racing resumed. Because of some strategic passing maneuvering behind him by his teammate Jimmie Johnson to get alongside him, Byron was able to hold on to the point until what was expected to be the final round of scheduled pit stops. That's when Johnson's chances were irreparably damaged by two slower cars that spun into him as he was entering pit road. Byron's ensuing pit stop took too long and dropped him to 18th. Although Byron quickly recovered, the Toyota teammates Busch and Hamlin controlled the front of the field.	N24News: A New Dataset for Multimodal News Classification	Sports
If a robot is made of living cells, can respond to external stimuli and has the ability to compute and coordinate movement, is it alive? This question can be posed of a new, tiny stingray inspired robot that is able to follow pulses of light to swim through an obstacle course. "It's not an organism per se, but it's certainly alive," said Kevin Kit Parker, a professor of bioengineering at Harvard University and one of the authors of a paper detailing the robot, published in Science on Thursday. To create the robot, which measures 16 millimeters in length, Dr. Parker's team layered heart cells from rats onto a gold and silicone scaffold that they designed to resemble a stingray. They then injected a gene into the cells that caused them to contract when exposed to blue light.	N24News: A New Dataset for Multimodal News Classification	Science
AMSTERDAM Irma Boom pays careful attention to word choice. The Dutch designer, one of the world's pre eminent bookmakers, is loath to say "client" and refers to her projects as "commissions." She also doesn't call herself an artist. Never mind that Ms. Boom, 56, was once in a group exhibition at the Pompidou Center, or that many of her books are in the Museum of Modern Art's collection. Her belief that she is not an artist could be a matter of culture a product of her "Dutch rigor," as the architect Rem Koolhaas, a close friend and collaborator, said. But there are many who would at least consider Ms. Boom's books works of art. Among them were the jurors of the Johannes Vermeer Award, the Dutch state prize for the arts, which she won in 2014. "Her books transcend the level of mere information carriers," the jury's report stated. "They are small or larger objects to admire, tempting us to read them with close attention." She received 100,000 euros to put toward a "special project," as the prize stipulates. "I cannot simply go and shop at Prada," Ms. Boom said. So Ms. Boom has used the prize for the quixotic, endless undertaking of creating a library of what she called "only the books that are experimental." Above her studio here, the recently opened library is made up almost entirely of books from the 1600s and 1700s, and the 1960s and '70s. Those eras are when bookmaking wasn't held back by conventions, Ms. Boom said, and when books "breathed freedom" in content and form. (Many of today's e books, by contrast, represent a "provisional low point" in the art of bookmaking, writes Mr. Koolhaas in the catalog "Irma Boom: The Architecture of the Book.") Her library includes poetry collections, as well as exhibition catalogs that experimented with form a book bound with bolts, for example, or contained within what seems like a three ring binder. The books may be centuries old, but Ms. Boom would argue that the form is more effective and relevant than ever. "Information is edited and put in a specific sequence, printed and bound," she said. "The result of this effort is the freezing of time and information, which is a means of reflection." Compare books with photographs or paintings, she added. "An image is serving as a reference of time and place," she said. "The flux inherent in the internet doesn't allow you that kind of time. The printed book is final and thus unchangeable." Ms. Boom juggles about 15 projects at any given time, and has ventured into exhibition and graphic design. (In 2012, she created a logo for the Rijksmuseum here, in which she separated "Rijks" and "museum" and caused a minor scandal when people complained about the space.) When she first began school at AKI Academy of Art Design, in the Netherlands, she wanted to be a painter. She also tried architecture and photography. But then she met Abe Kuipers, a teacher who would come to the school with a suitcase of books, which he would pull out and discuss. "I was totally intrigued by the idea of bookmaking," Ms. Boom said. She became more immersed in design, and interned at the Government Publishing and Printing Office in The Hague, where she returned after finishing school. "I thought, let's do that for a year," Ms. Boom said. A brief stay turned into more than five years. The office, she said, was "totally dull." It was here, though, that she began to experiment with design on a grand, public scale. She took, as she said, "all the jobs nobody else wanted." Given a lot of freedom, she produced radical state publications. In 1988, Ms. Boom designed a sensational pair of stamp books that made her a public figure in the design world, which allowed her to leave her government job, start her own studio and work solely on commissions. Among her early projects was a book to commemorate the centennial of SHV, a multinational and private trading company. She made a 2,136 page book weighing more than eight pounds. Only 4,500 copies were printed 4,000 in English and 500 in Chinese for shareholders. Today, they are coveted among collectors and sell for thousands of dollars. Around the same time, in the mid 1990s, Mr. Koolhaas had published his magnum opus, the six pound "S,M,L,XL." "It's sheer coincidence that two Dutch people we were the first with this kind of fat book," she said. Mr. Koolhaas and Ms. Boom had never met, but once they were introduced in the United States, they began a prolific partnership that continues to this day. "We were surprised by the similarities, the kind of sensibilities that seemed to be totally synchronized," Mr. Koolhaas said. "It was the blatant evidence weighing several kilos that we had done something very close. There was an almost natural reason and incentive to collaborate." Since then, many people have asked Ms. Boom to make them a "fat book." "Of course I can, but you cannot repeat something unique," she said. "I want to create new things." Creation begins with a concept. ("It always has to have a concept," Ms. Boom likes to say.) She then carries out her vision not with software, but with models handmade, drastically scaled down versions of her projects that she uses to test ideas and materials. The final result often looks as if it could never have been designed on a computer. In a catalog she made of the artist Sheila Hicks's woven artwork, for example, the edges of the pages, soaked and sawed, echo the edges the selvage of Ms. Hicks's art. Nina Stritzler Levine, who directs the Bard Graduate Center and organized Ms. Hicks's show "Weaving as Metaphor" there 10 years ago, said that the book "stretched my mind." Ms. Boom considers the catalog her "manifesto for the book." It caught the eye of MoMA, which after that began collecting Ms. Boom's oeuvre. Paola Antonelli, a curator at the museum who collaborated with Ms. Boom on the catalog for the 2008 exhibition "Design and the Elastic Mind," said that her books are "very important as objects" and could never exist electronically. "There's a physicality that's amazing," Ms. Antonelli added. "It's always a physical object with something that makes it unforgettable." Ms. Boom has worked with other artists, like Olafur Eliasson, who described her as both humble and a perfectionist. "Everything's really 120 percent about the book, and not about her personality," he said. Some of her own projects have made their way to the library, including another rarity: a book for Chanel that has no ink. "It's the ultimate book," Ms. Boom said. "It only works in its physical form." As a PDF, it would be just white pages. The book is the story of Chanel No.5 which, as the first synthetic fragrance in a radically simple bottle, was considered avant garde in its time. Because perfume is impossible to see once applied, Ms. Boom said, "I wanted to make a book with content not printed." The text and images are embossed on soft paper; it is surprisingly readable. Ms. Boom continues to add to the library, which she said would never be complete. There are discoveries still to be made, many of them at auctions and antiquarian bookstores. She often finds unexpected design innovations from centuries ago. "Sometimes you think you invented something," she added, "but it's already been done." Eventually, Ms. Boom said, her library will become a haven for book lovers who want a space to appreciate and study the books no white gloves needed. In a way harking back to her art school days with Mr. Kuipers, she also wants to invite people to discuss what she called the "phenomenon" of the book. "I wouldn't call it a salon because that makes it so bourgeois." (Again, careful word choice.) "It's a library." 'KORENBLOEMEN' (1672) "Every typographic experiment what you think now is new has already been done," Ms. Boom said while flipping through this book, by the 17th century Dutch poet Constantijn Huygens. She called the paper, which hardly seems to have aged, "amazing." There is small typography in the margins, as well as foldout illustrations and other traits that were experimental when books, as we know them today, were still young. "When something is new, that's when it's at its best," she said. "You have these books where there is text along the edges. Imagine if you could do that now. People have gotten more conservative."	N24News: A New Dataset for Multimodal News Classification	Art & Design
The Nobel Prize in Literature was awarded on Thursday to Louise Gluck, one of America's most celebrated poets, for writing "that with austere beauty makes individual existence universal." The award was announced at a news conference in Stockholm. Gluck, whose name rhymes with the word "click," has written numerous poetry collections, many of which deal with the challenges of family life and growing older. They include "The Wild Iris," for which she won a Pulitzer Prize in 1993, and "Faithful and Virtuous Night," about mortality and grief, from 2014. She was named the United States' poet laureate in 2003. At the Nobel announcement, Anders Olsson, the chair of the prize giving committee, praised her minimalist voice and especially poems that get to the heart of family life. Reached at her home in Cambridge, Mass., on Thursday morning, Gluck said she was "completely flabbergasted that they would choose a white American lyric poet." She was stunned, she said in the interview, to receive the award when so many other exceptional American poets and writers have been overlooked. "When you think of the American poets who have not gotten the Nobel, it's daunting," she said. "I was shocked." Born in New York City in 1943, Gluck grew up on Long Island and from an early age was drawn to reading and writing poetry. Her parents read her classical mythology as bedtime stories, and she was transfixed by the tales of Greek gods and heroes themes she would later explore in her work. She wrote some of her earliest verses when she was 5, and set her mind to becoming a poet when she was in her early teens. She struggled with anorexia as a teenager, a disease she later attributed to her obsession with purity and achieving control, and almost starved herself to death before eventually recovering through therapy. She began taking poetry workshops around that time, and attended Sarah Lawrence College and later Columbia University, where she studied with the poet Stanley Kunitz. She supported herself by working as a secretary so that she could write on the side. In 1968, she published her first collection, "Firstborn." While her debut was well received by critics, she wrestled with writers' block afterward and took a teaching position at Goddard College in Vermont. Working with students inspired her to start writing again, and she went on to publish a dozen volumes of poetry. 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. In much of her work, Gluck draws inspiration from mythological figures. In her 1996 collection, "Meadowlands," she weaves together the figures of Odysseus and Penelope from Homer's Odyssey with the story of the dissolution of a modern day marriage. In her 2006 collection, "Averno," she used the myth of Persephone as a lens to mother daughter relationships, suffering, aging and death. Gluck's verses often reflect her preoccupation with dark themes isolation, betrayal, fractured family and marital relationships, death. But her spare, distilled language, and her frequent recourse to familiar mythological figures, gives her poetry a universal and timeless feel, said the critic and writer Daniel Mendelsohn, the editor at large for The New York Review of Books. "When you read her poems about these difficult things, you feel cleansed rather than depressed," he said. "This is one of the purest poetic sensibilities in world literature right now. It's a kind of absolute poetry, poetry with no gimmicks, no pandering to fads or trends. It has the quality of something standing almost as outside of time." In an interview in 2012, Gluck described writing as "a torment, a place of suffering, harrowing." Rather than a means of self exploration, she views poetry as a way to extract meaning from loss and pain. Throughout her career, Gluck has returned to familiar themes but has experimented with new poetic forms. "I think you have always to be surprised and to be in a way a beginner again," she said on Thursday. "Otherwise I would bore myself to tears." Her sentences are often spare and pared down and sculpted, and can feel almost oracular at times, conversational at others. "Like many great poets, she is always reforming herself," said Jonathan Galassi, president of Farrar, Straus Giroux, who has edited Gluck since 2006. "Once she finished something, it's sort of dead to her, and she has to start over again." This summer, Gluck finished work on a new poetry collection, titled "Winter Recipes From the Collective," which explores the indignities and the surreal comedy of aging and mortality, and will be released by FSG next year. Literary critics and fellow poets have long admired her intensely distilled language and her unflinching self examination. "Her poems are flash bulletins from her inner life, a region that she examines unsparingly," the poet Dan Chiasson wrote in The New Yorker. William Logan, in a 2009 Times review of "A Village Life," called Gluck "perhaps the most popular literary poet in America." Her audience may not be as large as others', he wrote, but "part of her cachet is that her poems are like secret messages for the initiated." Given the recent controversies, many observers expected this year's award to go to an uncontroversial choice. "The Swedish Academy knows they can't afford another scandal," Bjorn Wiman, the culture editor of the Swedish newspaper Dagens Nyheter, said in a telephone interview before the announcement. But an adviser to the prize giving committee denied this in an email on Wednesday. "We haven't focused on making a 'safe' pick or discussed the choice in such terms," said Rebecka Karde, a journalist and one of three external experts who helped choose this year's winner. "It's all about the quality of the output of the writer who gets it." The Nobel Prize in Literature, which is given for a writer's entire body of work and is regarded as perhaps the world's most prestigious literary award, comes with a prize of 10 million Swedish krona, or about 1.1 million. For Gluck, who has always had a complicated relationship to literary renown, winning the Nobel felt like a long shot, and she found herself unsettled by the news on Thursday. "I thought my chances were very poor, and that was fine, because I treasure my daily life and my friendships, and I didn't want my friendships complicated, and I didn't want my daily life sacrificed," she said. "But there's also a kind of covetousness. You want your work honored. Everyone does." Who else won a Nobel Prize this year? None Harvey J. Alter, Michael Houghton and Charles M. Rice received the Nobel Prize in Physiology or Medicine on Monday for the discovery of the hepatitis C virus, a breakthrough that "made possible blood tests and new medicines that have saved millions of lives," the Nobel committee said. None On Tuesday, Roger Penrose, Reinhard Genzel and Andrea Ghez received the Physics prize for discoveries that have improved understanding of the universe, including work on black holes. None Emmanuelle Charpentier and Jennifer A. Doudna were awarded the Nobel Prize in Chemistry on Wednesday for their 2012 work on the development of Crispr Cas9, a method for genome editing. When will the remaining Nobel Prizes be announced? None The Peace Prize will be announced on Friday. Read about last year's winner, Prime Minister Abiy Ahmed of Ethiopia. None The Nobel Memorial Prize in Economic Science will be announced on Monday in Sweden. Read about last year's winners, Abhijit Banerjee, Esther Duflo and Michael Kremer.	N24News: A New Dataset for Multimodal News Classification	Books
Here are some of the things that have shattered the skylight of the NoHo apartment owned by Jeffrey and Suzanne Stewart: a hammer, concrete and a 50 pound slab of wood. In a saga that has lasted nearly a decade, these objects have fallen from a construction site next door, damaging the couple's 20 pane skylight on three separate occasions. The Stewarts, who live on Great Jones Street with their two children, have found themselves living a New Yorker's nightmare: Seemingly endless construction has turned their home into a miserable place to live. Their apartment, a duplex penthouse with a floating staircase, private roof and three terraces, is shrouded in scaffolding, damaged by water leaks and has been pelted with debris. Second Development Services's project next door began around 2008 as a hotel, but languished unfinished for years. It will eventually emerge as an 11 story condo called 22 Bond, which has since 2013 been under development by Second Development Services and Richport Group. In a city that never stops building, New Yorkers have become hardened to some of the inconveniences. We expect the jackhammers, the sidewalk bridges and the cranes. But we also expect that an eyesore will eventually go away and reveal some shiny new thing. The idea that a project would drag on for nine years in a booming real estate market "was never in the realm of possibilities," said Ms. Stewart, a founder of a software company. While other projects have opened around the neighborhood, "we are still stuck with this thing next door." The dynamic between a developer and the neighbors can be a delicate dance. A developer often needs access to nearby properties to get the work done this is New York after all, where buildings share walls and construction happens in tight spaces. But the neighbors need to know that the arrival of telltale plywood fencing and the work that follows will not damage their property. Cue the lawyers, engineers and architects. Usually, the two sides hammer out a deal where the developer pays the affected property what is called a licensing fee, often around 2,000 a month, in exchange for access. The fee usually covers costs for building experts and it can sometimes appease disgruntled neighbors. In 2014, a few of the condo owners at 255 Hudson Street were fed up with construction at a neighboring site. Scaffolding covered some residents' windows and sparks, presumably from welding equipment, had fallen onto a townhouse owner's terrace. "I remember going up into one guy's apartment and you couldn't see out his window," said Robert J. Braverman, a Manhattan real estate lawyer who represents 255 Hudson Street, about a different resident. The townhouse owner threatened to sue the board for not getting his consent before allowing the scaffolding to go up. And, according to Mr. Braverman, the developer was anxious to get the project, a boutique hotel, done. The developer worked out a deal with the building in early 2015. "We met with them, had coffee with them, broke bread," said David Adler, the president of the 255 Hudson Street condo board. Residents who faced scaffolding would receive vouchers for 10 nights' free stay at one of the developer's hotels. The townhouse owner was offered 15 free nights. The condo board also received 10,000 to wash the building's windows. The aggrieved residents were largely satisfied and Arlo SoHo opened in September 2016. "You can't be a hotheaded condo association. It just doesn't work," Mr. Adler said. As for the developers, "the smart guys know that you get more with honey." If all goes well, a project is built, the scaffolding comes down and life goes on. But construction does not always go well. Sometimes, it crashes into your apartment. "When you're dealing with a gang who can't shoot straight and are using third rate contractors, there is a possibility of damage and of things going wrong," said Phyllis H. Weisberg, the co chairwoman of the real estate practice in the New York office of the law firm Montgomery McCracken Walker Rhoads, speaking generally about construction. After the second time debris damaged the Stewarts' skylight in NoHo, in 2010, Second Development Services replaced the broken panes, using plate glass, not the safety tempered glass that Ms. Stewart requested. The next time the glass broke, in 2015, large shards rained down into her home. "You could have killed somebody," she said. In May 2015, the condo board for the Stewarts' building reached a licensing agreement with the developers of 22 Bond, Second Development Services and Richport Group, granting them permission to erect scaffolding to protect apartments from further damage. But the scaffolding subsequently damaged condo terraces and the building's roof, causing water to leak into Ms. Stewart's apartment. Ms. Stewart tallies the damages to her ceiling, walls, finishes and furniture at over 180,000. Repairing the skylight cost around 15,000 for each incident. The skylight currently has some temporary panes and dried cement over most of it, so it will need to be replaced once the scaffolding is removed. "It's hard on the family," said Mr. Stewart, who is a member of the building's condo board. "It's unpleasant. It's dark. The reason you have a penthouse is to have access to light and outdoors and we don't have that." Last November, after the licensing agreement expired, the condo association sued the developers for damages, demanding that they remove the scaffolding and pay for repairs. In a separate suit, the Stewarts sued for damages and for about 40,000 in unpaid licensing fees. The condo has denied the developers access to the site until a new agreement is reached, a move that has further delayed the project. But at the same time, the Department of Buildings will not permit the scaffolding to be removed, because doing so would pose a safety hazard.	N24News: A New Dataset for Multimodal News Classification	Real Estate
This article is part of David Leonhardt's newsletter. You can sign up here to receive it each weekday. I didn't expect 2020 polling data to make an appearance at the impeachment trial, but there it was, at about 2:30 p.m. yesterday: During her remarks, Representative Sylvia Garcia, a Democrat from Houston, put up a slide showing the results of polls asking people how they would vote in a hypothetical matchup between Joe Biden and President Trump. Biden led in every one, often by a significant amount. The message seemed clear. Trump perverted American foreign policy to smear Biden because Trump thinks Biden is the strongest potential Democratic nominee. And yet earlier this week, a different message came from a new poll, by SurveyUSA. As Newsweek's Shane Croucher wrote: "Senator Bernie Sanders leads President Donald Trump by the widest margin of all the candidates in the Democratic Party's 2020 race when Americans are asked to choose."	N24News: A New Dataset for Multimodal News Classification	Opinion
SAN FRANCISCO The Justice Department charged two Russian intelligence officers on Wednesday with directing a sweeping criminal conspiracy that stole data on 500 million Yahoo accounts in 2014, deepening the rift between American and Russian authorities on cybersecurity. The Russian government used the information obtained by the intelligence officers and two other men to spy on a range of targets, from White House and military officials to executives at banks, two American cloud computing companies, an airline and even a gambling regulator in Nevada, according to an indictment. The stolen data was also used to spy on Russian government officials and business executives, federal prosecutors said. Russians have been accused of other cyberattacks on the United States most notably the theft of emails last year from the Democratic National Committee. But the Yahoo case is the first time that federal prosecutors have brought cybercrime charges against Russian intelligence officials, according to the Justice Department. Particularly galling to American investigators was that the two Russian intelligence agents they say directed the scheme, Dmitry Aleksandrovich Dokuchaev and Igor Anatolyevich Sushchin, worked for an arm of Russia's Federal Security Service, or F.S.B., that is supposed to help foreign intelligence agencies catch cybercriminals. Instead, the officials helped the hackers avoid detection. "The involvement and direction of F.S.B. officers with law enforcement responsibilities makes this conduct that much more egregious," said Mary B. McCord, the acting assistant attorney general, at a news conference in Washington to announce the charges. The two other men named in the indictment include a Russian hacker already indicted in connection with three other computer network intrusions and a Kazakh national living in Canada. One of the hackers also conducted an extensive spamming operation, stole credit and gift card information, and diverted Yahoo users looking for erectile dysfunction drugs to a particular pharmacy. Nikolay Lakhonin, a spokesman for the Russian embassy in Washington, said that Moscow had no "official reaction" to the indictments. But Mr. Lakhonin did point a reporter to two articles posted Wednesday in the Russian sponsored Sputnik News that were openly skeptical of the charges. One was headlined "Yahoo Hack: What US Mainstream Media Don't Tell You About Russian 'Spy.'" Indeed, one of the two Russian intelligence agents indicted in the Yahoo case, Mr. Dokuchaev, was arrested in early December in what amounted to a purge of the Center for Information Security, the cyberwing of the F.S.B. Mr. Dokuchaev, who was reportedly a former hacker recruited to work in the F.S.B. at least seven years ago, and a fellow officer were accused of treason for passing secret information to the United States. United States officials said Wednesday that they were not certain if the Dmitry Dokuchaev arrested in December was the same man as the one named in the indictment. The Justice Department's 47 count indictment, which was filed under seal in Federal District Court in San Francisco on Feb. 28, immediately threatened to escalate diplomatic tensions over Russia's meddling in the November election. "The indictments are intended to be a clear, public signal of what we will not accept," said James A. Lewis, a cybersecurity expert at the Center for Strategic Studies, a research organization in Washington. "If you're one of these people, you can't leave Russia. You know you've been caught. There is an Interpol warrant out for your arrest." Karim Baratov is the only one of the accused hackers who has been arrested in connection with the case. He was captured by the authorities in Canada on Tuesday. The chances of the United States taking the other three into custody any time soon appear slim, especially because the United States has no extradition treaty with Russia. The fourth person involved in the scheme, a Russian named Alexsey Belan, had been indicted twice before for three intrusions into American e commerce companies. At one point, he was arrested in Europe, but he escaped to Russia before he could be extradited. Prosecutors said they had repeatedly asked the Russian government to hand over Mr. Belan but had gotten no response. Nonetheless, officials said that they believe criminal charges serve as a powerful tool to deter cyberattacks. For example, they said, China's hacking against United States targets decreased after charges were brought against five military officials there in 2014 over damaging attacks against government and private sector systems. The action on Wednesday was the latest in a series of criminal prosecutions that American officials have brought since 2014 against cyberattackers who they charge were acting on behalf of foreign governments, including China, North Korea, and Iran. Yahoo disclosed the theft of its data in September and said it was working with the law enforcement authorities to trace the perpetrators. The hackers were able to use the stolen information, which included personal data as well as encrypted passwords, to create a tool that gave them access to 32 million accounts over a period of two years. In a statement on Wednesday, Yahoo thanked the F.B.I. and the Justice Department for their work. Jack Bennett, the special agent in charge of the F.B.I.'s San Francisco office, said that his investigators had worked on the case for two years, although the inquiry intensified last year. It remains unclear why Yahoo users were not informed about the hack during that time. An internal investigation by the company's board found that some senior executives and information security personnel were aware of the breach shortly after it occurred but "failed to properly comprehend or investigate" the situation. Two weeks ago, the company's top lawyer, Ronald S. Bell, resigned over the episode, and its chief executive, Marissa Mayer, lost her 2016 bonus and 2017 stock compensation. Mr. Bennett said the F.B.I. was still investigating a separate, larger breach of one billion Yahoo accounts that occurred in 2013 but was disclosed by the company only three months ago. Yahoo has said it has not been able to glean much information about that attack, which was uncovered by InfoArmor, an Arizona security firm. The two thefts, the largest known breaches of a private company's computer systems, had threatened to scuttle a deal that Yahoo struck last summer to sell its internet businesses to Verizon Communications. Verizon sought to shave 925 million from the original 4.8 billion deal following news of the attacks, but last month, the two companies finally agreed to a 350 million price reduction. Ms. McCord and other officials would not discuss any connection between the charges in the Yahoo case and an ongoing investigation into Russia's meddling in the November election and a large scale hack at the Democratic National Committee. Some investigators believe that the F.S.B. orchestrated the D.N.C. hack to help President Trump win the election. Democrats were quick to link the attacks. Senator Dianne Feinstein of California, the top Democrat on the Intelligence Committee, said that with Russia blamed in the cyberattacks involving both Yahoo and the presidential election, "the United States must take steps not only to bring those responsible to justice but also ensure future attacks are not allowed to occur in the first place." The main purpose of the Yahoo hack was to gather political and economic intelligence, officials said. The hackers stole a database of 500 million Yahoo users and other Yahoo software code which they used to falsify cookies, a technique that gave them full access to millions of Yahoo accounts without needing the passwords. They found accounts of interest by searching non Yahoo, recovery email addresses that users provided, allowing them to target employees of specific companies or organizations for other attacks. At least 50 Gmail accounts were targeted, as were accounts at financial firms and other technology providers. Mr. Belan, one of the F.B.I.'s most wanted cybercriminals, was also making money on the side as part of the scheme, officials said. He used information from the Yahoo accounts to steal credit and gift card numbers, send spam and redirect searches for erectile dysfunction treatments to an online pharmacy that paid for the traffic, according to the indictment.	N24News: A New Dataset for Multimodal News Classification	Technology
Alexei Abrikosov, who shared the Nobel Prize in Physics in 2003 for important insights into how certain materials conduct electricity without resistance, died on Wednesday at his home in Sunnyvale, Calif. He was 88. His death was announced by Argonne National Laboratory in Illinois, where he had worked as a scientist. His son in law, Gary Micchelli, said the cause was a heart attack. For decades, physicists have been fascinated and baffled by superconductors materials, discovered in the early 20th century, that when chilled to very low temperatures allow electrical current to flow through effortlessly. In 1950, two Soviet physicists, Vitaly L. Ginzburg and Lev Landau, came up with a mathematical model that described the behavior of a superconductor near the temperature at which the electrical resistance fell to zero. The theory largely matched what had been observed in experiments when elements like mercury and lead became superconducting. One property of a superconductor is that it blocks out magnetic fields, and when scientists placed the earliest known superconductors in magnetic fields strong enough to push through the surface, they ceased to be superconducting. But Dr. Abrikosov, a student of Dr. Landau's who was then at the Institute for Physical Problems in Moscow, was intrigued by data for alloys made of different elements. These also turned into superconductors at low temperatures, but they did not follow the pattern of the other materials; rather, they continued to be superconducting even when faced with strong magnetic fields. "For me, the inspiration was always experiment," Dr. Abrikosov said in a 2003 interview after winning the Nobel. "Some experimental facts which were strange could not get an immediate explanation, and so on." Pondering the Landau Ginzburg equations, he discovered a solution that Dr. Ginzburg and Dr. Landau had missed. His theory predicted that in the alloys, a lattice of tunnels, or vortices, could form in the superconductor, with the magnetic fields passing through them, like ropes pushed through the holes of Swiss cheese. The material around the vortices remains superconducting. His solution describes what are now known as Type II superconductors, which continue to act as superconductors even in much stronger magnetic fields. The earlier superconductors like lead and mercury that failed in modest magnetic fields are Type I. Michael Norman, division director of materials science at Argonne, gave the analogy of hitting a table with a hammer. A Type I superconductor is like a table with a brittle top. Hit hard, and it shatters to pieces and collapses. A Type II superconductor is like a tabletop made of a material in which the hammer punctures a hole, but the table is still standing. "The holes are the vortices," Dr. Norman said. "What's left is the superconductor." Superconductors have proved most useful when made into wires and wrapped into coils to generate powerful magnetic fields for applications like M.R.I. machines in medicine and giant particle accelerators in physics, which delve into the smallest bits of matter. All these use Type II superconductors. "Those are the ones that go into everything of technological significance," Dr. Norman said. Alexei Abrikosov was born in Moscow on June 25, 1928, the son of two physicians. He attended the Institute for Power Engineers before transferring to the physics department at Moscow State University. After completing a master's degree in 1948, he studied at the Institute for Physical Problems and completed his doctoral degree there in 1951. Dr. Abrikosov worked at several Moscow institutes, including as director of the Institute for High Pressure Physics, part of the Russian Academy of Sciences. He moved to the United States to take a position at Argonne in 1991. He became an American citizen in 1999. Survivors include his wife, Svetlana; a daughter, Natalia; two sons, Alexei and Michael; and four grandchildren. Dr. Abrikosov was a member of the National Academy of Sciences, a foreign member of the Royal Society of London, a member of the Russian Academy of Sciences and a fellow of the American Physical Society.	N24News: A New Dataset for Multimodal News Classification	Science
The temperature in New York reached an uncomfortable 90 degrees on Friday afternoon as guests arrived at Michelle Smith's Milly show in Chelsea. With her Pomeranian, Polly, in tow, Kelly Osbourne took her seat among a front row that included Candace Cameron Bure, best known for her role as D.J. Tanner on "Full House," and Johanna Braddy, who stars alongside Priyanka Chopra in the television show "Quantico." Ms. Osbourne, who has a memoir coming out this spring (its title, perhaps unsurprisingly, is unprintable here) and is a judge on the coming second season of "Project Runway: Junior," took a few minutes to discuss the lesser known designers she is excited about and how she is handling the summer heat. How do you navigate fashion week? I go to the designers who have always supported me because I think it's a way of showing respect and support for not only your friends, but the brand. And then you get the selfish side of being like, "I want that dress and I want that dress." Are there any new designers you have your eye on? Francesca Liberatore and Namilia, a duo from Berlin. They're unbelievable. It's so controversial what they're doing. And I wouldn't be an Osbourne if I didn't like a little bit of controversy.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Amitav Ghosh at home in Brooklyn. His 12th book, "Gun Island," is about a rare book dealer drawn into a globe spanning adventure with Bangladeshi migrants in Libya, dolphins in the Mediterranean and venomous water snakes in California. How do you capture the realities of climate change in a novel not just its causes and symptoms, but the ever changing, ever weirder ways it is manifesting, within the conventional framework of a story with a beginning, middle and end? Answering that question is, according to the writer Amitav Ghosh, the literary world's great challenge. "I feel completely convinced that we have to change our fictional practices in order to deal with the world that we're in," he said. "Something this big and this important, there have to be an infinite number of ways to just talk about it," he said, similar to how war, slavery, colonization, famine and other crises and events have seeped into so many forms of literature. Ghosh, 63, is attempting to add something to the conversation with "Gun Island," his 12th book . The novel, which comes out Tuesday, leaps from the United States, to the Sundarbans mangrove forest between India and Bangladesh, to Italy, places where rising temperatures and water levels have uprooted human and animal lives and upended political systems. It centers on Dinanth Datta, a rare book dealer also known as Deen, who reluctantly sets off on an Indiana Jones esque trip to a temple in the Sundarbans, seeking clues to an ancient Bengali legend. That visit thrusts him into an adventure that connects him with Bangladeshi migrants in Libya, dolphins in the Mediterranean and venomous water snakes in California, while touching on migration, xenophobia and technology. 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. In his 2016 nonfiction book of essays, "The Great Derangement," Ghosh wrote about his ancestors, "ecological refugees long before the term was invented" who lived on the shores of the Padma River in what is now Bangladesh. "One day in the mid 1850s the great river suddenly changed course, drowning the village," he writes. "It was this catastrophe that had unmoored our forebears." About a century later, Ghosh was born in Kolkata, a city that sits near India's border with Bangladesh and serves as the starting point for Deen's journey. Ghosh's life, like Deen's, has stretched across countries, from India, Sri Lanka and Bangladesh to Britain and eventually the United States, where he now lives. While studying in New Delhi in the late 1970s, Ghosh experienced a tornado and hailstorm phenomena previously unheard of in India. He struggled to incorporate the episode into his fiction because, as he explained in "The Great Derangement," it is difficult for a writer to use a case of "extreme improbability" without it seeming contrived. Ghosh came up with the idea for "Gun Island" in the early 2000s when he was researching another novel, "The Hungry Tide," that explores the rivers of the Sundarbans, whose ecosystem supports the endangered Bengal tiger and thousands of other species. But Ghosh could already see the impact of climate change: bigger waves and worsening cyclones that hindered farming. That shift, over the years, has directly or indirectly forced a sizable number of the four million inhabitants of the Sundarbans to flee to parts of India and Bangladesh. "Gun Island" is likely to resonate in Italy, said Anna Nadotti, his friend and Italian translator of over 30 years, as the country grapples with an influx of migrants fleeing war, persecution and climate crises. "Politically, socially and also culturally, it's important to give people all the means to understand what is really happening, why all these people are coming," she said. "Even if sometimes in 'Gun Island' Amitav invents, nothing is fictional," she added, pointing out a scene from the book that is familiar to many Italians: a boat full of migrants, stranded at sea because it has been denied permission to dock. At one point in "Gun Island," Deen arrives in Los Angeles for an antiquarian book dealers conference at a museum. Wildfires burn nearby. The conference, at first, goes on. But soon, the bibliophiles, librarians and book dealers are told to evacuate because the winds are changing direction, making the blaze's path increasingly unpredictable. It seems to mirror when fires came perilously close to the Getty Museum in Los Angeles in 2017, raising concerns they would destroy the artifacts inside. Ghosh said he wrote the scene six months earlier. Later in the story, Deen confronts a freakish hailstorm and fierce "gusts of winds" in Venice. Two months ago, the real life city was battered by hailstones and winds powerful enough to toss a cruise ship about. That a novel seems to anticipate some of these unusual weather events is proof to Ghosh that literature should devote more attention to the environment. Follow New York Times Books on Facebook, Twitter and Instagram, sign up for our newsletter or our literary calendar. And listen to us on the Book Review podcast.	N24News: A New Dataset for Multimodal News Classification	Books
Nat King Cole made some of the most ubiquitous recordings in American history as a star for Capitol Records in the 1940s, '50s and '60s. But the vast trove of music he recorded in the years before joining Capitol has always remained something of a mystery. Now Resonance Records is putting a spotlight on those first years of his career with "Hittin' the Ramp: The Early Years (1936 43)," a boxed set collecting all of the nearly 200 tracks Cole recorded as a budding artist, including some never before released material. It will be available on Nov. 1 , as a 10 LP set and as a seven CD set . (The label does not have immediate plans to make the collection available on streaming services.) This anthology is the first to bring together every record Cole made between his recording debut at age 17 and his signing with Capitol. These recordings are often left off official discographies, which tend to focus almost exclusively on his Capitol years. Many have fallen out of print. "Hittin' the Ramp" is the most ambitious undertaking in Resonance's 10 year history as a small but increasingly mighty jazz label focused on archival releases. "We've done important projects before, but this is almost on another level in terms of the amount of material, the research involved, and everything that goes into it," Zev Feldman, a co president of Resonance, said in an interview.	N24News: A New Dataset for Multimodal News Classification	Music
The pool glistens in a sultry teaser for "Stranger Things" as revelers splash and frolic beneath the summer sun. The camera briskly pans to a phalanx of leisurely ladies perched atop their chaises. In the center, Karen Wheeler, played by Cara Buono, purses her carefully crafted lips and lies in a suggestive pose. She wants to be seen. In Season 3 of "Stranger Things," arriving Thursday on Netflix, audiences rightfully expect to revisit the supernatural, tweened out nostalgia of Hawkins, Ind. But they will also see Mrs. Wheeler finally awaken from a suburban and domestic slumber after encountering Billy Hargrove (Dacre Montgomery), a mulleted, Camaro driving charmer, who happens to be younger and also happens to be a lifeguard at the city pool. The show creators, the Duffer Brothers, described it to me as "an unexpected pairing" that may "shatter the world she has built for herself." Viewers got their first glimpse of said pairing at the end of Season 2, when Billy knocked on the Wheelers' door, looking for his sister. Mrs. Wheeler greets him in a bathrobe, batting her eyes as he takes her hand. He is shamelessly flirtatious and she is coyly delighted; he bites into a cookie and she ogles him as he walks away. The brief but charged scene electrified the internet, with many fans clamoring for more from the provocative couple. (A smaller contingent wanted less, claiming a Mrs. Robinson inspired trauma.) The eager ones get their wish in Season 3 no spoilers as Mrs. Wheeler develops, as a character, into more than just Mike and Nancy's mom. It's a signature trajectory for Buono, who was previously best known for small but increasingly noteworthy roles on two of TV's most acclaimed shows. Often cast as tough and independent, she challenges troubled men: In the sixth season of "The Sopranos," she starred as Kelli Moltisanti, the girlfriend and eventual grieving widow of Michael Imperioli's drug addicted mobster Christopher. In "Mad Men" she played Dr. Faye Miller, whom she described as "the most feminist" of Don Draper's (Jon Hamm) love interests, earning an Emmy nomination in 2011. She has also appeared in series like "Third Watch" and "The Dead Zone." On a sunny morning at the Gramercy Park Hotel, Buono , an early rising, lifelong resident of New York, discussed taking risks, second wave feminism and women's visibility in Hollywood. Here are edited excerpts from the conversation. We get to see more of Karen Wheeler this season. What's her back story? Actors are often left to fill in the blanks and I always create a detailed one for my roles. Karen committed to stay at home and be there as a housewife. She gave something up, and never developed an independent identity apart from mother and wife. She has two teenagers and then a very young child. Maybe she was thinking about a way to get out of her marriage and then, surprise! Here is another child. It's interesting that a show about children and the paranormal raises principles of second wave feminism. She does read a lot of romance novels, though. This is how she escapes, and she does the same with music and wine. I wanted to give her a glass of wine in as many scenes as possible, and maybe that would develop into some plot point. That's her self medication. I imagine she's drifting off into space, imagining what her life could have been had she gone back to work. But being seen, for herself, beyond mom and wife, triggers this pent up feeling. It's an awakening. So when young Billy shows up at her house and surprises her, she literally and figuratively "opens the door." Were 1980s parents free range, or just oblivious? Today, there is more of an emphasis on teaching lessons, instead of "don't do this" or "don't do that." There are more conversations about what the parent is telling the kid to do, and the distance between kids and parents has shrunk. A lot of people say, "I'm my kid's best friend." Back then, people didn't talk as much about parenting. Eighties parents like Karen don't know what the kids are doing in the basement. Fans love this childhood freedom. People on your social media are very "yasss" about the Mrs. Wheeler Billy flirtation. Others hate it. Why do people react so strongly to May December romances, particularly when the woman is the older one? Forbidden fruit. It's the abandonment of the customary because they leave behind what's expected of them and they go with their feelings and wants. But does the audience want to see them move in together and get a house on the other side of town? If you go back to that last scene of "The Graduate" where Ben stops Elaine's wedding and they run off together, so now what? It's about imagining yourself as taking a great risk and shedding off a perceived notion of who you are. So, what have you shed off? I've run the New York City Marathon three times. Before the first time, my friends staged an intervention, saying, "You don't work out" and "You're so unathletic." My dad, who still lives in the same house in the Bronx, said, "Bring a token because you're not going to finish and you'll have to take the subway home." At first, it took two months of training to run one mile. I was not in any kind of physical shape, but I built up to it slowly. I completed my first marathon in 1998, in under five hours. That "Prove 'em wrong" personality must be essential for actors. I'm used to negative pushback. Someone tells me I can't do something, I'm going to do it. I had a drama teacher at LaGuardia High School who would say, "You will not survive eight shows a week!" When I graduated and went to college here in the city, I did two plays at Lincoln Center my freshman year, down the block from my old school. Eight shows a week as a full time student. And I paid for college myself. Didn't you go to Columbia? Your parents must have loved that. I used my acting money, some scholarships and a Pell Grant. And a lot of debt. My parents didn't have any money saved. They've always been proud of my work, but I think they probably wanted me to be in the more corporate, secure world. When I was first on "The Sopranos," I called home from Bhutan where I was doing medical volunteer work. I asked what they thought of the show, and my dad said, "Eh," hoping I would be a well paid mobster. Meh! You could still become a nice doctor. It will be inspirational material for my screenplays. I have stories to tell. Writing helps you control the future and not be dependent on what's coming down the pipe. It makes you take an artistic, emotional risk, and then put it out there. If I'm going to put time in it, I want it to be the riskiest thing I do. Shawn Levy, an executive producer on "Stranger Things," told me that women "don't get less interesting as they get older, they get more interesting." Feel free to age. Women were girlfriends and wives, and men were always leading the plotline. Now, people want to see themselves represented. And this is profitable! Half of our population is women! There's a long way to go, but women are now controlling the narrative in a way that was not possible before. And we're finally giving them something to see.	N24News: A New Dataset for Multimodal News Classification	Television
At the Met Breuer, concurrent with the Lucio Fontana retrospective, comes the New York solo museum debut of another Argentina born modernist, Julio Le Parc. Born in 1928 in the city of Mendoza, Mr. Le Parc was an art student in Buenos Aires in the late 1940s, and he lucked out in having Fontana as a teacher. Master and pupil were on the same beam: Both were formally omnivorous, anti academic and futuristically minded. When Fontana spoke of aligning art with scientific technology, and using light, space and movement as aesthetic materials to make art accessible to new generations of viewers, his ideas fell on the right young ears. In 1958, Mr. Le Parc moved to Paris. There he met Victor Vasarely and a group of artists associated with what would be called Op Art and Kinetic Art, movements geared to audience interaction. Their populist potential was of particular interest to the younger artist, who took a history of political activism Anticapitalist, anti authoritarian with him to Europe. (In 1968, he was expelled from France for five months for participating in protests.) His resistance politics extended to the art establishment. He was diffident about engaging with it, and as a result, his career, after a much noticed start in the 1960s biennials, prizes slowed way down outside of France where, at 90, he still lives.	N24News: A New Dataset for Multimodal News Classification	Art & Design
PHOENIX Angel Palazuelos donned a maroon cap and gown one recent afternoon, one of two colors of his alma mater, Metro Tech High School, where almost every student is an immigrant or comes from a family of immigrants. The school is part of the Phoenix Union High School District, one of the largest in the country and one whose enrollment reflects Arizona's impending demographic destiny as a majority Latino state. Angel, a thoughtful and ambitious teenager, embraced the instant kinship brought by his and his classmates' shared history, but refused to settle for the low bar set for them. "When we have representatives from universities come, it's mainly just community colleges," Angel said. "It's never Columbia, Princeton, Harvard." That weekend afternoon, he sat in front of a laptop tethered to his smartphone, his only gateway to the internet at home. Then he cleared his throat and inhaled deeply, setting aside the anxiety and uncertainty that have defined his life in this country not just the last eight weeks of his senior year, or the racial strife, protests and nightly curfew that followed it to speak at a virtual graduation ceremony honoring people like him: the undocumented students in the Class of 2020. Joe Arpaio, then the sheriff in sprawling Maricopa County, which counts Phoenix as its seat, dispatched a posse of volunteers to roam the desert in search of migrants and the guides who had sneaked them across the border. Voters, having already declared English the state's official language, made in state tuition at Arizona colleges and universities illegal for undocumented immigrants. In Congress, legislators debated a bill that would have made migrants' illegal entry into the country a felony. The message was clear: They did not belong. Angel's mother liked what she found, though: welcoming schools, clean streets, safe neighborhoods and a measure of possibility and hope she never even knew existed. Angel was 4 when he arrived in Arizona. He grew up in fear. "One time, my mother got into a car accident," Angel told me the first time we met, days before the graduation ceremony organized by Aliento, a leadership and emotional development organization led by young immigrants, for young immigrants, where he was a fellow. "Every time I see police, even now, my heart skips a beat, like, every time, because in my eyes, I feel like their purpose is just to catch me." He was a rising sixth grader when President Barack Obama created the Deferred Action Program for Childhood Arrivals, or DACA, in 2012, giving certain young undocumented immigrants temporary permission to live and work in the United States. He went through middle school waiting for the day when he would be able to apply, but the Trump administration rescinded the program before that could happen. His mother told him, "Don't go to university. It's a waste of money. You're not going to be able to work after." Angel had every reason to give up, but he didn't not even after a global pandemic stole from the Class of 2020 the face to face traditions of a high school graduation, and not after the death of another black man in the hands of police magnified that inextricable weight in the lives of undocumented graduates: fear. Nearly 100,000 undocumented students are expected to graduate from high school in the United States this year, about 2,000 of them in Arizona. "Inspiring and resilient" is how Reyna Montoya, the founder of Aliento and a DACA recipient, described them. "Even though so many doors have been closed in their faces," she said, "they're figuring out new pathways, new solutions, new ways to be themselves. That, to me, is the essence of the human spirit." I reached out to Angel because in the face of so much anger and despair, I needed to feel inspired. I also wanted to understand where his resilience comes from. We are both immigrants. Our skins have the color of caramel. Our names have an other ness ring, though it's a ring that can also represent the sound of the future in a fast changing United States. "What keeps you going?" I asked him as we met in the same virtual classroom where I had taught the last weeks of the spring semester. Angel shrugged, as if going were his only choice. "My goal is to go to college. That's why I'm here. That's why I'm in the United States. I'm in the United States to be better," he said. "I know that government funding and being low income just won't do it. So, I told myself, I'm going to look best on paper. I'm going to join all the clubs. I'm going to hold leadership positions. I'm going to join all honors classes, all A.P. classes, get straight As, be the best student I can possibly be." He did all that and more, some of it before classes moved online and some after. The change, he said, didn't seem to hit him and his undocumented classmates as hard as it hit those who are U.S. citizens, "maybe because we have been fighting that uncertainty all our lives." Adversity has many faces, I know. It may be that you lost a job, or lost the home you lived in. It may be that you lost a parent, as my daughter did two years ago, when my husband died of pancreatic cancer. As sad as we were (still are), we clung (still cling) to the very real possibility that things will get better someday. As tough as the going is at times, it has never felt as permanent as the predicament of millions of young immigrants like Angel, who don't have legal papers, and those clinging to the provisional shield that is DACA, whose fate the Supreme Court should decide any day now. On the day Angel and I spoke, I wrote random phrases on a yellow notepad as he told me about the scholarship fund he started in his junior year to help undocumented students he feared would be left behind, as they so often are; the program he ran to remove school safety officers from the Metro Tech campus and, with that, the threat of deportation as punishment for misbehavior; and the 40 scholarships for which he applied, resulting in enough awards to cover his costs at Arizona State University, where he'll be studying biomedical engineering in the fall. After our meeting, I looked over the notepad. The random phrases I'd written amounted to a list of practical advice. No. 1: Don't dwell on the negativity. No. 2: Focus your energies on something you care deeply about. I wrote No. 5 as I watched him speak at the virtual graduation ceremony from my home on the opposite side of Phoenix, a side that is more white, though no less American than the side he lives in: "Embrace who you are." This is what he said: "Despite how hard it may be to believe, you are not your hardships, you are not your expectations, and you are certainly not your undocumented status. What you are is a treasure of potential: It has never been about the circumstances that you are born in, but the opportunities you make for yourself. Therefore, we have to be the ones to step up, not only to see that our families and communities are safe, but to make sure that gaps become bridged." It's a message that feels especially meaningful these days. Fernanda Santos ( ByFernandaS) is a writer and a professor of journalism at the Walter Cronkite School of Journalism and Mass Communication at Arizona State University. 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
Netflix, Amazon and Hulu have suddenly found themselves playing a new role: the establishment. After years of waging an assault on the traditional television business, these companies now must defend their turf on the battleground of the future, Internet streaming. HBO, Apple, Sony, Dish and other companies that were once challenged by services like Netflix have stormed onto the field in recent weeks, making a splash with new streaming offerings and bold pronouncements on reinventing the way people watch and pay for television. Those advances have raised the stakes for Netflix, Amazon and Hulu, which not only invented the category but also induced a wave of TV fans to watch their favorite programs without paying for a cable or satellite subscription. Now, new competition is forcing those companies to invest even more in exclusive, original productions, innovate their technologies, explore new partnerships and ramp up their marketing. "In a world where HBO and CBS and all of these guys are trying to go to the Internet, it looks like all of the guys on the Internet are trying to come to the television," said Kannan Venkateshwar, a media analyst at Barclays. "The worlds are actually converging in both directions." Netflix is framing HBO's push into streaming as less a competitive threat and more a validation of Netflix's own philosophy for Internet television. "A lot of people will subscribe to more than one service similar to the way they do with apps on their phones or magazine subscriptions," said Anne Marie Squeo, a Netflix spokeswoman. "So there's room for multiple Internet content providers to thrive if they're delivering great shows and movies for a reasonable price." The convergence of the new and old television worlds is illustrated by the shift in the rivalry between HBO and Netflix. In 2011, some TV executives rolled their eyes when Reed Hastings, Netflix's chief executive, pointed to HBO as his company's main rival, and HBO rejected the comparison. Netflix was still recovering after a botched plan to increase prices and split itself into two separate companies. Millions of outraged customers canceled their subscriptions. Netflix's share price plunged to less than 53 from just under 300. HBO, meanwhile, had a long and profitable track record as home to award winning hits like "Game of Thrones" and "Boardwalk Empire" and early success with its HBO Go app. "They're becoming more Netflix like," Mr. Hastings said in 2011, pointing to the HBO Go streaming product. "We're becoming more HBO like," he added, pointing to Netflix's plans to distribute original content like the "House of Cards" political drama. While HBO remains far more profitable, with many more global subscribers, Netflix now counts about 40 million paid subscribers in the United States to HBO's 30 million. Netflix also has ramped up original production, with plans for 320 hours of new and returning original series in 2015, including "Orange Is the New Black," "Unbreakable Kimmy Schmidt" and "Bloodline." HBO's new streaming service, called HBO Now, is aimed at the 10 million homes in the United States that pay for Internet service but not cable or satellite television subscriptions about half of which subscribe to a streaming service like Netflix. 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. To prosper, analysts say, Netflix, Amazon and Hulu will have to spend even more on the production and marketing of exclusive comedies, dramas, films, documentaries and other shows. The greater the acclaim and the more exclusive the offerings, the easier it will be to distinguish the services and persuade people to pay up every month. Already, Netflix is expected to spend more than 450 million on original programming this year, up 88 percent from 243 million in 2014, according to the MoffettNathanson research firm. "You have to differentiate yourself relative to the mainstream," said Michael Nathanson, a media analyst with MoffettNathanson. "The defining feature of those services will be original, first run content." Continuing to invest in technology and the TV viewing experience will also become increasingly crucial, analysts said. Hulu is hiring a couple of hundred more engineers this year to innovate its service with new personalization and other technologies. Hulu is the only one of the three big digital first streaming services that shows ads, but is exploring how it could reduce the number of ads. Some TV executives said that the introduction of more streaming offerings could actually propel more people to subscribe to Netflix, Amazon and Hulu. The thinking is that TV fans previously may have hesitated to cancel their cable or satellite subscriptions because there were fewer online options. Now that there are many more, consumers may decide to put together a menu of services that could potentially include the big three, and still pay less than their monthly cable bill, which comes to an average of 90 a household, according to the data firm SNL Kagan. Media executives said that a variety of discussions were underway for new partnerships, whether between the traditional television groups and the streaming services, or the streaming services themselves. A promotion at the top of Amazon.com last week the day after Sony announced its new PlayStation Vue web TV service pointed to one such partnership: It offered a discount on Amazon's streaming device with a three month subscription to Dish Network's 20 a month Sling TV service, which includes ESPN. "The Best of Live TV," the ad read.	N24News: A New Dataset for Multimodal News Classification	Media
Geopolitics has never been high on Werner Herzog's list of concerns, at least in his documentaries. Even when he glances toward current events ("Lessons of Darkness," "Into the Abyss"), the thrust tends to be philosophical his interests run more to quixotic quests and humanity's insignificance in the vastness of nature. That makes him an odd fit to interview Mikhail S. Gorbachev, whose leadership of the Soviet Union helped bring the Cold War to an end. Then again, if the moral of "Meeting Gorbachev," directed by Herzog and Andre Singer, is that contemporary politicians have ignored the lessons of Gorbachev's leadership, then perhaps the former Soviet president's push for peace makes him right at home in Herzog's gallery of underheralded visionaries. Herzog suggests to Gorbachev that the international mood is returning to a Cold War atmosphere. He replies, "I just wanted to say that Cold War cannot be a form of international relations. People who don't understand the importance of cooperation and disarmament should quit politics." (Subsequent to the film's premiere last year, he criticized President Trump's announcement of a withdrawal from the Intermediate Range Nuclear Forces Treaty.) The meat of the documentary consists of three sit down interviews Herzog held with Gorbachev over half a year. Herzog begins by noting the cultural tension between them, given their home countries' adversarial relationship in World War II. "The first German that you probably met wanted to kill you," the filmmaker says, though Gorbachev denies it.	N24News: A New Dataset for Multimodal News Classification	Movies
IT BOTHERS MATTHEW LAHUE and it surely bothers you: enter a public restroom and the stall lock is broken. Fortunately, Mr. Lahue has a solution. It's called the Bathroom Bodyguard. Standing before his Buffalo State College classmates and professor, Cyndi Burnett, Mr. Lahue displayed a device he concocted from a large washer, metal ring, wall hook, rubber bands and Lincoln Log. Slide the ring in the crack and twist. The door stays shut. Plus, the device fits in a jacket pocket. The world may be full of problems, but students presenting projects for Introduction to Creative Studies have uncovered a bunch you probably haven't thought of. Elie Fortune, a freshman, revealed his Sneaks 'n Geeks app to identify the brand of killer sneakers you spot on the street. Jason Cathcart, a senior, sported a bulky martial arts uniform with sparring pads he had sewn in. No more forgetting them at home. "I don't expect them to be the next Steve Jobs or invent the flying car," Dr. Burnett says. "But I do want them to be more effective and resourceful problem solvers." Her hope, she says, is that her course has made them more creative. "The reality is that to survive in a fast changing world you need to be creative," says Gerard J. Puccio, chairman of the International Center for Studies in Creativity at Buffalo State College, which has the nation's oldest creative studies program, having offered courses in it since 1967. "That is why you are seeing more attention to creativity at universities," he says. "The marketplace is demanding it." Critical thinking has long been regarded as the essential skill for success, but it's not enough, says Dr. Puccio. Creativity moves beyond mere synthesis and evaluation and is, he says, "the higher order skill." This has not been a sudden development. Nearly 20 years ago "creating" replaced "evaluation" at the top of Bloom's Taxonomy of learning objectives. In 2010 "creativity" was the factor most crucial for success found in an I.B.M. survey of 1,500 chief executives in 33 industries. These days "creative" is the most used buzzword in LinkedIn profiles two years running. Traditional academic disciplines still matter, but as content knowledge evolves at lightning speed, educators are talking more and more about "process skills," strategies to reframe challenges and extrapolate and transform information, and to accept and deal with ambiguity. Creative studies is popping up on course lists and as a credential. Buffalo State, part of the State University of New York, plans a Ph.D. and already offers a master's degree and undergraduate minor. Saybrook University in San Francisco has a master's and certificate, and added a specialization to its psychology Ph.D. in 2011. Drexel University in Philadelphia has a three year old online master's. St. Andrews University in Laurinburg, N.C., has added a minor. And creative studies offerings, sometimes with a transdisciplinary bent, are new options in business, education, digital media, humanities, arts, science and engineering programs across the country. Annoyed by restroom doors that are always broken? Matthew Lahue, a junior, designed the Bathroom Bodyguard. Suddenly, says Russell G. Carpenter, program coordinator for a new minor in applied creative thinking at Eastern Kentucky University, "there is a larger conversation happening on campus: 'Where does creativity fit into the E.K.U. student experience?' " Dr. Carpenter says 40 students from a broad array of fields, including nursing and justice and safety, have enrolled in the minor a number he expects to double as more sections are added to introductory classes. Justice and safety? Students want tools to help them solve public safety problems and deal with community issues, Dr. Carpenter explains, and a credential to take to market. The credential's worth is apparent to Mr. Lahue, a communication major who believes that a minor in the field carries a message. "It says: 'This person is not a drone. They can use this skill set and apply themselves in other parts of the job.' " On demand inventiveness is not as outrageous as it sounds. Sure, some people are naturally more imaginative than others. What's igniting campuses, though, is the conviction that everyone is creative, and can learn to be more so. Just about every pedagogical toolbox taps similar strategies, employing divergent thinking (generating multiple ideas) and convergent thinking (finding what works).The real genius, of course, is in the how. Dr. Puccio developed an approach that he and partners market as FourSight and sell to schools, businesses and individuals. The method, which is used in Buffalo State classrooms, has four steps: clarifying, ideating, developing and implementing. People tend to gravitate to particular steps, suggesting their primary thinking style. Clarifying asking the right question is critical because people often misstate or misperceive a problem. "If you don't have the right frame for the situation, it's difficult to come up with a breakthrough," Dr. Puccio says. Ideating is brainstorming and calls for getting rid of your inner naysayer to let your imagination fly. Developing is building out a solution, and maybe finding that it doesn't work and having to start over. Implementing calls for convincing others that your idea has value. Edwin Perez's FaceSaver keeps your phone from falling. Jack V. Matson, an environmental engineer and a lead instructor of "Creativity, Innovation and Change," a MOOC that drew 120,000 in September, teaches a freshman seminar course at Penn State that he calls "Failure 101." That's because, he says, "the frequency and intensity of failures is an implicit principle of the course. Getting into a creative mind set involves a lot of trial and error." His favorite assignments? Construct a resume based on things that didn't work out and find the meaning and influence these have had on your choices. Or build the tallest structure you can with 20 Popsicle sticks. The secret to the assignment is to destroy the sticks and reimagine their use. "As soon as someone in the class starts breaking the sticks," he says, "it changes everything." Dr. Matson also asks students to "find some cultural norms to break," like doing cartwheels while entering the library. The point: "Examine what in the culture is preventing you from creating something new or different. And what is it like to look like a fool because a lot of things won't work out and you will look foolish? So how do you handle that?" It's a lesson that has been basic to the ventures of Brad Keywell, a Groupon founder and a student of Dr. Matson's at the University of Michigan. "I am an absolute evangelist about the value of failure as part of creativity," says Mr. Keywell, noting that Groupon took off after the failure of ThePoint.com, where people were to organize for collective action but instead organized discount group purchases. Dr. Matson taught him not just to be willing to fail but that failure is a critical avenue to a successful end. Because academics run from failure, Mr. Keywell says, universities are "way too often shapers of formulaic minds," and encourage students to repeat and internalize fail safe ideas. Bonnie Cramond, director of the Torrance Center for Creativity and Talent Development at the University of Georgia, is another believer in taking bold risks, which she calls a competitive necessity. Her center added an interdisciplinary graduate certificate in creativity and innovation this year. "The new people who will be creative will sit at the juxtaposition of two or more fields," she says. When ideas from different fields collide, Dr. Cramond says, fresh ones are generated. She cites an undergraduate class that teams engineering and art students to, say, reimagine the use of public spaces. Basic creativity tools used at the Torrance Center include thinking by analogy, looking for and making patterns, playing, literally, to encourage ideas, and learning to abstract problems to their essence. Chanil Mejia and Yasmine Payton present their big idea, a campus chill spot, in Introduction to Creative Studies. Brendan Bannon for The New York Times In Dr. Burnett's Introduction to Creative Studies survey course, students explore definitions of creativity, characteristics of creative people and strategies to enhance their own creativity.These include rephrasing problems as questions, learning not to instinctively shoot down a new idea (first find three positives), and categorizing problems as needing a solution that requires either action, planning or invention. A key objective is to get students to look around with fresh eyes and be curious. The inventive process, she says, starts with "How might you..." Dr. Burnett is an energetic instructor with a sense of humor she tested Mr. Cathcart's martial arts padding with kung fu whacks. Near the end of last semester, she dumped Post it pads (the department uses 400 a semester) onto a classroom desk with instructions: On pale yellow ones, jot down what you learned; on rainbow colored pads, share how you will use this learning. She then sent students off in groups with orders that were a litany of brainstorming basics: "Defer judgment! Strive for quantity! Wild and unusual! Build on others' ideas!" As students scribbled and stuck, the takeaways were more than academic. "I will be optimistic," read one. "I will look at tasks differently," said another. And, "I can generate more ideas." Asked to elaborate, students talked about confidence and adaptability. "A lot of people can't deal with things they don't know and they panic. I can deal with that more now," said Rony Parmar, a computer information systems major with Dr. Dre's Beats headphones circling his neck. Mr. Cathcart added that, given tasks, "you think of other ways of solving the problem." For example, he streamlined the check in and reshelving of DVDs at the library branch where he works. The view of creativity as a practical skill that can be learned and applied in daily life is a 180 degree flip from the thinking that it requires a little magic: Throw yourself into a challenge, step back pause wait for brilliance to spout. The point of creative studies, says Roger L. Firestien, a Buffalo State professor and author of several books on creativity, is to learn techniques "to make creativity happen instead of waiting for it to bubble up. A muse doesn't have to hit you."	N24News: A New Dataset for Multimodal News Classification	Education
Dottie Cannon had a free lifetime membership to Match.com after agreeing to be featured in a company commercial in 2012. Two years and 70 dates later, she was still searching. "Nothing really horrible ever happened on those 70 dates," said Ms. Cannon, who was crowned Miss Minnesota in 2006. Though, she was starting to sense why a lifetime membership might be necessary. "Some guys were just sad. Some had bad manners." Ms. Cannon wound up with the Miss Congeniality sash that year in the Miss USA pageant. (The title went to Tara Conner of Kentucky.) In 2011, six years after earning a degree in marketing from the University of St. Thomas in St. Paul, Ms. Cannon moved to Manhattan to look for marketing work, retiring her pageant dresses. But her Midwestern pluck, which had clearly won over her pageant peers, would years later win over a young Polish immigrant named Konrad Bieniek. When they met for a drink at the Ace Hotel in the Flatiron district in April, she sensed he was different, though the meeting was far from perfect. "Most of our conversation centered around the fact that he knew someone from Minnesota who worked at Target," said Ms. Cannon, whose own resume included a stint at Target headquarters in Minneapolis as a community relations specialist. "I went to dinner with friends later and they asked how the date went," she said. "I was like, it went fine, but to be honest it felt like he was more interested in talking about his friend than getting to know me." Mr. Bieniek and his family relocated to Brooklyn from Kozienice, Poland, in 1991 when he was 8 years old. For him and his relatives, assimilation had been challenging: "People from my background can be a little blunt and hardened," he said. She didn't rule out a second date. But Mr. Bieniek, a Web user experience designer with a degree in economics from the University of Connecticut, said she might as well have. "She cut out early and said she was going to be busy the next few weeks because her birthday was coming up and her parents were coming to visit," he said. Still, he couldn't get her off his mind. "She was very pretty, which I already knew from seeing her picture, but she was also taller than I thought," said Mr. Bieniek, who at 6 foot 3, is only three inches taller. He also found her "very poised and professional seeming," and "so positive and happy." Ms. Cannon, who is the director of human resources at Calvin Klein, admits to an abundance of extroversion. "I'm really sociable. I'll strike up a conversation with somebody on the subway if they're wearing an interesting T shirt or baseball cap." For Mr. Bieniek, that kind of friendliness was thrilling, if entirely foreign. The Bieniek family Konrad and his older sister, Monika, plus their parents, Ewa and Roman arrived in Greenpoint, Brooklyn, from Kozienice on July 4, 1991. They moved into a studio apartment rented by Mr. Bieniek's paternal grandmother, who had arrived years earlier to work as a cleaner and caretaker. The family watched fireworks on the East River their first night in America. Roman Bieniek, a power plant worker in Poland, had the family's life savings, 4,000, tucked in his pocket. Mr. Bieniek remembers sitting on his father's shoulders as the night sky lit up. "We were all thinking, if he gets pick pocketed, that's it," he said. Within months, a landlord ordered the new arrivals to leave the overcrowded apartment. Mr. Bieniek's parents, near penniless, were on the verge of packing to return to Poland when news came that Roman, one of 44 candidates for a position as superintendent of the Polish Slavic Center in Greenpoint, had gotten the job. But Mr. Bieniek's hardscrabble childhood left its mark. "The people who came here from Poland when my parents came were from harder times and harder situations," he said. "That shaped their outlook." he said. When he started dating, his mother had hoped he would stick with local Polish girls. But, he said, "I wanted something different, someone with a different mentality." Ms. Cannon fit that profile. Growing up in Eagan, Minn., she was cocooned in sweetness and trust. "I had a very happy childhood, running through sprinklers and riding to friends' houses on my banana seat bike," she said. Her parents, Melodee and Harry Cannon, still live in the house they bought in 1981, where Ms. Cannon and her younger brother, Samuel, were raised. Within weeks, they closed their Match accounts. Within months, they were planning a vacation to Italy; both are passionate travelers. In August 2016, Ms. Cannon moved into Mr. Bieniek's Murray Hill apartment, where they still live with their rescue dog, Hugo. But if committing to each other was easy, ironing out how they wanted the future to look was less so. Since 2015, when she took a volunteer trip to Lesotho, Africa, with her church group, Ms. Cannon has wanted to adopt a child from that country. Mr. Bieniek is not so sure. "We had a difficult conversation about it I think it could have concluded our relationship," Ms. Cannon said. For her, part of the appeal of adopting a child from Africa is cultural. "Konrad is Polish; he knows his roots," she explained. "I'm half black. Living in Minnesota, I got my white side down pat. I needed exposure to my black side." The volunteer trip, during which she spent her days at an orphanage, opened a well of longing. "I have so much reverence and appreciation for that culture," she said. But since meeting Ms. Cannon, he said, "I've grown. I've changed my opinion on a lot of things." Among the qualities he loves best about Ms. Cannon is her openness. At his parents' Brooklyn apartment, for example, she embraces traditional Polish Christmas Eve dinners, leaving her beloved Minnesota traditions aside. "It's a little hard in that setting, because there's also a language barrier," she said. But she appreciates the Bienieks' efforts to make her feel at home. Last Christmas Eve, for example, the family added a ham to the menu, which usually includes pierogi, or dumplings and braised sauerkraut. "I ate the whole thing," Ms. Cannon said. Her ease among strangers was on display in January 2017, when the couple vacationed in Hawaii. "We were walking down a sidewalk, and a man fell into the street," Mr. Bieniek said. "Dottie was the first person to run across and get him up and tell somebody to call 911. She just took over. I was so proud and impressed. I aspire to be someone like that." He had already expressed his aspiration to be the husband of someone like that to Ms. Cannon's father. During a visit a few months before to Minnesota, Mr. Bieniek took Mr. Cannon aside and told him his plan to propose in Hawaii. Mr. Cannon owns a jewelry appraisal company, and in addition to his blessing, which he readily gave, Mr. Bieniek wanted his advice about a ring. "The average diamond these days is half a carat," Mr. Cannon said, suggesting a similar size to Mr. Bieniek. "But Konrad came out with both guns blazing and bought a two carat diamond that has some length and width to it. I was impressed." On Jan. 29, 2017, at sunset on a Hawaii beach, Mr. Bieniek dropped to one knee and presented the oval shaped diamond. The beach proposal was so surprising she could not believe what she was hearing. "I'm partially deaf in my left ear, and the wind was blowing. I couldn't hear him." Once she pieced together what he was asking, she quickly said yes. "Then we got in the car and that's when it hit me. I started crying." "Konrad is not really the romantic type," she added. "I was expecting us to get engaged a few months down the road, while we were at home in our pajamas with spaghetti on the floor." On Oct. 6 at La Colina, a 1930s Spanish guesthouse in New Hampton, N.Y., more than a handful of the 90 guests at Ms. Cannon and Mr. Bieniek's wedding cried, too. Ms. Cannon, in lace cap sleeve dress with a high neckline bought at Kleinfeld's and a simple veil, walked with her father down a makeshift aisle on the guesthouse's rustic upstairs veranda. Mr. Bieniek wore a navy blue suit with a black bow tie; 47 green acres rolled in the distance. The Rev. Werner Ramirez, the couple's minister at Fifth Avenue Presbyterian Church in Manhattan, led the ceremony, which included Mr. Bieniek's handwritten vows in which he promised to learn and grow with Ms. Cannon for the rest of his life. Then Ms. Cannon had a surprise for everyone. Her maid of honor, Kimberly Pearson, handed her a sheaf of papers. Fighting tears and asking guests to bear with her, she read, in shaky Polish spelled phonetically, her own vows. Afterward, she translated for English speakers: "My heart, my Konrad," she began. "You are my rock, my solid foundation that doesn't waiver. I'm glad we have come to this moment. I love you. This is our journey."	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
In the summer of 2013, the choreographer Jane Comfort poked hundreds of pin size holes into a 60 foot garden hose, in preparation for her trip to American Dance Institute, a residency center in Rockville, Md. For the work she would be creating there, she wanted rain nothing too dramatic, just a light shower onstage. "I knew I couldn't have rain like Pina Bausch has rain," Ms. Comfort said in a recent phone interview. (Bausch, the German tanztheater pioneer, orchestrated a relentless downpour for her 2006 production "Vollmond.") "But I thought, if I could have rain upstage in the last scene of the show, that would be fantastic." Ms. Comfort, who has been making dance theater works in New York since 1978 without elaborate sets or simulated weather was allowing herself to think bigger for this project. That seems to be common among artists supported by American Dance Institute, which in recent years has developed one of the country's most robust residency programs for contemporary dance, ADI Incubator. After breaking ground this month on a new home in Catskill, N.Y., the institute is also expanding its role as a presenter of dance, showing in finished form the same works (and occasionally others) that it "incubates" through residencies. Its first New York City season a five week series at the Kitchen with premieres by Yvonne Rainer, Brian Brooks, Susan Marshall, Jack Ferver and Ms. Comfort, an eclectic group of artists opens Thursday, June 2. All of those choreographers will have taken part in the incubator program, or a version of it. An incubator resident receives time and space a dance artist's most vital resources, aside from dancers as well as housing, food, a technical crew and a creative fee to hammer out the design components of a new work, like indoor precipitation. (For the Kitchen series, those who couldn't travel to Maryland got rehearsal space in Manhattan.) Since its inception in 2011, the program has grown from two residencies a year to 13 for the 2016 17 season. "The need for it seemed to be greater than what we were offering," Adrienne Willis, the institute's executive director, said during a recent visit to Manhattan. A 2011 study by the Andrew W. Mellon Foundation showed that, in Ms. Willis's words, "American contemporary choreography was premiering before it was ready, and it was having a negative impact on artists, audiences, across the board." Ms. Willis spoke at her new office in the Flatiron district after a weekend at American Dance's future home, a former lumberyard on the Hudson River, scheduled to open in 2018. Founded as a ballet school in 1999, the institute has changed a lot since 2010, when Ms. Willis was hired to steer it toward stronger financial footing. At its strip mall location in a Washington suburb, the rent has been a burden, she said. With its own real estate in the friendlier arts ecosystem of the Hudson Valley, programs like the incubator will have room to grow. "Often when you go into the theater in New York, you don't have the luxury of time," said the choreographer Jodi Melnick, who developed her 2014 "Moment Marigold," including its lighting design by Joe Levasseur, through the incubator residency. (She also serves on the institute's artistic advisory board.) "ADI has always made me feel that time is not a luxury, it's a necessity. If you spend the entire day trying something that probably won't work, they will still support you in trying it. Their first answer is always, 'Let's see what we can do.'" Even theaters with residency programs, like New York Live Arts, which has presented several works incubated at American Dance, can't always supply sufficient tech time. "We find ourselves constrained in various ways, in terms of schedule, rentals, different things that come up that sustain the organization," said Thomas O. Kriegsmann, director of programs at Live Arts, "and we're unable to go as far as we want to. That's precisely where someone like ADI comes in." He added: "The fact that they're moving to Catskill, devoting even more completely to this environment where a company can live, work, eat and share an entire theater, 24/7, dedicated to their creativity it's a massive thing for the field." With an annual operating budget of 5 million, American Dance is funded largely by the legacy of its founding benefactor, Solange MacArthur, who died in 2012. According to Ms. Willis, Ms. MacArthur was open minded in her vision for the institute, saying only that she wanted it to "have an impact," ideally a national one. When Ms. MacArthur died, Ms. Willis brought the organization to a "full stop," she said. "We wanted to make sure that the money was addressing a need, not just replicating existing support structures. If in 10 or five years there are tons of technical residencies around the country, then we'll do something else." Ms. Willis has also overseen initiatives to educate audiences, the closing of the original ballet school ("Washington has so many ballet schools," she said) and the creation, in its place, of a new national scholarship program meant to increase racial diversity in ballet. The renovated lumberyard, or ADI/Lumberyard which will include a black box theater, studios and housing will join a growing list of upstate satellites to the New York City dance world. A Capital Region initiative with the Joyce Theater, Pathways to Dance, recently began supporting dance residencies, workshops and exhibitions at nine upstate arts organizations. And Bard College, Mount Tremper Arts and Jacob's Pillow (not quite upstate but close, in the Berkshires) all offer dance residencies. But there's room for more. American Dance has received a warm welcome from the state a 500,000 Empire State Development Grant and from the Catskill community. "Four or five locals sent us donations without even meeting us, which was something we'd never experienced before," Ms. Willis said. "Local banks have called and asked us to apply for grants. It's just a totally different world."	N24News: A New Dataset for Multimodal News Classification	Dance
Leslie Moonves, the former chief executive of CBS, plans to fight a decision by the company's board that denied him a 120 million severance payment after he was fired for cause following numerous allegations of sexual misconduct. Mr. Moonves, 69, told CBS that he was demanding an arbitration hearing, according to a securities filing on Wednesday. His termination agreement gives him that right, and he had up to 30 days after his Dec. 17 firing to challenge the board's decision to not pay him the severance. Under the terms of his termination agreement, CBS has been paying Mr. Moonves's legal fees, making it easier for him to challenge the board through an arbitration hearing. The process could end up costing CBS as much as 50 million in lawyers' fees. But should CBS prevail, Mr. Moonves would have to foot the bill himself. The details of the arbitration hearing will remain confidential, and any decision will be binding, according to the terms of Mr. Moonves's separation agreement.	N24News: A New Dataset for Multimodal News Classification	Media
Grisly Murders and Serial Killers? Ooh, Tell Me More LOS ANGELES A torrential downpour could not keep the murder obsessed and crime fixated young women from storming the Orpheum Theater in downtown Los Angeles early this spring. "It's like the best cult ever," said a woman in her late 20s, who was wearing maroon Doc Martens boots and a fan T shirt that read, "I'm a Karen!" As the lights dimmed, about 2,000 rowdy fans, mostly women in their 20s and 30s, howled at a decibel suited to a Beyonce set at Coachella. But they weren't going gaga for a pop deity. Calling themselves Murderinos, they came to hear expletive laden tales of serial killings and brutal homicides told by Georgia Hardstark and Karen Kilgariff, the irreverent hosts of the wildly popular true crime comedy podcast "My Favorite Murder." Standing on an empty stage, save for a small table with two bottles of water, Ms. Hardstark and Ms. Kilgariff sailed through the show's breezy formula: Come for the frank and funny retellings of their "favorite" murder (today's topic: the Los Feliz Murder Mansion from 1959), stay for the chatty non sequiturs (day drinking and Oregon cults). "The common urban legend is that a father killed his whole family and himself on Christmas Eve in the 1950s. And that the house sat abandoned and nothing in the house had been touched or changed since that night," Ms. Hardstark said. Ms. Kilgariff jumped in. "Does anyone talk about the level of dust that would be on those things?" she said. Alongside Jon Favreau and his fraternity of ex White House aides at "Pod Save America" and Jessica Williams and Phoebe Robinson of "2 Dope Queens," Ms. Hardstark and Ms. Kilgariff are part of a new breed of superstar podcasters who have cultivated a groupie like fan base that will follow them to live performances. The sold out gig at the Orpheum in March was the halfway point of an 18 date international tour that kicked off in Las Vegas in January and wraps up next month in Glasgow. For the last two years, "My Favorite Murder" has been a permanent fixture atop the iTunes podcast charts, drawing up to 19 million listeners a month. Why Murder, and Why Now? In many ways, the subversive charm of "MFM," as die hards abbreviate it, is today's answer to riot grrrl, the D.I.Y. feminist punk movement of the 1990s. There is a Facebook fan page with 200,000 members and spinoff groups, including "Meowderinos" (for cat loving fans) and "button bashes" (for pun happy pin collectors) that meet in all 50 states, as well as throughout Britain and Australia. "We as women have long felt we had to be cheerful and avoid heavy topics," said Kendra Granniss, 28, a community support specialist from Brooklyn, who last year started "Murderinos and Mimosas," a Meetup.com brunch with a dozen like minded girlfriends. "Then came these two normal women, you know, just talking about murder. It was like, 'Oh, we can talk about this and embrace the darker regions.'" The hosts are starting to play catch up with their newfound celebrity. Earlier this spring, they started a 39.99 membership program that includes T shirts, message boards and other V.I.P. goodies, and will publish an "autobiographical self help book" later this year. A second tour begins in September that will include a Halloween show at the Microsoft Theater in Los Angeles, which holds more than 7,000. Hollywood has also come knocking. Ms. Hardstark and Ms. Kilgariff have voiced characters for the Cartoon Network series "Craig of the Creek," and in January, Ms. Hardstark appeared in an episode of ABC's "Fresh Off the Boat." "The sky is the limit here," said Joseph Schwartz, an agent at United Talent Agency who represents the show. "Podcasters have an incredibly powerful bond with their listeners and can galvanize their audience unlike any other entertainers." The day after their hometown performance, Ms. Kilgariff, 48, and Ms. Hardstark, 37, were decompressing on a well worn couch in Ms. Hardstark's duplex apartment in East Hollywood. A small room on the upper floor, furnished with cross stitches and other Etsy crafts sent from fans, doubles as a makeshift studio where they record their weekly podcast. When they started the show in 2016, it was in the middle of a true crime gold rush spurred by podcasts like "Serial" and the Netflix documentary series "Making a Murderer." But they ditched the genre's dry investigative tone in favor of wry humor and a focus on the overlooked (mostly female) victims of infamous (mostly male) killers like Ronnie Lee Gardner or the Golden State Killer, who was recently arrested. "Even 'victim' can be such a throwaway word because it implies they didn't have a family or life," Ms. Hardstark said, as she petted one of her three cats. "There's no reason this couldn't be any of us." Part of the show's appeal is the way it oscillates between loquacious sympathy and blunt wisecracks. There's also the rubbernecking details from the murders themselves. In Episode 114, which aired last March, about the Hillside Stranglers, a pair of bloodthirsty cousins who petrified Los Angeles in the late 1970s, Ms. Kilgariff recites some of the gory evidence: On Nov. 20, 1977, a 9 year old boy finds the bodies of two girls in a trash heap on a hillside near Dodgers Stadium it's so horrible 12 year old Dolly Cepeda and 14 year old Sonja Johnson ... The bodies when they were found it had been a week later said they were decomposed, but the police could still tell they had been strangled and raped. The popularity of their gabby, female driven perspective has birthed similarly themed programs, including "Wine and Crime," and think pieces in magazines including The Atlantic ("How a True Crime Podcast Became a Mental Health Support Group"). The show's empathetic viewpoint also resonated in the wake of MeToo. In an episode devoted to the Chicago serial killer John Wayne Gacy, Ms. Kilgariff joked that "toxic masculinity ruins the party again." It quickly became a Murderino rallying cry and is now emblazoned on all kinds of merchandise, including greeting cards and coffee mugs. There is a scientific explanation behind the show's success. A study published in 2010 in the research journal Social Psychological and Personality Science found that women use "tales of rape, murder and serial killers" as a way to process the dark persistence of misogynistic violence in society at large. Some academics worry that the podcast's popularity perpetuates skewed narratives about victimhood. "True crime is really more of a fantasy genre," said Jean Murley, an associate professor of English at Queensborough Community College in New York, who wrote a book about the public's curiosity with criminals. "This cavalier attitude that young, pretty white women are at great risk of being killed all the time just produces misplaced fear and anxiety." It's not all scare tactics, however. Despite, or maybe because of, the grisly subject matter, Ms. Hardstark and Ms. Kilgariff talk freely about their personal lives, like friends at Sunday brunch. Fittingly, both women offer psychoanalytic explanations for their lifelong fascination with the macabre. Growing up in Irvine, Calif., in the 1980s, Ms. Hardstark said she was struck by how the women Ted Bundy kidnapped looked like her mother. Ms. Kilgariff, who grew up about seven hours away by car in Petaluma, Calif., said her mother, a psychiatric nurse, used to diagnose the mental disorders of strangers they passed on the street as a kind of game. After dropping out of community college, Ms. Kilgariff went on to become a television writer, with credits on "Baskets" and "Portlandia," while Ms. Hardstark ended up as a quirky Cooking Channel host known for concocting "the McNuggetini," a vodka cocktail with a ketchup rim and chicken tender garnish. Although they ran in similar social circles, it wasn't until a 2015 Halloween party that they discovered their shared passion. Ms. Kilgariff, who was dressed as a scrub nurse, was recounting a gruesome car accident at South by Southwest, where a car plowed into a crowd and killed four. "Everyone just started walking away horrified," she said. But Ms. Hardstark, who was dressed as the musician Glenn Danzig, wanted to hear every last gory detail. A month later, over a five hour lunch, the idea for "My Favorite Murder" was born. "We're just having conversations about people who got murdered," Ms. Kilgariff said, before gulping down her last sip of coffee at their home studio. Ms. Hardstark looked over at her co host affectionately. "The only way we know how to deal with the horrors of life is through humor," she said. Then they both blurted out in unison, "Thank God."	N24News: A New Dataset for Multimodal News Classification	Style
In the TriBeCa neighborhood of Manhattan, several boutiques the kind frequented by women of not just means, but considerable means have a stack of thick gold bordered cards next to the register. They're as large as cocktail napkins, but they're business cards: too big to be slipped into a wallet, though perfectly sized to be slipped into a calfskin shoulder bag that costs over 1,000. They advertise the services of Stephanie Mack, stylist, a.k.a. Stephanie Madoff, daughter in law of Bernard L. Madoff, the financier; and widow of Mark Madoff, who committed suicide in December 2010, on the second anniversary of his father's arrest. Ms. Mack recently started a styling business, with a list of clients who are often going through their own dramas. She has a good eye for fashion. She also has something perhaps more valuable: intimate knowledge of loss, grief and starting over, and a determination to be something other than just a footnote in the Madoff saga. "I don't want to get defined by Bernie Madoff and his crimes. I don't want to be defined by the fact that my husband killed himself," Ms. Mack, 43, said recently, sitting at the kitchen counter of her apartment in the Dumbo section of Brooklyn, where she and her two children, 8 and 10, have lived since 2016. "There are thousands of other stylists and personal shoppers who do the same thing I do, but I wanted to get back out there again." She's not in the market mainly for ball gowns, either. For 200 an hour, with a three hour minimum, Ms. Mack helps clients choose simple pieces like the best jeans (her own, on this day, were by Mother, worn with a white Hanes T shirt and black Converse sneakers) and the kicky accessories to go with them. She loves a good beanie. She sits in closets, making notes on Post its, listening and nodding. Sometimes clients will talk about their recent breakup, or divorce. "That's when I'm like, 'Listen. Don't think that you're staring at some girl who has it all because let me tell you what happened to me,'" Ms. Mack said. "When you're in that position, of something bad that's happened to you, you feel very alone. I felt very alone in my crisis. In my family disaster. You feel like you're the only person it's happening to." Where Bernard Madoff focused his career on obscuring as much as possible, Ms. Mack's approach is the opposite. "I wasn't going to hide," she said. "I have nothing to hide." Until December 2008, Ms. Mack's story read like a spec script for "Sex and the City." The oldest of two children, she was raised on the Upper East Side, mostly by her mother, a special education tutor, and her stepfather, a litigator (both now retired). Her father, a management consultant, died when she was 18. Ms. Mack attended the private school Nightingale Bamford. After double majoring in art and art history at Franklin Marshall College, she moved back to the old neighborhood. She lived in a tiny studio apartment, working as an assistant photo editor for George, John F. Kennedy Jr.'s magazine, then as a fashion assistant to Narciso Rodriguez, who designed Carolyn Bessette Kennedy's wedding gown. A blind date with an older, divorced man named Mark Madoff led to a second date, then a third. In 2004, in a Narciso dress of her own, she married him on the Massachusetts island of Nantucket. They lived in an apartment in SoHo, a house in Greenwich, Conn., and in another on Nantucket. They added one child to Mark's two from his previous marriage, and Stephanie was pregnant with another. In December 2008, the fairy tale took a dark and lurching twist when Bernie Madoff confessed to his sons, Mark and Andrew, that he had spent the better part of his career in finance carrying out a massive Ponzi scheme. His sons, who had worked for their father's firm for their entire careers, turned him in to authorities, who soon arrested Mr. Madoff. The fraud devastated families, hedge funds and nonprofits from Manhattan to Palm Beach, Europe and beyond. Ms. Mack's mother and stepfather had investments with Mr. Madoff, as did many of her and Mark's close friends. In March 2009, Mr. Madoff pleaded guilty to 11 counts, including theft, fraud and money laundering. Mark, Andrew and Ruth, their mother, said they knew nothing of the scheme. Ms. Mack believed them. Others weren't so sure, including the bankruptcy trustee. But they were never charged, and in June 2009 Mr. Madoff was sentenced to 150 years in prison. Overnight, Ms. Mack had entered a circus of lawyers, F.B.I. agents, paparazzi and tabloid headlines. But with constant news coverage of the scandal and multiple civil suits, Mark seemed to be spiraling emotionally. In October 2009, he attempted suicide, swallowing pills and landing in a psychiatric ward. Over the next year, he worked on a new business, a real estate newsletter. Things seemed to be looking up, Ms. Mack said, but then Mark attempted suicide once again, this time successfully, with his 2 year old son sleeping in an adjacent bedroom. Ms. Mack was in Walt Disney World with her 4 year old daughter, and awoke to two emails from Mark, one asking her to send someone to care for their son, the other blank, with the subject line: "I love you." Her stepfather rushed to the couple's SoHo apartment, where he found Mark's body. Ms. Mack said the months after were a blur of heartbreak, anger, financial uncertainty and shame. "I am somebody who cannot stand waiters singing 'Happy Birthday' to me in a restaurant. Can you imagine your life being plastered everywhere?" she said. "And then, your husband taking his own life two years later is shameful. It's just shameful." Mark's suicide, many surmised, was an indication of his guilt. "I was like, 'No way. He's not going down like this. I'm telling the truth,'" Ms. Mack said. In 2011 she published "The End of Normal," a memoir in which she wrote at length about her steadfast belief that Mark was clueless about his father's fraud. She finished a graduate school program at Bank Street College of Education, hoping to work with pediatric patients and their families in hospitals, but found it too much to manage with her two young children. "That word is a very difficult word to say. To be a widow? You just think of that old lady," Ms. Mack said. "It just sounds old and depressing and sad to me. Look, I'm not old old. I'm not 25, but I'm not old. And I'm not depressing." She got the idea to become a stylist over dinner with a friend, after starting to date again, tentatively, in 2012 and realizing that a good outfit was a kind of protection. "Somebody gets set up on a date with me, they can find out everything about me," Ms. Mack said. "Literally everything. To become less nervous, I needed to feel like I looked good." She contacted several high end matchmakers and soon found herself working with people who were also seeking romantic relationships in less than ideal circumstances. "I learned very quickly that everyone has a story, and a bad story," Ms. Mack said. "The only difference between me and whomever is that mine was public. It's loss. It's the same emotion." Her client base soon expanded beyond the dating world. A cookbook author who needed help putting together an ensemble for a book party. A woman on a very tight budget celebrating her appearance in an Oscar nominated documentary. Tara Roscioli, a nutritionist, author and entrepreneur, made an appointment to meet Ms. Mack not long ago at Otte, a store on North Moore Street in TriBeCa. The two women arrived early and went through the racks together before heading toward the rear of the store. "I knew she was a single mom. And I knew that she was an author. I didn't know anything else," Ms. Roscioli said. "She's very real and down to earth, and her style and clothes are the same way. She's a working mom. She gives off a very 'real woman' vibe that resonated with me." When Ms. Roscioli emerged from the fitting room in a long black dress (Ulla Johnson, 750), Ms. Mack suggested adding a leather jacket (Iro, 1,200). "Do you feel comfortable in it? Does it feel special enough? Do you feel amazing?," she asked, making notes. "The biggest mistake is putting on something you don't feel comfortable in." The expedition ended with no sale but a hug and promise of another meeting. Veronica Miele Beard, a designer and the co founder of the fashion line Veronica Beard, has known Ms. Mack since they attended Franklin Marshall. "Shoppers now want an emotional attachment to clothing," Ms. Beard said. "They want to feel an emotional reason for buying a piece. Stephanie brings that out. She cares about how clothing makes her clients feel." What about how Ms. Mack feels? Mark's brother, Andrew, died in 2014 of lymphoma. Bernie's brother, Peter, is serving a federal prison sentence. Bernie is scheduled for release in 2139. And Ruth has settled into a quiet life in Old Greenwich, Conn. The surviving unincarcerated members of the Madoff family spent years split into factions, often not speaking with one another. But that has changed, Ms. Mack said, adding that she is now in regular contact with Ruth and that relations have improved with Mark's ex wife. (Both women confirmed this.) "She is so much fun to be around, and I wish the public could see that side of her," Ms. Mack said of Ruth. "I've urged her to have a comeback. Everyone loves a comeback." This summer, Ms. Mack's lawyers hammered out a settlement with the bankruptcy trustee, Irving Picard, who was sorting out the financial mess left in the wake of the Ponzi scheme, and she handed over what she says was the majority of her fortune. Yet, she knows what the public likely still thinks about her that, as a Madoff, she was "dripping in diamonds." That she still is. "That was never me," Ms. Mack said. "Even when I was a wealthy Madoff. I didn't marry Mark Madoff, get a credit card and drop 30,000 in any store I wanted." "I didn't just frivolously go out and spend just tons and tons of money," she said. Marybeth Gibson, a friend and real estate agent on Nantucket, said in a phone interview: "Stephanie would rather stay home and cook a roast chicken than she would get all dressed up and go out." Ms. Mack wonders, sometimes, what Mark must have been thinking when he made the decision to commit suicide, to abandon her. She thinks Mark didn't see a life where he wouldn't be swarmed by photographers. He simply couldn't imagine a bright future. He thought he "was toast." Initially, Ms. Mack changed her last name out of the same fear that the Madoff name might forever brand her a pariah. She now knows what she is convinced Mark could not bring himself to see, that infamy can be as fleeting as fame. The scandal that once rocked New York has moved off the front pages of the tabloids. The paparazzi have moved on, circling the apartment buildings of other people. And Ms. Mack has resumed using her married name in her personal life and on her FreshDirect boxes. As her clients try on jeans and dresses and beanies, and they share the trauma of their own loss, Ms. Mack tries to convince them of the same thing she wanted Mark to believe: It won't always be quite this hard, this raw. "I'm like, 'You know what? It's not going to get better by Friday. It's not going to get better in two weeks. It's going to take time. It's going to take a lot of time,'" she said. "I'm actual living proof." "I don't have what I used to have, but I have more than a lot of the rest of the planet," she said. "And I'm grateful for that."	N24News: A New Dataset for Multimodal News Classification	Style
Our guide to new art shows and some that will be closing soon. 'SELF INTERNED, 1942: NOGUCHI IN POSTON WAR RELOCATION CENTER' at the Noguchi Museum (through Jan. 7, 2018). The order to detain more than 100,000 Japanese Americans during World War II a crime that every administration since Gerald Ford's has lamented, but that our current president has declined to condemn was directed at citizens on the West Coast. New Yorkers were exempt, but the sculptor Isamu Noguchi, then 37, went anyway. This illuminating and dispiritingly relevant exhibition features documents and small works made from driftwood that date from the seven months Noguchi spent in a camp near the Arizona California border, where he tried, and failed, to improve the living conditions for his fellow Japanese Americans. Before his voluntary internment, Noguchi's sculpture often had a social realist streak; after he returned, his art turned more organic, and freer, but also at times absurd. (Jason Farago) 718 204 7088, noguchi.org 'KERRY JAMES MARSHALL: MASTRY' at the Met Breuer (closes on Jan. 29). People say we're in the middle of a second civil rights movement, and we are. The only surprise is that the first one ever ended. The artist Kerry James Marshall was there for it as a young person, and in the years since he has absorbed enough personal history, American history, African American history and art history to become one of the great history painters of our time. Even more than that, he has created a new, disruptive history by inserting big time the absent black figure into the tradition of Western art. That's the painter you'll see in this smashing 35 year career retrospective at the Met Breuer. (Holland Cotter) 212 535 0177, metmuseum.org ELIZABETH MURRAY at Canada (closes on Jan. 29). This astounding exhibition of around 50 drawings posits Elizabeth Murray (1940 2007) as one of the great draftspeople of the late 20th century, in command of styles and mediums ranging from ballpoint to pastel to color pencil, from nearly automatist doodles to finished studies. The show also includes one of Murray's eccentrically astute paintings, demonstrating where all the drawings were headed. Though, as this show makes clear, her drawings deserve their own museum retrospective: The subject is big enough. (Roberta Smith) 212 925 4631, canadanewyork.com	N24News: A New Dataset for Multimodal News Classification	Art & Design
JAY LENO says he is old enough to remember when Detroit was a symbol of America's prestige and manufacturing might, unlike its image today as a symbol of industrial decay and economic failure. "In 1963, Chrysler Corporation produced a batch of turbine cars and took them on test drives around the world," said Mr. Leno, the reinstated host of "The Tonight Show" who is now 59. "In countries where people were still riding bicycles and donkeys, Americans were driving jets." Now, Mr. Leno noted dryly, Americans are driving by in Toyotas, a situation that he thinks holds a deeper message about Americans losing control of their own destiny. "That is sort of a cheap shot," Mr. Leno said, flashing his trademark smirk. "It's probably unfair to Toyota, but everybody's piling on. I'm just as guilty as anyone, making Toyota jokes now just about every night." Actually, Mr. Leno said there's nothing about America's battered auto industry that Yankee ingenuity and a can do attitude couldn't fix. So Mr. Leno, owner of a vast collection of unusual vehicles, is proud to show off one of his most outlandish creations: the turbine powered EcoJet supercar concept. The shape of the EcoJet was inspired by the 2002 Cadillac Cien design study. In a nod to their shared technology, he parks the EcoJet next to a 1963 Chrysler Turbine Car in his collection. "It's the only one in private hands," he said conspiratorially during a recent tour of his sprawling garage complex here, not far from the studio where his show is recorded. The EcoJet is the result of a collaboration between General Motors and Mr. Leno's crew at the Big Dog Garage, as his hangout full of motor driven toys is called. His collecting tastes run from 150 year old steam engines to a turbine powered motorcycle built at his shop. "It was built as a project," Mr. Leno recalled of the EcoJet's origins four years ago, "and like most backyard projects, it kind of got out of hand." He won't say how much he has spent on the car. The shape of the carbon fiber and Kevlar EcoJet was inspired by the 2002 Cadillac Cien design study and enhanced with aerodynamic features seen on jet aircraft and Formula One racecars. The EcoJet made its debut at the 2006 Specialty Equipment Market Association trade show in Las Vegas, a mecca for customizers and hot rodders. "It looked good, in a swoopy kind of way maybe a little too much like the Batmobile and it got a lot of interest," he said. "But it wasn't running. So we decided to convert it into something that would actually run." For motive power, Mr. Leno's crew installed a Honeywell LTS101 turbine engine from a Bell 222 helicopter. Television trivia buffs may remember that a modified Bell 222A was the star of the 1980s "Airwolf" series; the helicopter is now a staple of computer combat games. The turbine engine is covered by a see through hatch. Jerry Garrett for The New York Times Developed by Lycoming Engines, the LTS101 can produce up to 850 horsepower. As used in the EcoJet, the turbine is in a milder state of tune, Mr. Leno said: "About 650 horsepower." By comparison, the Chrysler turbine was rated at just 130 horsepower, although it could produce an impressive 425 pound feet of torque. "Power on was almost instantaneous," Mr. Leno noted. That was good for 0 to 60 times of about 12 seconds, Mr. Leno said. The EcoJet is in another league: in a drag race staged at Edwards Air Force Base for Speed channel's "Superstar Jet Car," the EcoJet hit 150 m.p.h. in less time than that and needed only a quarter mile to do it, according to the program. The EcoJet accomplishes this with at least one very conventional component, a General Motors 4 speed automatic transmission that directs power to the rear wheels. "Right out of the G.M. performance parts catalog," Mr. Leno said. "It's a good strong unit that can handle the kind of torque being put out by a jet engine." Other parts in the EcoJet are a little harder to come by. Mr. Leno is particularly pleased with a length of ducting that uses a feather light aluminum coating supplied by NASA and can withstand the heat encountered during re entry from orbit. "That's the real 'unobtanium,'" he said. Many such pieces were fabricated on a tool Mr. Leno called a 3 D copier. "When they first came out with these things, they cost 2 million," he said, patting the machine admiringly. (He paid "less than retail.") The unit receives engineering designs as files from a computer and spits out full scale plastic renditions. Molds can then be made around the plastic prototype. Many EcoJet components are made from Earth friendly materials, such as the faux leather seats. The EcoJet is meant to be a green machine, and as such it runs on biodiesel; although Jet A fuel is used to start the engine and shut it down. "The Jet A cleans it out," Mr. Leno said. "The biodiesel can gunk it up." The EcoJet can run on almost any combustible material, from soybean oil to French fry grease. "The president of Mexico, when he tested one of the Chrysler Turbines, ran it on tequila," Mr. Leno said. "You could almost get drunk following it."	N24News: A New Dataset for Multimodal News Classification	Automobiles
The novel "Looking For Alaska," by John Green, was published in 2005, and that same year Josh Schwartz, the creator of "The O.C.," signed on to write and direct a feature adaptation. Then 14 years went by. Green wrote and co wrote six other books, including the huge hit "The Fault In Our Stars," and he amassed a tremendous vlog audience. Schwartz finished "The O.C.," created "Chuck" and co created "Gossip Girl" and half a dozen other shows with Stephanie Savage. YA literature gained a broader level of cultural respect, and teen TV conquered new genres and platforms thanks in part to Green and Schwartz and Savage themselves. And now the long awaited "Looking For Alaska" adaptation has finally come to be, not as a feature film but as an eight episode mini series on Hulu, born into a world it already helped shape. It's a new show, but somehow not. The story, inspired by Green's own high school experience, is intact: Miles Halter (Charlie Plummer) is restless in his hometown and heads off to boarding school seeking adventure, but the kind of adventure that anxious nerds seek mostly adventurous reading and maybe a prank or two. He immediately befriends his roommate, known as The Colonel ( Denny Love ), The Colonel's friend Takumi (Jay Lee ) and their friend Alaska (Kristine Froseth ). The series is structured around a "before" and "after" storytelling device, first deployed in the show's opening moments: A catastrophic car crash looms, and the show counts the days leading up to it and the days that come after . Though the crash is the turning point of the story, it doesn't come until quite late in the season, which feels like a lot of "before." Though I guess that's how befores often feel. Alaska is special, because girls in stories like this are always special. She's a wannabe Rayanne Graff with a book collection, the girl who feels more and needs more and has more secrets, who's "bad" but in the best ways, who knows things about sex and alcohol. The volatility is part of the draw. "You don't sound like you're in high school," a mumbly liquor store clerk tells Alaska, who thinks she is acting cool but is actually acting annoying. "That, Gus, is the whole point," she replies. It's the point of lots of teen shows, and lots of the actual lives of teens, this desire to be older, freer, smarter, worldlier. The way this show enacts that frustration, though, often lapses into tediousness, closer to the worst goopy grandeur of "Dawson's Creek" than the energetic cleverness of "The O.C." Part of that is the strenuously precocious, self consciously pretentious dialogue in and of itself not a vice, and certainly accurate for the kind of teens these teens are. But "Looking For Alaska" is nostalgic for itself , like it's admiring itself in a mirror instead of making eye contact. This neutralizes the immediacy and intimacy that can make coming of age stories so special. We can go along for the ride, like "Freaks and Geeks," or we can have some distance to reflect, like "The Wonder Years," but not both. "Small moments forge deep bonds," the wise teacher (Ron Cephas Jones) tells Miles and his peripheral love interest ( Sofia Vassilieva ). I mean, yeah, it's true, but declaring it breaks the spell, and turns a genuine small moment into a benediction from a dying sage. That's a good moment to have, too, but it's a different thing. The show's need to make declarations leads it astray in other ways, too. Technically it's set in 2005, but that is established via titles and music only, not through any other kind of specificity. The soundtrack is omnipresent, with a who's who of indie cool of the time (Rilo Kiley, Modest Mouse), but the show is mostly from Miles's point of view, and the songs don't seem like songs he'd listen to. He is not secretly cool. He's a kindly, virginal dweeb, and the only thing he demonstrates any interest in, other than Alaska, is memorizing famous people's last words. So the soundtrack becomes less of an expression and more of a framing device. We have entered dangerous territory when a Sufjan Stevens song is not sufficiently sad and thus an even sadder cover of the song is used in its stead and not to portray sadness, but to evoke it where the script and performances can't or won't. Which works. Of course it works! A lot of the show works because the conventions of teen stories are effective. There's a big dance. There are pranks. There is one mean administrator (Timothy Simons) who is secretly worthy of compassion, parents who don't get it, parents who do get it, a holiday, a party, truth or dare, important kissing, cigarettes. The story and particulars of the book are present, but not Miles's interiority or processes. Part of adolescence is sometimes feeling like you're stuck as the incidental supporting character when everyone else is the star of a show. In Miles's case, though, he's right.	N24News: A New Dataset for Multimodal News Classification	Television
It's been decades since the great powers of the New York City art world decamped for Chelsea, but SoHo remains dotted with galleries of long standing like Ronald Feldman; numerous newer arrivals; small museums like the Drawing Center, the Donald Judd Foundation and the Center for Italian Modern Art; and the magisterial Dia Art Foundation, with its permanent installations of Walter De Maria's "Earth Room" and "The Broken Kilometer." Here are five of the most notable gallery shows up right now or opening soon. Oil paint can be sculptural, especially if you use as much as Paul Fagerskiold does on "Flatland." The young Swedish born painter lays so much blackish purple paint on this enormous canvas that the finished surface of its figure, a monochrome rectangle with a bowed bottom edge, has the definition of hammered bronze. Each ridgy brush stroke is an eddy, and the whole is a view of the ocean but it's a restless one that won't subside into the easy diffidence of most two dimensional images. Not for nothing did Mr. Fagerskiold name the painting, and the show it appears in, after Edward Abbot's 19th century novella of mind bending sci fi geometry. Through May 11 at 176 Grand Street; 212 244 6055, peterblumgallery.com. Austin Lee's analog portraits of cyberspace are strangely fascinating. After drawing floppy cartoon hearts, stumpy, grinning figures and prancing ponies on an iPad, the painter then renders the images by hand, at a much larger scale, with brush and airbrush. Maybe it's the adeptly balanced hot pinks and neon reds, or the promise that a virtual world might someday seem as joyful and genuine as the real. Or maybe it's just the marrying of such disparate mediums, the quiet shock of confronting computer effects in physical form, which makes it so difficult to look away. Through May 18 at 18 Wooster Street; 212 343 7300, deitch.com. We all know something's askew and the artists in "Scenes of the American Landscape," which I was able to sneak into before it officially opened on Thursday, know it, too. Video installations by Collin Leitch and Theodore Darst channel the restless sense of imbalance in contemporary American life into a twitchy, unrelenting shifting of styles that feels very much like a new kind of rhythm. Andrew Jilka's oil and enamel painting of sailor tattoos and cartoon Picassos puts the same effect into freeze frame. Color photographs by Lili Jamail, of an empty armchair, and Jheyda McGarrell, of a half dressed woman seen through her window, are a deliberate tilt both jaunty and alarming. And an untitled painting by Alissa McKendrick, in which fiddly figures unspool against an intensely worked red background, is suffused with vertigo . Through June 1 at 83 Grand Street; 212 279 9219, teamgal.com. 4. Peter Freeman Inc., 'Silvia Bachli and Eric Hattan: Between Windows' The Swiss artists Silvia Bachli and Eric Hattan undertake a sublime exegesis of that simplest of artistic gestures: the line. A line is an emblem of sustained effort, but also a paradox. Whether as the confident green and brown stripes of Ms. Bachli's elegant gouaches or the wonky metal poles that Mr. Hattan stands upright and sets in concrete, the line only gets richer in isolation. Mr. Hattan's "Schnurvideo (String Video)" is a 20 minute close up on the artist's hands as he untangles a clump of string and winds it up again into a grapefruit size ball. Notice how tightly he holds it, and how, when the string slips off, he simply presses an errant loop against the ball and keeps winding. Through May 25 at 140 Grand Street; 212 966 5154, peterfreemaninc.com. Bruce Pearson makes text paintings, technically. But by overlapping text and imagery in complicated patterns, cutting those patterns into foam, and painting every resulting divot a different color, he arrives at arresting compositions that evoke tropical camouflage or the inside of a psychedelic pomegranate even when, as sometimes happens, the original text remains legible. This should be the case with "Shadow Language," opening this weekend at Ronald Feldman Gallery. One star is likely to be "Not to Interrupt Your Beautiful Moment," an orange themed pixelation of an entrancingly ambiguous phrase. April 27 June 8 at 31 Mercer Street; 212 226 3232, feldmangallery.com.	N24News: A New Dataset for Multimodal News Classification	Art & Design
Even when she's sitting still which admittedly is a rare occurrence Alison is a gale force presence. Portrayed by the never disappointing Marin Ireland in Abby Rosebrock's "Blue Ridge," the emotionally congested play that opened Monday night at the Linda Gross Theater, this disgraced high school English teacher is one of those unsettling people who suck up all the oxygen in a room in one convulsive gulp. You could call her a life force or, as one of her sometime friends does, "a terrorist." Alison, after all, has wound up in a North Carolina Christian halfway house, the setting for this Atlantic Theater Company production, because she took an ax to the car of her married lover, who was also the principal of the school where she worked. Cue Carrie Underwood, whose pop hit "Before He Cheats" describes a similar act of vengeance and is cited in the opening scene of "Blue Ridge," directed by Taibi Magar. It is one of two songs Alison uses to define herself in her first mandatory group meeting. The second is also by Ms. Underwood, "Jesus, Take the Wheel," which is about giving yourself over to divine guidance, or as Alison sees it, letting go and chilling out "when you're gonna look crazy and lose all your friends." This is not a message she seems to have taken to heart.	N24News: A New Dataset for Multimodal News Classification	Theater
BEIJING China is notorious for its knockoffs. But now comes a knockoff of one of the gods of American ingenuity: Steven P. Jobs. In a country where products like iPhones are made but rarely invented, Lei Jun entrepreneur, billionaire and professed Jobs acolyte is positioning himself and his company as figurative heirs of Mr. Jobs. The Chinese media have nicknamed his company, Xiaomi, the "Apple of the East." The title is a stretch, by almost any measure. But Mr. Lei nonetheless is carefully cultivating a Jobsian image here, right down to his jeans and dark shirts. He is also selling millions of mobile phones that look a lot like iPhones. Chinese consumers and deep pocketed investors overseas seem to be believers. And yet Mr. Lei's biggest believer may be himself. He bounds onto podiums to introduce new cellphones. He proclaims things that may, to many, sound outlandish. For instance: "We're making the mobile phone like the PC, and this is a totally new idea," Mr. Lei, Xiaomi's chief executive, said during an interview at the company's spacious, high rise headquarters here. "We're doing things other companies haven't done before." That might come as a surprise to Apple and Samsung Electronics, the twin giants of smartphones. But Xiaomi (pronounced SHAO mee) did sell 2 billion in handsets in China last year. It is emerging as a force in China, the world's largest mobile phone market, and it expects its revenue to double this year. Mr. Lei, for his part, hardly discourages comparisons to Apple and Mr. Jobs. And why would he? Founded by a group of Chinese engineers three years ago, his company sold seven million mobile phones last year by using designs that mimic the look and feel of the iPhone and using marketing that seems right out of Apple's playbook. It's no surprise that entrepreneurs aspire to create a Chinese Apple. Many talk about moving China beyond the dead end of assembling devices for other companies. Mr. Lei has attracted believers because no company's annual revenue has reached the 1 billion mark in China faster than Xiaomi, not even Amazon, which took five years to get there. Xiaomi did it while earning a profit. Its backers include Qiming Venture Partners, the venture capital arm of Qualcomm and Digital Sky Technologies, an investment firm run by Yuri Milner, an early backer of Facebook, Groupon and Zynga. Xiaomi, which is privately held, says an initial public offering is years away. But the company is worth 4 billion, according to its latest round of financing last June. If that valuation holds up, it would make Xiaomi one of China's most valuable technology companies, behind Alibaba, Baidu, Tencent and Netease. The company caters to young, college educated people who want a smartphone but cannot quite afford one, people like Lu Da, a 26 year old education consultant in Shanghai. "I chose Xiaomi because it's good value for the money," he said. Skeptics say the company produces low price iPhone imitations with no significant software or hardware advantages. They also say the company faces stiff challenges from Apple and Samsung, which are in a position to offer low price smartphones. The marketing power of bigger local handset makers like Lenovo, Huawei and Taiwan's HTC, which together recently sold about 25 percent of all smartphones in China, cannot be discounted either. He also invested in a string of successful software and Internet companies, including YY, an online social platform that went public on the Nasdaq stock exchange in the United States last year and is now worth about 1.5 billion. One of Mr. Lei's earliest successes came in 2004, when Amazon paid 75 million to acquire his e commerce company Joyo.com. The high cost of gas is forcing families to cut back on activities and essentials. Clearview AI does well in another round of facial recognition accuracy tests. Elizabeth Holmes will resume her testimony in her fraud trial. "Lei Jun is a phenomenal entrepreneur," said Kai Fu Lee, the former Google executive who now runs Innovation Works, a Beijing based firm that invests in Chinese start ups. "He's insightful about user needs and markets, and now he has this incredible desire to create a household brand in technology." Mr. Lei has revealed little about his personal life, but he has nearly five million followers on Sina Weibo, a sort of Chinese Twitter, and is treated like a celebrity in technology circles. He grew up near Wuhan, a gritty industrial city in central China, and studied computer science at Wuhan University. It was during college, in 1987, he says, that he read a book about Mr. Jobs, and decided to emulate him. "I was greatly influenced by that book, and I wanted to establish a company that was first class," Mr. Lei said. "So I made a plan to get through college fast." After finishing his coursework in two years, he joined Kingsoft, a Chinese software company. A talented engineer with sharp marketing skills, he worked his way up into the executive ranks, and was named chief executive in 1998. At Kingsoft, he also found time to set up Joyo.com and to become an angel investor in dozens of other companies. "He has vision," said Liu Ren, a longtime friend who runs an investment fund. "He sees trends earlier than others and is always ready to adjust. For instance, Joyo started as a downloading platform and at the beginning YY was just doing RSS subscription." With 41 million in initial financing, Mr. Lei teamed up with a former Microsoft and Google engineer, Bin Lin, and five other engineers to set up Xiaomi in a small office on the outskirts of Beijing. To lower costs, the company cut out middlemen and distributors, selling directly through its Web site. The marketing was not just innovative for China, the company said, but allowed Xiaomi to sell smartphones for just half the price of the iPhone or Samsung Galaxy phones. Xiaomi also outsources designs and features online from its so called Mi Fans, and releases a new version of the operating system every Friday, to add new features and keep the Mi Fans excited. "For a start up it's quite impressive what they've achieved," Sandy Shen, an analyst at the research firm Gartner, said. "But the question is: how are they going to grow their market share beyond the narrow segment they've targeted?" Many technology analysts and investors in China say that the company's valuation is a bubble and that it will be difficult for Xiaomi to maintain its growth. Mr. Lei insists his company could sell more than 15 million phones this year. Xiaomi like Apple is also looking at television. Mr. Lei, listed by Forbes as one of China's wealthiest entrepreneurs, worth 1.7 billion, has already helped create three multibillion dollar start ups in the last decade. Little wonder, then, that he comes across as confident, even a little cocky. "We're not just some cheap Chinese company making a cheap phone," he said. "We're going to be a Fortune 500 company."	N24News: A New Dataset for Multimodal News Classification	Global Business
As Americans Figure Out the Roundabout, It Spreads Across the U.S. GETTING stuck in a long line of vehicles for minutes at a time, simply trying to ease onto a clogged main road, is nobody's idea of fun. But that's the problem that Matt Kothe faced every day on his commute. "No one would ever stop to let me in," said Mr. Kothe, a media coordinator from Knoxville, Tenn. But for Mr. Kothe, his commute improved once the stop sign was replaced with a roundabout. "It used to take me up to 10 minutes to get onto the main road," he said. "Now there are no holdups." Once seen only in countries like France and Britain, the roundabout, favored by traffic engineers because it cuts congestion and reduces collisions and deaths, is experiencing rapid growth in the United States. First built in the United States in the early 1990s, roundabouts have doubled in the last decade, to around 5,000 today, according to Richard Retting, a former transportation researcher at the Insurance Institute for Highway Safety. "There are hundreds if not thousands more in the planning stages," he said. In New York State, the increase is even more striking. From 18 in 2005, the state now has 112. And New York City is getting its first one this month, when a three way intersection in the Bronx that has been a challenge for pedestrians completes its conversion. Roundabouts are not the same as traffic circles. Columbus Circle in Manhattan, for example, is a traffic circle; vehicles have the right of way based on when their light turns green. But roundabouts typically do not have traffic lights; instead, a vehicle approaching one slows to around 20 miles an hour and yields to those already in the circle. Compared with stop signs and traffic lights, roundabouts are significantly safer, engineers say. For example, crashes that result in serious injuries or death are reduced by 82 percent versus a two way stop, and by 78 percent compared with an intersection with traffic lights, according to Jeff Shaw, the intersections program manager for the Federal Highway Administration. Mr. Retting of the insurance group said that the reduction in injuries and fatalities was "unmatched by anything else we can do in traffic engineering." Unlike standard intersections, drivers cannot speed across a street and hit a vehicle in the perpendicular lane; instead, they must slow and merge with others in the circle. Left turns in front of oncoming traffic are eliminated. And because vehicles never come to a complete stop, less fuel is consumed. And there is even a side benefit: If drivers are not familiar with the area, they can circle endlessly until they figure out their route think Chevy Chase's character in "National Lampoon's European Vacation." The federal government is a big supporter of roundabouts. "Our interest is to have their numbers grow," Mr. Shaw said. "All the states have come around and embraced them. We're seeing hundreds of new ones every year." While federal dollars typically pay for the bulk of the cost of local safety improvements, roundabout construction can be promoted with funding incentives, with some qualifying for 100 percent federal funding, Mr. Shaw said. Regarding cost, it can run upward of 200,000 to install the signal and the sensors in the road for traffic lights that are part of a connected grid. Then there is the upkeep. "They require constant maintenance," said Brian Walsh, the state traffic design and operations engineer for the Washington State Transportation Department. Matt Kothe said the addition of two roundabouts near his home has made his morning commute much easier: "Now there are no holdups." Shawn Poynter for The New York Times Washington State requires "a good faith attempt" to consider the appropriateness of installing a roundabout whenever an intersection is being constructed or retrofitted, Mr. Walsh said. Roundabout construction costs vary, based on whether land needs to be acquired, but it can often be less over the long run. The new Bronx roundabout, at the intersection of Intervale Avenue and Dawson Street, cost 350,000. While the roundabout was designed to improve pedestrian access, "we're very optimistic that it will reduce future vehicle crashes," said Josh Benson, New York City's assistant commissioner for street improvement projects. And the crash reduction also lowers road rage incidents, said Eric G. Strauss, the executive director of the Center for Urban Resilience at Loyola Marymount University in Los Angeles. "You won't get rid of traffic with roundabouts, but you want to reduce the slowdown and speedup of traffic, which causes a ripple effect," Mr. Strauss said. "Roundabouts give you much less variation." Still, despite the many advantages of roundabouts, public opinion is not always so welcoming. Individuals and local communities complain that roundabouts are difficult to understand, they're difficult to drive through, they take up too much space and are unattractive. "We have lost roundabouts for political reasons," said Mr. Walsh, the Washington State transportation official. When a roundabout was planned in Malta, N.Y., north of Albany, 10 years ago, "the community was very split on getting one," said Carol Breen, a spokeswoman for the New York State Transportation Department. "But afterwards, everyone loved it." Mr. Kothe, the Knoxville commuter, said that he saw at least two or three people a week who stopped at each entrance trying to let traffic in while driving around the circle. "So I definitely think Americans need some help getting the hang of it," he said. Community and driver objections are beside the point, said Peter Doctors, a traffic engineer and designer of an early roundabout in Santa Barbara, Calif. "Just because people have drivers' licenses does not make them traffic engineers," he said. "Even if people are confused about how to use them, they're still working."	N24News: A New Dataset for Multimodal News Classification	Automobiles
For a genre that ostensibly presents snippets of unvarnished truth, a particular type of documentary is difficult to name. The opening of "Chronicle of a Summer" (1961), a groundbreaking example by the anthropologist Jean Rouch and the sociologist Edgar Morin, calls it "cinema verite." To the brothers Albert and David Maysles, it was "direct cinema." Frederick Wiseman has used the phrase "reality fictions." But in a 2015 interview, he told me he meant that term in jest: If Truman Capote could describe "In Cold Blood" as a nonfiction novel, then surely Wiseman could say his own films shot unobtrusively, then edited with an eye toward characterization added a novelistic spin to reality. Whatever you call it, this type of filmmaking, if it's indeed one type of filmmaking, became possible in the 1950s, when light 16 millimeter cameras and the ability to capture sound on the fly let documentarians test the boundaries of the form. Typically, the "verite" label gets slapped on documentaries that avoid re enactments or interviews, and instead favor real life scenes as they unfold. Truth or fiction, one genre or several, these movies raise fascinating questions about cinema's capacity to accurately mirror the world. They also make for active, exciting viewing. "Crisis: Behind a Presidential Commitment" (1963): Stream it on the Criterion Channel or HBO Max; rent or buy it on Amazon, Google Play or iTunes. "Salesman" (1969): Stream it on the Criterion Channel, HBO Max or Kanopy; rent or buy it on Amazon or iTunes. Perhaps the simplest attribute of verite is its ability to capture unguarded, candid moments. For that, look to the films of Robert Drew, who, along with associates like Richard Leacock and D.A. Pennebaker, established the verite style in the United States. Drew and company pursue several lines of action. They follow Wallace, both at home and in public, as he grandstands about the South's bravery in the Civil War and greets admirers who are presumably fans of his racism; Robert F. Kennedy, attorney general at the time, as he and President John F. Kennedy strategize on the best way to maintain control of a confrontation that could, if it backfires, embarrass the federal government; and Nicholas Katzenbach, then the deputy attorney general, whose job was to escort the students, Vivian Malone and James Hood, to the building where they would register. (If the film were made today, the students' perspectives would surely have played a more central role.) Amid the crosscutting, "Crisis" captures a wealth of informal texture: Bobby Kennedy, trying to work while his young daughter Kerry is distracting him, briefly puts her on the phone with Katzenbach. ("Hi, Nick!" "Hi, Kerry. How are you, dear?") Perhaps the quintessential introduction to the issues posed by direct cinema is "Salesman," which is also a great place to think about the verite style as artistry. (Even the title card takes an auteurist possessive: "The Maysles Brothers' 'Salesman.'") Directed with Charlotte Zwerin, the Maysles' film follows four door to door salesmen nicknamed "the Badger," "the Gipper," "the Rabbit" and "the Bull" who work for the Mid American Bible Company. Their assignment: selling large illustrated Bibles for 49.95 (around 380 today). Paul Brennan, "the Badger," is the first and last subject seen, and the one whose desperation emerges most vividly as drama. Whether driving through the snow or spouting dialogue worthy of Arthur Miller ("They say Alaska's good territory"), he prefigures Shelley Levene, the haggard, over the hill salesman of David Mamet's "Glengarry Glen Ross." Shooting in black and white, the directors film with an eye to aesthetics: There are stunning shots of Paul, in the shadows and apparently lost in thought, as his train pulls into Chicago's Union Station for a sales meeting. (You would have to know Chicago to recognize the mordancy of the gathering's location, the Edgewater Beach Hotel a fading resort for the rich and famous that by then had fallen on hard times. In keeping with the verite style, such context is never offered.) The question of whether the camera influences action in "Salesman" is fascinating on its own. "Half the time, I couldn't even get in the door," Paul complains after a bad day. If that's the case, how many times could Albert Maysles, who is credited with the photography, get in the door with him? Did the act of filming influence Paul's sales, one way or the other? Those questions aren't answered in the film, but one presumes the offscreen negotiations with the prospective customers turned the filmmakers into salesmen themselves and turned what they documented into a reality fiction. In the coda of "Chronicle of a Summer," viewers who have just watched a cut of the film question whether the onscreen figures were acting for the camera and disagree about whether such put ons are revealing or obfuscating. "Either our characters are blamed for not being true enough," Morin reflects afterward, "or they're blamed for being too true." That's a good summation of the paradox of verite, for which it's rarely possible to conclude when the camera has turned subjects into performers. The question becomes faintly disturbing in films like the Maysles' "Grey Gardens," about two relatives of Jacqueline Kennedy Onassis who have cloistered themselves in a decaying East Hampton estate. The women acknowledge the filmmakers' presence, but they also clearly don't have all their marbles. By bearing passive witness, verite films prompt the same ethical questions raised by photography. For "Gimme Shelter," a film about the Rolling Stones' 1969 Altamont concert made by the Maysles and their frequent editor Zwerin, a cameraman captured the stabbing of Meredith Hunter by a Hells Angel. David Maysles plays the footage back for Mick Jagger. "Did you see what was happening there?" Maysles asks. "No, you couldn't see anything" but another scuffle, Jagger replies, apparently referring to his vantage point from the stage. Watching the events on film may have acted as a magnifying glass for Jagger, but in Vincent Canby's original review for The New York Times, the critic accused "Gimme Shelter" of exploitation, writing that when it was discovered Hunter's stabbing had been filmed, "I can't help but feel that someone thought, 'Wow! What luck!'"	N24News: A New Dataset for Multimodal News Classification	Movies
Applications for jobless benefits remained high last week, even as the collapse of stimulus talks in Washington raised fears of a new wave of layoffs. Unemployment filings have fallen swiftly from their peak of more than six million last spring. But that progress has recently stalled at a level far higher than the worst weeks of past recessions. That pattern continued last week, the Labor Department said Thursday: More than 800,000 Americans filed new applications for state benefits, before adjusting for seasonal variations, roughly in line with where the total has been since early August. "The level of claims is still staggeringly high," said Daniel Zhao, senior economist at the career site Glassdoor. "We're seeing evidence that the recovery is slowing down, whether it's in slowing payroll gains or in the sluggish improvement in jobless claims." That slowdown comes as trillions of dollars in government aid to households and businesses has dried up. Prospects for a new stimulus package, already dubious in a divided Washington, appeared to fall apart this week when President Trump said he was pulling out of negotiations. Economists across the ideological spectrum warn that the loss of federal help will lead to more layoffs and business failures, and more pain for families. The continued high level of jobless claims, combined with large monthly job gains, highlights the remarkable level of churn still roiling the U.S. labor market. Companies are continuing to rehire workers as they reopen, even as other companies cut jobs in response to still depressed demand for goods and services. The result is a job market that is being pulled in two directions at once and economic data that can appear to tell contradictory stories. Adding to the challenge for analysts and forecasters, the pandemic has thrown the data itself into disarray. For the second week in a row, the jobless claims data carried a Golden State size asterisk: California last month announced that it would temporarily stop accepting new unemployment applications while it addressed a huge processing backlog and installed procedures to weed out fraud. In the absence of up to date data, the Labor Department is assuming California's claim number was unchanged from its pre shutdown figure of more than 225,000 applications, or more than a quarter of the national total. The state began accepting new filings this week, and is expected to resume reporting data in time for next week's report. While the lack of data from California makes week to week comparisons difficult, the bigger picture is clear: The economic recovery is losing momentum, even as millions of Americans remain out of work. Monthly jobs data released last week showed that job growth slowed sharply in September, and that last spring's temporary furloughs are increasingly turning into permanent job losses. Major corporations like Disney and Allstate have announced thousands of new job cuts. And with winter approaching, restaurants and other businesses that were able to shift operations outdoors during warmer weather could be forced to pull back anew. Separate data from the Census Bureau on Wednesday showed that 8.3 million Americans reported being behind on rent in mid September, and 3.8 million reported that they were likely to be evicted in the next two months. Both figures have changed little since August. Ford and Rivian no longer plan to work jointly on electric vehicles. Elizabeth Holmes took the stand in her trial. Follow along with our reporters. Ken Griffin, head of Citadel, bid highest for a copy of the Constitution. "It seems increasingly unlikely that we'll have a deal before the election, and bills are due now," Mr. Zhao said. "Every week that passes puts extra pressure on workers' households and small businesses, so any delay in the stimulus is going to have a meaningful impact on Americans." The situation is particularly dire for people who lost their jobs early in the pandemic, many of whom are now nearing the end of their unemployment benefits. Last week was the 29th week since mass layoffs began in March. In most states, regular unemployment benefits last just 26 weeks, meaning that many people have already exhausted their benefits. In March, Congress created a program funded by the federal government for people whose state benefits have expired. The number of recipients under that program, Pandemic Emergency Unemployment Compensation, swelled to nearly two million in mid September, up from 1.4 million a month earlier. The program adds only 13 weeks of additional benefits, however, so people who lost their jobs in March will receive those benefits only until mid December. And the entire program will expire at the end of the year if Congress doesn't extend it. A separate program, which existed before the pandemic, offers an additional 13 to 20 weeks of benefits, depending on the state. But the benefits are based on state economic conditions, and the rapid decline in the unemployment rate means that workers in several states, including Idaho, Wyoming and Utah, would no longer qualify for it. Missouri will join their ranks next week.	N24News: A New Dataset for Multimodal News Classification	Economy
A woman who received a uterus transplanted from a deceased donor gave birth to a healthy child, researchers in Brazil said on Tuesday. It is the first such birth to be reported. Uterine transplants from living donors have succeeded; at least 11 babies have been born this way since 2013. But a viable procedure to transplant uteri from deceased women could drastically increase the availability of the organs. "We talk about lifesaving transplants. This is a life giving transplant, a new category," said Dr. Allan D. Kirk, the chief surgeon at Duke University Health System, who was not involved in the research. "Biologically, organs of the living and the dead aren't all that different," he added. "But the availability of deceased donors certainly could open this up to a much broader number of patients."	N24News: A New Dataset for Multimodal News Classification	Health
Sotheby's, the international auction house bought in 2019 by the telecommunications magnate Patrick Drahi, reported Monday that it has sold 2.5 billion of art and collectibles so far this year. The figures include more than 285 million from online only auctions and 575 million in private sales. "The art and luxury markets have proven to be incredibly resilient, and demand for quality across categories is unabated," Charles F. Stewart, Sotheby's chief executive, said in the statement, acknowledging the challenge of selling high end inventory during the coronavirus pandemic. As a privately held company like its rival international auction houses Christie's, Phillips and Bonhams Sotheby's is under no obligation to release sales figures. It did not divulge in its official release how these figures compared to the same seven month period last year, nor what profit or loss the company made. According to data independently compiled by Pi eX, a London based art market analytics company, Sotheby's sales from relatively low value online only auctions from January through July were up 540 percent this year, but live auctions of 1.6 billion were down 42 percent, resulting in an overall fall of 25 percent in auction sales. Christie's equivalent online and live sales declined by 53 percent, according to Pi eX.	N24News: A New Dataset for Multimodal News Classification	Art & Design
Two weeks ago, the music industry observed an ad hoc "blackout" in solidarity with the protests over racism and police violence. Record companies, streaming services and others paused operations and pledged to support equality efforts. As part of these efforts which came to be known as BlackoutTuesday some album releases scheduled for that week were delayed, by acts including Machine Gun Kelly, Smokepurpp, 6lack and Jessie Ware. With no major new releases, it was inevitable that the charts would be affected. This week, the Atlanta rapper Lil Baby, whose "My Turn" opened at No. 1 three months ago and has remained a steady streaming hit, returned to the top spot on Billboard's album chart with comparatively low numbers.	N24News: A New Dataset for Multimodal News Classification	Music
Just for kicks I listened as Brodie Van Wagenen, the Mets' general manager, went on about signing the oft injured 35 year old second baseman Jed Lowrie and reporters sounded entranced by his jive. Have you, they asked, thought of bidding on outfielder Bryce Harper or infielder Manny Machado, the two young star free agents who improbably have attracted not much attention this winter? Van Wagenen, a smooth talking agent who has become a smooth talking general manager, smiled genially. "Let's be candid here," he said. "The outfield is probably not our top priority at this point." Jeff McNeil, a career minor leaguer until last July, was going out to the outfield, Van Wagenen said, and "he gives us another really good weapon." That the Mets, a little market club hard by Flushing Bay, will play it cheap is a well established fact. But Van Wagenen speaks the management palaver of choice this parsimonious winter. No one wants to spend money. The Cubs, the Yankees, the Dodgers, the Giants, the Cardinals, the Braves, the Rangers and the Angels all have apparently passed on making a bid for Harper and Machado. Each franchise is owned by a wealthy man (or family) in a wealth laden sport and all could presumably find a place in the lineup for one of these young stars. And yet for the second season in a row, at a time of the off season when the best free agents typically would have already signed handsome new contracts, most owners have tucked away their wallets and claimed to need no more talent. Candidly, Van Wagenen's reasoning for the Mets' disinterest is good for a giggle. McNeil is a late blooming minor league second baseman who in a few nice months in the majors hit three home runs and knocked in 19 runs. He's a career infielder without a career to speak of. Harper, by way of no comparison, last season hit 34 home runs, walked 130 times, scored 103 runs and knocked in 100. He is a former rookie of the year and league M.V.P., and he's all of 26. To suggest you will pass on Harper in hopes that McNeil finds his outfield legs is with no offense intended to the McNeil family whacked. Machado and Harper are not the only quality free agents left flapping in the wind. Dallas Keuchel, a good starting pitcher, and Mike Moustakas, a fine third baseman who hit 28 homers last year, have elicited little interest. Craig Kimbrel, that world champion Red Sox closer with 42 saves? Give him a call, he'd probably like to chat. Yasmani Grandal, the best catcher on the market, was expected to command a multiyear contract. He could scrounge up no better than a one year, 16 million deal with the Milwaukee Brewers. Major League Baseball officials claim to see no problem. The deputy commissioner, Dan Halem, helped negotiate the last collective bargaining agreement with the players union, and he says labor's portion of nearly 11 billion in baseball revenues has held steady. His estimate includes players in baseball's vast minor league system, though, none of whom are in the union and some fair number of whom thanks to baseball's lobbying with Congress make less than the minimum wage. None Everyone Loves Ohtani: The Angels' two way star was a unanimous pick for A.L. M.V.P. and his superfans redefine devotion. Phillie Phavorite: Bryce Harper truly committed to Philadelphia and now he's back on top of baseball, winning the N.L. M.V.P. Cy Young Winners: Milwaukee's Corbin Burnes and Toronto's Robbie Ray had hit rock bottom before they worked their way up to stardom. Baseball Is Stuck in Neutral: The potential of a lockout has a star studded group of free agents waiting for the dust to settle. Free Agency Tracker: Get the latest updates on signings, contract extensions and trades. Baseball drove down a road that looked suspiciously like this one between 1985 and 1987 and that ended in a multicar collision with three separate findings that its owners had engaged in illegal collusion to hold down player salaries. The owners paid penalties of 280 million plus interest to the players, and in the 1990s the sport weathered brutal strikes that owed to the residual bitterness. The former baseball commissioner Fay Vincent, appointed by the owners and no Marxist, was moved at that time to remark to the owners: "The single biggest reality you guys have to face up to is collusion. You stole 280 million from the players, and the players are unified to a man around that issue, because you got caught and many of you are still involved." I possess no proof the current generation of extremely rich owners have acted as stupidly as their predecessors. For now the flaccid free agent market is simply ... odd. The management of this column readily acknowledges the best of the marooned free agents will not be left to scratch nickels together. Harper seeks a contract north of 300 million for 10 years, and Machado entered free agency entranced by similar sugarplum visions. It is all but assured that one day their descendants will decant a fine Bordeaux and offer a heartfelt Thanksgiving toast to dear old grandpa Bryce and Manny. And so what? Megawatt talents in many professions profit handsomely, a point lost on a writer from Bleacher Report who loosened an ancient grouse: These free agents are paid "silly" money to "play a children's game." Yes, and playing pretend as a child can lead to movie stardom and an adolescent's toe shoed spin can lead to the City Ballet provided you have great talent and a work ethic to match. Baseball officials justify the new parsimony with a bow to analytics. We will not sign this or that star because we or some other team once paid out a bad contract. This player became too old, this one too slow, that one too bald, and the thought of a bad contract gives us a stomachache. "General managers are extremely analytical, and they tend as a group to make the most efficient decisions possible," M.L.B.'s Halem told me. Six years ago, the Angels gave Albert Pujols a 10 year, 254 million contract and that indeed edged to frontiers of nuttiness. He was 32 when he signed it and already past his prime. His once fabulous eye for balls and strikes slowly deserted him, and a man who once led the league in hitting has not surmounted .250 the past two seasons. With years to go, Pujols's contract is a mothball special. Harper and Machado are not Pujols. Each man is entering his golden prime and with a reasonable expectation they will produce at a high level for many seasons to come. The owners have perhaps snookered a baseball union grown a touch complacent. They regularly manipulate the service time of young players, which works this way: Teams control players for six seasons before they become eligible for free agency. So clubs put thumb to scale and wait to bring up even their very best players until late May or early June. This pushes back the rookie's service time and saves the club many millions of dollars.	N24News: A New Dataset for Multimodal News Classification	Sports
Medicare, the federal health insurance program for people who are 65 or older, has become something of a panacea in the Democratic presidential race. Some candidates, including Senators Bernie Sanders and Elizabeth Warren, want to give it to everyone and even expand its benefits. Others, like former Representative Beto O'Rourke, want to give it automatically to people who don't have other health insurance. Many, including former Vice President Joseph R. Biden, want to give people the right to buy into a Medicare like public health insurance program. Whatever their positions, Medicare is what most of the candidates are holding up as a model for universal coverage, a goal they all embrace. Medicare is popular among its 60 million beneficiaries, but the program also has limitations, and it is certainly not "free." Co payments can be high for some people, especially for long term hospitalization and some medications. Some Democratic proposals, including those from Mr. Sanders and Ms. Warren, would change that by eliminating premiums and deductibles, and pay for the program instead with higher taxes. As expansion of Medicare becomes a campaign season rallying cry, we took a look at what it's like to be on Medicare now. Here are some answers to basic questions. What exactly does Medicare cover? Are the benefits good? The benefits are comprehensive, though not exhaustive. Medicare divides benefits into categories. One, Part A, covers inpatient care at hospitals and with some limits skilled nursing facilities, where people often go to recover from an injury or illness. It also covers hospice care and, in some circumstances, home health care. Another category, Part B, covers doctor appointments, outpatient procedures and tests, some mental health services, as well as wheelchairs, walkers and other equipment. Prescription drugs are covered under Part D. Part C is a privately run managed care option called Medicare Advantage. Medicare does not cover glasses, basic eye exams, hearing aids and most dental care frustrating omissions for many beneficiaries, who are at an age when they are more likely to need these services. It also won't pay for care received outside the United States. But by far the most expensive thing Medicare doesn't pay for is long term care in nursing homes, assisted living facilities or at home. Some people buy long term care insurance, or spend down their assets to qualify for Medicaid, which does cover nursing home care. A private room in a nursing home cost an average of 100,375 last year, according to Genworth, a financial company. How much does it cost? Part A typically has no monthly premiums (like Social Security, it's financed by payroll taxes all workers pay) , but it has a deductible of 1,364 per "episode of illness," plus a fixed amount as high as 682 a day if you spend more than 60 days in the hospital. For Part B doctor's visits and outpatient care premiums are based on income. The standard premium this year is 135.50 a month , but financial help is available for people with low incomes who don't qualify for Medicaid, the government health program for the poor, which covers just about everything. Richer Medicare beneficiaries individuals with annual incomes over 500,000 pay 460.50 a month . Premiums are typically deducted from people's Social Security checks. Part B also has a deductible of 185 a year, and co payments of 20 percent after you reach your deductible. Unlike Affordable Care Act plans, Medicare has no cap on out of pocket spending, so the cost can climb quite high for sick people. An analysis by the nonpartisan Kaiser Family Foundation found that Medicare enrollees in fair or poor health spent an average of 6,128 in 2013, or 47 percent of average Social Security income. Prescription drug costs can also be high in Medicare, and they represent one of the most complex, confusing parts of the program. Medicare Part D plans are run by private insurers, and the premiums cost 40 a month on average this year, according to Kaiser. There are also annual deductibles before coverage kicks in they are capped at 415 this year plus co payments and coinsurance. But if your income is low enough, you may qualify for extra help paying for drugs, and in some cases, owe no premiums or out of pocket costs. Then, there is the dreaded "doughnut hole" a gap in which the Medicare drug plans don't pay for patients' medications after they have spent a certain amount this year, 3,820. At that point, enrollees have to pay 25 percent of the cost of brand name drugs, and 37 percent of the cost of generic drugs, until their total out of pocket spending has reached 5,100. Once they hit that, they qualify for "catastrophic coverage," and only pay a small co payment for covered drugs for the rest of the year. Kaiser recently found that one million Medicare beneficiaries had out of pocket spending above the catastrophic threshold in 2017, averaging 3,214. Medicare Advantage is an increasingly popular alternative to traditional Medicare. Advantage plans are offered by private insurers that have contracts with Medicare. These plans have all the same benefits as traditional Medicare, and often more, such as dental care or health club memberships. Co pays and deductibles vary depending on the plan. Unlike traditional Medicare, all Medicare Advantage plans have limits 6,700 this year in most cases on out of pocket spending. Medicare pays Advantage plans a fixed monthly sum for each beneficiary, while in traditional Medicare, providers are paid for each service based on an annual fee schedule. As a result, Advantage plans tend to use tools like pre authorization requirements and strict provider networks to control costs. Those restrictions can be a turnoff to people with a lot of medical needs. Some data suggests people with Medicare Advantage tend to be healthier but less wealthy than those with traditional Medicare. One thing is certain: the private plans are growing in popularity. About one third of Medicare recipients, or 22 million people, now have them, up from six million in 2005. Can people choose any doctor they want? This depends largely on whether they have traditional Medicare or a Medicare Advantage plan. Traditional Medicare allows beneficiaries to seek care from any doctor or hospital in the United States that accepts it, and does not require referrals to specialists or prior authorization for services. But Medicare Advantage plans typically have strict networks of medical providers that beneficiaries have to use unless they are willing to pay more. Some Advantage plans may cover care outside the network, according to the Center for Medicare Advocacy, but the out of pocket costs are generally higher than for in network care. Advantage plans do cover emergency care outside their network if you are traveling domestically, for example but nothing else. Does every doctor and hospital accept Medicare? No, but most do. According to the federal Centers for Medicare and Medicaid, 2,752 doctors and other providers opted out of Medicare in 2018 a minute number considering there are more than one million practicing doctors alone. Psychiatrists are the biggest category of doctors who opt out, according to Kaiser. A small share of doctors who accept Medicare are called "nonparticipating providers," meaning they can choose to charge Medicare patients higher fees, up to a certain limit. The patients are responsible for paying the full amount beyond what Medicare pays a practice called balance billing. It is even more rare for a hospital not to accept Medicare, although some private psychiatric or other specialty hospitals that cater to the wealthy may not.	N24News: A New Dataset for Multimodal News Classification	Health
It's been nearly 20 years since Siberia, a dive bar inside the 50th Street station of the 1 line, left its home in the subway. (It later closed for good.) But now there's a new place to drink near the din of rumbling subterranean public transportation. Merchants' Gate opened in May at the Columbus Circle Station, a cleaner, buffed up bar that dares you to forget that you're in a subway station so much so that patrons may leave their work bags unattended at their high tops to get a refill of Samuel Adams. When was the last time that happened in the subway?	N24News: A New Dataset for Multimodal News Classification	Style
Boris Johnson, the prime minister of Britain, on Friday announced that he had tested positive for the coronavirus. In a brief video released on Twitter, he shared the basics: Having developed "mild symptoms that's to say, a temperature and a persistent cough" he underwent testing and received the bad news. He will now be "self isolating" until the illness has run its course. Looking mostly healthy, if typically disheveled, Mr. Johnson stressed that he would continue to "lead the national fightback" from his home via teleconferencing. He urged the British public to abide by the three week lockdown put into place on Monday. The more effectively people stick with social distancing, the faster the nation and its National Health Service will "bounce back," he said, before closing with the plea, "Stay at home, protect the N.H.S. and save lives." It was a responsible, no drama message. If only the prime minister had displayed such leadership sooner, he and who knows how many others might have been spared this illness. Instead, Mr. Johnson's handling of the crisis has borne an unsettling resemblance to that of President Trump. He was slow to recognize the risks, taking a mid February holiday with his pregnant fiancee at his country home. Even after the virus became impossible to ignore, he remained glib and dismissive, as his government dithered and failed to put together a coherent response. In early March, Mr. Johnson suggested that one course of action would be for Britain to "take it on the chin, take it all in one go and allow the disease, as it were, to move through the population, without taking as many draconian measures." This, he explained later, would create a sort of "herd immunity" that would protect the population as a whole. Um, maybe. But not without killing untold numbers of people first. The approach was quickly recognized as bonkers and scrapped, and Mr. Johnson moved to embrace a more conventional path of containment and social distancing. Policy planning aside, Mr. Johnson's use of the bully pulpit has been an abject disaster. "The best thing you can do is to wash your hands with soap and hot water while singing 'Happy Birthday' twice," he said at a March 3 news conference. "We should all basically just go about our normal daily lives," he urged, before chuckling about how he had been running around shaking hands willy nilly. This prompted a cheeky scribe for The Guardian to call the prime minister "the U.K.'s own super spreader." Such macho swagger would be hilarious if the repercussions weren't so lethal. Who knows how many people Mr. Johnson infected with his blithe ignorance, including potentially his fiancee. Mr. Johnson is far from the only bad role model of the moment. Mr. Trump, of course, has been trumpeting, and indulging in, even more reckless behavior. Until the past couple of days, his news briefings were a case study in poor social distancing, with officials crammed together for the cameras. Not so long ago, he was boasting of how he wasn't bothering to protect himself from germs and was, like Mr. Johnson, still out there slapping palms with the people. As the death toll has skyrocketed and the economy has crashed, Mr. Trump, a well known germaphobe, appears to have started taking his own safety more seriously. He even agreed to get tested after aggressively dismissing the idea. But he has grown, if anything, more cavalier about the lives of the American public. His suggestion that the country can get back to business by mid April is delusional, and his call for people to pack the churches on Easter Sunday, April 12, is demented. So far, Mr. Trump has avoided paying a personal price for his recklessness. Senator Rand Paul, Republican of Kentucky, has not been as lucky. Last weekend, Mr. Paul became the first senator to test positive for the coronavirus. He is unlikely to be the last in part because in the six days between when he was tested, on March 16, and when his results came back positive, Mr. Paul strutted around Capitol Hill, shedding pathogens left and right. He lunched with his colleagues. He held forth on the Senate floor. He breathed all over unsuspecting aides, worked out in the Senate gym and swam in the Senate pool. The United States' own super spreader. And this is before you factor in the fact that Mr. Paul was the lone "no" vote on the first coronavirus relief bill, and he was the guy who delayed passage of the second relief bill to push his pet concerns. It also bears mentioning that Mr. Paul's father, the former congressman and former presidential candidate Ron Paul, has been among those pushing the notion that the coronavirus pandemic is a hoax. As has often been noted, the Senate is a high risk population for Covid 19, with nearly half of its members age 65 or over. Mr. Paul's selfish negligence has already compelled two of his Republican colleagues to self quarantine, Senators Mike Lee and Mitt Romney of Utah. The potential exposure of Mr. Romney who tested negative was particularly disturbing, since his wife suffers from multiple sclerosis. But Mr. Paul put the entire chamber at risk, and by extension the entire nation, which is relying on lawmakers to help guide it through this nightmare. Rather than express regret, however, Mr. Paul has belligerently defended himself against all the "finger wagging." In an op ed for USA Today he whined that he never met the criteria for testing or quarantine, so he doesn't see why everybody is so angry. But he did get tested. He just couldn't be bothered with the quarantine part until after he got smacked in the face with the results. Then there's Jair Bolsanaro, the president of Brazil, who continues to out Trump even Mr. Trump with his poor example. Nearly two dozen people who traveled with Mr. Bolsanaro to meet with Mr. Trump in Florida this month have tested positive for the virus. There were initially reports that Mr. Bolsanaro has tested positive as well, which he and his family later disputed. Mr. Bolsanaro seems to have taken his near miss as license to dismiss the pandemic as "a little flu." Even as Brazil leads Latin America in both confirmed cases of and deaths from the virus, Mr. Bolsanaro has railed against social distancing as "mass confinement" and called on people to go back to their regular routines. He has blamed the media for fueling "hysteria." He has continued to shake hands with people and says he has no concerns for his own heath, despite being, at age 65, at increased risk of complications. "In my particular case, with my history as an athlete, if I were infected by the virus, I wouldn't need to worry," he said. "I wouldn't feel anything or, if very affected, it would be like a little flu or little cold." Brazil's minister of health has warned that the nation's health system could collapse by the end of next month, and the nation's governors are struggling mightily to manage the situation on the ground, even as their president makes that job significantly harder. It's a depressing echo of what many American state and local leaders are facing. As governors of hard hit states such as Gavin Newsom of California, Jay Inslee of Washington and Andrew Cuomo of New York labor to provide guidance and keep their residents safe, they are battling not only the virus but also the muddled messaging and stutter step relief efforts coming from the White House. Weak leadership, it turns out, is its own form of devastating pandemic.	N24News: A New Dataset for Multimodal News Classification	Opinion
She was an impoverished Jewish immigrant from Russia who had started working in a cigar factory at the age of 11; he was the scion of an old money Episcopalian family who enjoyed a mansion on Madison Avenue and a weekend house with a bowling alley. When Rose Pastor married James Graham Phelps Stokes on the shores of Connecticut in 1905, the couple insisted on omitting the word "obey" from the ceremony. They became active members in the Socialist Party, lending their support to a labor movement under siege during a time of widening inequality. Rose's socialist commitments were seamlessly aligned with her life experience; Graham's were more surprising, but he took to them with the ardor of a convert. Writing to his "darling Mother," who like many women of her station put a lot of stock in her own charitable deeds, he asked whether she "recognized the injustice of the system which provides you with your great income at the expense of others; and whether you recognized the relation between this system and the terribly widespread suffering which you endeavor so earnestly to relieve." In "Rebel Cinderella," Adam Hochschild writes movingly about an unlikely pair who also served as a potent symbol. The public was so fascinated by the couple that some Americans kept scrapbooks documenting Rose's fairy tale ascent. For several years, she was mentioned in the press more than any other American woman. Hochschild notes that as the Gilded Age yielded to the Progressive Era, Rose and Graham seemed like the ideal embodiment of socialist ambitions: "What could better symbolize the hope of human brotherhood than such a marriage of rich and poor, native born and immigrant, Gentile and Jew?" Hochschild is a superb writer who makes light work of heavy subjects, having published books about the conflagration of World War I and the brutal colonialism of Belgium's King Leopold II. In "Rebel Cinderella," he brings his roving curiosity to bear on a figure whose public life coincided with the roiling decades of the early 20th century, with its grotesque economic disparity, vicious anti Semitism, seething white nationalism and swelling anti immigrant fervor. The time of upheaval that he writes about bears an unnerving resemblance to our own. The name Rose Pastor Stokes may no longer be familiar, but Hochschild found plenty of newspaper clippings in his research, along with thousands of letters, unpublished memoirs, Rose's diary and even reports detailing the surveillance of her by the predecessor of the F.B.I. Unearthing some mournful poetry Rose wrote about her time in the cigar factory, Hochschild corroborates her grim portrait with notes made by a factory inspector. Where information is scant or nonexistent, he deploys elegant workarounds that evoke a vivid sense of time and place. About Graham's bachelor years before meeting Rose, he writes: "For unmarried men of his class and time, any sexual experience was likely to be furtive and paid for." When Rose met Graham she was working as a reporter for The Jewish Daily News (a job she was offered after writing an occasional column about factory life), living on the Lower East Side as the sole breadwinner in a household that included four of her younger siblings and their mother. Graham had a medical degree and was living in settlement housing, where the wealthy lived alongside the poor, which appealed to his sense of noblesse oblige. He was charmed by her, recounting in a letter how much he enjoyed her 25th birthday, when she invited him to her humble apartment and offered him a glass of milk, bread and butter, an egg and a banana. She was charmed by him, too, recalling years later that he had reminded her of "the young Abe Lincoln." Adam Hochschild, whose new book is "Rebel Cinderella: From Rags to Riches to Radical, the Epic Journey of Rose Pastor Stokes." They embarked on a partnership that was remarkable at least at first. His ample funds afforded a material security that allowed them to devote all of their time to the socialist cause. Rose proved to be a charismatic orator, holding forth with the exuberance and volume that were essential before the advent of loudspeakers and mics. She would eventually take to writing plays, believing they were a tool for justice, and she had an instinct for theatrical gestures. During a restaurant workers' strike, she suggested putting salt in the sugar bowls and replacing the drinking water with vinegar. As Rose was flourishing, though, Graham seemed to languish, and a little more than halfway through "Rebel Cinderella," Hochschild foreshadows a dark turn. Graham had started a book on the Founding Fathers but never finished it, and ran for elected office several times without success. He was never as popular a speaker as his wife, and would get petulant when she had been away for what he felt was too long. But he could be petulant when Rose was at home, too, accusing her of "loafing" when she was convalescing from bronchitis. "The terrible loneliness of one's soul in such moments!" she confided in her diary. World War I was the external shock that did in their marriage, as Graham began supporting American involvement in the war and even sent letters to the State Department to name former comrades he suspected of being German agents. Rose initially sided with Graham, but she soon recoiled. She felt like she was betraying her own class and ideals, and was particularly disturbed by an invitation to visit the White House, or "the seat of Capitalist power," as she put it. "What is wrong with me that I elicit such an invitation?" Hochschild suggests that Rose's story should speak to us because in our new Gilded Age, "the appeal of making that magical leap from poverty to great affluence is once again resurgent." But the parallels, as he acknowledges, aren't exact. The Cinderella scenario seems hopelessly retrograde not to mention that a social safety net, however fraying, exists largely because of efforts by agitators like Rose. Hochschild's book shows us what a radical movement looked like from the inside, with all of its high flown idealism and personal intrigues. Whatever protections we take for granted once seemed unfathomable before they became real.	N24News: A New Dataset for Multimodal News Classification	Books
For decades, the Labor Day holiday was synonymous with the weekend long telethon hosted by Jerry Lewis, on which that comedian and filmmaker served as the M.C. for all kinds of entertainment sometimes highly polished, other times less refined while encouraging viewers to donate to the Muscular Dystrophy Association. But Lewis, who died in 2017, hosted his last such telethon in 2010, and despite attempts to keep the program going with other presenters, the association announced its cancellation in May 2015, before that year's telethon could be held. Now the association says it will revive the telethon as a one day, two hour event, to be shown on Oct. 24 and hosted by Kevin Hart, the actor and comedian. "The MDA Kevin Hart Kids Telethon," as it will be called, will raise money for the Muscular Dystrophy Association and for Help From the Hart, a charity organization founded by Hart that focuses on social, education and health efforts in underserved communities and provides scholarships and vocational training. The program will also feature appearances by celebrity guests including Michael B. Jordan, Eva Longoria, Usain Bolt, Jack Black, Josh Gad and Jillian Mercado. Hart said in a statement that the telethon was "an incredible opportunity to bring the work of Jerry Lewis and the Muscular Dystrophy Association forward," adding that collaboration between the two charity organizations was intended "to educate and entertain the public about the need to support people with disabilities and disadvantages, because we are all in this together."	N24News: A New Dataset for Multimodal News Classification	Television
EL PRESIDENTE Stream on Amazon. This new dramedy series reimagines the 2015 scandal that rocked FIFA, the governing body of international soccer. It centers on Sergio Jadue (Andres Parra), the president of a small soccer club in Chile who rises through the ranks of South American soccer only to be caught in a 150 million bribery scheme. DEAR CLASS OF 2020 3 p.m. on YouTube. Public figures across the world have been showing their support for seniors who are missing out on rites of passage because of the coronavirus. In May, Mindy Kaling and B.J. Novak of "The Office" hosted a star studded virtual graduation on Facebook. Oprah Winfrey gave the commencement address. Then the former first lady Michelle Obama and MTV threw a virtual "Prom athon" for high school seniors. Now, YouTube is celebrating the class of 2020 with its own graduation event, featuring commencement speeches by Barack and Michelle Obama, BTS, Lady Gaga and more. Other celebrities, including Beyonce, Alicia Keys and Taylor Swift, will also make appearances.	N24News: A New Dataset for Multimodal News Classification	Television
Carla Fendi, one of five sisters who inherited a small Roman leather goods workshop and together transformed it into a global luxury powerhouse famed for its reimagining of the classic fur coat, died on Monday in Rome. She was 79. Her death was announced by Fendi. The company said she had been ill but did not specify the cause. Fendi, now owned by the French luxury group LVMH, is recognized for making fur a contemporary fashion trend rather than merely a wardrobe staple of the upper class or older consumer (its distinctive double F logo stands for "fun fur"); for its luxe leather "it" bags, like the Baguette; and for its longtime relationship with Karl Lagerfeld, who has designed collections for the house since 1965. The fashion house staged a spectacular show with a plexiglass catwalk across the Trevi fountain last year to celebrate its 90th anniversary, at a reported cost of 2.4 million, and in 2007 it put on a runway show on top of the Great Wall of China the first fashion show to be visible from the moon, a spokesman said at the time. But the house, which at its height was a rare fully female fashion dynasty, had humble origins. Founded in 1925 in Rome by Adele and Edoardo Fendi as a small leather goods store (and secret fur workshop), the business was a home away from home for the couple's five daughters, Carla, Paola, Anna, Franca and Alda, who grew up on the shop floor playing and sleeping amid its samples and handbags. While Paola, Anna, Franca and Alda Fendi later became important creative forces in the evolution of the brand, it was Carla, born in Rome on July 12, 1937, who was the mastermind of its commercial and marketing strategies. Soon after the company moved to a site near the Spanish Steps in 1965, Fendi bags, furs and scarves became beloved by Hollywood, European royalty and the global glitterati. In the next decades, Carla, affectionately nicknamed the General (her official title was house president), became central to the march of the Fendi brand, particularly regarding its North American operations, and to cementing its position as a patron of Italian heritage and the arts. She had no children, although the other sisters went on to have 11 among them and more than 30 grandchildren. It was a measure of the sisters' importance to Italy that a special government dispensation was granted to allow their descendants to adopt their maternal surname. However, to best ensure the future of the company and to preserve familial relations the sisters decided in 2001 to sell a controlling stake to LVMH. "Five sisters was too much," Mr. Lagerfeld, who has often been referred to as the sixth Fendi child, said after the deal was announced. "And they were not speaking. The husbands were all happy when they sold." Despite the takeover, Carla Fendi remained honorary president until her death. Deeply committed to Rome and its culture, she helped finance the restoration of the Trevi Fountain through her Carla Fendi Foundation and alongside company initiatives spearheaded by the company's chief executive, Pietro Beccari. An avid collector of 20th century European art and design, Ms. Fendi was also a chief patron of the Two Worlds arts festival in the Umbrian city of Spoleto. Her husband of 55 years, Candido Speroni, died in 2013. She is survived by her sisters. "Aunt Carla was one of the most visionary people I have ever met," Silvia Fendi, Ms. Fendi's niece and the creative director at Fendi for accessories, men's and children's wear, said in a phone interview. "She was very ambitious and driven, totally determined to make her small family company an international one in a way that was very rare for women in the '60s." Silvia Fendi is the daughter of Carla's sister Anna and the only family member still actively involved in the running of the house. Her latest men's collection was shown in Milan on Monday, hours before her aunt died. Tributes from the Italian fashion world flooded social media on Tuesday as news of Ms. Fendi's death spread. On Instagram, Simone Marchetti, the fashion editor of the Italian newspaper La Repubblica, wrote, "How important it is to leave a trace not just on fashion and on business, but most of all on art, beauty and theater."	N24News: A New Dataset for Multimodal News Classification	Style
There are times when a cautious investor can take risks that a rough and ready speculator cannot. When the price of an asset has plunged so far, so fast that it seems to get cheaper by the day, it can be imprudent for a short term trader to bet that the trend will change. An investor planning for the long haul can be confident, however, that what seems like a bargain will pay off eventually. Certain depressed assets notably stocks in emerging markets or those related to energy and other commodities, or the commodities themselves fit the bill, investment advisers say. They could offer excellent returns in coming years, even if they are risky propositions in coming weeks. "Valuation is a very important consideration for long term returns, but it's a terrible mechanism to time when to buy and sell things," said Russ Koesterich, global chief investment strategist at the fund management firm BlackRock. He finds good values available but advises, "Don't kid yourself that you're going to get in at the low." Among the beaten down groups of investments, Mr. Koesterich prefers emerging markets. "It's a universally hated asset class" that "has underperformed for years," he said. He cautioned that while emerging markets in general are cheap, there is great variation in prospects among individual countries. The best long term bets, in his view, include India and Mexico. Chris Brightman, a financial adviser at Research Affiliates in Newport Beach, Calif., highlighted in a recent report how cheap emerging markets are relative to others and to their own history. They were trading at less than half the valuation of American stocks, based on a measure that compares prices with an average of companies' long term earnings, a way to compensate for business cycle fluctuations, and at less than 60 percent of their own average valuation over the last 20 years. The discrepancies have led him to calculate that emerging markets will return 7.9 percent a year for the next decade, net of inflation, compared with 1.1 percent for their American counterparts. He makes no claim about any shorter horizon. "Speculators in equities ask how I can be sure that equity prices in emerging markets will rise more than equity prices in the United States over the coming year," Mr. Brightman wrote. "I respond that I have no clue about the prospects for short term price changes. I am not speculating on price changes, I explain. I am investing to build long term wealth." On Wall Street, by contrast, analysts and money managers are judged on how well they do in a given year or even quarter. That can cause people to overemphasize the importance of recent performance when judging prospective investments. As strategists at HSBC note, recent history in developing markets is unpleasant. The developing world "appears to have inherited a bad legacy from the developed world, namely low growth and high debt," they said in a report last month. They go on to say that the "bleak fundamental outlook makes us remain cautious" and that "current valuations offer only limited opportunities on a very selective basis." HSBC recommends owning stocks in China, India, Mexico and Taiwan and avoiding Brazil, Malaysia, South Africa and Thailand. The HSBC strategists are not alone in their disdain. The latest Bank of America Merrill Lynch survey of global fund managers found them to be shunning emerging markets more than any other asset class, relative to their average allocation. Energy ranks a close second. Oil is trading at roughly half its price in the summer of 2014. Natural gas and other energy commodities have been pounded too, as have the stocks of companies that produce them. James W. Paulsen, chief investment strategist at Wells Capital Management, expects that to change. Weak commodity prices will stimulate economic growth, he predicts, raising risks of inflation and higher interest rates. That, in turn, should lead commodity prices to recover, helping shares of commodity producers at the expense of those of consumer oriented businesses as well as the broad market. "I think leadership is going to change," he predicted. There has been "a massive tax cut in the form of a halving of commodity prices. Long term, that is hugely stimulative because 95 percent of the world is commodity consumers, not producers." Anticipating a recovery in commodities, he encouraged investors essentially to focus on the other 5 percent by buying stocks in economies where commodity production plays a big role, such as Canada and Australia. Foreign markets are generally cheap and so are commodities, so investments that can benefit from recoveries in both could be particularly rewarding, he said.	N24News: A New Dataset for Multimodal News Classification	Your Money
ROME Restorers on Tuesday put the finishing touches on a seven year restoration of two underground burial rooms at the Catacombs of Domitilla, which revealed long hidden frescoes commissioned some 1600 years ago by the city's bakers. "We finished working on one cycle practically this morning," said Barbara Mazzei, who oversaw the restoration of the paintings on behalf of the Vatican's Pontifical Commission for Sacred Archaeology. The frescoes had been hidden under a chalky deposit and algae during their many centuries of abandonment, while smoke from oil lamps had darkened the crusty surfaces. Using lasers, restorers stripped away the deposits strata by strata a technique never used before in the catacombs. A melange of figures gradually emerged, depicting Old and New Testament figures, but also vignettes relating to the baker's trade.	N24News: A New Dataset for Multimodal News Classification	Art & Design
"For Life," the new ABC drama about a Bronx inmate on a life sentence who becomes a lawyer, belongs in the small but increasingly relevant genre of the unjust incarceration story, joining works like the currently screening film "Just Mercy" and Ava Duvernay's Netflix documentary, "13th." As a drama series focused on a particular social justice issue, with specific reference to race, it's in tune with the times such shows are common on cable and streaming but still a rarity on broadcast network television. That might be why it's arriving in February (13 episodes beginning Tuesday), away from ABC's more prominent fall premieres, the popcorn dramas "Emergence" and "Stumptown." (It recalls Fox's spring showing of the police shooting drama "Shots Fired" in 2017.) So the debut of "For Life" serves as a small marker in an evolving national conversation. But it's also an indication and this is more interesting, from a critic's point of view that ABC is maintaining its current roll. The sci fi adventure "Emergence" and the private eye drama "Stumptown" emerged, along with CBS's "Evil," as the most entertaining and emotionally engaging shows the Big 5 networks came up with last fall. And "For Life" also looks promising, though critics were given only three episodes to go on. Better than the network average has been the byword of the show's creator, Hank Steinberg, whose previous series were "The Nine," "Without a Trace" and "The Last Ship." They played unusual variations on crime and combat formulas, and their inventiveness was always notable if not always successful. (One of the show's executive producers is Curtis Jackson, better known as 50 Cent, who's also a producer of the Starz series "Power.")	N24News: A New Dataset for Multimodal News Classification	Television
"There's a reason that people crowded around their radios during the Great Depression," Annaleigh Ashford says. "Because it was an escape." The actress Beatrice Lillie, who first appeared on Broadway in 1924, was also a radio star. "You have to make your voice do everything," James Monroe Iglehart said. If you have seen Iglehart onstage as the genie in "Aladdin," say, or as Jefferson in "Hamilton" you will have admired his nifty footwork and kinetic facial expressions. Those don't matter now. In his apartment, in front of his "really expensive" microphone, he creates characters with vocals alone. Since theaters shut down in March, some Broadway actors have found a new stage. Over the last month, a host of audio dramas and musicals have appeared: "Little Did I Know," about recent college grads who take over a summer theater; "Bleeding Love," about a post apocalyptic city in which people are afraid to go outside; "Dracula, a Comedy of Terrors," about well, Dracula; "Closing the Distance," an anthology series about quarantine; and "The Pack Podcast," another anthology series. These shows have been assembled, wholly or in part, by stage actors in isolation. Some, like Iglehart, who has done voices for Disney series, and Annaleigh Ashford, who played a troll in "Frozen" ("I'm very proud of that") have considerable voice over experience. Others have little or none. Among them, they have recoded only a handful of audiobooks, a reliable source of income for actors between live jobs. All are trying to master the form's technical specifics "the spit or the plosive p's, those things get in the way," Kelli O'Hara said and pull off decent sound quality while stuck at home. "It's been really challenging with a 3 three year old," Ashford said. But in offices, bathrooms and beneath duvets, they are making themselves heard. An audio drama isn't the same as a stage show. "What makes theater a unique art form is that the actors and the audience are in the same room," Taylor Trensch said. But maybe it kind of is. O'Hara said that while recording, "I felt that same rush of desire to communicate." Maybe it's even better. As she pointed out: "We're using your imagination. We're not giving you everything. We're letting you build the world while you listen." And everyone agreed that with theaters shut, it was good to have something to do. "Oh my gosh, it was nice to just have a reason to be creative," Trensch said. That these were all paying gigs helped too. We spoke to performers about recording at home, building a role through phonemes alone and whether audio drama can replace live theater for now, anyway. These are excerpts from the conversations. Character: Lizzie, "a woman who knows exactly what she wants" Where did you record? On my bathroom floor with a microphone on my toilet incredibly glamorous and my dog just laying by the bathtub. How do you develop a character using just your voice? I have to rehearse in front of a mirror first. I have to act with my face, with my entire body, because otherwise nothing will come through. It's a bit lonely. Does this substitute for live theater? I think it's a great substitute. I love that the audience can be engaged in their imagination, seeing these characters the way that they want to see them. Seeing things on Zoom for me is not the same an apartment in the background doesn't do it for me. Where did you record? In my bedroom, right by a window, which is not necessarily the best thing, but I have big curtains. How do you develop a character using just your voice? Voice over work has made me a better actor. The specificity of every moment, every breath, every pitch is so important. It becomes very intimate. Does this substitute for live theater? I love this medium. I love telling stories in this way. Where did you record? I'm in San Antonio with my parents, recording in our home office. With some of the racier scenes, my parents were like, "What was happening in there?" How do you develop a character using just your voice? Complete, genuine honesty. Because you can hear it when people are just speaking words. Does this substitute for live theater? The reason that there's a reverence for live theater is you're not able to manufacture or multiply it. It's special. Character: Sweet William, "what he lacks in intelligence he makes up for in tenderness" Where did you record? I live in a railroad apartment and my bedroom is perfectly in the center. I sat on the ground next to my bed and put the comforter over my head. How do you develop a character using just your voice? I try to think about layering in as many details as possible. I am mentally, energetically trying to send all of my thoughts and feelings through my voice. Does this substitute for live theater? Podcasts are amazing. But I don't think they can measure up to the back flips in your stomach that you get from seeing an amazing play or musical. Where did you record? In my office in my apartment in New Jersey. How do you develop a character using just your voice? Voice over gives more freedom because you can be silly and crazy. You don't have to worry about what you look like. So you can go as far as you want. It's just about conveying that emotion of what's happening. Does this substitute for live theater? I'm not going to call it a substitute, but I would say it is a good diversion. I bet when this is all over more people will be using their computer to create content. Character: Lolly, "she wants what she wants when she wants it" Where did you record? In the living room at the Airbnb I was in. How do you develop a character using just your voice? You have to stay focused and listen in a different way, working off of the other actors without being able to see them and feel them and touch them. You have to make your tech setup intimate. I've almost had to become personal with the microphone. I don't mean that in a weird way. Does this substitute for live theater? All of it is good for now, because it's what we've got. But it's also really frustrating, because it just reminds us of what we don't have. Where did you record? In my closet with a bunch of pillows around me. How do you develop a character using just your voice? As physical as you are onstage, you are behind the mic. Does this substitute for live theater? There's a reason that people crowded around their radios during the Great Depression, because it was an escape. Listening engages you in a really special way that feels more like live theater than watching a video screen. Character: Mommy, "just a mother at home trying to come to grips with what's happening" Where did you record? We're in the house out of the city and we have a room upstairs that we use as an office. I was in the back sitting at a table and my husband was sitting on my children. How do you develop a character using just your voice? We read one pass yesterday very simply and it was very heart wrenching for me. Then the note came back: "Give me all of your emotion." You never know what they're hearing on the other end. Does this substitute for live theater? It is a little bit of a gift. I sat up in that room yesterday and I felt the same adrenaline rush that I've gotten performing in front of people. There were aspects of theater that were getting too unimaginative. In something like this, the listener is responsible for being the creator.	N24News: A New Dataset for Multimodal News Classification	Theater
Stick Insects Are Easy Bird Food, and That Might Help Them Reproduce None New research suggests that when the stick insect is eaten its eggs can be dispersed far and wide. It's obvious why a stick insect's wardrobe is the way it is. Look like a stick, avoid getting eaten. But scientists in Japan noticed that despite their camouflage, stick insects became bird food quite frequently. And they also wondered: why do their eggs look like seeds? In a paper published last week in the journal Ecology, the team of researchers suggest that these mostly flightless insects could sometimes benefit when they are eaten, using birds as carriers to disperse their eggs miles away, just like seeds. This passive dispersal mechanism could be why stick insects are found in places far from their original homes. "It's commonly assumed that when insects are eaten by birds, they and their unborn young have no chance of survival," said Kenji Suetsugu, the leader of the study, a biologist who studies parasitic plants at Kobe University. But their results potentially overturn this dogma, he added. Like the Science Times page on Facebook. Sign up for the Science Times newsletter. Because plants can't move around on their own, one way they disperse their seeds is by creating seed containing fruits that animals eat. Thus, as animals travel, relieving themselves along the way, the plants travel too through their seeds. But many birds also eat insects. So the researchers reasoned, that just like the fruits, the insects could be a means for dispersal, as long as their eggs can pass through the birds unharmed. One thing that makes stick insect eggs different from most other insects is that they resemble seeds same shape, size, color and texture. And they're coated in a chemical layer of calcium oxalate, the stuff humans find in kidney stones. As you might imagine, it doesn't dissolve easily. Some of these eggs, carried inside females in certain stick insect species, also don't need to be fertilized to hatch into viable offspring. A close up of stick insect eggs that have passed through birds' digestive tracts. An earlier hypothesis is that the thickness and shape of stick insect eggs protects them from parasitic wasps. But the researchers also wondered whether these hard shell, every ready eggs survive a bird's digestive tract. In 2015, Dr. Suetsugu and his team mixed dozens of these eggs into bird food and fed it to brown eared bulbuls, birds that eat stick insects in Japan. Within three hours they were scavenging through bird excrement, looking for intact bug eggs under a microscope. A small percentage of the eggs from three species of stick insects made it through intact. But two years later, none had hatched. It's possible that the temperature and chemical environment inside the digestive tract "might have annihilated them, in spite of a lack of mechanical damages," they wrote. However, they repeated the experiment in 2017, with 70 eggs from a single species. Twenty percent made it through, and two of those hatched, proving that it was possible for birds that consumed stick insects to drop their eggs like seeds to new locations. Perhaps not coincidentally, the insects' egg production season overlaps with the birds' migration season. But even with flocks adding up to hundreds of birds eating stick insects and excreting their eggs, dispersal would be a rare occurrence, given that stick insects don't carry many fully developed eggs inside them, and so few make it through the brown eared bulbul's digestive tract intact and viable. They now want to determine whether stick insects share similar genes in different locations along the birds' migration flight paths. They also want to know if stick insects might have some of the same genes as plants that rely on birds for seed distribution, which could be another sign that they're even more plantlike than we think.	N24News: A New Dataset for Multimodal News Classification	Science
The Luckiest Team in the Country Needs a Little More GREENSBORO, N.C. As advanced statistical analysis and its attendant new technology continue to reshape how sports are understood, watched and even played when to punt on fourth down in football, where to position a baseball team's infielders and how to build a winning basketball team these new numbers also create a vexing problem: How to account for what complex algorithms cannot explain. The thirst for information is such that one essential set of college basketball data that will help determine the field for this month's N.C.A.A. tournament, Ken Pomeroy's eponymous KenPom ratings, includes a metric to shed light on when things do not actually go by the numbers. Pomeroy has a rather analog term for it: luck. "Luck is basically performance in close games," Pomeroy said. "People generally don't like the term 'luck' that's the feedback I get. Technically, I'd call it 'randomness' or something a lot more wordy, but that doesn't fit well above a column." In short, KenPom's luck factor considers the difference between a team's record and what the data would expect it to be. If a team's record is better than its predictive numbers, it is lucky. If it is worse, then it is unlucky. This season, according to the KenPom ratings, no team among the 353 Division I college men's basketball programs has been luckier than the University of North Carolina at Greensboro. The Spartans resemble a team one might expect from a coach, Wes Miller, who transferred to North Carolina as a walk on, then earned a letter on a national championship team and eventually a spot in the starting lineup. They are resourceful and determined, and have the ethos (and the recruiting budget) of an underdog. Greensboro has a 28 6 record the best in program history and finished second in the Southern Conference, behind Wofford, which was ranked 20th in this week's Associated Press poll. Did luck have something to do with it? Miller, pulling up a folding chair before a recent practice, reacted as one might expect. He praised Pomeroy as "a genius," expressed fascination with analytics and said there were others on his staff who delve deeper into the data to provide the most salient information about the Spartans and their opponents. "I'm not a mathematician," he said. "I'm a basketball coach who's always trying to figure out an edge to help me coach better. But there's never been anybody that could put a number on will and togetherness of group. "There's something that's happening in our games that's indescribable to his data that's getting us over the hump," Miller added. "That's toughness. That's the ability to win close games. The proudest I ever am as a coach is when we have an awful shooting game or we have an awful offensive game and things don't go our way and we still find a way because our team was able to dig down and figure out a way to get over the hump." Alan Castel, a psychology professor at U.C.L.A. who studies memory and metacognition how we think about our thinking said that while confidence (or the lack of it) is a fundamental element of athletic competition, it is often misplaced. "The human mind doesn't rely on big data," said Castel, whose research has debunked the hot hand theory the belief that a team should get the ball to a shooter who is on a hot streak. "We're prone to rely on illusions and small sample sizes and what we want to think." If Greensboro's Spartans are the luckiest team in the country, he said, they deserve some of the credit for it. "To be lucky, you need to put yourself in a situation," Castel said. "To win the lottery, you need to buy a ticket." Or, he added, to win the N.C.A.A. tournament, you need to get in. And to do that, the Spartans almost certainly will require a little more luck. Some years ago, a resume like the Spartans' might have looked glossier. They have a sparkling record, are 7 0 in games decided by 5 points or fewer and have been competitive in defeats at 10th ranked Louisiana State (97 91) and sixth ranked Kentucky (78 61), a game that they led with less than nine minutes left. But they lost to Wofford twice in the regular season by 29 and 30 points and for a third time on Monday night, 70 58, in the Southern Conference tournament championship game. Yet it is this profile a team that has squeaked past bad teams, competed against good ones and been pounded only twice, by the best team in its conference that explains why Greensboro's luck factor is .175, which, if it holds until the season is over, would be the highest of any team since 2013. What that figure means, Pomeroy said, is that in a luck free environment, the Spartans' winning percentage would be 0.175 lower than it is. As a result, they would have six fewer victories and a 22 12 record without any luck. There are real world consequences: Through Tuesday's games, Greensboro ranked 81st in KenPom's overall ratings, lagging behind East Tennessee State (71st) and Furman (55th), against whom they combined to win four of five games this season. (The N.C.A.A.'s new NET metric, which the tournament selection committee is using to evaluate teams this year, is only slightly kinder: It has the Spartans 58th.) Once the N.C.A.A. tournament begins next week, with a broad spectrum of schools from around the country, a clearer picture will emerge of whether teams that have been deemed to have enjoyed metric good fortune have punched above their weight all season. The Spartans, at this point, would consider themselves lucky to have the chance.	N24News: A New Dataset for Multimodal News Classification	Sports
Technically, it wasn't her childhood home. But in the case of Colleen Thomas's new site specific work, "Welcome Home," inspired by her years growing up on Governors Island her father was a photographer for the Coast Guard it was close enough. She wanted to set the piece in her family's former residence, where she lived from age 6 to 12, but it suffered severe water damage during Hurricane Sandy. She compromised with another home nearby. And still, it was a homecoming. On Friday afternoon, an intimate audience was ushered into building 10A in Nolan Park by Olivia Young, Ms. Thomas's 10 year old daughter. (Ms. Thomas, it turns out, did have piano lessons there as a child.) The cast, wearing mainly '70s clothing, possessed a "Brady Bunch" vibe; Dylan Young, Ms. Thomas's 5 year old son, set up a preshow lemonade stand. Her husband, Bill Young, a dancer and choreographer, appeared in the work, along with her mother, Kathy Stephens, and her father, Jim Stephens, who greeted audience members in a nook labeled "Dad's Room" where he discussed his photography and pointed to via a window the building they once lived in. (Stephens is Ms. Thomas's maiden name; Thomas, a name from a previous marriage, is what she uses professionally.) "Welcome Home" had its share of sweet moments, yet it wasn't as innocent as its title suggested. Adolescence is filled with anguish, and Ms. Thomas, in her better choreographic moments, illuminated the pain and pleasure of a young girl becoming a woman in fleeting scenes, as when the dancer Jessica Stroh grappled with balance and instability in near darkness. Was she floating? But the teasingly combative duets for Ms. Thomas and Darrin Wright, conceivably a stand in for her brother, wore thin. Yes, brothers and sisters fight. What else?	N24News: A New Dataset for Multimodal News Classification	Dance
WORLD'S TOUGHEST RACE: ECO CHALLENGE FIJI Stream on Amazon. You have to feel some sympathy for the competitors featured in this adventure series: As an opening montage shows participants climbing, hiking and paddling through rugged terrain, the show's host, Bear Grylls, explains that each day of the competition "will present a new array of relentless challenges designed to break them down physically, mentally and emotionally." Soon after, Grylls offers an addendum: "All of them," he says, "are going to suffer." So it seems safe to say that the show like the competition itself is not for the faint of heart. It pits dozens of teams from many countries against each other in an 11 day race all over Fiji. TEENAGE BOUNTY HUNTERS Stream on Netflix. It's all in the title. This new comedy series follows Sterling (Maddie Phillips) and Blair (Anjelica Bette Fellini), teenage twins who go into business with a grown up bounty hunter (Kadeem Hardison), whose line of work is nearly as perilous as the twins' high school social lives.	N24News: A New Dataset for Multimodal News Classification	Television
The purple blasted BlueStar Platinum Series range ( 12,424) is in harmony with Pantone's color of the year. For years, A frame houses dotted lakeshores, ski towns and Catskills mountain resorts, looking like moldy leftovers from the 1960s and '70s, the architectural equivalent of shag carpet and hot tubs. Many were drab brown, cheaply constructed of plywood and converted over the decades from groovy weekend getaways to down market year round housing. Then, suddenly, headlines like "23 Dreamy A Frame Cabins We Love" and "This Couple Built a Tiny A Frame Home for Only 700" began appearing on design blogs and in magazines, along with chic looking modern examples photographed in serene woodland settings. "Part of the re emergence is piggybacking on the broader interest in midcentury modern," said Mr. Randl, an architectural historian teaching at the University of Oregon who, while researching an earlier book on A frames, discovered that no less than the architect Rudolph Schindler built them. And among designers, who make up many of the homeowners in the book, "there's also the ongoing interest to have a challenge, to adapt," he added. For all their outdated associations (rising gas prices during the Carter administration helped to doom them as weekend retreats), A frames can, in fact, be made strikingly modern. Like Mr. Potato Head, a basic form allows for add ons: floor to ceiling windows, second story decks, solar panels, cozy front porches. They are also economical, environmentally low impact and cute like tiny houses. But today's design cognoscenti may like the modest dwellings for the simple reason an earlier generation did. As Mr. Randl put it, "A frames are distinctive looking." Steven Kurutz Since Pantone announced its Color of the Year in December, retailers and manufacturers have been peddling enough purple products to encourage the look of running a grape press in your living room. There is the tufted MCD sofa from Ligne Roset (from 3,380) and classic Carl Hansen Son CH24 Wishbone chair updated in lavender lacquer (from 595); the violet Louis Poulsen Panthella Mini lamp ( 430) and Flos Taccia lamp ( 995); the eggplant hued Nude Beak glass carafe ( 92); purple ombre Glow place mats from Chilewich ( 20); and even a purple blasted BlueStar Platinum Series range ( 12,424) and Big Chill Retropolitan refrigerator ( 3,995). Many of these products are not so much Ultra Violet as plain old purple (no word on whether the celestial and creative properties still apply). For a splash of the exact color, there is the Pantone branded Deneb pendant lamp ( 60), curiously the smallest, and only, product available in the hue from the larger Pantone lighting range. "It's a risky color," said Kare Arndt de Thurah, the creative director of e3light, which partnered with Pantone on the collection. But, "David Bowie, Prince and Jimi Hendrix loved the color, so hopefully some of the fans will buy it." Tim McKeough "The fact is, when you walk a dog, whether you're out in fields or walking on the sidewalks, your dogs pick up salt and mud," said Ken Malian, an owner of GreenRose Fine Homes and Design in New Jersey. Which is why Mr. Malian is building two homes with dog showers: one in a mudroom off the kitchen, the other in a three car garage. According to Mr. Malian, dog showers have become so commonplace like a powder room or upstairs laundry room that going forward, all of GreenRose's 800,000 and up home designs will include one. He estimated that adding a dog shower to an existing mudroom costs upward of 5,000, depending on the quality of tile used. The national luxury home building company Toll Brothers also offers a dog shower option in many of its homes. Kira Sterling, the company's chief marketing officer, noted that buyers find value in the "kind of controlled chaos aspect." For Lisa Christie, an architect in Portland, Ore., the idea of installing a dog shower came gradually. An outdoorsy client wanted a spot in the mudroom to rinse off his climbing gear. About a month into the project, he declared his intention to get a dog, so she raised the floor of the mini shower to make it more comfortable for soaping and rinsing a pet, and added a towel rod. "If someone buys the house in the future and they don't have a dog, it's still a really useful thing," she said. Hayley Krischer In a cozy backyard in Chico, Calif., Hans Stullken, 35, an executive with a company that installs solar electric equipment, built a 10 by 12 foot shed that functions as a detached work space he and his wife call it their "casita." The stucco and concrete exterior mirrors the look of the main house, and hovering over the desk inside is a 15 foot high loft with a queen size bed for guests. "The shed is a good way to compartmentalize work and home. You don't have any distractions, and you can leave your work there, not on the dining room table or bedroom," Mr. Stullken said. Sheds, which have traditionally been used for stowing lawn mowers, tools and cobwebs, have become convenient garden domiciles, often designed without the headache of permits (height limits still apply). These micro footprint extensions appeal to the increasing number of Americans who are working from home 43 percent of employees work remotely part of the time, according to a 2017 Gallup survey. Whether converted, constructed or prefabricated sheds that are conceived and assembled offsite the space must be outfitted for comfort. "Most sheds aren't designed for human habitation," said Eric Enns, the owner of Modern Spaces and Sheds, which built the Stullkens' shed. Heating and cooling units, electricity, insulation and skylights (and sometimes soundproofing to block car horns and other noises) are typically enough to transform most people's dank outbuildings into work spaces that ideally make use of the yard's natural landscape. Alessandro Orsini, from the Brooklyn firm Architensions, tore down and reconstructed a shed in the borough's Greenpoint neighborhood as a writer's studio. "You can rent an office, but generally speaking, people, especially in the creative field, feel better in their own environment," Mr. Orsini said. "With a shed, you can make it up and you don't even feel you're in your own backyard." Clover Hope A striking number of designers are taking breaks from furniture and interiors to reconsider the humble soap bar. Folly Soap by the New York product and lighting design firm Pelle offers soap in simple geometric forms inspired by fanciful buildings ( 16 to 80 each). Ring Soap by Sebastian Bergne in London is shaped like a doughnut and comes with an aluminum peg for hanging it on the wall (about 29 for two rings). In Paris, Seem Soap makes multicolored pyramidal and disk shaped products (about 35 to 37 each). And outside Portland, Me., Wary Meyers, a company founded by interior designers from Brooklyn, produces vibrantly striped bars ( 14 each).	N24News: A New Dataset for Multimodal News Classification	Style
How do you get from Carnegie Hall? You get an offer to run one of the most vibrant performing arts organizations on the West Coast. Jeremy Geffen, who has been an important tastemaker in New York during his dozen years on the artistic planning team at Carnegie Hall, is leaving to become the executive and artistic director of Cal Performances, the arts producer and presenter at the University of California, Berkeley. "What appeals to me about Cal Performances is that it's the intersection of many strands of music, dance and drama, with the intellectual curiosity of one of the world's top university environments," Mr. Geffen, 44, said in a telephone interview about his new post, which was announced on Tuesday afternoon. He will start in Berkeley on April 1. The West Coast is increasingly the center of American musical experimentation, with the Los Angeles Philharmonic the most adventurous symphonic ensemble in the country and the San Francisco Symphony having recently named the composer and conductor Esa Pekka Salonen its next music director.	N24News: A New Dataset for Multimodal News Classification	Music
In keeping with modern auto industry efficiencies, Trax is built on the same G.M. Gamma II platform as a number of the company's other vehicles, including the Chevrolet Sonic and Buick Encore. Trax is important for Chevrolet because it gives the brand a presence in the small utility vehicle market, which, according to Alan Batey, a General Motors senior vice president, is expected to grow more than 80 percent by 2016. It also adds to Chevrolet's small vehicle portfolio, which has grown substantially over the last four years. To underscore its importance, General Motors' chief executive, Mary Barra, spoke at the introduction. When Trax arrives in the United States early next year, it will be equipped with a 1.4 liter turbocharged 4 cylinder engine, a power plant offered in the Sonic. Chevrolet said in a media release that it expected the engine to be rated at 138 horsepower, which was identical to the Sonic specification. The engine will be mated to a 6 speed automatic transmission. The 6 speed manual that's offered in Sonic will apparently not be available on the vehicle in the United States, although it is offered in other countries. A 1.7 liter diesel engine is also offered in some markets. No word on whether the diesel is headed to America. That may depend on how the brand's diesel powered Cruze sedan sells in the United States. An all wheel drive system will be available on the Trax. Pricing information and an on sale date are not yet available.	N24News: A New Dataset for Multimodal News Classification	Automobiles
THE CURSE OF LA LLORONA (2019) Stream on HBO platforms. The threat is veiled (in the literal sense) in "The Curse of La Llorona," a horror movie about a killer spirit who takes the form of a weeping woman in a wedding dress. The movie casts Linda Cardellini as Anna, a widow with two children, a job in social services and a problem audiences can probably extrapolate from the film's title: She's cursed. Or, rather, she picks up a curse that comes in the form of La Llorona (Marisol Ramirez), a weeping woman who starts terrorizing the family. (The character is based on a figure from Mexican folklore.) "More efficient than ambitious, 'La Llorona' is basically a maternal showdown with shock cuts and billowing curtains," Manohla Dargis wrote in her review for The New York Times. "The director Michael Chaves, making the most of his silkily mobile, at times predatory camera (he likes to shift the point of view mid prowl) delivers the horror classics nicely." One of the movie's producers is James Wan, known for the "Saw" and "Conjuring" movies. Fans of either of those series should be well served here. NIGHT ON EARTH Stream on Netflix. For a night with fewer terrors than "The Curse of La Llorona," consider this new Netflix nature documentary series, which uses high tech cameras to capture the natural world after dark. Samira Wiley ("The Handmaid's Tale," "Orange Is the New Black") narrates.	N24News: A New Dataset for Multimodal News Classification	Television
On the first point: Many of the job losses we'll experience over the next few months will be not just unavoidable but actually desirable. We want workers who are or might be sick to stay home, to "flatten the curve" of the virus's spread. We want to partly or wholly close large business establishments, like auto plants, that could act as human petri dishes. We want to close restaurants, bars and nonessential retail establishments. Now, there will surely be additional, unnecessary job losses caused by a plunge in consumer and business spending, which is why we should be engaged in substantial overall stimulus. But policy can't and shouldn't prevent widespread temporary job loss. What policy can do is reduce the hardship facing those who are temporarily out of work. That means that we need to spend much more on programs like paid sick leave, unemployment benefits, food stamps and Medicaid that aid Americans in distress, who need far more help than they'll get from an across the board cash drop. This spending would also provide stimulus, but that's a secondary concern. Which brings me to my second point. The usual suspects are already objecting that helping Americans in need reduces their incentive to work. That's a lousy argument even in good times, but it's absurd in the face of a pandemic. And state governments that have been trying, with encouragement from the Trump administration, to reduce public assistance by imposing work requirements should suspend all such requirements, immediately. Finally, about Trump: Over the past few days state TV, I mean Fox News, and right wing pundits have abruptly pivoted from dismissing Covid 19 as a liberal hoax to demanding an end to all criticism of the president in a time of national emergency. This should come as no surprise. But this is where the history of the Trump pandemic all those wasted weeks when we did nothing because Donald Trump didn't want to hear anything that might hurt him politically becomes relevant. It shows that even when American lives are at risk, this administration's policy is all about Trump, about what he thinks will make him look good, never mind the national interest. What this means is that as Congress allocates money to reduce the economic pain from Covid 19, it shouldn't give Trump any discretion over how the money is spent. For example, while it may be necessary to provide funds for some business bailouts, Congress must specify the rules for who gets those funds and under what conditions. Otherwise you know what will happen: Trump will abuse any discretion to reward his friends and punish his enemies. That's just who he is. Dealing with the coronavirus would be hard in the best of circumstances. It will be especially hard when we know that we can't trust either the judgment or the motives of the man who should be leading the response. But you go into a pandemic with the president you have, not the president you wish you had. 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
Lawrence R. Klein, who predicted America's economic boom after World War II and was awarded the 1980 Nobel in economic science for developing statistical models that are used to analyze and predict global economic trends, died on Sunday at his home in Gladwyne, Pa. He was 93. As World War II was ending, Professor Klein, widely regarded as a brilliant theorist, disputed the conventional wisdom that the postwar period would drive the American economy back into a long depression. Using his econometric models based on mathematical equations, he predicted correctly that the pent up demand for consumer goods and housing after the war, coupled with the purchasing power of the returning soldiers, would result not in economic crisis but in a surge in spending and a flourishing economy. Though he often testified before federal bodies and served as an economic adviser to Jimmy Carter during his 1976 presidential campaign, Professor Klein chose to remain in academia he taught economics at the University of Pennsylvania for 33 years and rejected an offer to join the Carter administration. "I am just an academic giving advice," he told People magazine in 1976. "If you are a technician and are asked for help, it is a social obligation of citizenship to give it." Professor Klein's use of vast survey data to build statistical economic models for the United States and several other countries has been adopted by economists around the world. "Few, if any, research workers in the empirical field of economic science have had so many successors and such a large impact as Lawrence Klein," the Nobel committee wrote in awarding him the Nobel Memorial Prize in Economic Science. Jere R. Behrman, a professor of economics and sociology at Penn and a longtime colleague, said Professor Klein's work was built on the idea that an economy is a set of complex organisms millions of people, millions of households, corporations, government and other entities and that through simple models one can understand its essence. The models, he said, allow economists "to make predictions about what is likely to happen in the economy if there is a significant change in international markets, such as an increase in the price of petroleum." An oil price rise might affect productivity and export prices in Germany, for example, and that in turn could affect unemployment in the Netherlands or in Dutch exports to Britain. "Before Klein," Professor Behrman added, "there had been very little work on these aggregate models." Lawrence Robert Klein was born in Omaha on Sept. 14, 1920, the second born of three children of Leo Byron Klein, an office clerk, and the former Blanche Monheit. He attended public schools there and became fascinated with economics at a young age. "Although I was not aware of it at the time, growing up during the Great Depression was to have a profound impact on my intellectual and professional career," he wrote in an autobiographical essay for the Nobel committee. At the same time, he developed an obsession for baseball and became a batboy for a minor league team in Omaha. But his dream of a baseball career ended when, at age 10, he was hit by a car and suffered a badly broken right leg, an injury that affected him for the rest of his life, Ms. Klein said. (At Penn, he became a passionate Phillies fan, she said.) After moving with his family to San Francisco, he received an undergraduate degree in economics from the University of California, Berkeley, then pursued graduate studies at the Massachusetts Institute of Technology, becoming one of its first Ph.D. students in economics and earning his doctorate in just two years. At M.I.T., Professor Klein was a protege of the economist Paul A. Samuelson, a professor only five years his senior. Professor Samuelson, the first American to win the Nobel in economic science, in 1970, became his dissertation adviser and provided what Professor Klein called "an unforgettable experience." He left M.I.T. in 1944 to join the econometrics team at the Cowles Commission of the University of Chicago. Its director, Jacob Marschak, gave him the assignment of reviving the early attempts at econometric model building that had been made by Jan Tinbergen, a Dutch economist and the 1969 Nobel laureate. In Chicago, Professor Klein was surrounded by economic heavyweights like Herbert A. Simon, Trygve Haavelmo and Theodore Anderson. It was also there that he met Sonia Adelson, an economics student from Newport, R.I., whom he married. It was his second marriage. His wife survives him, as do three daughters, Hannah Klein, Rebecca Klein Kennedy and Rachel Klein; a son, Jonathan; seven grandchildren; and four great grandchildren. After spending an academic year in Europe in 1947, Professor Klein returned the next year to join the staff of the National Bureau of Economic Research in Cambridge, Mass., invited by Arthur F. Burns, who also specialized in macroeconometrics and was later chairman of the Federal Reserve. During his heady days in Chicago, Professor Klein joined the Communist Party, a move that later haunted him, Hannah Klein said. In the 1976 interview with People, he said that party members had insisted that he sign up before lecturing to a Communist audience on Marxist economics. He left the party in 1947. But while teaching at the University of Michigan in 1954, his past association came up during the House Un American Activities Committee hearings, and the university denied him tenure. Professor Klein then uprooted his family and moved everything, including the family Chevrolet, to England, where he taught at Oxford for four years. In 1958, an invitation from the Wharton School of the University of Pennsylvania brought him home. He joined the Penn economics faculty and taught graduate and undergraduate students until 1991. He was named a Nobel laureate shortly before his 60th birthday. In his later work, he extended his theories on model building to focus on the links between different economies the flow of goods and services and capital between countries. He traveled to other countries frequently to assess their economies and founded The International Economic Review, a journal produced jointly by Penn and Osaka University in Japan. In Philadelphia, he founded a research group, Wharton Econometric Forecasting Associates (later acquired by IHS, a research company based in Denver), and was principal investigator of its Project LINK, which created a global econometric model with which to forecast trends. "The only satisfactory test of economics is the ability to predict," he wrote.	N24News: A New Dataset for Multimodal News Classification	Economy
PARIS After the Chanel designer Karl Lagerfeld died last February at age 85, a rumor began to circulate: He had left his fortune, and a large part of his worldly goods, to his Birman cat, Choupette. The estate hasn't been settled yet, and Mr. Lagerfeld's team remains mum on the subject. But the public's concern for the desolate puss was genuine. "People came by the store and said how sad they were, and half of it was about Choupette," Caroline Lebar, the longtime head of communications for the Karl Lagerfeld brand in Paris, recalled earlier this month. "They'd say, 'If she's alone, I'll take her home.' " Since then, fans have continued to inquire: How is Choupette? Where is Choupette? "It's like unlocking a mystery," said Stephen Gan, editor of V Magazine. "What happened to Choupette?" According to Ms. Lebar, "She lives with her nanny" the former Lagerfeld housekeeper Francoise Cacote "here in Paris. She is in good shape, and is surrounded by love." Choupette was born Aug. 15, 2011 a Leo, like Coco Chanel. Her fur color has been compared to Baked Alaska, and Mr. Lagerfeld declared that her eyes were like star sapphires. She originally belonged to the French model and Lagerfeld friend Baptiste Giabiconi he received the 10 week old kitten as a birthday gift from friends who knew he loved Birmans. He named her Choupette, "a common nickname in French for cute girls," he said in a recent interview. That Christmas Mr. Giabiconi went to Marseille to see his mother and asked Mr. Lagerfeld to cat sit. At first, Mr. Lagerfeld was hesitant. The fur! But then he acquiesced "'since cats take care of themselves,'" Mr. Giabiconi recalled the designer saying. When Mr. Giabiconi returned, he brought Choupette home and Mr. Lagerfeld went into a deep funk. "He was angry. He wouldn't speak to me," Mr. Giabiconi said. "After a week of reflection, it became clear to me that Choupette brought Karl great joy." Mr. Giabiconi went to Mr. Lagerfeld's apartment on the quai Voltaire, and knocked on the door. When Mr. Lagerfeld opened it, Mr. Giabiconi handed over the kitten. "No one could give me a more beautiful gift," he recalled Mr. Lagerfeld saying. "She has brought sunshine to my life." But Mr. Lagerfeld wanted to change her name. "He thought Choupette was ugly," Mr. Giabiconi said. "I said, 'That's a mistake. Choupette works in every language.' 'Ah, yes, it's true.' And now it's taken on a life of its own." Thanks to Mr. Gan. Following dinner together in Paris in January 2012, Mr. Lagerfeld invited Mr. Gan to his apartment to meet Choupette. "I thought, 'What? Karl has a cat?' He was the last person I thought would get a pet," Mr. Gan said. But sure enough, there was Choupette, sitting primly next to a bouquet of roses. Mr. Gan whipped out his phone, took a picture and posted it on V Magazine's Twitter feed: "Meet Choupette." It went viral. Soon enough, there were Instagram accounts dedicated to Choupette; glossy magazine spreads featuring Choupette (usually photographed by Mr. Lagerfeld); a makeup line by Shu Uemura called Shu pette; a novelty book titled "Choupette: The Private Life of a High Flying Fashion Cat"; and loads of other things. (In 2015 alone, she pulled in more than 3 million.) Chanel collections suddenly included a new shade dubbed "Choupette blue," and the Karl Lagerfeld brand put out a range of Choupette face handbags. She traveled with Mr. Lagerfeld, preferably flying private; he designed a Louis Vuitton carrier bag for her, as well as a Goyard case for her silver dishes and brushes. Their last excursion was in December 2018 to New York for Chanel's Metiers d'Art show at the Metropolitan Museum of Art. They lodged at The Mercer hotel in Soho, and received friends for drinks in the lobby. "Choupette changed Karl's life," Amanda Harlech, Mr. Lagerfeld's style consultant at Chanel, said. "He couldn't believe how happy she made him nor how she loved being by his side even sleeping on his head! He would watch her for hours." It's not over, either. According to Mr. Berullier, her agent, "She has press demands every day, and some deals en route." She also has her book: "Choupette," a monograph published by the German house Steidl Verlag. The small hardback, bound in a morning blue linen that matches her eyes, is a collection of iPhone snaps by Mr. Lagerfeld of the fluffy feline at play and at rest. Mr. Lagerfeld designed and edited the book in 2018 to give to his friends as Christmas presents. In January 2019, the head of Steidl Verlag, Gerhard Steidl, asked Mr. Lagerfeld if the house could reissue it commercially. "O.K.," Mr. Steidl recalls Mr. Lagerfeld as responding. "But wait a little bit."	N24News: A New Dataset for Multimodal News Classification	Style
Fashion's fixation on statement sleeves dates back a couple of seasons to the moment when designers began trotting out operatic versions, with most of the action focused up top. This season, attention has migrated downward in the form of arm warmers, those woolly contraptions that are the working insignia of athletes and dancers, punk stars and urban trekkers of every stripe. A staple on Pinterest boards and in Etsy shops, they've been elevated to luxury status, turning up at New York Fashion Week in variations from chunky fingerless gloves to furry tubular stoles, fetish like lace up gloves and suede or leather gauntlets. At Calvin Klein, Raf Simons extended the lines of his suits and dresses with vibrant arm warmers in pink or caution yellow; Alexander Wang introduced versions in tough girl black leather. The ones that materialized at Jonathan Simkhai masqueraded as fur stoles, and at Tome, they were worked in monkey fur.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
There are increasing opportunities to combine travel and volunteering and one company is leading the way for budget friendly options. The idea for The Vacation Project was born over multiple cocktail in a New York City bar. While animatedly swapping stories from their travels, three friends Lindsay Bradley, 29, Mitchell Roy, 29, and Charlotte Bergin, 28 realized that they all shared an interest in doing some volunteering in the destinations they visited. But they didn't necessarily want to devote their entire getaways to service. The tools to achieve these ideal vacations, however, didn't seem to exist. "Most of the volunteering trips out there either required a multiweek time commitment or were way too expensive," Ms. Bradley said. And just like that, the Vacation Project, which would solve both issues, began. Their travel company sells weeklong, small group trips to Costa Rica, Morocco and Nicaragua. The journeys are part leisure, part service: itineraries include between two and three days of charity work, in collaboration with a local nonprofit; for the rest of the time, travelers go on sightseeing tours, enjoy group meals at popular local restaurants and have downtime to explore on their own. "Our trips are first and foremost a vacation, but they also make room for giving back," Ms. Bradley said. Combining short volunteering stints with leisure travel was once an anomaly but is becoming more common, according to Courtney Regan, the founder of the San Francisco travel company Courtney Regan Travel and an expert on what is known as voluntourism. "Most people don't have the time to dedicate two weeks to volunteering, and even if they did, traditional voluntourism trips can be pricey and physically arduous," she said. "Now, there's a burgeoning market for travelers who want to get a flavor of giving back." At a cost of between 1,400 and 2,000 for accommodations, most meals, local transportation, tours, activities and the volunteering, The Vacation Project is also at an appealing price point for the 20 and 30 somethings the trio are targeting. Ms. Bergin said that they chose the three countries because they are "on the radar" for travelers today but the company wants to show a side of them that is different from what most tourists see. On the company's inaugural trip this September, for example, which was to Costa Rica, the welcome dinner, in the capital city of San Jose, was a seven course feast prepared by the Costa Rican chef Luis Protti in a 1940 Victorian home. While enjoying dishes like sausages with meat from nearby farms and gazpacho made from locally grown tomatoes, the group of eight watched a local band perform Latin fusion tunes. A day of surfing and swimming at Uvita Beach followed, and then it was time to volunteer: the group headed to the Osa Peninsula, on the southern end of Costa Rica's Pacific Coast, to help Osa Conservation, a nonprofit dedicated to protecting the peninsula's biodiversity. Over the next three days, they helped the charity's staff cleaning up plastic from the beach, replanting trees and tagging sea turtles. With their charity commitment completed, it was back to vacationing. At Manuel Antonio Beach, on the central Pacific coast, the group enjoyed walks and ziplining in the surrounding rain forest, and after a final night in San Jose, they headed home. The coming trips to Morocco, in January, and Nicaragua, in February, will strike a similar balance of service and play, but each has a different charity component. In Morocco, travelers will help Berber communities in the Atlas Mountains build irrigation systems; in Nicaragua, they will assist a school near the city of Granada with a new basketball court and general repairs. Another company with a similar mission is Give a Day Global, a nonprofit that connects travelers with daylong volunteering opportunities in 15 countries; most cost 100, said the founder, Kerry Rogers. In Cancun, for instance, vacationers can help out at an after school program for low income children with tasks like cleaning and serving food. "The majority of the people who sign up for these gigs are on one week getaways and want to spend a small part of their trips helping the communities they're visiting," Ms. Rogers said. Some hotels are also introducing programs where guests can volunteer for a half or full day with local causes. At Grace Bay Club, on Providenciales Island in Turks and Caicos, guests have the option of spending an afternoon at a youth center near the resort teaching children how to read. Also, in the aftermath of Hurricane Irma, they can help build new roofs for the many schools on the island which were badly damaged by the storm.	N24News: A New Dataset for Multimodal News Classification	Travel
Any documentary on the Band is inevitably going to play like a supplement to "The Last Waltz" (1978), Martin Scorsese's extraordinary record of the complete group's final gig or, as the guitarist songwriter Robbie Robertson describes it in "Once Were Brothers: Robbie Robertson and the Band," the beginning of a hiatus after which "everybody just forgot to come back." This new documentary, from the Canadian director Daniel Roher, seems to recognize that it falls heavily within the Scorsese film's shadow; Roher even uses the performance of "The Night They Drove Old Dixie Down" from "The Last Waltz" for a finale. (Scorsese, who has an executive producer credit, is among the starry interviewees, who also include Bruce Springsteen and Eric Clapton.) "Once Were Brothers" centers on Robertson, one of the Band's two surviving original members (along with the keyboardist saxophonist Garth Hudson), and it is a good primer on the group's formation, influences and rise. You'll hear about the musicians' performances with the rockabilly singer Ronnie Hawkins; their stint playing backup and getting booed for it with Bob Dylan; the atmosphere of freedom at the big pink house where they collaborated near Woodstock, N.Y.; and a dive into drugs and alcohol. That last phase, as relayed here, largely bypassed the family man Robertson. ("I was confused that the guys wanted to play with that fire," he says of heroin.)	N24News: A New Dataset for Multimodal News Classification	Movies
His work announced concerts by the Grateful Dead, Jefferson Airplane and more to those who could read them. Wes Wilson, who helped create the trippy look associated with the second half of the 1960s through the vivid, swirling posters he made for rock shows by the Grateful Dead, Jefferson Airplane and others, died on Jan. 24 at his home in Leanne, Mo. He was 82. His son Jason confirmed his death. No cause was given. Beginning in 1966, Mr. Wilson made posters for Bill Graham, who produced rock shows at the Fillmore Auditorium in San Francisco, as well as for Chet Helms of Family Dog Productions, who started at the Fillmore but soon moved to the Avalon Ballroom, not far away. Posters had been used to advertise stage shows for decades, but most were utilitarian conveyors of date, time and place. Mr. Wilson, along with several other poster artists, took the form to a different level, one full of loud colors, attention getting imagery and vibrant typography. He was especially known for the free flowing block lettering on his posters, which he adapted from a font created by the Austrian designer Alfred Roller. "The original type designer had everything on strictly gridded layout (straight lines)," Art Chantry, author of "Art Chantry Speaks: A Heretic's History of 20th Century Graphic Design" (2015), wrote on Sunday in a Facebook post. "Wes Wilson simply created the same letterforms on a swirling curve and voila! 'Psychedelic Type!' The world was never the same again." If the lettering was often hard to decipher, that was by design. Darrin Alfred, curator of architecture and design at the Denver Art Museum, who curated a 2009 exhibition there called "The Psychedelic Experience," which included Mr. Wilson's work, recounted a conversation between the artist and Mr. Graham about one of his first posters. "Well, it's nice, but I can't read it," Mr. Graham is said to have remarked. "Yeah," Mr. Wilson responded, "and that's why people are gonna stop and look at it." That arcane quality, Mr. Chantry said, also served as a sort of rite of membership. "The point of psychedelia was that nobody could read it unless you were part of the 'tribe,'" he wrote. "It was a type of marketing that was trying to (literally) scare away the 'straights' (or at least make the secret world illegible to them)." An early poster that solidified Mr. Wilson's emerging style was for a show at the Fillmore in July 1966 featuring the Association, Quicksilver Messenger Service, the Grass Roots and Sopwith Camel. The names of the groups appeared in bright red orange against a green background, the lettering suggesting flames. He used a similar look for the cover of Paul Grushkin's book "The Art of Rock: Posters From Presley to Punk" (1987), except this time the flaming lettering constituted the hair of a blue colored figure. Mr. Wilson's posters collectors' items today documented the astonishing array of groups that played the two San Francisco halls as the psychedelic '60s took hold: Jefferson Airplane and the Grateful Dead shared a bill at the Fillmore in August 1966, Country Joe and the Fish and Buffalo Springfield teamed up there that November, and there were dozens more. "In those days, for 2, you could see some amazing stuff," Mr. Wilson recalled in a 2006 interview with The News Leader of Springfield, Mo., near the farm he moved to in 1976. It was said that Mr. Wilson's disorienting posters were easily read by anyone tripping on LSD. He himself, he said, never got as wild as many of the concertgoers who were the posters' target. "I was far enough out to be an artist," he told The News Leader, "but not far enough out to go over the edge." After graduating from high school Mr. Wilson served in the Army National Guard and for a time attended San Francisco State College (now University), dropping out in 1963. A friend, Bob Carr, had a small printing business and made Mr. Wilson a partner, doing the layout and design work. Mr. Graham and Mr. Helms became clients. But Mr. Wilson's first poster wasn't for a concert. It was a self published work, made in 1965, that was inspired by his growing concern over the increasing American involvement in Vietnam. "I had been in the Army, and so I was kind of on the alert to watch out for our foreign policy," Mr. Wilson told NPR in 2016. "And when we got involved in Vietnam, I began to distrust the establishment of our country." The poster he made suggested the American flag, but the white stars were on a blue background in the shape of a swastika. "Be Aware," the type said. The pressman who usually printed the shop's material was alarmed when he saw it. "When he looked at my design his usual smile faded fast," Mr. Wilson wrote in a 2013 blog entry on his website, "and he said something like this: 'Wow; Wes, you'd better add something else like maybe "Are We Next?" or most people just won't get it.'" Mr. Wilson took the advice, emblazoning those words across the top, and sold the poster all over San Francisco. The next year he started making posters for shows, and within a year they began to draw national notice. He was written up in Time and other magazines. "Expanding like the mind to fill every conceivable bit of space," Time wrote of his designs, "they are intended to capture the visual experiences of an LSD tripper when, as one hippie puts it, 'You look at your hand, and it goes in all directions.'" Mr. Wilson's style influenced Victor Moscoso, Rick Griffin, Stanley (Mouse) Miller and Alton Kelley, who were also making poster art in San Francisco; together they are sometimes labeled the Big Five of the genre. Mr. Wilson, though, moved on from posters, working in enameled glass and then in watercolor. "His watercolors of the '70s to early '80s capture some of the same luminosity and space partitioning qualities of the glass work," Jacaeber Kastor, who mounted a Wilson show at his Psychedelic Solution gallery in the West Village of Manhattan in 1987, said by email. "His focus shifted to doing portraits, and he mainly chose to portray people he personally found interesting or significant." After moving to the Ozarks in 1976, Mr. Wilson split his time between making art and raising beef cattle. The 1987 exhibit and other gallery shows rekindled his interest in posters, and for a time he published a journal on poster art and related subjects called Off the Wall. Mr. Wilson's first marriage, to JoAnn Kimmons, ended in divorce. In addition to his son Jason, who is from his second marriage, Mr. Wilson is survived by his wife, Eva (Bessie) Wilson; three children from his first marriage, Karen Borgfeldt, Shirryl Bayless and Kelly Wiedman; two other children from his second marriage, Colin Wilson and Theanna Teodorovic; 10 grandchildren; and a great grandchild. Mr. Wilson had numerous brushes with rock history, but in 1967 he had a brush with a different sort of history, when the J. Walter Thompson advertising agency commissioned a poster from him for its new office in Los Angeles. "The manager of this new office at the time was Mr. Bob Haldeman," Mr. Wilson wrote on his blog, "and it was probably either him or his assistant, Mr. Ron Ziegler, who originally spoke with me on the phone about it." Both, of course, would soon be important figures in President Richard M. Nixon's administration.	N24News: A New Dataset for Multimodal News Classification	Art & Design
Ms. Powell Jobs, already a major investor in the Walt Disney Company and Apple, said on Friday that her firm, Emerson Collective, had taken a substantial minority stake in Anonymous Content, a prominent production and talent management company. Founded in 1999 by Steve Golin, Anonymous has been behind hit television shows like "Mr. Robot" and movies like "Spotlight," the reigning Academy Award winner for best picture. Financial terms were not disclosed. The investment by Ms. Powell Jobs, the widow of Steven P. Jobs, the Apple co founder who died five years ago, will give Anonymous the money needed to make programming intended to compel social change one of Emerson's primary goals. In a statement, Ms. Powell Jobs said that she "believes in the power of storytelling to shape our culture and improve lives." She declined to be interviewed. Ms. Powell Jobs has dabbled in using entertainment to promote causes; in 2013, she backed Davis Guggenheim's "The Dream Is Now," a short form documentary focused on immigration reform. By investing in Anonymous, which manages roughly 500 directors, actors and writers, Emerson gains access to some of Hollywood's top talent. Anonymous clients include Steven Soderbergh, Emma Stone and Alejandro G. Inarritu.	N24News: A New Dataset for Multimodal News Classification	Media
GAD ELMALEH: AMERICAN DREAM (2018) on Netflix. The Moroccan born comedian Gad Elmaleh recycles material from his French language Netflix special "Gad Gone Wild" for his first special in English, "The American Dream." Mr. Elmaleh first made a name for himself in France, where he performed for more than 20 years before bringing his animated performances to the United States. During this routine, filmed at Town Hall in Manhattan, Mr. Elmaleh discusses his move from Paris to New York, pokes fun at the English language and playfully mocks American dating conventions. CRASH (2005) on iTunes, Amazon and Hulu. The lives of seemingly unrelated strangers intertwine over the course of 36 hours in this directorial debut by Paul Haggis. Set in Los Angeles, the film is a meditation on race told through a horizontal narrative with one too many characters. It boasts a star studded cast, led by Terrence Howard, Matt Dillon and Don Cheadle, and won three Oscars, including best picture. But not everyone is a fan of its moralistic themes. In his review, A. O. Scott wrote that "Crash" is "a frustrating movie: full of heart and devoid of life; crudely manipulative when it tries hardest to be subtle; and profoundly complacent in spite of its intention to unsettle and disturb." BLOCHIN on MHz Choice. Fans of "True Detective" and "House of Cards" would find hints of those series in this gritty German crime drama. The title character, played by Jurgen Vogel, is a former criminal turned detective who uses his illicit past to help crack cases alongside his brother in law in a Berlin homicide division.	N24News: A New Dataset for Multimodal News Classification	Television
New studies of two drugs, showing that each works better than the standard treatment for advanced kidney cancer, should lead to changes in patient care, researchers said on Friday. One study, of the drug nivolumab (sold as Opdivo), was stopped ahead of schedule because safety monitors found that patients receiving the drug were living longer than those in a comparison group taking the usual treatment, everolimus (sold as Afinitor). The study was halted for ethical reasons, to offer the comparison group nivolumab. The other drug, cabozantinib (sold as Cometriq), was also tested against everolimus, and proved more effective at slowing the cancer's growth. But that study has not gone on long enough to determine whether cabozantinib also prolongs survival. Dr. Robert J. Motzer, one of the leaders of both studies, said the findings on nivolumab were a major advance that would change the field and affect most patients worldwide with advanced kidney cancer. Dr. Motzer specializes in kidney cancer at Memorial Sloan Kettering Cancer Center in New York. About 61,560 new cases of kidney cancer, and 14,080 deaths, are expected in the United States in 2015, according to the American Cancer Society. Exact causes are not known, but risk factors include smoking, certain chemical exposures, obesity, high blood pressure, genetic mutations and heredity. Since 2005, Dr. Motzer said, seven new drugs have been approved for kidney cancer. Before that, patients with advanced disease lived 10 to 12 months on average, but the drugs brought survival up to about 30 months. Dr. Padmanee Sharma, the senior author of the nivolumab study, from the University of Texas M.D. Anderson Cancer Center in Houston, said, "We think this gives patients renewed hope." Reports on the studies were published Friday by The New England Journal of Medicine, and were being presented at the European Cancer Congress in Vienna. Nivolumab belongs to a class of drugs called immune checkpoint inhibitors, which work by unleashing the patient's own immune system to fight cancer. The new study included 821 patients with advanced kidney cancer. Half received nivolumab, and half everolimus. Of all who got nivolumab, 25 percent responded, meaning their tumors shrank significantly; only 5 percent responded to everolimus. With nivolumab, the median survival was 25 months, compared with 19.6 months for everolimus. Patients taking nivolumab were also more likely to have lasting responses and fewer side effects like fatigue and nausea. Cabozantinib belongs to a different class of drugs, called tyrosine kinase inhibitors, which block chemical messengers needed for cell growth. The study had 658 patients, with half taking cabozantinib and half everolimus. The study looked at progression free survival, meaning how much time passed without worsening of the disease. With cabozantinib it was 7.4 months, versus 3.8 months for everolimus. About 21 percent of patients responded to cabozantinib, compared with 5 percent to everolimus. An editorial in the journal said that the benefit from the drugs was "unequivocal," and that the improved survival from nivolumab established "new efficacy benchmarks" for treating people with advanced disease. But the editorial also pointed out important limitations: Only 20 percent to 25 percent of patients respond to the drugs, and it is not possible to predict which people will respond. Both studies were paid for by the makers of the drugs Bristol Myers Squibb, for nivolumab; and Exelixis, for cabozantinib. The researchers cautioned that the findings should not be applied to all patients with kidney cancer, because there is data on only a certain subset. Both medications were studied only in people with advanced disease that had become resistant to one or more of the treatments generally used first. Such patients are then usually given everolimus. Patients who match this profile should probably be given nivolumab or cabozantinib instead of everolimus, the researchers said. Future studies will determine whether the drugs can help in earlier stages of the disease, and will also test them in combination with other treatments to see if they can be made more effective. Both drugs are already on the market, approved by the Food and Drug Administration to treat other forms of cancer. Nivolumab has been approved for certain forms of melanoma and lung cancer. Cabozantinib is sold in capsules for thyroid cancer, but was made into tablets of different dosages for the kidney cancer study. The F.D.A. has given the two medicines "breakthrough designation" for advanced kidney cancer, meaning that it will expedite their review to help patients gain access as soon as possible. Because the drugs are already approved, doctors can legally prescribe them for any condition. But if a drug is not F.D.A. approved for a specific disease, some insurers may refuse to pay for that use. Even so, doctors said some patients with advanced kidney cancer were already taking the drugs, either with insurance coverage or by paying for it themselves. The drugs are expensive: a year's treatment with Opdivo can cost 150,000. Cometriq's cost is similar, but may change if the drug is approved and reformulated for kidney cancer, a company spokesman said. Dr. Toni K. Choueiri, an oncologist at the Dana Farber Cancer Institute in Boston who had a role in both studies, said, "We have two new drugs that are very promising, and this is not a small increment." "Maybe they're not curative, but patients will likely live longer and be around for their families and have more options, with the goal always, of course, the cure," he added. "Maybe the goal for now is to keep people around long enough to find the cure."	N24News: A New Dataset for Multimodal News Classification	Health
Vera Kresadlova in "Intimate Lighting" (1965), the first feature film Mr. Passer directed. He left Czechoslovakia four years later and settled in the United States. Ivan Passer, a director who joined Milos Forman and others in ushering in the filmmaking movement known as the Czech New Wave in the 1960s, then went on to direct American features, including "Born to Win," "Cutter's Way" and "Creator," died on Thursday at his home in Reno, Nev. He was 86. Rodney Sumpter, a lawyer and spokesman for Mr. Passer's family, said the cause was chronic obstructive pulmonary disease. Mr. Passer's debut feature, "Intimate Lighting," released in Czechoslovakia in 1965, was widely hailed as helping to establish a new level of cinema in that country, where Mr. Forman's early success, "Loves of a Blonde," had been released the same year. "Intimate Lighting" was a sparse, elegantly told tale of a cellist from Prague who visits a country town for a concert and reunites with an old friend. The film drew acclaim when it played at the New York Film Festival in 1966 and again when it was given a theatrical release in the United States in 1969. Early that same year, Mr. Passer had left his homeland for good, the Soviet led invasion of 1968 having squelched the liberalization and artistic flowering of Czechoslovakia earlier in the decade. In 1971, two years after he had emigrated to the United States, he directed his second feature, a New York story with American actors. It was "Born to Win," a comic drama about a middle aged drug addict played by George Segal. Critics didn't like Mr. Passer's attempt to wring comedy out of drug addiction. After two more comedies "Law and Disorder" (1974) and "Silver Bears" (1977) he had one of his biggest successes in 1981 with "Cutter's Way," a dark mystery that starred John Heard and Jeff Bridges. "'Cutter's Way' grabs you by the throat and pulls you, kicking and screaming, into an America gone mad," Michael Blowen wrote in his review in The Boston Globe. The movie, Mr. Blowen wrote, showed Mr. Passer's ability to imbue even seemingly throwaway scenes with meaning. "Passer, obviously not satisfied with an outstanding thriller laced with superb performances, digs even deeper into the material," Mr. Blowen wrote. "In one simple sequence featuring a parade, the Czechoslovakian born Passer presents a spare view of the American class system. Each decorative float is reserved for one race, religion, nationality or class. There are smiling Mexicans, Indians, blacks and whites each in their separate, but equal, spaces. America, he implies, is a country where the melting pot is a myth and where integration is impossible." Mr. Passer was born on July 10, 1933, in Prague. He and Mr. Forman were students together at the King George boarding school in Podebrady, and again at the Film and Television School of the Academy of the Performing Arts in Prague (although Mr. Passer did not graduate). He was an assistant director on Mr. Forman's "Black Peter" in 1964 as well as on "Loves of a Blonde," for which he was also one of several writers. He was also a writer of another Forman film, "The Firemen's Ball," released in 1967. For a time he taught film at the University of Southern California. If Mr. Passer never achieved the fame of his friend Mr. Forman, a two time Oscar winner who died in 2018, it was in part because of his laid back approach to his profession. "I never wanted to direct," he told The Boston Globe in 1985. "I didn't like the hustle. I didn't like the idea that I was being judged all the time. I would like to be totally invisible." Mr. Passer was sometimes frustrated with the processes of Hollywood, especially the tendency of producers to interfere in filmmaking. "Because they have money, they think they know how to do it," he told The Globe. "Then they lose all their money, and they blame everyone else." "Finally, the people who were ready to finance it said to me, 'We'll do it with Bob Duvall,'" Mr. Passer told The Globe. "I said: 'You want me to fire James Cagney? You must be out of your mind.'" The project fell through. Mr. Passer, though, would eventually work with Mr. Duvall. In 1992, in one of his most acclaimed television projects, he directed "Stalin," an HBO movie about the Soviet leader, with Mr. Duvall in the title role. The film won four Emmy Awards, including outstanding movie made for television.	N24News: A New Dataset for Multimodal News Classification	Movies
Wolfe's Meyer comes most alive when imagining her wild child side at one point she jumps naked into a pool at a party at Bobby Kennedy's and when she's flinging zingers at the go go ladies of the day. Pamela Harriman "reached her exalted status climbing a ladder built of men"; Edie Sedgwick is "a skinny boy girl" who is "the model of a new kind of human, sprung free from the machinery of personality." Meyer pictures Jackie Kennedy in Greece "navigating the islands of Homer with giant sunglasses and a silk scarf wrapped tightly around her head, a mummy in sunlight. We all have our paradises to bear." (Oh, snap!) She comes into possession of a cryptogram detailing a plot to kill Castro, which sends her down a rabbit hole of shadowy meetings with a C.I.A. mole, who for reasons unknown begins sharing state secrets with her. As she devolves into a weird hybrid of Perle Mesta and Nancy Drew, her sense of self importance billows like a mushroom cloud. "Can a blonde go up against the whole world?" she wonders. The better question is: Why would we care? Alternatively, in "JFK and Mary Meyer," Kornbluth a veteran magazine journalist and beholder of the salon set where Mary rotated delivers a slimmer but saucier fictionalization of the diary, one that feels and sounds more bemused, on the qui vive and reflective of the intellectual charmer whom Kennedy had been flirting with since his days as a student at Choate. Meyer's insights into her paramour are both discerning and droll ("We all pay a price for becoming ourselves, but he's paid a high price to play someone else: a Harvard version of Cary Grant"), and her perspicacious assessments are consistent with the self possessed woman she was. "No sense of his achievements, only of his style," she writes at the one year mark of his presidency. "His presidency is shallow as glass." Hemmed in by the construct of the diary to shape Meyer, Kornbluth has wisely given us less rather than more, and as a result his book adroitly captures the contradictions of a woman trying to balance her Jekyll and Hyde life as gracious Washington socialite and punditic libertine, at times muddling through the effort. Exulting in pillow talk about Allen Dulles and Khrushchev, she deludes herself into believing she's in a different class than the silly secretaries who cavort with Kennedy in the White House pool. She knows he will never marry her, but still plays a constant game of what if. She expresses contempt for Jackie's icy tolerance of his rampant infidelity, even as she herself climbs the odalisque ranks. In other words, she's messy, paradoxical, human. Even as she luxuriates in the forbidden frisson of the affair, she plays Whack a Mole with feelings of jealousy, guilt and a sense that this is not going to end well. "Giving a man what he wants when he wants it is always a bad idea," she writes.	N24News: A New Dataset for Multimodal News Classification	Books
The shy and quiet Miloni is uninterested in her parents' plan for her to get a good job and a husband, dreaming of leaving the city for a quiet life in a village. When she agrees to pose as Rafi's love interest for his dadi (Farrukh Jaffar), who is eager to visit Mumbai to meet Miloni, it's a welcome break from the monotony of her own life. If the story is familiar, the storytelling can be immersive Batra shades in the leads and their worlds with a human specificity that makes "Photograph" compelling in a slice of life way, particularly regarding class in India. A cabdriver becomes testy with Rafi and is quick to pronounce that he has a degree in English despite his current professional status. Miloni shares a close bond with her family's live in housekeeper, and their conversations before bedtime succinctly reveal another way in which hierarchy casually plays out in the everyday. And Rafi and Miloni's relationship isn't just improbable to their family and friends because of the difference in their means, but because of, in part, India's deeply ingrained color caste system: Several characters make disparaging comments about Rafi's darker skin, compared with Miloni's fair complexion. (His grandmother laments that her grandson works in the sun all day, and is now a "black raisin.") Such societal details aren't hammered in; they're embedded as seamlessly as they tend to be in real life. As in Batra's feature debut, "The Lunchbox," which also saw an unlikely pair fall for each other under rom com like circumstances, the desire for human connection is never far from mind. Sometimes, as it does here, the search for that connection makes the journey a pleasure, no matter how conventional.	N24News: A New Dataset for Multimodal News Classification	Movies
Wood roasted rabbit sliders. Chesapeake Bay oysters. Osetra caviar. This is not your typical bar food. He and his business partner Robert Compton fell in love with an 1890s brick building near Printers Alley, the hub that buzzed with night life many decades ago. They wanted to recreate that early 20th century ambience by featuring handcrafted cocktails, small plates to share and live music. While a visit may feel like stepping back in time, the food and drinks are some of the most innovative in Music City today. "Back then, Printer's Alley was the place," said Mr. Cioccia of the one block long street. He wanted the bar "to be a cool little social place for adults where you can have a conversation, do business, maybe play a game in front of the fire." What's notable other than the fantastic cocktails, original brick walls and wood floors is the quality of the food. Mr. Cioccia made a name for himself nearby at the Farm House restaurant, where he specializes in Southern fare, working closely with local farmers and ranchers to procure the best ingredients.	N24News: A New Dataset for Multimodal News Classification	Travel

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