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SEOUL, South Korea South Korea has been praised for making effective use of digital tools to contain the coronavirus, from emergency phone alerts to aggressive contact tracing based on a variety of data. But one pillar of that strategy, a mobile app that helps enforce quarantines, had serious security flaws that made private information vulnerable to hackers, a software engineer has found. The defects, which were confirmed by The New York Times and have now been fixed, could have let attackers retrieve the names, real time locations and other details of people in quarantine. The flaws could also have allowed hackers to tamper with data to make it look as if users of the app were either violating quarantine orders or still in quarantine despite being somewhere else. In interviews, South Korean officials acknowledged that they had become aware of the security lapses only after the engineer, Frederic Rechtenstein, and The Times notified them. "We were really in a hurry to make and deploy this app as quickly as possible to help slow down the spread of the virus," said Jung Chan hyun, an official at the Ministry of the Interior and Safety's disaster response division, which oversees the app. "We could not afford a time consuming security check on the app that would delay its deployment." The ministry fixed the flaws in the latest version of the app, which was released in Google and Apple stores last week. South Korean officials said they had not received any reports that personal information was improperly retrieved or misused before the vulnerabilities were patched. Governments worldwide have raced to deploy virus tracing apps only to face complaints about poor security practices. With the software gathering so many details about users, their health and their locations, the apps are prime targets for hackers. But pressure to act quickly appears to have allowed software with inadequate security features to be rushed out in several nations. The Times found this spring that a virus tracing app in India could leak users' precise locations, prompting the Indian government to fix the problem. Amnesty International discovered flaws in an exposure alert app in Qatar, which the authorities there quickly updated. Other nations, including Norway and Britain, have had to change course on their virus apps after public outcry about privacy. In April, South Korea began requiring all visitors and residents arriving from abroad to isolate themselves for two weeks. To monitor compliance, they had to install an app whose name in Korean means Self Quarantine Safety Protection. In May, Mr. Rechtenstein returned to his home in Seoul from a trip abroad. While self isolating at home, he became curious about the government's seemingly simple app and what extra features it might have. That prompted Mr. Rechtenstein to peek under the hood of the code, which is how he discovered several major security flaws. He found that the software's developers were assigning users ID numbers that were easily guessable. After guessing a person's credentials, a hacker could have retrieved the information provided upon registration, including name, date of birth, sex, nationality, address, phone number, real time location and medical symptoms. Mr. Rechtenstein also found that the developers were using an insecure method to scramble, or encrypt, the app's communications with the server where data was stored. Instead of HTTPS, the security standard used by apps like Gmail and Twitter, the app used an encryption key written directly into its code. Doing so meant hackers could easily find the key and decode the data if they had tried. It also meant the key did not change depending on the message being sent or on the user sending it. The key was also far from random: It was "1234567890123456." With such weak encryption, monitoring all of the app's communications with the server would be possible simply, for instance, by being on the same unprotected Wi Fi network as someone else using the app. The Times examined the app's code and confirmed Mr. Rechtenstein's findings. After The Times approached the South Korean authorities about the security flaws last month, officials said they had put a priority on deploying the app quickly "to save lives." Mr. Jung, the Interior Ministry official, said his team had developed the app with Winitech, a software maintenance and repair company in Daegu, a South Korean city that became a center of the outbreak in February. Winitech's senior managing director, Hong Seong bok, said that when the company first developed the app, it expected that only a small number of South Koreans would ever use the software. "We had never thought that it would be used by so many people, becoming a must install app for all arrivals at the airport," Mr. Hong said. Mr. Jung said that while the group had worked around the clock to develop the app and train officials on how to use it, they lacked the expertise to make the software secure. Over time, the government also asked Mr. Jung's team to add surveillance functions to the app, which officials said had increased their workload and prevented them from spending time hunting for security flaws. A feature was added, for instance, that caused a quarantined person's phone to emit a noise or vibrate when it was not physically moved for more than two hours. If the user did not respond by picking up the device, it was a potential sign that the person had ventured out and left the phone behind. The app would then alert the authorities. To keep a closer watch on quarantine violators, another function was added to connect tracking wristbands to the app. "We were simply overwhelmed with work," said Koo Chang kyu, a South Korean official. In meetings last month with Mr. Rechtenstein and a Times reporter, South Korean officials initially played down the security issues, saying that they had deleted personal data and disabled the app once a user completed the two week quarantine. But Mr. Rechtenstein demonstrated in the meeting that his data could still be retrieved from the government server by using the app on his phone, even though his quarantine had ended more than a week earlier. South Korean officials later said they had fixed the problem. South Korea has become a global poster child for its creative and transparent handling of the coronavirus pandemic. But the app's security flaws show how the country lags in protecting personal data, Mr. Rechtenstein said. He also expressed disappointment at how long it took the authorities to fix the problems. The episode could "affect perceptions about the Korean model" for combating the pandemic, Mr. Rechtenstein said.	N24News: A New Dataset for Multimodal News Classification	Technology
Like a magic brew thinned into bouillon, "Come Away" folds spellbinding storybook tales into a mundane melodrama. The movie proposes that Peter Pan and Alice, of Wonderland, are brother and sister. As children, they share an idyllic life, until a family tragedy prompts them to retreat into their respective fantasy lands. The story takes place in the English countryside, where the craftsman Jack (David Oyelowo) and his wife Rose (Angelina Jolie) live in a quaint cottage with three children. The kids exercise their active imaginations in the woods, where they pretend to shoot arrows and cross swords in combat. The director Brenda Chapman ("Brave") aligns us with the siblings by bringing their jovial make believe to life. An overturned rowboat is shown to be a ship full of pirates; sticks, when brandished, become sharp blades.	N24News: A New Dataset for Multimodal News Classification	Movies
Finn Wolfhard, a 14 year old actor with a shaggy haircut and a baby face, was perusing the aisles of Rough Trade NYC, a far from extinct music store in Williamsburg, Brooklyn. Flipping through stacks of vinyl, he stopped every so often to comment on a record. "Oh, wow, they have 'Pinkerton,'" he said of Weezer's second album, which came out in 1996 and received mixed reviews. "This is so much better than their first one." Turns out, Finn is something of a pop music fanatic, and has been ever since he was 6 and his mother introduced him to the Beatles ("Actually kind of late," he said). He took up the bass guitar at 7, and now plays in a garage rock quartet called Calpurnia, named after Atticus Finch's housekeeper in "To Kill a Mockingbird." "Honestly, if acting never worked out, I would have done music," said Finn, who was flanked by his father, Eric Wolfhard, a researcher on aboriginal land claims, and his publicist, Michael Geiser. Finn, who is from Vancouver, British Columbia, was in New York several weeks ago to promote his new projects, but had recently started buying vinyl, so he made a detour to Rough Trade. Dressed in a long olive green button down shirt, black skinny jeans and squeaky new Adidases, he bounced around the store like a messenger weaving through heavy traffic. He came across the album "Loveless" by the Anglo Irish rock group My Bloody Valentine, whom he had never heard before. He was also unfamiliar with the genre it was filed under: Indie Rock/Shoegaze. "What does that even mean?" Finn said. A reporter informed him that "shoegaze" refers to bands known to stand still and stare at their shoes on stage. Their popularity peaked two decades ago. "So, are they dad rock?" he said. "I usually listen to a band called Twin Peaks," Finn said, referring to a Chicago based band and fingering its latest album, "Down in Heaven." A few months earlier, Calpurnia had covered the Twin Peaks song "Wanted You" and posted it on YouTube. After that, Finn became friendly with one of the band's vocalists, Cadien Lake James. When he told Mr. James that he was going to buy the band's album, the singer replied, "No, just illegally download it. If you want to buy it, buy the vinyl." He also picked up Mac DeMarco's album "This Old Dog." "He's so funny," Finn said of Mr. DeMarco, a fellow Canadian. In May, while Mr. DeMarco was touring in Atlanta, where parts of "Stranger Things" are filmed, he invited Finn onstage to play guitar. Shopping for records was a welcome change of pace, said Finn, who had spent the previous week in San Diego at Comic Con, doing back to back interviews as part of a promotional tour for "Stranger Things," which returns Oct. 27. The reporters, he said, asked a lot of the same questions: whether the young cast of "Stranger Things" are friends offscreen (they are); whether he is dating Millie Bobby Brown, his 13 year old co star (he's not); whether he knew how popular the show would become (he did). "It was maybe the best script I'd ever read," he said of the pilot, which centered on the disappearance of a child under mysterious circumstances in small town Indiana and involved supernatural beings and secret government experiments. "After I read it, I was like, 'This show is the best,'" he said. "I'd never seen anything like it." Finn's acting career began at 9, when he would answer Craigslist ads for freelance acting gigs. "I see how that can sound sketchy," he said with a laugh. After a few years, his father hired an agent. "And then I started doing little stuff." His agent sent over the "Stranger Things" script and "I was immediately interested," Finn said. "I didn't really care what character I got." "Stranger Things" has given him a fan base ("I started getting flooded with Instagram followers"; he currently has 2 million) and acting roles including Carmen's sidekick in Netflix's animated series "Carmen Sandiego," set for release in 2019.	N24News: A New Dataset for Multimodal News Classification	Style
The 175 room, 20 story Ludlow is one of the latest arrivals to downtown Manhattan's well established chic hotel scene, which includes the Mercer, Sixty SoHo and Crosby Street hotels. The hoteliers Ira Drukier, Richard Born and Sean MacPherson, who own several other boutique hotels in New York City together, such as the Jane and the Bowery, bought the abandoned red brick building from a real estate developer and spent two years fashioning it into luxury accommodations with a contemporary design. The Ludlow, opened in June 2014, includes the hard to book restaurant Dirty French, which is from the same team as Carbone and Parm. The property also has a lovely garden with six tables and brick walls partly covered in ivy, as well as heating, allowing it to remain open year round. The Ludlow is in the heart of the Lower East Side, one of the city's most desirable areas for the hip and youthful set. New York institutions like Katz's Deli and Bowery Ballroom are within walking distance. And it is near hot ticket restaurants and bars, bakeries and indie boutiques. Two subway lines, the F and the 6, are within a 10 minute walk. There are 10 room categories ranging from a Studio Full to the Penthouse Suite. Our 235 square foot Studio Queen had a large window overlooking lively Essex Street, which was great for people watching. Its stylish decor included a black and cream silk rug, with a series of varied patterns, adorning the dark wood floors; cream painted wood beams; an oversize round brass chandelier, handmade in Marrakesh; and a charming, tiny round white marble table with two purple velvet chairs and a dark wood bed with a comfortable queen mattress. Snug but aesthetically fun, the bath had robes from the trendy Parisian fashion label Maison Margiela white tiled walls, black and white checked floors and a white marble sink with brass fixtures and a large brass mirror. The shower stall had a rain shower head, and though the water pressure was moderate at best, the toiletries from the luxe brand Red Flower made up for it.	N24News: A New Dataset for Multimodal News Classification	Travel
You think you've seen every way to dispatch a zombie, and then someone applies a chainsaw to a skull in a particularly satisfying manner. But no matter how good that scene is, or the yards of entrails pulled out of bodies, scares are not the distinguishing feature of the Canadian filmmaker Jeff Barnaby's new effort. Zombie stories are about the spread of lethal contamination, so Barnaby's central premise is inspired: When dead people come back to ersatz life, it turns out that Indigenous folks are immune a sardonic twist on their ancestors succumbing to diseases imported by the European settlers. "Blood Quantum," now streaming on Shudder, is set in 1981 in Red Crow, a fictional Mi'gmaq reserve that was also the setting of Barnaby's debut, "Rhymes for Young Ghouls" (a grimly compelling drama available on Amazon Prime). The sheriff, Traylor (Michael Greyeyes), is appropriately stern and efficient, though he struggles to manage his dangerously hotheaded older son (Kiowa Gordon) the young man goes by Lysol, which does not suggest a sunny personality.	N24News: A New Dataset for Multimodal News Classification	Movies
"The Outsider" is not generally considered to be really top flight Stephen King. If you look up rankings of his novels, it tends to come in around the midpoint at best and often much lower. Some people are turned off by the way it segues from police procedural mystery to supernatural skirmish. Others think the villain just isn't scary enough. Presumably the writer Richard Price and the actor and producer Jason Bateman, two of the main forces behind the 10 episode adaptation of "The Outsider" that begins Sunday on HBO, liked the book. You have to wonder, though. Based on the first six episodes, they've gloomed it up and slowed it down, keeping much of the basic story but making something radically different in tone and atmosphere. It's "The Outsider" dipped in noir sauce and coated in HBO prestige bread crumbs. Is it an improvement? Having just read the book, I missed King's energy and earnestness, and most of all his sense of relentless forward motion. In HBO's "Outsider" the camera slowly glides, or creeps, or just sits still while actors try out their hard or perplexed or grieving stares. It doubles down on a kind of blue tinged moodiness that's a popular mode in television mystery these days, from "The Sinner" on USA to Price's "The Night Of" for HBO. (Bateman directed the first two episodes.) It takes King's spooky, jokey, thinly characterized plot machine and turns it into a psychological workout. If that lines up with your taste, "The Outsider" will be perfectly watchable and probably even enjoyable. The cast, led by Ben Mendelsohn, Cynthia Erivo, Mare Winningham and Julianne Nicholson, is excellent. And Price he wrote a majority of the episodes, with another eminent crime novelist, Dennis Lehane, contributing a few more keeps the mystery legible and credible (while negotiating a change of venue to Georgia from Oklahoma). Just settle in for a very slow boil. Show and book both begin with the discovery of the body of an 11 year old boy, horrifically murdered, and move directly to the arrest of a solid local citizen, Terry Maitland (Bateman), while he's coaching a youth baseball game. The detective in charge, Ralph Anderson (Mendelsohn), arrests Maitland quickly and publicly because of the crime's brutality but primarily because the evidence against him fingerprints, multiple witnesses, surveillance footage is so overwhelming. But as quickly as it came together, the case begins to fall apart. There's equally compelling evidence that Maitland was at a teacher's conference in another town when the murder was committed. How could he have been in two places at once? And is the answer connected to the eerie premonitions and visitations that begin to afflict people connected to the case, including the wives of Anderson and Maitland (Winningham and Nicholson)? It is, of course, and part of the fun of the book is the subversive way in which King constructs a classic mystery scenario, studded with references to Poe and Robert Ludlum, and then doesn't bother to solve it in the usual style. The case of Terry Maitland seems impossible, and it is unless you accept a paranormal explanation (and a classic Stephen King type of story), which Anderson, a dogmatic realist, isn't at first prepared to do. The literary allusions have been dropped in the series, understandably, but the novel holds a greater challenge for adapters. In service of the bifurcated plot, and indulging his habit of shuffling people from book to book, King revives an old character the private investigator Holly Gibney (Erivo), from "Mr. Mercedes" and drops her in halfway through "The Outsider," to function as Anderson's tough love guide to the world of storybook predators. The awkward but resolute Gibney is the best thing about "The Outsider," and Price and company know it they've smushed the first half of the book into the first couple of episodes of the series so that they can introduce her earlier, and from there the series is in large part a showcase for Erivo, the star of "Harriet" and the coming season of "Genius" devoted to Aretha Franklin. Erivo capably embodies Gibney's under the surface compassion and strength, but her performance is hemmed in by the show's decision to amp up the character's idiosyncrasies this Gibney is practically a rain woman savant, and Erivo's attempts to give that some nuance can just end up looking dull. King's Gibney drew an excitement and satisfaction from her investigative work that Price's character doesn't seem to feel. And that tweak is just one of many changes, small and large, that push the show in dark and heavy directions. A suicide, glancingly referred to in the book, is now onscreen and graphic. The amount of time spent in a dank strip club has gone way up. Most tellingly, Anderson's son, alive in the book, is now dead, generating additional stress and marital discord. There may be a Jason Bateman effect at work here. Noirish gloom seems to follow him around: The first season of Netflix's "Ozark" (the only one I've seen) took material that wanted to be dark comedy and squeezed much of the fun out of it, though Laura Linney, as the wife of Bateman's antihero, worked heroically to counteract that. "The Outsider" takes an entertaining and propulsive, if routine, read and renders it with style and savvy but not much of a pulse. Watch the show and spoiler alert! you may find that that's kind of what the killer does, too.	N24News: A New Dataset for Multimodal News Classification	Television
Domestic flying on United Airlines is about to get cozier. The airline announced this week that it plans to retrofit the economy class on 19 of its 74 Boeing 777 planes with 10 abreast seating in a 3 4 3 configuration, a change from its current nine abreast 2 5 2 or 3 3 3 configuration. The planes will operate on domestic routes including Hawaii and Guam, and the first aircraft with the new seating is scheduled to debut in May, according to a spokeswoman, Karen May. The change will bring the total number of seats on the planes to 364, an increase of either 20 or 98 seats depending on the aircraft. The move echoes a larger industry trend, Ms. May said. "Many airlines are now offering 10 abreast seating on 777s so we are not an exception," she said. United expects to have all 19 of the planes retrofitted by May 2017. The Fenimore Art Museum in Cooperstown, N.Y., is reopening for the spring and summer season on April 1 with a new exhibition of 41 prints by the renowned photographer Ansel Adams. Called "Ansel Adams: Early Works," it runs through Sept. 18 and gives visitors a chance to see prints by Mr. Adams from the 1920s into the 1950s such as "Moonrise, Hernandez," a 1941 print from New Mexico depicting a light gray sky a contrast to his darker prints from the 1970s and 1980s. In commemoration of the exhibit, the nearby Otesaga Resort Hotel has an "Ansel Adams Special" package; it includes accommodations, breakfast, tickets to the museum and a collection of Ansel Adams postcards. Prices from 299 a night. The Duke and Duchess of Cambridge, Prince William and Kate Middleton, recently announced plans for their first visit to Bhutan this spring, and in celebration, Uma by Como, Paro, a 29 room resort in the Paro Valley of Bhutan, has introduced a "Royal Himalayan Discovery" package. The offer includes a five night stay, all meals, daily guided hikes in the surrounding mountains, excursions to cultural sites such as Tiger's Nest Monastery, a spa treatment per person and traditional English afternoon tea on three occasions. Available from April through July. Prices from 5,827 for two. A NEW CRUISE ON THE GANGES Seeing the Ganges River in India by boat isn't common, but a new cruise from Uniworld Boutique River Cruise Collection on its river cruise ship, the Ganges Voyager II, gives travelers a chance to do just that. The 13 day trip, called "India's Golden Triangle and the Sacred Ganges," includes seven nights on the new 56 passenger, all suite vessel and five nights in Oberoi Hotels Resorts in New Delhi, Agra and Jaipur. Those who book the trip will see Humayun's Tomb in Delhi, the Taj Mahal in Agra, Mother Teresa's home and tomb in Kolkata and the Hare Krishna Complex and Temple of the Vedic Planetarium in Mayapur.	N24News: A New Dataset for Multimodal News Classification	Travel
About a week before "Little Women" premiered in December, the tweets started rolling across my timeline. "I don't care about 'Little Women'," read one. Another pondered why this movie was being made now. And a perhaps kinder one that more aptly described the derision, "Little Women is white women's Black Panther." I think I understand those reactions. "Little Women" is a book that its devotees tend to stress as a defining description of American girlhood. Its characters are lovingly interpreted as archetypes. Every girl, it is decided, must be in some part a Jo, a Meg, a Beth or an Amy. It's that assumption of universality that irks when you are a black girl reader. In the decades since "Little Women" was published, children's novels with black girl heroines have also been published "Roll of Thunder, Hear My Cry"; "The Bluest Eye"; the works of Virginia Hamilton and Octavia Butler. But they do not possess the assumption of lingua franca that "Little Women" is given in cultural conversations. I do not know many who ask, for example, "Are you a Lauren?" in reference to "Parable of the Sower." If you are a black girl reading the American canon, you often have to perform a special equation. We do not appear in many of the books deemed classic literature. As Toni Morrison noted after she wrote her own contribution to the canon, "The Bluest Eye," "that subject those most vulnerable, most undescried, not taken seriously little black girls had never existed seriously in literature. No one had ever written about them except as props." So when we as black girls read most books, we have to will ourselves into the bodies on the page, with a selectivity and an internal edit that white readers of the same canon do not necessarily have to exercise. "So what?" one might think. Isn't reading fiction an exercise in empathy? But empathy for whom, and for what higher purpose, always complicates this supposedly benevolent action. Is empathy really empathy if it's generally asked to flow in only one direction? Under those circumstances, empathy looks less like identifying with the other and more like emotional hegemony. I saw "Little Women" the day after Christmas, with my two older sisters and my 12 year old niece. The film I saw was one that explored how the small decisions made in childhood affect a whole life's trajectory; how gender, birth order, social expectations can raise or dampen a spirit; and the prices paid for rallying against all those constraints to declare a self. Even with the imbalance of empathy, the criticism of the film's perceived unbearable whiteness seemed unfair to me. There is a fine line between a piece of art that acknowledges it is about the worldview of a very specific person in the case of "Little Women," that of a white girl in Massachusetts, raised in an abolitionist family during the Civil War and a piece of art that declares that this worldview is the only one that matters and is fatally incurious about all others. This adaptation is alive with curiosity and is intent on reminding us of the context in which the March sisters lived. This is most evident in the shot of the March family walking to a poorer neighbor's house to give away their Christmas dinner and passing the rest of the town leaving morning church services an institution to which they do not belong. I should, perhaps, admit my own bias here. Maybe I am too comfortable, too unquestioning of performing these calculations over and over again. I read "A Tree Grows in Brooklyn" three times a summer, every summer, from ages 12 to 16. I read it so many times, I knew the opening lines by heart. "Serene was a word you could put to Brooklyn, New York. Especially in the summer of 1912." I read the chapters that told the history of their arrival in America over and over, and seized on the phrase "black Irish." I grew up in a predominantly Irish suburb of Boston I knew that people used the phrase to describe Irish people with darker hair and darker skin. I took that murky definition and decided it must mean Francie was black like me. Francie with her fierce and sometimes unknowable mother, in her allegiance to her block, in her ability, borne of necessity, to create better worlds for herself inside her mind all of these read as markers of black girlhood to me. I claimed her as mine. When I made my claim, I did not feel as if I were betraying my blackness. Indeed, I felt an immense power, as if I'd found a way to read the book that only I was clever enough to discover. So I feel conflicted about the criticisms of "Little Women." I understand the fatigue of watching a prestigious film about white women being claimed as a cultural watershed for women everywhere. But I also feel the pull of narrative, of images on the screen, of watching an artist build a world and inviting others to enter. "Where are the black characters?" I remember reading on Twitter. And then a response saying you don't want to see director Greta Gerwig trying to portray black characters. Never mind that Ms. Gerwig did include black actors as townspeople. And then the turn again: Let's stop imagining ourselves in white stories and instead create our own. To this point, I think of the life of Ellen Garrison Jackson. Nine years older than Louisa May Alcott, she was a black girl in Concord, Mass., the second generation to live in her family's homestead. Like Alcott, she grew up in a family committed to radical social change. Her mother worked as an abolitionist, occasionally working in coalition with white female activists in Concord. In 1866, she initiated an early lawsuit over segregation in public transportation, testing the nation's first Civil Rights Act and predating Rosa Parks and the Montgomery bus boycott by nearly a century. Many of the things that readers respond to in the story of the March family the questions of how to live a life of moral fortitude in an immoral world; the fierceness of righting injustices that young girls feel when they encounter the world are a part of the history of Ellen Garrison Jackson. She could easily and with historical accuracy be included in the "Little Women" universe. The fact that she isn't speaks to the value of the question of "Where are we?" The question can be valuable in helping to find the stories that are deeper and more complicated than the conventions of narrative fiction. In the movie theater, watching the March sisters onscreen, I sat beside my own sisters, Alcott superfans, and my niece, who has been dragged to Orchard House, the Alcotts' home in Concord, more times than she can count. Watching a movie and dissecting it scene by scene afterward with my sisters is one of my keenest pleasures, one I took for granted in childhood. One I recognize as an adult now as rare. As we left the theater, we fell into the practiced conversation of sisters, a volley of interjections, an endless round of "and then," "but so," "and now." It is worthwhile to point to the absences, the silences, the erasures in stories. But the questions should be an invitation to creation, not an end to conversation. Kaitlyn Greenidge is the author of the novel "We Love You, Charlie Freeman" and a contributing opinion writer. 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
In June, the Korean pop group BTS observed its sixth anniversary with an annual celebration called Festa 10 days of new interviews, behind the scenes clips, choreography videos and the release of its member Jin's first solo song, "Tonight." The group also held its fifth "Muster" fan gathering, continued its Love Yourself: Speak Yourself tour and released a new mobile game. But the boy band's seven members weren't the only ones with hectic schedules. A network of dedicated volunteer translators also got to work churning out content for the fandom known as the BTS Army. BTS isn't the only K pop group with a linguistic battalion to translate Korean into other languages fellow stars like Blackpink, Red Velvet and NCT have teams on the task, as well but its scale is massive, with a legion of translators on Twitter whose followings range from tens of thousands into the low millions. (This weekend, several K pop fandoms will converge in New York at KCON, a gathering of fans and artists, for panels and performances.) While Korean to English translators on Reddit, YouTube, Tumblr and Instagram are numerous, around a dozen Twitter accounts are the primary resources for English speaking BTS listeners. That includes solo accounts like doolsetbangtan (115,000 followers), btstranslation7 (280,000) and doyou bangtan (139,000), as well as larger organizations under one umbrella, like Bangtan Translations, known as bts trans, (1.48 million), which has been around since BTS's debut and boasts 16 staff members, according to its website. In between are handfuls of midsize teams, like peachboy 0613 (337,000) and SPOTLIGHTBTS (240,000). All of them work for free. Many of these translators got involved because they noticed incorrect or incomplete English transcripts online, but also because they saw an opportunity to participate in the rise of a group they wanted to see succeed. At the first BTS concert the 20 something fan Jiye Kim (who posts as doyou bangtan) attended, she saw the band wanted "the concert to be a way for us to share in our joys and pain, just as humans walking alongside each other," she said in a phone interview. She left the show thinking, "I'm really happy that I exist in this world and these people do too." Each translator account has different areas of expertise and interest. Bangtan Translations is one of the largest, posting comprehensive, authoritative interpretations of lyrics, tweets and long videos. The six person Peachboy team does social media posts, lyrics and letters from the subscription based Fancafe platform. Spotlight, which has four members, has a special knack for live interpreting. For in depth looks at lyrics, doolsetbangtan and doyou bangtan offer heavily contextualized, almost academic deep dives. Translating for one of K pop's biggest groups comes with pressures. The sheer amount of content requires some discernment, even as a growing English speaking market demands more, and wants it faster. Some translators have experienced burnout, especially those working alone at the mercy of an incredibly active and devoted fan base. The person behind the popular account cafe army shared a letter to followers on June 27 announcing an "indefinite rest" to focus on their personal life, which had been "compromised" by so much time translating. Others can relate: Kim averages more than a thousand phone notifications a day. Katie H., who runs doolsetbangtan, took a short break last year after realizing she felt "guilty" when she didn't have time to translate everything. "People think we're machines," said Rachel, whose Korean name is Yejin, about her work helping run SPOTLIGHTBTS as a busy 20 year old college student in the United States. She said Twitter fans will tell her, "I don't know how you balance your life with all of this." Errors are a danger, especially when words are retranslated from English into other languages. So is omission. Kim, whose lyric translation work stands out as especially poetic, once spent time carefully translating the BTS members V and RM's 2018 Festa song "4 O'Clock" because she loved it so much. "But then there's a contrast of, why did you write all these beautiful words for V but you didn't when Jimin or Jin wrote theirs?" she said, referring to other members of the group. "I recognize that by not speaking about the others, it feels as if V is a better lyricist, or is more in control of his emotions and he can show that through song." Fan translators don't have the opportunity to ask BTS or the songwriters the group works with about the intent of a given track, instead inferring context from interviews and past lyrics. Korean also comes with its own particularities, idioms and references. (The BTS song "Ddaeng" uses the title word in at least six different ways over four minutes.) Janet Hong, a literary translator based in Vancouver, British Columbia, said she has grappled with the inevitable contradictions built into transferring words and their meaning from one language to another. If it's creative, it's also collaborative. The Peachboy translator ChanHee Jeong, 18, said she appreciates her partner Camila on days when she "just can't Korean." Both Kim and Katie H. noted that the translator landscape has shifted from competitive to communal the two became friends in real life after bonding over the language of BTS on Reddit. Now they see each other as valuable sounding boards for trickier lyrics, and as support systems for dealing with a stan culture that can be militant. Fans, meanwhile, appreciate the reassurance that comes from having a variety of interpretations to choose from. Myla Adjin, 18, the creator of the popular BTS fan account cosmosdior, is just beginning to learn Korean. She looks at multiple accounts for translations, then adds her own perspective based on her knowledge of the group. "I'm not set on one, like they're definitely right," Adjin said. "I try to get everyone's point of view before I make a final decision." Ultimately, all the hours translators put in to heighten the experience of BTS for non Korean speaking fans are a chance to celebrate what they see as a positive force in pop music today. Kim, who works as a high school teacher when she's not running doyou bangtan, grew up in Australia raised by Korean parents. She remembers being surrounded by classmates who would ask if her Korean food was Chinese.	N24News: A New Dataset for Multimodal News Classification	Music
Elkeyshia Webster, 11, had no interest in going to a program at the Perez Art Museum Miami on a Saturday when she could be home, watching TV. And she was particularly angry when she found out that the event involved working with the police. "I really didn't want to be there, but my mother made me," she said. "I haven't had a good experience with police." Elkeyshia, known as Shia, was 8 when she and her mother were going out for pizza. She said the police pulled over their car and pointed a gun at them, mistakenly believing they had been involved in a drug deal. But Art Detectives, a new three day program scheduled to run on consecutive Saturdays, and whose pilot version took place last year, is directed at young people just like Shia. And it is part of a growing movement across the country to create programs for preteens and teenagers that use innovative art concepts to explore challenging ideas. A number of art, science and social justice museums across the country have been running short and long term projects for teenagers for decades. But in school museum field trips are dropping off because of decreased educational funding and an increased emphasis on standardized testing. So museums are seeking more novel ways to make themselves relevant to an adolescent audience. "For years, we had amazing family programs, and teens were kind of ignored," said Sarah Kate Baie, director of programming at the Museum of Contemporary Art Denver. "Four years ago, we decided to focus on teens because the work we show really spoke to them, and raises broader issues about society. We really wanted to reach out to the next generation of museumgoers and create a home away from home for them." And new research has shown that when teenagers are involved in museum programs, especially those that last a year or more, they see life differently. Last year a report funded by the federal Institute of Museum and Library Services, which provides money for libraries and museums, looked at four museums that have provided long term teenage programs since the 1990s: the Whitney Museum of American Art in Manhattan, the Walker Art Center in Minneapolis, the Contemporary Arts Museum Houston and the Museum of Contemporary Art, Los Angeles. The report, "Room to Rise: The Lasting Impact of Intensive Teen Programs in Art Museums," highlights programs that generally run from one to three years and serve a dozen to two dozen teenagers annually, who usually come to the museum weekly. When such programs started, they were largely for low income and minority students, said Mary Ellen Munley, the lead researcher on the report, but "that has expanded more to get a full circle of diversity." The report's researchers sent an online survey to about 600 teenagers who had participated in the four programs from the 1990s through 2011; 264 completed the online survey, and 18 participated in focus groups. A significant majority of those surveyed identified their participation in a museum program "as one of the most important experiences in their lives," Ms. Munley said. Even if they chose not to pursue a career in arts, she said, their involvement helped them be "open to multiple perspectives, and appreciate that there are many ways to look at the same thing." "And," she continued, "not just dismiss something out of hand because you don't understand it." In addition, many said the programs created a close sense of community and expanded career horizons. That was the case for Storm Lewis, a high school senior who is a leader in Youth Insights, a semester long after school program at the Whitney Museum. Participating high school students work with an artist in residence and learn about how a museum works. Students from all the New York boroughs who have done at least one semester in the program can apply for a yearlong paid internship as a Youth Insights leader. They organize public programs and events for other students, said Kathryn Potts, the museum's chairwoman of education. Ms. Lewis said she had always been interested in the arts but didn't have a sense of how to make them her vocation. At the Whitney, she said, "I was exposed to jobs and other things that are not just about producing art there's a lot of different jobs I can imagine exploring." Jenny Perlin, a Brooklyn based artist and teacher at Cooper Union her work was part of the Whitney's "Dreamlands" exhibition, which ended last month served as an artist in residence. She said helping the teenagers with individual video projects was inspiring. Education staff at the various museums typically publicize their programs through schools and community groups; most require students to apply, but some rely on teachers or organization leaders to identify teenagers who would particularly benefit from the experience. Even short term projects can make a lasting impression. The Perez museum program includes a group of police officers, museum staff members and middle school students who are part of Breakthrough Miami, a nonprofit organization that provides academic enrichment for low income students. The program consists of the police and the teenagers, along with facilitators, discussing how they perceive one another, making collages about those perceptions and learning about an artist in depth. The three day program will take place five times over the year, with about 45 students in each group. For Shia, the program was a revelation. Seeing the police in a different setting taught her "we weren't so different from each other," she said. "We're still regular people," she continued, "but one has a badge. Sometimes they're not the nicest people, but I learned not to judge them on stereotype." She also changed her mind about art, which she had thought of as boring old portraits with little relevance to her own life. Museum staff members introduced her group to Jean Michel Basquiat, the American artist of Haitian and Puerto Rican descent who died in 1988 at 27. The museum's exhibition of his notebooks included poetry fragments, sketches and observations about race and culture. "It made me see that things are not that different than when Basquiat was around," Shia said. "There's still police brutality. Even after a black president, things are mostly the same. And Basquiat, he didn't have such a good relationship with the police." But she also learned that "when he painted, it didn't have to be the Mona Lisa it doesn't have to be perfect." And so Shia decided that maybe she, too, could do art. Imperfection is what the Museum of Contemporary Art Denver's program for teenagers is all about. Four years ago, it started the Failure Lab, a leadership program for a dozen teenagers that lasts through the school year and gives them an opportunity to put together art shows and work with professional artists. "There's all this pressure to succeed in the world, and we wanted to let them fail, and fail spectacularly," Ms. Baie, the museum's director of programming, said. The young people meet weekly and take on one large scale art show of their own work and smaller projects throughout the year, she said, which can be anything from a music album to a photography exhibition. While most museums want to attract as disparate a group as possible, others are deliberately reaching out to a specific segment of the population. The Minnesota Historical Society runs the Wariyaa program, which meets at the Mill City Museum in Minneapolis; it is specifically for Somali youth. Jessica Hobson, inclusion and community engagement associate for the historical society, said Minnesota had the largest Somali refugee population in the United States, concentrated primarily in Minneapolis. An apparent rise in anti immigrant feeling in the United States and a recent high profile Minneapolis trial of three Somali American young adults who were convicted of trying to travel to Syria to join the Islamic State prompted the weekly program, which began in September and ends in May. Nine were chosen to participate out of about 30 high school students who applied, Ms. Hobson said. Their main project is a Somali cookbook, which will be a mixture of recipes and oral history. Hamdi Ahmed, 17, is involved in the program; her parents are refugees from Somalia who came to Minnesota when Ms. Ahmed was a baby. "I hope that with the cookbook, it will help people poke their toe into cultural understanding, and that's especially important now," she said. And a number of museums have initiated programs aimed at the lesbian, gay, bisexual and transgender teenage population. The Museum of the City of New York held a one day L.G.B.T.Q. Teen Summit on Presidents' Day as part of its exhibition "Gay Gotham," which ended last month. About 80 students and 20 adults showed up for the event, which involved speakers, tours of the show and an opportunity to create art. "Our goal as an institution is to celebrate diversity in New York," said Whitney Donhauser, the museum's director, "and this is an opportunity for these teens, who may not have seen themselves celebrated on the walls of a museum." On Thursday afternoons, the Museum of Modern Art in New York also holds a free after school drop in program for these adolescents. Called Open Art Space, it offers museum tours, projects and art making sessions. The impact of the teenage programs isn't always tangible, but they can create a lifelong impression. Corey Towers, who was part of the Contemporary Arts Museum Houston's inaugural program for teenagers in 1999, now works as a photographer in Manhattan. He said what affected him the most about his experience was "that you didn't just learn about art from a textbook or museum wall, but about the artists as people," adding, "We got to see the person making the art, rather than seeing it shiny in a well lit room." "It made me realize," he said, "that maybe one day I could actually do this myself."	N24News: A New Dataset for Multimodal News Classification	Art & Design
"Hi. My name is Sam Hargrave, director of 'Extraction.' So at this point, we're in the middle of what we would term a oner. It's a long continuous shot that we came up with, a way to do that kind of a unique chase scene. And we're escaping with Chris Hemsworth, who plays Tyler Rake, and Rudhraksh Jaiswal who plays that Ovi." "Alright, kid, you trust me?" "No." "Good." "This jump and at that moment, we had a stitch. So we could infuse our actors into the action and then use the doubles for the dangerous part. And for that jump, I was actually on a wire leaping behind our stunt doubles. And coming down those stairs, that's me running backwards with a camera, trying to keep our actors in frame, keep up with their speed, not fall on my butt. We work our way through this whole series of hallways. And when we enter this room, we actually, on that door kick, we moved to another location. So that's a different day of shooting, different time." "Stay on my shoulder, all right?" "And this fight here, we've got Randeep Hooda and Chris Hemsworth going at it. They spent weeks rehearsing together. Because the beauty of this is it looks sloppy. It looks like they're struggling for their lives. And it looks messy. But that comes from hours of rehearsal so they could put the acting into this. So again, here, we build in a hidden cut where we can put the doubles in. And as you see, the camera goes down with them. Again, that's me on a wire, jumping over a balcony, and gliding down with them. And for that, we kind of set that all up. We built the balcony. It didn't exist. We parked the truck in the right place. And the stunt team rehearsed and rehearsed and rehearsed to get the timing of that right and the distancing. And it was really challenging to kind of keep both actors in frame for that fall just because the nature of the jump. I mean, I'm on a wire, trying to jump with a camera, keep them in frame. And then when we land in the streets, what we thought would be really fun was to have the actors interacting with the environment, the vehicles passing by. This is just a day in the life of for these people. But these guys are locked in a life and death struggle with knives. And yet, life goes on. You know, this is busy street. People are watching like they've gone to the cinema. And you know, again, this hours of rehearsal with these two actors so that we could have the intensity that we needed. And then a little shock value here." GRUNTING CAR SCREECHES "The thing that was interesting about this moment is, and what we tried to do to make kind of a unique perspective, was do what people aren't expecting, which you take out your hero. Just take him out of the fight. And then focus on the bad guy. And we just thought it was fun, a different way to kind of follow action was to leave your hero out of it. So you're thinking, wait, what happened to Rake? Is he going to come back? And you know, leave people wanting more."	N24News: A New Dataset for Multimodal News Classification	Movies
"Dance when are we getting it back?" Amy Sherman Palladino asked. "Nice to talk to you about the thing that doesn't exist anymore." While dance does exist, the live version has been hard to come by during the coronavirus pandemic. For now the screen is where it lives. Ms. Sherman Palladino, the writer, director and creator of "The Marvelous Mrs. Maisel," has been doing her part for years by presiding over an unofficial dance preservation movement. In her world, dialogue and movement meld together, always emphasizing the idea that choreography on television is not just a possibility, but a shimmering, transformative experience. Dance is infused, indirectly or not, in just about everything that Ms. Sherman Palladino touches, even going back to "The Gilmore Girls." Remember the dance competition in "They Shoot Gilmores, Don't They?" That recital at Miss Patty's dance studio? When Rory had to review a dance for the school paper? (I've never felt more understood.) That led to "Bunheads," in which dance was everything. It was real, and it was funny as Ms. Sherman Palladino knows, dancers are both. What else do "Mrs. Maisel" and "Bunheads" have in common? For Ms. Sherman Palladino and her husband and creative partner, Daniel Palladino, it is a choreographer: Marguerite Derricks. "We call Marguerite our secret weapon because it's as if we have another almost a director onstage," Ms. Sherman Palladino said. "She understands how to do dance for camera, because it's actually a different animal it's not a proscenium, it's 3 D. It's everything the world envelops." "Mrs. Maisel" has expanded the use of dance in conventional and unconventional ways; it breathes dance in many directions. There are those over the top numbers with the fervor and splendor of an MGM spectacle, but there are also intimate duets, like the dancers floating along the Seine in Season 2 and the sultry dance between Midge Maisel and Lenny Bruce in Season 3. The dances have a way of slowing down time in certain moments, while the show's choreographed walking shots bodies and dresses sweeping through city sidewalks or apartments or department stores speed it up, crackling with purpose. It's as if the Rockettes, in street clothes, had taken over Manhattan. But all of "Mrs. Maisel" feels like a dance to me. It's helpful that Ms. Sherman Palladino, who trained in ballet, still misses every part of being a dancer, from class to "those dopey cattle calls" in which, she said, "you stand in line for 12 hours and then get to dance for a half hour. Then you'd get to go home and figure out how to pay your rent." And dance is as much for the head as it is the body, she said: "There's also a discipline and a mental clarity about, 'Do it again. Do it again. Do it again. Do it again,' that I think is important in life in general." In advance of the Emmys, Ms. Derricks, who studied at the National Ballet School of Canada and has choreographed for numerous movies and TV shows, including "Little Miss Sunshine" and "Glow," joined Ms. Sherman Palladino for a conversation about the constant motion of "Mrs. Maisel." These are edited excerpts from that conversation. Why is dance so important to you? AMY SHERMAN PALLADINO I was a dancer. There was one point where I was never out of tights. I think that everything I do is filtered through that lens. So I write with a dance rhythmic view of a scene in mind. And I think that my characters tend to have an energy that even when they walk down the street there's sort of an internal beat to them. Then when directing came into play, I really realized, oh yeah, I can finally tell my mother that the dance lessons paid off. It's been channeled through an unusual way, but I definitely direct like a dancer. And you work with dancers. Why? SHERMAN PALLADINO Dance is an art form that unless you're Mikhail Baryshnikov, you ain't getting rich. There's the rare Misty Copeland out there who's going to grab attention enough to get a book deal and meet Prince. Most dancers are putting in their entire lives and all of their time and all of their physicality, because when you're a dancer, it's not just when you're in class or when you're in rehearsal or when you're in performance; when you're home, your body is your instrument. So there's no taking a break from your job, because it is you. In many scenes, there's a choreography of walking through and taking up space. You use dancers in walking scenes, right? SHERMAN PALLADINO We stage things that people don't think are staged. In the season finale, we've got our girl Bailey De Young, who plays Imogene just walking down the street in slow motion to Nina Simone. Those are dancers. Those aren't extras because we needed physicality, we needed crosses, we needed people, we needed presence. I don't even like to call them extras because they're so integral to our process. DERRICKS The most fun for me is that I get there and Amy tells me where the pas de deux of the camera's going to happen. She says, "OK, this is where the camera is going to move," and she kind of dances around and shows me. Then I get to fill in the background dancers musically and choreograph them even if it's just them spinning over their shoulder and walking across, it becomes this beautiful "Swan Lake" on the floor. With Amy, it's always like she and I are dancing together. In the season finale, Shy Baldwin appears at the Apollo and the performance includes a striking, sexy solo by Ra'Jahnae Patterson. What were your ideas for the solo? DERRICKS Amy wrote that she starts onstage with her leg up over her head and it just hangs there. So I was like, Oh, I knew exactly where we were going. I researched Black women doing jazz from that time period, and then I just super heightened it. I took it to a level that I knew that she could handle. She makes everything look so easy, and she's incredibly sexy without trying too hard. What kind of research did you do for the Hines brothers tap duet? DERRICKS Maurice Hines was one of my first friends when I moved to New York, and he's kind of like a big brother to me, so when I saw that I was going to get to pay tribute to Maurice and Gregory, I called Maurice. I also talked to him about that time period. I took a deep dive into making sure that I was doing the tap that they did when they were teenagers as opposed to what they did as adults. For me, what made it the easiest was the Foreman brothers the dancers are Jaden and Ellis Foreman these young guys are so well educated on the masters of the past. How much did the Foreman brothers know about the Hines brothers? DERRICKS They were huge fans, and so they knew the style. One of the brothers does this thing where he taps his toe really quickly and he points down to it. When they battle back and forth, Maurice was kind of this really flashy show off. The Foremans knew that already. They knew the history, so they came in there and they embodied it immediately. There's so much digital dance around now the quality is not always great, and it's often not very creative. Would you ever consider making a film of a company like New York City Ballet performing a George Balanchine work? SHERMAN PALLADINO Absolutely. There's nothing in the dance world that I would ever not be interested in doing. I was just watching the "Pina" movie again. The way they captured those dances was so fabulous. It's a different way of looking at dance. I mean, it's beautiful to sit in a lovely theater and watch a gorgeous ballet. And I long for the moment when we can believe me. Theater is where everything happens. Everything that I do onscreen happens because I live in the theater. Everything that I breathe happens because I watched it, I saw it, I lived it for a while. And it challenges you and the camera to give people that same feeling. SHERMAN PALLADINO You'll never get that same feeling. You shouldn't try to replicate what you feel in a live theater. I think that should be its own thing, but it can inspire you to push the camera, in a way. When you watch a live show, do you think about it in terms of musicality? I see that so clearly in your work in the way that the bodies and dialogue fit together it's a choreographic feat. SHERMAN PALLADINO It's different every time. Sometimes I get very frustrated with Broadway chorus lines, because I feel like the dancers aren't free enough or trained enough. It depends on what they're offering you, but there are times where you will walk in and you will come out with a feeling like, God, how do I capture that feeling? Onscreen it's tricky, because it's a different energy. I'll say it: That last "John Wick" was a ridiculously violent movie, but it was like sensationally choreographed ballet. The knife sequence in that movie was like a dance movie. Watch "Bunheads" and then "John Wick" that's a double feature that nobody will be able to understand.	N24News: A New Dataset for Multimodal News Classification	Dance
"Unpregnant" is the second film this year, after "Never Rarely Sometimes Always," to feature a pair of teenage women crossing state lines to obtain an abortion. In both movies, as in real life, the characters' home states mandate parental consent for minors. But in contrast to that earlier, quietly distressing story, "Unpregnant" takes this real world issue as the premise for an energetic buddy comedy. The film, streaming on HBO Max, follows Veronica (Haley Lu Richardson), a strait laced overachiever who discovers that she's pregnant in the bathroom of her Missouri high school. The sole witness to her positive test is her one time best friend, the plucky, punky Bailey (Barbie Ferreira), who happens upon the private moment. Hoping to keep her pregnancy a secret, both from the gossipy social scene and her religious parents, Veronica enlists Bailey on a drive to the closest clinic that will take her, in Albuquerque, New Mexico.	N24News: A New Dataset for Multimodal News Classification	Movies
After pausing for a much needed stand alone episode far outside Kansas City last week, "Fargo" hustles frantically to make up for lost time. While the show misses the thematic and conceptual cohesion of its "Wizard of Oz" homage, there was hardly a wasted moment this week. Yes, there are a few monologues Loy reflecting on Satchel's birth, Gaetano talking about the girlfriend he had at 11, Ethelrida's mother telling her about the family curse but none of them stall momentum for the sake of navel gazing, and most have immediate payoffs. For all its pretensions, the show still works most reliably as a relentless narrative machine. The season also starts to come full circle by returning to Ethelrida, who introduced us to the gangland of early '50s Kansas City in the first episode and has popped up only periodically since. The Smutny family side of this story has been a little undernourished; they're the one example of what it's like to be a normal (or relatively normal) family caught up in all this lethal intrigue. All the Smutnys want is to make their home based mortuary viable, but because of a bad loan and ill fortune, they're at the mercy of the wicked. The one silver lining to all the violence exploding around them is that business is booming. Now finally, at long last, the conflict between Ethelrida and Oraetta gets pulled into the gang wars raging around them. Oraetta seemed to have the drop on Ethelrida after the anonymous letter to her boss at the hospital didn't have the intended effect. But Ethelrida has the son of a mob kingpin on her side and a poise she inherited from her mother. Ethelrida is up front about all the discoveries she has made about Oraetta the tokens, the "bottles of death," the poison pies but it's not enough to shake the nurse, who has the confidence of a white woman who knows her story will be believed over a young Black woman's. ("What's it like to be so sure you're right and know that nobody cares?") The story about the Smutny family curse is too much even before an actual supernatural presence foils Oraetta's attempt to kill Ethelrida in her sleep. "Fargo" already has enough quirks without cracking open the spectral dimension to tie up loose ends. It's better off just allowing Ethelrida to use her powers of research to get the information she needs to save her family from peril. A few nimble twists of the microfilm reader leads to her to discover that a pinkie ring Oraetta lifted off a patient happened to belong to Donatello Fadda a revelation that Loy can use to end the war. The "how" part is unclear. Two major characters won't be around to find out. After wriggling out from under Deafy Wickware and the machinations of both mob outfits, Odis decides to act like an honest cop and arrest the Fadda brothers. (His captain is hilariously incredulous .) It immediately seals his fate. And after a season of watching Gaetano antagonize friends and enemies alike, his accidental death is a testament to his essential oafishness. He may have been able to snuff out Loy's attempt to turn him against his brother, but he was always dumb lug, destined to die how he lived.	N24News: A New Dataset for Multimodal News Classification	Television
WASHINGTON President Trump's trade war with China is about to hit home for many consumers. On Thursday, the administration imposed a 25 percent tariff on another 16 billion worth of Chinese products, bringing the total so far to 50 billion. Officials are now weighing a 25 percent tariff on another 200 billion worth of Chinese goods, including materials used in many of the consumer products that were spared in the first round. Nearly 400 companies, trade groups and others descended on Washington this week to testify at six days of hearings before the United States trade representative. While some have spoken out in support of the tariffs, a majority of those testifying are opposed and trying to persuade American officials not to tax the Chinese products or materials they depend on. They warn the tariffs could force them to raise prices and potentially destroy their businesses. Whether you're a college student, a parent, an entrepreneur, an outdoor enthusiast or a retiree, the tariffs could ultimately affect the products you covet. "With operations at this scale we anticipate that the proposed tariffs, if approved at a rate of 25 percent, would result in Trek paying an additional 30 million in tariffs each year. Trek will be forced to pass these costs on to the consumer, raising prices on adult bicycles, kids' bicycles, components and key bicycle safety equipment like helmets." No matter your brand preference, the bike you buy in America is most likely made in part or sourced entirely in China. "Implementing a tariff on our products will not bring jobs to the U.S.A. It will be an added cost of business that will be necessarily passed on to consumers in the form of higher prices, which will hurt sales. Fewer orders means fewer jobs in Port Jefferson, from customer service to warehousing and product development." Many recreational vehicles like boats and trailers rely on Chinese components that the administration has included on its tariff list. Companies like Sea Eagle Boats and Magic Tilt Trailers plan to testify about the levies, saying the extra costs will punish their customers and the United States economy while doing little to hurt China. "Chinese wearables brands Xiaomi and Huawei are already among the top four suppliers of wearables in the world, and are aggressively targeting additional U.S. market share. Unlike U.S. companies, such as Fitbit, that maintain major, U.S. based research efforts, Chinese companies can survive on razor thin margins and easily absorb this tariff, potentially with state backed support." Written testimony provided to the trade representative on behalf of Andy Missan, Fitbit Many of the wearable devices sold by American companies are either made in China or sold to American consumers by Chinese suppliers. The Trump administration has proposed imposing a tariff on wearable fitness products imported from China, which companies like Fitbit say would force them to raise prices to compensate or cut back on jobs and research and development. 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. "Placing tariffs on products like ours (in particular handbags) that are not at risk for intellectual property theft in manufacturing, and are not related to the China 2025 plan, will only ennoble the bad actors in the Chinese economy who pose a genuine threat to our business via bad faith registrations of our recognized trademarks." Chinese counterfeiting is a huge financial problem for luxury handbag, shoe and other retailers, who collectively lose billions of dollars each year as a result of knockoff versions of their products that are produced in China and sold globally. Companies say the tariffs will simply make their products more expensive to produce and give counterfeiters a bigger leg up in the marketplace. "A product marked as originating in China actually reflects manufactured and other inputs coming from the United States and many other countries. Increasing the costs of these inputs will have a negative impact on U.S. juvenile product manufacturers." Many child care products including manual breast pumps, car seats, strollers, play yards, cribs and changing tables rely on materials from China or are produced in China. Several companies testifying this week say the tariffs will drive up prices, making safety products like car seats too expensive for low income families. "Feathers in significant quantities will come from China because that is where this byproduct is produced. There are no other countries in the world that have the supply needed to satisfy the demand of the U.S. market. A tariff on feathers from China will cause an increase in cost to the U.S. consumer." Written statement provided to the trade representative by the American Down and Feather Council In 2017, American companies imported 16.4 million kilos of feathers and down. Most of that came from China, whose population is among the biggest consumers of duck and produces approximately 80 percent of the world's duck and goose feathers. "It seems terribly unfair given the fact that there is no leather upholstery business in the U.S. anymore, none. I would like to think that these are not punitive or just arbitrary, because our category seems to be swept up in this crisis for no explicable reason." Furniture manufacturers are among the companies that would face tariffs on the materials they import from China, including leather, wood, metal and other components that they rely on for their products. Companies like Leather Miracles, which employs 50 people in North Carolina, say there is no alternate source for the materials they need to continue manufacturing their products and remain in business.	N24News: A New Dataset for Multimodal News Classification	Economy
New bosses generally bring in their own people. Nevertheless, the art world was surprised to learn on Monday that the new owner of Sotheby's, Patrick Drahi, had named Charles F. Stewart as his new chief executive officer, replacing Tad Smith just two weeks before the start of the fall auction season. "It is clear with this news that Drahi's vision is to take Sotheby's in a new direction," said Abigail Asher, a longtime art adviser. "It will be interesting to see what these changes bring." In a news release, Sotheby's said the appointment was "effective immediately," though it suggested that Mr. Smith who has served as C.E.O. since 2015 and declined through a spokeswoman to be interviewed had no hard feelings. "Underscoring his confidence in Sotheby's long term success," the release said, "Mr. Smith will become a shareholder of the company and act as a senior adviser to Mr. Stewart." The choice of Mr. Stewart, 49, is not entirely surprising. He comes to Sotheby's from Altice USA, a communications and media company that is also owned by Mr. Drahi, and the two are said to be comfortable with one another. Mr. Stewart has spent the last three years as co president and chief financial officer of Altice USA. He previously served as chief executive of Itau BBA International plc., the European platform of the Latin American corporate investment bank, and previously spent 19 years as an investment banker at Morgan Stanley.	N24News: A New Dataset for Multimodal News Classification	Art & Design
During the European Renaissance, men of wealth and learning put together cabinets of curiosities. The contents consisted of objects whose categorical boundaries in natural history, zoology, archaeology, ethnography, geology and so on were not yet firmly established. Also known as wunderkammers, or "wonder rooms," these motley (and often scientifically and culturally dubious) collections served as the forerunners of what today we know as museums. Like museums, these compilations were hardly neutral. In the words of the art professor Francesca Fiorani, these costly and hard to acquire assemblages "conveyed symbolically the patron's control of the world through its indoor, microscopic reproduction." A great many of these cabinets contained holdings from the so called New World, a place that the assemblers certainly had an interest in controlling. 's third book, "Museum of the Americas," won the 2017 National Poetry Series Competition, but its contents are unapologetically, excitingly hybrid, including prose, lineated verse, vintage postcards and black and white photographs. Thus, perhaps, this marvelous, argumentative and curiosity provoking book is itself best thought of as a kind of corrective cabinet of wonders, one whose portraits and specimens complicate the dominant narratives of imperial conquest and control. Like a curator overseeing a show, Martinez gives readers the sense that each item he incorporates has been carefully selected and thoughtfully juxtaposed with the ones around it. In an eight page poem essay called "Casta Paintings, an Erotics of Negation," he guides the reader on a tour of this art form, which first appeared in the 1700s when mostly anonymous artists began depicting mixed race individuals ("castas") in Spain's American colonies. With the authority of a docent, he comments on "the calligraphic script underscoring each panel," noting that "this man designates the 'Spanish,' the woman is the 'mulatta,' and their child, carrying a basket of fruit, Nace torna atras, 'a Return backwards is Born,'" and observes how "Language oil combine to boundary the body into 'race.'" With the voice of a teacher, he points out how "In the 18th into the 19th century, casta paintings were employed in New Spain to validate racial identity ('whiteness') in the legislation of land acquisition in determining civil rights." And with the critical eye of a keen comedian, he remarks, "The cast: kinky historiographical exhibitionism. Sextastic." Martinez's approach is as brainy as it is entertaining, as political as it is personal. Throughout his heady exploration of the white gaze, colonial trauma and Mexican migration, the author audaciously asserts his well read academic prowess, not afraid, for instance, to make the reader reach to understand an opening epigraph from Walter Benjamin about "the facies hippocratica of history as a petrified, primordial landscape." But so, too, is the book intensely embodied and intimate, its first section preceded with a photograph of Martinez's parents, Jerry and Mary, at their wedding in 1974. In a later poem about this image titled "Family Photo Slicing Their Wedding Cake," he writes with obvious admiration of their youthful beauty and love: Unlike many actual museums, "Museum of the Americas" wisely makes no pretense of being objective. Martinez subjects his chosen artifacts to pointed interrogations. In a series of pieces responding to the work of Walter H. Horne, a photographer for the Mexican War Photo Postcard Company during the era of the Mexican revolutionary general Francisco "Pancho" Villa, Martinez meditates on the white documentarian's practice of mass producing and selling graphic images of executions and war, effectively bringing about "a vast photographic immigration / of nameless Mexicans." In "The Executioner's Palisade," he writes: Martinez repeatedly calls the very impulse to display into question, from the touring around of the supposed head of the putative "criminal" Joaquin Murrieta to P. T. Barnum's showing off of the prosthetic leg of General Santa Anna at his "American Museum in New York City on the corner of Broadway and Ann Street" to the document of the Treaty of Guadalupe Hidalgo. In doing so, he reveals that even though "display" ostensibly means "to make a prominent exhibition of something where it can be easily seen," many such public presentations have problematically exploitive semi hidden agendas. Even such commonly used labels as "explorer," familiar to museum patrons from wall texts and audio guides, conceal countless unnamed pluralities and alternative points of view.	N24News: A New Dataset for Multimodal News Classification	Books
I RECENTLY drove 1,500 miles in the new Audi A8. But I'm not sure anyone noticed. Audi's largest luxury sedan has long flown below the radar. The A8 has been the nonconformists' choice, for a select group that doesn't care to join the prestigious clubs of the BMW 7 Series, Mercedes S Class or Lexus LS. The A8 was also the first mass market car with a weight saving aluminum chassis, the Audi Space Frame developed with Alcoa in 1997. But I wouldn't expect you to remember that, either. And while the A8 always drove well, its styling was clean and understated, as though Audi took aesthetic and ascetic pleasure in a machine that buyers might choose for its inner virtues. Yet as Audi has risen to challenge the luxury kings directly, its expressive designs deserve as much credit as its cars' steadily improving performance. With newer models like the A5 and S5 coupes, the Q5 crossover and the exotic R8 sports car, Audi has produced designs so tastefully appealing, inside and out, that even staunch Benz and BMW fans could be tempted to switch. Despite the weak auto market this year, Audi is on pace to set a United States sales record. Considering all that, I expected the designers to swing for the fences, to distill everything they know about exterior styling into their flagship sedan. Instead, Audi played it safer than an umpiring crew backed by high def replay cameras. Either those designers took an extended lunch break, or they actually wanted the A8 to look like a Munich airport limo, a car designed to zoom the chief executive of Widget Welt G.m.b.H. down the autobahn without drawing a second glance from the citizens, the police or the odd lurking kidnapper. The only gestures to drama are the oversize freight train grille and signature LED eyeliner, tracing a shape that recalls Le Corbusier's chaise, below the headlamps. Optional are LED headlamps, the first on a full size luxury sedan. Still, this A8 is as low key as a Brahms lullaby, and gazing at it has the same Sandman effect. Climb inside, however, and the tempo picks up. For people who appreciate the subtle exterior, the A8 is a terrific drive: quick, engaging, rife with the contemporary luxury and user friendly technology that have become Audi staples. And Audi is offering a turbocharged diesel V 6 in Europe, an engine that it may bring here. The A8's cabin may be the segment's new luxury standard as well, as beautifully finished as any competitor, but with leading ergonomics from its easy to use M.M.I. (for multimedia interface) and ancillary controls. No automaker does graphics and displays with such consistent elegance. The big ergonomic misstep is Audi's first electronic shifter, whose by wire operation replaces the conventional mechanical linkage. That shifter handsomely mimics the throttle lever of a yacht, but requires an especially steady hand to select the gear you want on the first try. Still, the lever shows design ingenuity with a leather pad that cups the driver's right wrist, letting his fingers fall perfectly to the M.M.I. controller, as though it had been custom tailored to his arm. The pop up display screen is the thinnest I've seen in a car. Its motorized trick is matched by the stellar 1,400 watt, 19 speaker Bang Olufsen audio system (a 6,300 option) whose tweeters rise from the dashboard. Ambient light, in a choice of three colors, spills over an optional Alcantara suede headliner worthy of a Bentley. On interior door panels, shapely awnings of wood and metal overhang a suede midsection so soft it might have come from skinned velveteen rabbits. With the Premium package, shawls of wood drape the shoulders of the front seats. The optional Comfort front seats offer especially vigorous massages six ways; the chairs' 22 way adjustments include pneumatic side and thigh bolsters, a cushion extender and an upper backrest control. An available rear entertainment system has generous 10.2 inch screens. Come spring, Audi will offer a Google Earth based navigation system, giving drivers a vastly expanded (and continuously updated) database of addresses, business names and phone numbers. That optional system will include a wireless Web hotspot for connecting laptops or smartphones. Another industry first is a touchpad with handwriting recognition, which you can use to control the navigation system and other functions. While Audi's description put me on full gimmick alert, the device actually proved a useful alternative to scrolling the on screen alphabet. If you trace one or two letters or numbers with a fingertip you hardly need to take your eyes off the road the system quickly calls up what you need. The only packaging penalty is cargo space: when I popped the powered lid I was surprised at the modest trunk within. At 13.2 cubic feet, the A8's trunk trails not only its main competitors, but is about 3 cubic feet shy of the smaller Audi A6 sedan. If the A8 is arguably too sedate on the outside, the upside to such an autobahn sleeper is its stealth. On paper, the 372 horsepower and 328 pound feet of torque fail to dazzle, considering rivals like the supercharged 470 and 510 horsepower versions of the tremendous new Jaguar XJ. But the Audi V 8 feels strong and supple, and the 8 speed transmission seems to amplify the available power. Some rivals are quicker, but the Audi still hustles from 0 to 60 m.p.h. in a fleet 5.1 seconds. And though the Jaguar easily remains the class lightweight at barely two tons, the Audi's stiffened aluminum chassis and body help to hold it to a fairly trim 4,407 pounds. Even with the added weight of its standard quattro all wheel drive, the A8 is lighter than the comparable rear drive BMW or Mercedes. Combine relative lightness with a driver adjustable air suspension and rich road manners, and the results should impress any fat cat. The A8's steering is textbook perfect for its mission: it is syrupy and isolated around town, but with a sense of reassuring heft lurking just below. As speeds rise, the Audi's able dynamics rise with it. If the BMW and Jaguar are the road warriors of the class, the Audi is only a hair's breadth behind, with less body lock down than the Bimmer and a less quicksilver feel than the slender XJ.	N24News: A New Dataset for Multimodal News Classification	Automobiles
AstraZeneca revealed details of its large coronavirus vaccine trials on Saturday, the third in a wave of rare disclosures by drug companies under pressure to be more transparent about how they are testing products that are the world's best hope for ending the pandemic. Polls are finding Americans increasingly wary of accepting a coronavirus vaccine. And scientists inside and outside the government are worried that regulators, pressured by the president for results before Election Day on Nov. 3, might release an unproven or unsafe vaccine. "The release of these protocols seems to reflect some public pressure to do so," said Natalie Dean, a biostatistician and expert in clinical trial design for vaccines at the University of Florida. "This is an unprecedented situation, and public confidence is such a huge part of the success of this endeavor." Experts have been particularly concerned about AstraZeneca's vaccine trials, which began in April in Britain, because of the company's refusal to provide details about serious neurological illnesses in two participants, both women, who received its experimental vaccine in Britain. Those cases spurred the company to halt its trials twice, the second time earlier this month. The studies have resumed in Britain, Brazil, India and South Africa, but are still on pause in the U.S. About 18,000 people worldwide have received AstraZeneca's vaccine so far. AstraZeneca's 111 page trial blueprint, known as a protocol, states that its goal is a vaccine with 50 percent effectiveness the same threshold that the Food and Drug Administration has set in its guidance for coronavirus vaccines. To determine with statistical confidence whether the company has met that target, there will have to be 150 people ill with confirmed coronavirus among participants who were vaccinated or received placebo shots. However, the plan anticipates that a safety board will perform an early analysis after there have been just 75 cases. If the vaccine is 50 percent effective at that point, it might be possible for the company to stop the trial early and apply for authorization from the government to release the vaccine for emergency use. In allowing only one such interim analysis, AstraZeneca's plan is more rigorous than the others that have been released, from Moderna and Pfizer, Dr. Eric Topol, a clinical trials expert at Scripps Research in San Diego, said in an interview. Moderna allows two such analyses, and Pfizer four. He said the problem with looking at the data too many times, after a relatively small number of cases, is that it increases the odds of finding an appearance of safety and efficacy that might not hold up. Stopping trials early can also increase the risk of missing rare side effects that could be significant once the vaccine is given to millions of people. Dr. Topol said AstraZeneca's plan, like those of Moderna and Pfizer, had a problematic feature: All count relatively mild cases of Covid 19 when measuring efficacy, which may hamper efforts to determine whether the vaccine prevents moderate or severe illness. Such plans are not usually shared with the public "due to the importance of maintaining confidentiality and integrity of trials," Michele Meixell, a spokeswoman for AstraZeneca, said in a statement. The company has released few details about the two cases of serious illness in its trial. The first participant received one dose of the vaccine before developing inflammation of the spinal cord, known as transverse myelitis, according to a participant information sheet for AstraZeneca's vaccine from July. The condition can cause weakness in the arms and legs, paralysis, pain and bowel and bladder problems. The case prompted a pause in AstraZeneca's vaccine trials to allow for a safety review by independent experts. A company spokeswoman told the Times last week that the volunteer was later determined to have a previously undiagnosed case of multiple sclerosis, unrelated to the vaccine, and that the trial resumed shortly thereafter. Transverse myelitis can sometimes be the first sign of multiple sclerosis, which involves more complex symptoms. But the myelitis alone can also occur after the body encounters an infectious agent like a virus. Who should get a booster shot? It depends, Dr. Scott Gottlieb says. The company said it had not confirmed a diagnosis in the second case, a participant who got sick after the second dose of the vaccine. A person familiar with the situation who spoke with The Times on the condition of anonymity said the participant's illness had been pinpointed as transverse myelitis. The trial was paused again on Sept. 6 after she fell ill. The condition is rare, but serious, and experts said that finding even one case among thousands of trial participants could be a red flag. Multiple confirmed cases, they said, could be enough to halt AstraZeneca's vaccine bid entirely. "If there are two cases, then this starts to look like a dangerous pattern," said Mark Slifka, a vaccine expert at Oregon Health and Science University. "If a third case of neurological disease pops up in the vaccine group, then this vaccine may be done." A participant information sheet dated Sept. 11 on AstraZeneca's trial in Britain lumped the two volunteers' cases together, stating the illnesses were "unlikely to be associated with the vaccine or there was insufficient evidence to say for certain that the illnesses were or were not related to the vaccine," based on safety reviews. The next day, AstraZeneca announced that it had resumed the trial in Britain. But the F.D.A. has so far not allowed the company to start up again in the United States. A spokesman for the F.D.A. declined to comment. The National Institutes of Health said in a statement that it "remains to be seen" whether the onset of illness in trial participants was coincidental or tied to the vaccine, adding that "pausing to allow for further evaluation is consistent with standard practice." Dr. Mark Goldberger, an infectious disease expert at the Global Antibiotic Research and Development Partnership and a former F.D.A. official, said he found the rapid restarting of trials abroad to be "a little disturbing," especially given the lack of details around the patients' symptoms and the ambiguity around their connection to the vaccine. "Maybe this is the best they could do it may not be possible to get more certainty at this time," he said. "It is a question mark as to what's going on." The company did not immediately inform the public about the neurological problems of either participant. Nor did it promptly alert the F.D.A. that it was again pausing its trials after the second U.K. volunteer developed illness and an independent safety board called for a temporary halt, according to multiple people familiar with the situation. The company's chief executive told investors about the problems but did not discuss them publicly until the information was leaked and reported by STAT. "The communication around it has been horrible and unacceptable," said Dr. Peter Jay Hotez, a virologist with Baylor College of Medicine in Houston. "This is not how the American people should be hearing about this." Dr. Hotez also criticized obtuse statements released by government officials, including U.K. regulators who he said failed to supply a rationale for resuming their trials.	N24News: A New Dataset for Multimodal News Classification	Health
Carnival Corporation announced today that it plans to begin offering trips to Cuba next May aboard its new social mission focused line fathom. The cruises to Cuba, approved by the U.S. Department of Commerce and the Treasury Department, fall under rules that allow licensed travel companies to bring in American visitors who comply with federal regulations for approved types of travel on the island, company officials said in a conference call. In this case that means cultural, artistic, faith based and humanitarian exchanges between Americans and Cubans. So unlike classic Caribbean cruises that celebrate sun and beach time, fathom passengers to Cuba will spend shore time engaging in social outreach and educational activities. Specific itineraries have yet to be determined, pending Cuban government approval, but will likely visit three destinations within Cuba during week long trips. On shore activities may include volunteer work with small businesses and agriculture as well as educational and cultural excursions. "We believe there's a tremendous pent up hunger in the marketplace and interest in experiencing Cuba for the first time, and so we're excited to see and share as much of the country as is possible," said Tara Russell, president of fathom.	N24News: A New Dataset for Multimodal News Classification	Travel
WILLIAMSTOWN , Mass. Poor Pierre Auguste Renoir. On the centennial of his death, his achievements are still something art historians, feminists, artists and critics argue about. His work has not settled quietly into the canon, especially not his nudes, and most especially not his late nudes. There is something invigorating about this state of affairs, which I don't think can be claimed for any other leading Impressionist painter. With "Renoir: The Body, The Senses," the Clark Art Institute here in partnership with the Kimbell Art Museum in Fort Worth, Tx. wades fearlessly into the fray and, accompanied by well argued positions in the catalog, emerges from it largely intact, and in fact in new territory. Nearly everywhere you look in this show, the male gaze is looking back, imbuing the female person with degrees of objectification and passivity. In the first half of the show it is often other painters' efforts that hold the eye; in the second, Renoir takes over, working his way toward his strange but powerful late style, in which his nudes become progressively abstract. At the end, he painted large canvases from a wheelchair, brushes strapped to hands crippled by arthritis. With the help of a younger artist, he even broke out into monumental sculpture. Like Monet with his waterlilies, Renoir created a new world for himself at the end of his life. There are advantages to seeing this show at the Clark. When all the nudes start to get you down, there are many more Renoirs clothed men and women, landscapes, still lifes in the permanent collection galleries. Early and middle Renoir were great favored by Sterling and Francine Clark who, fearing nuclear apocalypse, moved their collection from New York to this bucolic college town in 1950 and opened the museum in 1955. There's also an antidote to be found in the Clark's smaller summer exhibition, "Ida O'Keeffe: Escaping Georgia's Shadow," a resurrection of the complex life and convincing art of Ida Ten Eyck O'Keeffe (1889 1961), the star crossed younger sister of Georgia (1887 1986). The show, which originated at the Dallas Museum of Art, presents in highly specific terms the challenges a female artist could face in the first half of the 20th century. Armed with talent, determination and integrity, hobbled by economic and social constraints, Ida also endured Georgia's jealousy and consequent estrangement, as well as the predations and manipulations of her brother in law, Alfred Stieglitz, the revered photographer, art dealer, and, of course, Georgia's husband. Renoir may have come by his obsession naturally, growing up the son of a tailor and a seamstress in what must have been a body conscious household and then apprenticing as a china painter, adding female forms to to porcelain cups and plates. The first half of the show is often pleasantly interrupted by other artists in reality or spirit. The flat simplification of the figure in Renoir's "Boy with a Cat" (1868) seems inspired by Manet (who is not in the show); the slim, nude youth is seen standing, from the back, peeking seductively over his shoulder, snuggling one of the most beautiful felines in Western painting. Courbet is the teacher in Renoir's towering "Bather with a Griffon Dog" (1870), paired with Courbet's much tougher "The Bather" (1866). Also indebted to Courbet is Renoir's "A Nymph by a Stream" (1869 1870) , focused on a brunette model who seems to have broken her pose and is talking; title aside, she is the most real of the painter's women here. Nearby, Renoir's work competes, usually unsuccessfully, with nudes by Degas, and Cezanne's violent "The Battle of Love" (1880), a knotted little canvas of three struggling couples that once belonged to Renoir himself. Often there's a telling disconnect between Renoir's relatively finished figures and his loosely painted backgrounds. In the Fogg Museum's "Seated Bather" (1883 1884), vigorous patches of brushy color cursorily indicate river and rocks, while the blonde bather's pale luminous skin is rendered in tiny brush strokes that bore discomfortingly on her body . This tactility is one of the senses referred to in the show's title, and capably defended in the catalog, but in quantity here, it becomes creepy. But Renoir's Classicism was only a phase. By the late 1890s, his figures depart from both reality and the ideal, becoming heavier, longer of torso, shorter of limb and smaller of head. "Large Nude" or "Cushion and Reclining Female Nude" resemble large stuffed dolls in boxes whose backgrounds of casually painted red stripes and green grids, that are among my favorite passages in the show. In the last years of his life, Renoir's figures are bronzed and even more outrageously distorted, proto Botero. But figures and background are united in an intensity of paint handling, achieving a kind of blazing artifice and an irony that seems implicitly modern. They are at once tributes to Classicism and mannered parodies of it and extremely pertinent to the renewed interest in the figure among younger contemporary painters. The main example of this conflation is Renoir's "Two Bathers" at once magnificent and hard to take finished, in 1919, the year he died. It hangs in the final gallery, among the nudes of a new generation: Picasso, Matisse, Bonnard, Leger and Suzanne Valadon, the show's only female painter. Her blunt account of two women toweling off offers some sweet revenge. After Renoir, "Ida O'Keeffe: Escaping Georgia's Shadow" is at once sad and inspiring. It pays tribute to Ten Eyck O'Keeffe's persistence despite little recognition and to her quietly insistent art, some of which survived long enough to be rediscovered. The artist, like most of the five O'Keeffe sisters, had art lessons through high school. But she started teaching herself to paint only in 1925, when she was 36. Her changes of style reflected a life spent following jobs, working mostly as an art teacher or a nurse with little chance to paint full time. But she added something confidently her own at every stylistic stop: whether realism, social realism or abstraction. In a series of paintings from 1931 32 she adds curves and a radiating, organic ease to Precisionism's often brittle, refracting geometries in a group of semiabstract paintings based on a lighthouse. Admirably she initially exhibited using her middle name (her mother's maiden name) to escape the fame of her older sister. She did not always escape her influence, but she had a way with paint that Georgia either lacked or suppressed, as intimated by the toothy white and browns of "Toad Stool," a small painting from around 1932.	N24News: A New Dataset for Multimodal News Classification	Art & Design
When the organizers of the 2015 Fall for Dance Festival set eyes on the list of MacArthur winners last month, they must have erupted in a happy roar. One name on the list was Michelle Dorrance, the 36 year old tap choreographer and dancer. Her "Myelination," a new work commissioned by the festival, capped its fourth program, presented at City Center on Thursday night. The idea of myelination, or the formation of a myelin sheath around a nerve fiber it's what allows a nerve impulse to move faster is apparent throughout this effervescent, twitchy piece. The work, with a cast of 12, vocalists and live music composed by Gregory Richardson and Donovan Dorrance (the choreographer's brother), began in front of the curtain as Emma Portner, Byron Tittle and Ms. Dorrance set the beat as a six legged creature. As a prologue, it was playful, strange, militaristic, cool an apt setup for a dance that showcases a bit of everything: from graceful, gliding swoops to one armed balances that pull hip hop back to tap. Ms. Portner, beguiling as she contorts her frame into odd angles, balances on her toes and pirouettes. Throughout, Ms. Dorrance, a brilliant conductor, pushes the boundaries of tap while exposing its true nature: that it is music. She juxtaposes quick duets and then, in fast gusts, pulls all of her instruments the dancers together in rows, bringing the stage to life with unison footwork. It's a rush, and not a cheap one; Ms. Dorrance has choreographed a glittering closer that needs to have a second life after the festival. Please, someone, make that happen.	N24News: A New Dataset for Multimodal News Classification	Dance
BIG MOUTH Stream on Netflix. Andrew Goldberg ("Family Guy") and Nick Kroll's lavishly filthy, proudly off center animated series about a collection of suburban monsters and pubescent teenagers is back for a third season. The show's characters are voiced by a cadre of comics, including Kroll, John Mulaney, Maya Rudolph, Jordan Peele, Jessi Klein, Fred Armisen and Jenny Slate; its hilariously cringey moments are many. MEGAN LEAVEY (2017) Stream on Hulu; Rent on Amazon, Google Play, iTunes, Vudu and YouTube. A human animal relationship is formed on the battlefield in this biographical drama from the director Gabriela Cowperthwaite. Based on a true story, the film stars Kate Mara as a young woman who joins the Marines near the beginning of the Iraq war. She eventually becomes the handler of a bomb sniffing dog, with whom she forms a close connection. The movie portrays "a somewhat idealized view of military service, especially for women," Neil Genzlinger wrote in his review for The Times. "But the war isn't really the point here; the relationship between a woman and a dog is." He wrote that the movie tells a remarkable true story "with a minimum of manufactured sentiment."	N24News: A New Dataset for Multimodal News Classification	Television
After reading John A. Farrell's May 3 review of Barry Gewen's "The Inevitability of Tragedy," it seems the greatest question about should be how someone who saw how the Nazis used power capriciously and in the name of the nation, costing millions of lives, could support policies in the name of a different nation that also led to the deaths of millions. No doubt Kissinger is a smart man, but there are two explanations I see. He either learned the wrong lessons, or he relished the violence and chaos elsewhere; neither are particularly flattering, and he had contemporaries who proposed alternatives that might have saved many lives and better guarded the reputation of the nation. John A. Farrell describes Kissinger as a "great realist" and observes that the author Barry Gewen "endorses Kissinger's realism," quoting Gewen's belief that Kissinger's "arguments for his brand of realism thinking in terms of national interest and a balance of power offer the possibility of rationality, coherence and a necessary long term perspective" useful today. But the idiom of "realism" masks a surprising unworldliness. Nixon and Kissinger had little interest in technology, economics and demography, and to characterize Kissinger as a "realist" tells us more about pundits of that day, and of our own era, than about Kissinger. It's as dangerously shortsighted now as it was then to be preoccupied with the higher statecraft of political military excitements. The writer's latest book is "Grand Improvisation: America Confronts the British Superpower, 1945 1957."	N24News: A New Dataset for Multimodal News Classification	Books
Upper and lower jaw fossils of the tyrannosaurid Thanatotheristes degrootorum. The bones sat unexamined in a drawer at the Royal Tyrell Museum in Alberta for a decade. Alberta is a tyrannosaur graveyard. There rest great carnivores of the Cretaceous, such as Albertosaurus, Gorgosaurus, Daspletosaurus and, of course, Tyrannosaurus rex. Now, paleontologists in the province have announced the discovery of Canada's oldest known tyrannosaur: Thanatotheristes degrootorum, or "the Reaper of Death." With its razor sharp teeth and formidable two ton frame, the newly discovered species terrorized the region some 79.5 million years ago. Though smaller than T. rex, it still measured about 30 feet long and about 8 feet tall. The new species was at least 2.5 million years older than its closest relatives, which may provide insight into when tyrannosaurs grew from small carnivores into the apex predators that perished 66 million years ago. "Prior to the discovery, we knew all the most famous tyrannosaurs like T. rex, Albertosaurus, Gorgosaurus, were all coming from the last 10 or so million years of the Cretaceous," said Francois Therrien, a paleontologist at the Royal Tyrrell Museum of Palaeontology in Drumheller, Alberta, and an author on the paper. "Now, with the new species we've actually pushed back the record of tyrannosaurs." The finding was published in January in the journal Cretaceous Research, based on bones discovered by a pair of paleo enthusiasts. In 2008, Sandra and John De Groot were walking in southern Alberta along the shore where Oldman River meets the Bow River. They spotted something in the ice. "We looked down and I kind of said jokingly 'Hey it looks like a dinosaur jaw!'" Mr. De Groot said. As he bent over to grab it, his heart started pounding. "We looked a little closer and it certainly was." The couple, who own a farm in nearby Hays, had previously collected ammonites and tiny bones while hiking through the shortgrass prairie. But never before had they made such an exciting discovery. "It was just kind of this 'Wow' moment of 'Holy cow! You actually did find some teeth laying here on the ground,'" said Mrs. De Groot. They recovered three large brown chunks of a dinosaur jaw. Two years later, Donald Henderson, a paleontologist at the museum, gave a talk at the school where Mrs. De Groot is a substitute teacher. "I said 'Oh hey, we have a jaw at our house, you should come see it,'" said Mrs. De Groot. "And he said 'What?!'" The De Groots donated the specimen to the museum and went with a team of paleontologists to the riverbank and uncovered more skull pieces. The scientists knew it was a tyrannosaur, but not what kind. For nearly a decade, the bones sat in a museum drawer until Jared Voris, a graduate student at the University of Calgary, began examining them. The long and deep snout was similar to Daspletosaurus, another tyrannosaur group, suggesting the two were closely related. He also noticed interesting vertical ridges that lined the dinosaur's upper jaw, in addition to a battle scar on its face. "The ridges were things that we had not seen before in another tyrannosaur, especially not another tyrannosaur from Alberta," he said. Mr. Voris also observed other features that set the tyrannosaur apart from its relatives, such as its oval shaped cheekbone and aspects of its skull. Those differences, along with the tyrannosaur's old age, led the team to classify it as a new species, for which they honored the De Groots, and also as a new genus, named basically for the Grim Reaper. It is only a coincidence that it shares names with Thanos and Groot of the Marvel Cinematic Universe.	N24News: A New Dataset for Multimodal News Classification	Science
FORT MYERS, Fla. The Boston Red Sox ran away with the American League East last summer, then stormed through the postseason with only one loss in each round. It was one of the most emphatic championship runs in recent history but only in the retelling. "People generalize and they'll say, 'O.K., the Red Sox won 108 games and went 11 3 in the postseason, look how easy it was,'" said Dave Dombrowski, the president of baseball operations, from his office at JetBlue Park this week. "Well, it wasn't easy. It really wasn't. During the regular season, even with 108 wins, the Yankees won 100. "And I know people say, 'Oh, that's an eight game difference,' which I understand can be quite a bit. But it sure didn't feel that way." The season essentially hinged on Boston's four game sweep of the Yankees at Fenway Park in early August. Had the Yankees won those games instead, both teams would have finished with 104 victories. That is how close the old rivals were. They diverged this winter, though, with revealing approaches to the off season. The Red Sox are prepared to rely heavily on their starting rotation, while the Yankees reinvested significantly in their bullpen. The Yankees gave three year deals to two free agent relievers: Zack Britton ( 39 million) and Adam Ottavino ( 27 million). The Red Sox, who will face the Yankees for the second and final time this spring at Steinbrenner Field on Friday, spent about the same amount to retain starter Nathan Eovaldi for four years and 68 million. But they lost two relievers Joe Kelly, who signed for three years and 25 million with the Los Angeles Dodgers, and closer Craig Kimbrel, who is unsigned without replacing them. "They wanted me back, I wanted to be back here and we were able to make that work," Eovaldi said Wednesday, after his first start of the exhibition season. "We kept on that same game plan with that goal in mind to be able to come back and win a World Series. We're taking the little steps now to be able to do that." The Red Sox will again have baseball's highest payroll, at more than 220 million. But they still had to make choices, especially with several important players facing free agency within the next two years. They chose to keep their sturdy rotation together at a cost of about 83.5 million for Chris Sale, David Price, Rick Porcello and Eovaldi. Those four and Eduardo Rodriguez, who earns 4.3 million, went 68 28 for Boston last season, including October. 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. "In my opinion, it's just good baseball," said Porcello, the 2016 A.L. Cy Young Award winner. "Most of the teams that are competing for a World Series year in and year out have good starting rotations, and almost all of the teams that have won have had ace type guys, and guys that fill out the rotation to give them the foundation they need. "For us as starting pitchers, we want to chew up the most innings as possible and give the team a chance to win as frequently as we can." The Boston starters actually did not throw very many innings last season. Porcello led the staff with 191 1/3 , with Price at 176, Sale at 158, Rodriguez at 129 2/3 and Eovaldi at 111 including his time with Tampa Bay. But the Yankees got even fewer innings from their starters, and their newcomer, James Paxton, never threw more than 160 1/3 innings in his six seasons with Seattle. Several teams have shifted to a model that emphasizes quality over bulk from their starters' outings fewer innings but more effective ones, a plan that relies on a procession of reliable relievers. The Yankees should have that luxury this season, with Britton and Ottavino to go with Chad Green, Dellin Betances and closer Aroldis Chapman. The Red Sox bullpen is far less imposing: Matt Barnes, Ryan Brazier, Heath Hembree, Brian Johnson, Tyler Thornburg, Hector Velazquez and another spot to be determined. Dombrowski said he was confident in the group, and in the team's ability to identify other options if it fails. "You can find relievers, and relievers have a tendency to come from anywhere," he said. "History shows you that right now, short of the premium guys, there's a lot of inconsistency in relievers from year to year. Part of it is they get used so much when they're pitching well that one season. For me, I just choose to go with the starting pitchers, assuming they're of quality nature." The Red Sox's trick last fall was in letting their elite starters double as dominant relievers. Manager Alex Cora brought along the starters slowly last spring training as he is doing again now and the sweep of the Yankees in August allowed him to carefully manage their workloads down the stretch. The result was a mostly fresh rotation, as Sale, Price, Porcello, Eovaldi and Rodriguez all appeared as both starters and relievers in the postseason. Eovaldi pitched in a setup role to help win Games 1 and 2 of the World Series in Boston, then threw 97 pitches in relief at Dodger Stadium in Game 3, an 18 inning Red Sox loss. That was the rare moral victory that also had tangible benefits, galvanizing the Red Sox clubhouse around Eovaldi and crystallizing the starters' selfless approach even if they still don't buy the hoopla. "Ever since I was watching baseball as a kid, I'm watching Randy Johnson run out of the bullpen and pitch the eighth inning or whatever," Porcello said. "As far as I'm concerned, I actually don't understand the big deal around it, because that's our job, and if we're not here to sell out when we have the opportunity to win a World Series, then what are we doing?" Cora absorbed the starters as relievers strategy in 2017 as the bench coach for Houston's championship team. The Astros and Red Sox showed that the bullpen listed on a regular season lineup card is not always the same as the one a team will use to win a title. Dombrowski said it was presumptuous, with a long season ahead and the Yankees always looming, to plan on reprising that plan this October. But Cora is eager for an encore knowing, perhaps, that it represents this roster's best chance to repeat. "It was fun to get text messages: 'Hey, give me the ball tomorrow,'" Cora said. "It's a testament to who they are, how they felt and what they wanted. I tell you, we get to October this year, I guarantee you it's going to be the same thing, the same mode: 'I'm there for you.'"	N24News: A New Dataset for Multimodal News Classification	Sports
new video loaded: 52 Places to Go: Sikkim, India	N24News: A New Dataset for Multimodal News Classification	Travel
"I think I'm the opposite of a collector," Nicholas Baume, the director and chief curator of the nonprofit Public Art Fund in New York, said, chatting in his airy Greenwich Village apartment. "By temperament I'm a minimalist. That said, I have some works of art that mean a lot to me and are emblematic of relationships." Mr. Baume, whose Public Art Fund project with Anselm Kiefer just opened at Rockefeller Center, lives with an array of pieces that reflect his career trajectory and collaborations with artists over the years. The most significant of these histories is with Sol LeWitt, the conceptual artist whom the curator first met in 1995 while organizing an exhibition devoted to the collection of John Kaldor for the Museum of Contemporary Art in Sydney, where Mr. Baume grew up. LeWitt was instrumental in Mr. Baume's taking the job of contemporary curator in 1998 at the Wadsworth Atheneum in Hartford, where the artist had his own collection on loan. "Sol gave me these tables, done as prototypes in metal but never produced, as a housewarming present when I moved to Hartford," Mr. Baume, 52, said of two cube shaped white side tables. A pale, luminous wall drawing in colored pencil, conceived by LeWitt in 1971 and installed with the permission of the artist's widow six years ago, extends ceiling to floor on one living room wall. Two gouaches made as holiday gifts and several postcards with drawings by LeWitt reside in Mr. Baume's bedroom. "Sol was a very thoughtful guy but a man of few words, and there would never be any writing," said Mr. Baume, whose dresser display includes postcards embellished by Mel Bochner, Kai Althoff and Tatzu Nishi.	N24News: A New Dataset for Multimodal News Classification	Art & Design
WASHINGTON Facebook said on Thursday that it had removed misleading ads run by President Trump's re election campaign about the 2020 census, in a stand against disinformation ahead of the decennial population count that begins next week. Earlier this week, Trump Make America Great Again, a joint fund raising arm of Donald J. Trump for President Inc. and the Republican National Committee, started running ads on the social media site that Facebook said could have caused confusion about the timing of the census. "President Trump needs you to take the Official 2020 Congressional District Census today. We need to hear from you before the most important election in American history," the ad said. The campaign asked followers to "respond NOW" to help our campaign messaging strategy, with an appeal to text "TRUMP to 8022." The Census Bureau will not begin to survey the public for its population survey until next week. The ad linked the census to the Trump campaign, a misrepresentation of the official government survey, said civil rights groups.	N24News: A New Dataset for Multimodal News Classification	Technology
Rage runs throughout "There's Blood at the Wedding," and it's an anger that both energizes and overwhelms this hourlong mixed media show. Theodora Skipitares, the creator and director, has made a specialty of intertwining classic works with contemporary issues generally speaking, she'll stage a scene from a well known drama, then follow that scene with a real life story. Her "Traveling Players Present the Women of Troy" combined a Greek tragedy with testimonies of abused African and Afghan women, while her "Prometheus Within" alternated that myth with accounts of modern scientific exploration. They are wondrous pieces. Here she offers Federico Garcia Lorca's "Blood Wedding" alongside the stories of Eric Garner, Sean Bell and other civilians who were killed by the police. It's a bold move, though too often Lorca's play seems shoehorned into making a point rather than supporting an idea: The parallels are less persuasive than they were in previous shows, and audience members unfamiliar with Lorca's plot might get lost.	N24News: A New Dataset for Multimodal News Classification	Theater
This 9,000 square foot building in Rego Park is divided into four retail suites. Chic's Place, a women's clothing boutique, occupies 4,000 square feet, and the remaining 5,000 square feet are evenly divided among Paris Baguette, Dunkin' Donuts and Rouge Nails. Directly in front of the building, which has a basement, is an entrance to the 63rd Drive subway station on the M and R lines. Last month, Fabrique Bakery of Sweden opened its first American location on the ground floor of this commercial building in Chelsea. The bakery occupies 1,600 square feet and has some basement storage. The company, known for its sourdough bread and cinnamon buns, has about 20 locations in Stockholm and London.	N24News: A New Dataset for Multimodal News Classification	Real Estate
People who weren't even born when Pennsylvania Station was demolished in 1963 burn with indignation. It's a wound that won't heal. The case of London's magnificent Euston Arch, which was torn down only a year before Penn Station's fall, is equally galling. But in recent years a movement has developed to reconstruct its majestic Doric arch, spurred by the discovery of fragments of the sandstone structure in a river. When Philip Hardwick designed Euston Station, part of a rail line to Birmingham, he included a remarkable feature. In an open area at the head of a driveway to the station, Hardwick built a 70 foot high arch, completed in the late 1830s. In his 2012 book "Euston Station Through Time" (Amberley), John Christopher says it had "no practical function other than to proclaim that here was the future." Sydney London Properties, which owns the area adjacent to the station, has issued a planning document for redeveloping it. According to the report, the 19th century critic Augustus Welby Pugin considered the arch a waste. In his opinion, "this piece of Brobdingnagian absurdity must have cost the Company a sum which would have built a first rate station, replete with convenience, and which would have been really grand from its simplicity." In the 19th century, Euston Station and the surrounding area grew rapidly, and it was soon engulfed by offices and hotels. The need to rebuild the old station became apparent in the 1950s, and the new design called for the demolition of the Euston Arch. The London County Council approved the removal as long as the arch was relocated, but the railroad said that would cost PS190,000 and demurred. The battle was drawn. Unlike the United States, Britain had a full complement of preservation organizations, and the Ancient Monuments Society, the Georgian Group, the Royal Academy and the Society for the Protection of Ancient Buildings lined up in support of preservation, or at least relocation. Across the Atlantic, the same battle was developing simultaneously over Penn Station, whose doom was announced in 1961. But in New York, the idea of architectural preservation was not well established, and the old line preservationists, fearful of jeopardizing the nascent landmark movement by doing battle over a building completed in 1910, were silent or even supportive of demolition. On Seventh Avenue as in London, the protest line was joined by architects, including Philip Johnson, Norval White and Jordan Gruzen. Demolition began in October of 1963. Their British counterparts had fought an almost equally hopeless battle, especially after Prime Minister Harold Macmillan judged saving the arch too expensive. Frank Valori, the demolition contractor, took the job reluctantly, and gave a silver model of the arch to the Victorian Society. In accepting it, The Times reported, Lord Esher, the society's president, declared that demolition laid bare "the low mental capacity of what were called top people." Interest in 19th century buildings grew in England after the loss of the arch. In 1994, Dan Cruickshank, a historian, found the resting place of many of its stones in a river in East London. This led to the creation of the Euston Arch Trust, whose website eustonarch.org has photos of the stones. Network Rail, which owns many railroad tracks and stations, is considering a PS1 billion renovation of Euston Station, and Atkins Global, a design and engineering firm, has laid out a variety of options for the arch, among them recreating the structure wholesale; recreating only its footprint; and forgetting it entirely. Reconstruction is obviously a favorite scheme. The arch might be entirely rebuilt out of new stone, appearing all crisp and clean. Or the original aged stones could be mixed in with new ones. They might be set up as some sort of skeleton, without any contemporary material at all. Is the Euston Arch distinguished enough to warrant a replica often denounced as a "mere replica"? Would the damaged stones themselves, laid out in a field, be more evocative of the lost arch? Or would a rebuilt arch half original material, half new better serve? If the arch is indeed rebuilt, it will be a bittersweet moment for those who mourn Pennsylvania Station. Its stones may lie in the Jersey Meadowlands, but Seventh Avenue will never see its imperial colonnade again.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Valeria Gomes Ribeiro holding Joao Lucas on the two hour bus ride home after taking him to appointments. The green tape is applied to relax tight muscles. PAULISTA, Brazil On the bed next to her brother, Ana Vitoria da Silva Araujo acted like the 1 year old she was. She smiled and babbled. She played with a stuffed whale. She plucked the pacifier from her brother's mouth and the burp cloth from his shoulder. Her brother, Joao Lucas, seemed unaware of her, his eyes closed, his mouth making sucking motions. It was typical behavior for a newborn. But Joao Lucas is the exact same age as Ana Vitoria they are twins. Joao Lucas was born with microcephaly and other serious problems, the result of his mother being bitten by a Zika infected mosquito during pregnancy. But the virus that attacked his brain in the womb apparently spared his sister. Twins often yield clues to medical mysteries because their biological similarities allow scientists to identify relevant differences. Determining why one twin became infected in the womb while the other did not may illuminate how Zika crosses the placenta, how it enters the brain, and whether any genetic mutations make a fetus more resistant or susceptible to Zika infection. Until recently, Brazil's Zika twins seemed to follow a pattern, said Mayana Zatz, a geneticist and molecular biologist at the University of Sao Paulo. The cases include two sets of identical twins, and both babies in each pair have microcephaly, she said. There are also six sets of fraternal twins, in which one twin has microcephaly, while the other appears unaffected. Since the identical twins shared one placenta while fraternal twins almost always have separate placentas, Dr. Zatz and other experts suggested that the Zika virus may have penetrated one placenta and not the other. Perhaps the virus entered through a weak spot in one placenta's membrane, said Dr. Ernesto Marques, an infectious disease expert at the University of Pittsburgh and the Oswaldo Cruz Foundation in Recife, Brazil. Or if one fetus "kicked the placenta," he said, inflammation from that bruise on the membrane could become a portal. But one set of twins has broken the pattern. Those twins are fraternal and had separate placentas but both have microcephaly and other Zika complications. "The boy is more affected than the girl, but both are severe," Dr. Zatz said. That case complicates the theory. Dr. Vanessa van der Linden, who helped discover that Zika causes microcephaly and has treated some of the twins, said one explanation might be that in some fraternal cases Zika crossed both placentas, but the twins had genetic differences that influenced why only one became infected or "why the babies reacted differently to the virus." Dr. Marques suggested another possibility: that an impaired twin was exposed to Zika before the mother's body or the placenta developed immune responses against the virus and that the second fetus was infected slightly later. "It should reach both at an equal time," he said. "However, if the virus hit one of the babies before the mother actually had developed protective immune responses, you have a problem." For now, why Joao Lucas is devastated by the virus and his sister is not remains a mystery. When Joao Lucas and his twin sister were born in August 2015, their mother, Neide Maria Ferreira da Silva, was unaware he had microcephaly or brain damage, she said. He was born first and was temporarily placed in an oxygen chamber because of breathing problems. And the maternity hospital's "deformation doctor," a physician specializing in newborns with deficiencies, recommended he see a geneticist. But Ms. da Silva thought any problems would be mild, she said. She had already given birth to 10 children, starting when she was 17. It took a month before she brought Joao Lucas to the geneticist, who said "his brain, it wasn't like ours," Ms. da Silva, 42, recalled. "It was going to be always very small." She was shocked. "I didn't feel sad or upset," she said. "I thought about how it was going to be when he grows up" and realized "I will have to take care of him more than the other kids." Ms. da Silva's 11 year old daughter became pregnant and had an abortion, prompting a child protection agency visit. After Ms. da Silva told the caseworker that a friend was caring for her Zika baby, the agency investigated and initiated proceedings to remove Joao Lucas from her home. To keep him from being placed in a shelter, both women and the state agreed that Joao Lucas would live with Ms. Ribeiro, while Ana Vitoria stayed with Ms. da Silva. Under court order, Joao Lucas spends Sundays at his biological mother's house. Ms. Ribeiro, who has adorned Joao Lucas with a bracelet and necklace hung with a good luck charm called a "figa," tries to keep up with his many appointments. They include visits with a psychologist who shows Joao Lucas a panel of black and white squares to stimulate vision and rubs him with a sponge studded with Popsicle sticks to stimulate touch. On a visit last fall to Ms. Ribeiro's emerald green house on a dirt street, where the 23rd psalm hangs on a yellow wall, Ana Vitoria toddled around, clutching a piece of spongy cake with one hand, thumping a table with the other. Reaching for her brother's mouth, she touched the green tape that therapists apply around his lips, fingers, back and chin to relax tight muscles. Ms. da Silva waved a rattle before Joao Lucas, but he did not respond. So far, his sister like the other fraternal twins without obvious brain damage appears unimpaired, but doctors are monitoring her and the others. At Ana Vitoria's one year exam, she was slightly behind developmentally. Her vocabulary was limited and she was slow to point to her mother when the doctor asked, Ms. da Silva said. That could be unrelated to Zika, but, she noted, "The doctor never said it's 100 percent sure that she doesn't have a problem."	N24News: A New Dataset for Multimodal News Classification	Health
Two Pastors in Love, and Only God Knows Pastor Twanna Gause stepped out of a limousine amid the whir of cameras outside the New Vision Full Gospel Baptist Church in East Orange, N.J. Dressed in an off white wedding gown and veil that sparkled in the cascading sunshine, she carried a bouquet of white roses and lilies, hugged several guests, then parted a sea of well wishers on the way to her best friend, Pastor Vanessa Brown, who stood waiting at the altar in a cream colored long coat called a sherwani and gold Punjabi jutti shoes. The church doors opened, allowing the faint strains of "You Are So Beautiful" to float on the hot August air. Pastor Gause stepped inside, where she was greeted by Bishops Levi Richards and Eugene Gathers, both of the Fellowship of Affirming Ministries. Both men walked Ms. Gause down the aisle, a role she had initially hoped would be accepted by her father, the Rev. Sam Gause Sr., a Pentecostal minister who lives in Atlanta. "Twanna very well knows I'm not for that kind of lifestyle," he said by phone in a calm and stern tone several days after the wedding. "I believe that God wanted us to procreate through a natural process, and by no means am I happy about this because it is unnatural," he said. "I look at homosexuality as a mental disorder. If I start to tell you that I am an elephant, and start to behave as an elephant, that's my choice, I choose to become an elephant. But you would probably choose to call a mental institution." Mr. Gause, long affiliated with the Center of Hope Church of God in Christ in Riverdale, Ga., said he had no immediate plans to contact his daughter. "I will talk to her at some point, I suppose, if she calls me, but I will not initiate the call," he said. "I do have some words for her that she needs to hear. I'm not going to condemn her or judge her because I don't have that authority, but judgment has already been established by God." Ms. Brown, 46, and Ms. Gause, 45, both pastors of Rivers of Living Water United Church of Christ, which has locations in Newark and New York, heard much softer words on their wedding day while holding hands before the Rev. Dr. Yvette Flunder, the presiding bishop of the Fellowship of Affirming Ministries, who read from the First Epistle to the Corinthians. "Love is patient, love is kind. ... Love hopes and endures all things," Bishop Flunder read, as amens and hallelujahs rang out from some the 200 plus guests who flocked to celebrate a love that has endured for nearly three decades. "Twanna and I go way, way back," Ms. Brown said. Once upon an Amazing Grace, two choir girls met at a church in Jersey City, and before one of them could clear her throat to sing, she thought she had already caught a glimpse of heaven. Ms. Brown, then 18 and living in New York, was not struck by the same thunderbolt. "I was oblivious as to how Twanna was feeling," Ms. Brown said. "I looked at her as this adorable, skinny little girl who I initially thought was so much younger than me, and I had no idea that she liked me in any way other than as a friend." Ms. Gause, who said she was hoping for a connection, was crushed. "Though it broke my heart, I never said a word about my true feelings for Vanessa because I didn't want it to hurt our friendship," she said. "And I never said a word to my father because he was so strict, I knew he wouldn't understand." Both grew up in religious families "We didn't hang on street corners, go to clubs or do drugs, none of that," Ms. Gause said. But they spent time together at events sponsored by the Hiya Fellowship of the Saviour Church in Jersey City and at LaGree Baptist Church in Harlem, which were linked through a minister who served both congregations. Their friendship continued to blossom until the day in 1990 when Ms. Gause called Ms. Brown to say that her father was moving the family to Atlanta. "I was devastated," Ms. Brown said. "Twanna had become my best friend in the whole world, I didn't know what I would do without her." They kept in touch, and Ms. Gause moved back to Paterson in 1994, and became engaged to a man there, breaking it off in less than a year and returning to Atlanta, where she toured with a gospel choir and worked as a cosmetologist. "That relationship just didn't seem right," Ms. Gause said. "Plus I still had Vanessa on my mind." But Ms. Brown, who was by then working as a producer and talent coordinator for "Amateur Night" at the Apollo Theater in Harlem, had married a man in 2004. "Even though I was still in love with Vanessa, I never told her it should have been me," said Ms. Gause, who did not attend the wedding. "But I knew for sure it shouldn't have been him." Time, and not much of it, proved Ms. Gause right. By May 2005, five months after it began, Ms. Brown's first marriage was over. "I should have listened to Twanna," she said. Later that year, Ms. Brown invited Ms. Gause to give a guest sermon at Oasis of Love, a church in Harlem where she served as an associate pastor. "We went to dinner and started catching up and talking about our lives," Ms. Brown said. "Twanna seemed so much more mature than I remembered her, and she was very sound in her preaching." For the first time, Ms. Gause began to express her true feelings, and Ms. Brown began seeing her old friend through "a different set of eyes," as she put it. After dinner, they strolled through Ms. Brown's Harlem neighborhood until they came to the brownstone where she lived. They walked up a short flight of stairs, and Ms. Brown reached for a key to open the front door. As she attempted to turn the lock, her hand was suddenly covered by Ms. Gause's. Ms. Brown turned to find Ms. Gause gazing at her. No words were spoken, though each knew what was coming next. Mr. Gause also made it clear that the passing of time has not healed any wounds. "We all have a conscience," he said. "It is through that conscience that we hear from our creator as to what is right and what is wrong, and if God did not want us to procreate, then why didn't he just create billions of people with no gender at all? He must have had a reason for doing what he did." Mr. Gause, who owned a company in Atlanta that made signs, said: "It was a mistake that her mother even went to the wedding. Had she rejected outright that kind of behavior, and become the lovable person that my daughter was in search of, perhaps Twanna would have had a different idea about that kind of thing, and not gone elsewhere to seek love." When asked about Mr. Gause's absence at the wedding reception, an elegant affair at il Tulipano in Cedar Grove, N.J., Bishop Richards said simply: "God has a way of honoring us when others won't." Ms. Dodson, who spent most of the evening chatting with Ms. Brown's mother, Mary Ellen Brown, did not mince words when talking about her ex husband's refusal to attend. "He has no right to judge them," she said. "I tried to get him to come here tonight but it was a losing battle. He asked me why I would even bother showing up, and I said to him, 'All you need to remember is that Twanna is my daughter, and I love her, and I have her back no matter what she does, and that's why I'll be there.'" Ms. Brown, who graduated from New York Theological Seminary in May, and Ms. Gause, who graduated from Essex County Community College with an associate's degree in social science and is now studying for a bachelor's in social work at Rutgers, are moving forward with their lives, "with or without my father's blessings," Ms. Gause said. "Don't get me wrong, I still love him," she said. "I still call him on birthdays and holidays and special occasions, though he never picks up the phone." "Maybe one day he will realize that nothing has really changed with me except for the fact that I've found my perfect soul mate, and he'll feel like talking to me again," she said. "But no matter what my daddy says about me or what he thinks of me, he knows down deep, deep inside that I'll always be his little girl."	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Tired of hearing your favorite songs shoehorned into a random story (looking at you, "Mamma Mia!") or used to illustrate a biographical yarn ("The Cher Show," "Ain't Too Proud")? Fret no more: "Anything Can Happen in the Theater" is not a jukebox musical but an old fashioned revue that just strings numbers together, and to heck with plot and character motivation. For that matter, to heck with characters altogether. The show's unifying principle is contained in its subtitle: "The Musical World of Maury Yeston" that would be the lyricist composer behind "Nine" (1982) and "Titanic" (1997). Backed by the music director Greg Jarrett on the piano, the five actors in this York Theater production step up to the plate in a seemingly arbitrary order. Some numbers are a bit more staged than others (Justin Keyes's rendition of "Salt n' Pepper" takes place in a kitchen, for instance), but that's about it. The writer director Gerard Alessandrini (the wit behind the "Forbidden Broadway" spoofs) makes a case for the numbers not needing any kind of larger context and some of them are loose trunk songs to begin with. Most of the material can withstand this scrutiny because Yeston is a master of the type of art song that conveys mood via melody rather than overly detailed narratives. The forlorn elegance of "A Man Like You/Unusual Way," performed here by Mamie Parris, works perfectly fine outside of "Nine." As with Yeston's best songs, its deceiving simplicity feels inevitable.	N24News: A New Dataset for Multimodal News Classification	Theater
The Labor Department released a proposal on Monday that would limit claims against big companies for employment law violations by franchisees or contractors. The proposal seeks to define when, for example, employees of a locally owned McDonald's restaurant could challenge the McDonald's Corporation over compliance with minimum wage and overtime laws. The proposal, which will require a 60 day public comment period before it can be finalized, could affect the ability of millions of workers to pursue wage claims under a concept called joint employment. Franchisees and contractors can be small, poorly capitalized operations, complicating efforts to recover wages that were illegally denied. Instead, those efforts are often directed at large companies with whom those employers have relationships. "This proposal will reduce uncertainty over joint employer status and clarify for workers who is responsible for their employment protections," the labor secretary, Alexander Acosta, said in a statement. In an abrupt shift, McDonald's said last week that it would no longer lobby against minimum wage increases. The proposal is a sharp departure from the joint employer criteria that the Labor Department laid out in 2016 under the Obama administration. Under those guidelines, a company like McDonald's could be held liable for minimum wage violations committed by a franchisee even if it did not directly supervise workers or hire and fire them. Exerting some forms of indirect control like providing software or developing policies on which a franchisee relies could make the larger corporation liable. The Obama Labor Department also argued that corporations could be joint employers even without exercising control over a franchisee or contractor, simply because the smaller companies were economically dependent on them for example, because the "upstream" company at the top of the supply chain provided facilities and handled payroll for a contractor. The new proposal substantially restricts the situations in which a franchiser like McDonald's would be considered liable. In an example laid out by the Labor Department, a global hotel brand would not be held liable for minimum wage and overtime violations that a local franchisee committed, even if the franchisee relied on a variety of material provided by the hotel chain, such as sample employment applications and sample employee handbooks. "Through this proposal, the Department of Labor has the chance to undo one of the most harmful regulatory actions from the past administration and replace it with a rule that creates certainty for America's 733,000 franchise businesses," Matthew Haller, a senior vice president at the International Franchise Association, said in a statement. "An expanded joint employer standard has held back tens of billions of dollars in economic output each year due to a proliferation of frivolous lawsuits, precipitating significant changes to the way franchise brands interact with their local owners," he said. According to the new proposal, four factors are involved in establishing joint employment: whether the upstream company exercises the power to hire and fire employees, whether it supervises them and controls their schedules, whether it sets their pay and whether it keeps up their employment records. If a company doesn't engage in most or all of these activities, it is unlikely that it would be deemed a joint employer. 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. Critics accused the department of laying out a step by step guide to employers seeking to get off the hook for violations even when they have substantial control over workers hired by their franchisees and contractors. "It has provided such an obvious road map for employers to evade liability," said Sharon Block, a former top official in the Obama Labor Department who is executive director of the Labor and Worklife Program at Harvard Law School. "But that's going to introduce tremendous uncertainty into the lives of American workers who are subject to these business models." Ms. Block said that the legality of the regulation was likely to be challenged once it was finalized, and that courts could refuse to be bound by it. The proposal comes at a moment of political peril for Mr. Acosta, who has been dogged by allegations that his office negotiated an unduly lenient plea agreement in a sex trafficking case while he was the United States attorney in South Florida more than a decade ago. The defendant, the financier Jeffrey E. Epstein, was accused of sex offenses involving girls as young as 14 but pleaded guilty to more minor prostitution charges. Some Democrats have called for Mr. Acosta's resignation, and some Republicans have called for investigations into the matter. Mr. Acosta has been viewed as especially vulnerable partly because a constituency that can normally be rallied to support a Republican labor secretary business groups and management lawyers has complained that he has been slow to step back from important Obama era policies and offer alternatives that are friendlier to business. A Labor Department spokeswoman defended the agency's record, citing data showing that it achieved the second largest cost savings of any department through its deregulatory efforts during the last fiscal year, behind the Department of Health and Human Services. Some of those employer concerns have subsided after Labor Department efforts in recent weeks, first with a plan on overtime eligibility, which signals a partial retreat from an Obama era rule that a court had struck down, and now with the joint employer proposal. The latest proposal is part of a broader debate, also playing out at the National Labor Relations Board, over when employers should be held liable for violations committed by franchisees and contractors. Because the board oversees the right to unionize and take other types of collective action, its joint employer doctrine determines whether companies are liable when, say, a franchisee illegally fires a worker in retaliation for trying to organize a union.	N24News: A New Dataset for Multimodal News Classification	Economy
Selin the language intoxicated, 6 foot tall Russophile daughter of Turkish immigrants arrives at Harvard in the mid 90s, almost appallingly innocent. In the year we spend with her, she flirts with one classmate, in her stilted fashion; smokes a few cigarettes; travels to Hungary to teach English; dances perplexedly at a club "It went on and on, the dancing. I kept wondering why we had to do it, and for how much longer." Mainly, she reads but how she reads. Batuman is wonderful on the joy of glutting oneself on books. In "The Possessed" she describes devouring "Anna Karenina" sprawled on her grandmother's "super bourgeois rose colored velvet sofa, consuming massive quantities of grapes" and tearing through Babel while baking an ill fated Black Forest cake; her memories of the Red Cavalry sequence forever mingled with "the smell of rain and baking chocolate." A dictionary is a fetish object in "The Idiot," and Batuman conveys Selin's all night reading benders with druggy fervor. Her instincts are, in general, excellent she is Selin, more or less save the odd, unhappy decision to repurpose details, characters, conversations and even whole scenes from her previous book: judging a beauty contest of boys' legs at a Hungarian summer camp, being given chase by a wild dog. Too often, the novel reads like a greatest hits version of "The Possessed." But the real pleasures of Selin's company come from her differences from the author, not their commonalities. She's not the type to fire off manifestoes on the sterility of M.F.A. fiction (not yet, at least); she scarcely knows what to think and envies her classmates the quantity and confidence of their convictions. "It was a mystery to me how Svetlana generated so many opinions," she says of a friend. "Any piece of information seemed to produce an opinion on contact. Meanwhile, I went from class to class, read hundreds, thousands of pages of the distilled ideas of the great thinkers of human history, and nothing happened." Selin is amazingly passive and almost seems miscast in her own life as protagonist. She's a born Watson, a Boswell; her gift is not for the living, but the telling, for the shaping of a story. Inevitably, she gravitates to larger, louder personalities: worldly Svetlana and Ivan, a math scholar from Hungary and the novel's reluctant leading man. Selin comes to believe she has two lives one at school, the other in her cryptic email courtship of Ivan. The idea that our most important and exciting experiences occur in private, in secret, Batuman tells us, is from Chekhov, whose ghost presides benevolently over the book. Selin could be any number of his gentle, ineffectual intellectuals, whose very gentleness and ineffectuality make them so important, according to Nabokov. "In an age of ruddy Goliaths it is very useful to read about delicate Davids," he remarked in one of his lectures at Cornell. "All this lovely weakness, all this Chekhovian dove gray world is worth treasuring in the glare of those strong, self sufficient worlds that are promised us by the worshipers of totalitarian states." But does Batuman judge Selin more harshly? The title, "The Idiot" as with "The Possessed," cribbed from Dostoyevsky seems like an unfair indictment of gentle, hardworking Selin, but at its root, "idiot" is a benign word, even a strangely sweet one. It originally described someone who doesn't serve in public life (from the Greek idios, pertaining to the self), someone who is a private individual, who belongs to herself. And so much of Selin's heartache hinges on her efforts to bridge distances between her private and public selves, between her and other people, using the same tools we all reach for: language, travel, jokes. Sex belongs on this list, too, but Selin and "The Idiot," in fact is curiously prim. I wondered about this; why this reticence about desire in a book about falling in love, and as a teenager at that? I wondered, too, why here, as in "The Possessed," so many of the book's more emotionally charged scenes happen offstage and are conveyed to us in summary, if at all. Batuman is an energetic and charming writer and, perhaps, there are wages to this kind of charm namely in remembering to relinquish it when you need to, remembering to risk being messy, boring or obvious to get at those truths only fiction, she tells us, can access. But for all these moments of evasion, there is more oxygen, more life in this book, than in a shelf of its peers. And in the way of the best characters, Batuman's creations are not bound by the book that created them. They seem released into the world. Long after I finished "The Idiot," I looked at every lanky girl with her nose in a book on the subway and thought: Selin.	N24News: A New Dataset for Multimodal News Classification	Books
Amanda Gallo, the idealistic heroine of the new novel "Amanda Wakes Up," is a morning anchor at FAIR News, a cable news network that brands itself as "True and Equal," goes easy on right wing provocateurs and mandates miniskirts and leg bronzer for its blond female hosts. Amanda's creator is Alisyn Camerota, a former anchor on the morning show "Fox Friends" who spent 16 years at Fox News, the network whose slogan was "Fair and Balanced." Ms. Camerota and her representatives insist that the novel is not a tell all. "There's a lot of Alisyn in Amanda," said Ms. Camerota, who left Fox News for CNN in 2014. "What's different is, she kind of has her arc, her learning curve, and her wake up, over the course of a year and a half. Mine was 25 years." The image obsessed and thanks to our TV besotted president suddenly high stakes world of cable news has long been ripe for its own version of "The Devil Wears Prada," the 2003 best seller by Lauren Weisberger, who drew on her experience as an assistant at Vogue to write a roman a clef. Ms. Weisberger contributed a blurb for Ms. Camerota's novel ("Who knew there was so much good drama behind the perfectly coiffed talking heads?"), and, like that earlier book, "Amanda Wakes Up" makes use of a breezy story to provide an insider's guide to a closed world. As the plot unfolds, copious airtime is devoted to a television star turned politician named Victor Fluke (hmm!) whose immunity to shame generates big ratings. Amanda, who struggles to balance ethics and ratings, is told by a producer that Walter Cronkite would never get hired today because "he'd be bad for the demo." "There were just some bizarre things that were happening," Ms. Camerota said, explaining why she started taking notes on her experiences and wondered if it could make for a book. "It was easier to assign whatever ethical challenge I was facing to a fictional character and let her figure it out." Ms. Camerota, 51, is the rare Fox News anchor whose career has thrived after leaving the network: She is now co host of CNN's "New Day," alongside Chris Cuomo, where she has scored viral hits by pressing supporters of President Trump about his false claims. Since leaving Fox News, Ms. Camerota has also gone public about the darker side of life at the network. In April, she said on air that she was sexually and emotionally harassed by Mr. Ailes, who was forced to step down as the network's chairman and chief executive after a sexual harassment scandal last summer. In her account, Ms. Camerota said that when she approached Mr. Ailes about her career, seeking more opportunities at the network, he told her: "Well, I would have to work with you I would have to work with you really closely and it may require us getting to know each other better, and that might have to happen away from here. And it might have to happen at a hotel. Do you know what I am saying?" After rejecting him, Ms. Camerota said that Mr. Ailes questioned her on air demeanor, saying, "You could be a real role model and a real star if only you could sound conservative." (Mr. Ailes, who died in May, denied Ms. Camerota's allegations in a statement by his lawyer Susan Estrich.) "I think that on every level, silence generally isn't the right way to go," Ms. Camerota said in an interview last week from her home in Connecticut, where she lives with her husband and three children. "I'm happy that I was able to break the cone." Harassment is not an issue in "Amanda Wakes Up," although there are on set romances and rumors of the on air talent sleeping with "the third floor," the nickname for FAIR News's executive suites. In real life, Fox News employees use the term "the second floor" the same way. Ms. Camerota grew up in Shrewsbury, N.J., where, at 15, she decided to become a television reporter after watching Phil Donahue. She later won a scholarship to study broadcasting at American University. "Amanda Wakes Up" is her first novel. She said she wanted the book to encompass the good and bad of her years in the business. "There are moments in there from my time at 'America's Most Wanted,' ABC, NBC," she said, ticking off the local network affiliates and shows where she toiled before national cable came calling. The novel takes pains to pierce the bubble of liberals who dismiss Fox News and condescend to its viewers. "I resented being put in a partisan box," Ms. Camerota said. "'Oh, you work at Fox News, so you're obviously an archconservative.' No, I'm a journalist, and I'm trying to cover the news." The book's protagonist finds herself in an affair with her co anchor, Rob Lahr, a tall, handsome frat boy type with a hint of Ron Burgundy. It's the kind of detail that may set off a guessing game in the incestuous TV world, but Ms. Camerota is not naming names. "Just to remind everybody, I was single in this business for 10 years," she said. The bombastic candidate Victor Fluke, who favors FAIR News over other networks, dominates the book's plotline. Ms. Camerota said she set out to capture numerous politicians with big egos, not just the one named Trump. "Victor Fluke is an amalgam of all sorts of candidates that I've met," she said. "These guys are one way on TV and one way off TV. They have a different set of personalities when they're not on camera." The book evokes the intensity of television news: long hours, pressure for scoops and ratings, the coarse humor that goes along with covering massacres and tragedies. Amanda is besieged by cruel and threatening tweets from viewers, something Ms. Camerota knows well. She deleted her Twitter account this month, saying she was tired of the abuse. "Roger liked competition, so he would pit us against each other to see who got the best ratings," she said of the hosts at Fox News. "It bred more tension than I've felt anywhere else." Ms. Camerota recalled a moment at Fox News when a hairdresser frantically ran onto the set because management had objected to the part in her hair; a whirl of combs, brushes and curling irons descended. Mr. Zucker piped up. "They haven't read the book yet," he said. Mr. Smith said after he greeted Ms. Camerota with a hug: "I've known her since before we were at Fox together. Once we're off camera and no one's paying attention, we all love each other." A few days later, Ms. Camerota said she felt touched that the Fox crowd had shown up. "It was brave of them to come," she said. "Journalism can feel under siege right now, and we do remind each other that we are all in this together."	N24News: A New Dataset for Multimodal News Classification	Style
CARSON CITY, Nev. The Carson Nugget casino takes up the better part of a downtown block in this state capital, and a sign on the side beckons bettors with a promise of "Extremely Loose Slots." You won't find the state's chief investment officer, Steve Edmundson, anywhere near there. Instead, he manages its pension funds on the outskirts of town, in a sparsely furnished office next to a bank branch. Less than half a shelf of books sit on display, including "The Hedge Fund Mirage." One binder is labeled "Terminated Managers." Those items offer hints of the surprising professional journey that Mr. Edmundson and his predecessor, Ken Lambert, who still serves as a consultant to the state, have recently completed. Since the beginning of 2014, they have moved the last of the state pension funds' stock and bond investments entirely into securities that track market indexes exactly. So here, in the state that brought us gambling as an everyday activity, the two professionals who gauge investment odds have taken their money off one particularly large table, deciding that it no longer makes sense to bet on Wall Street wizards to beat the market. Few if any managers of large pension funds have ever done such a thing. The knock on index funds and similar strategies has always been that the smart money knew better. Endowments, foundation money, pension funds their managers had the wisdom and connections to find investments that outperform the market, or investors with the magic touch. The fact that they could supposedly do it (though they often couldn't) seemed to serve as a sort of challenge to individual investors, who took up trading as a hobby and bought and sold their way to unfortunate losses. Mr. Lambert grew up thinking he might be savvy enough to beat the market for a living. As a boy, he used the proceeds from the sale of a calf to buy shares in Macy's, where his father worked as a manager at various stores in the West. The stock ended up increasing more than twentyfold before he sold, and he was hooked on the markets. He was chief investment officer of Nevada's pension funds for seven years before turning the job over to Mr. Edmundson. Mr. Edmundson worked at Oracle earlier in his career, in the group handling the employee stock option and purchase plans. He had a front row seat for the tech bubble in 2000 and the popping, too. By the time he went to work for the state, the pension funds were already moving bit by bit away from trying to beat the market and more toward indexing, where the funds would own every security in a particular market segment. According to Mr. Lambert, the more voluble of the pair, a pension fund manager (and an individual investor) has to begin any strategic analysis with the acknowledgment that most investors who try to pick stocks or bonds that will outperform their market segment will fail to do so over long periods. "So you have to trade active managers," he said. "Not only do you have to believe that they can beat the market, but you must spend time hiring and firing them." By ceasing to place outsize bets on companies, industries or countries, the men also eliminate the temptation to focus too much on the short term. This is especially crucial for government pension fund managers, because new people in their 20s are constantly entering the plan and may be drawing on it 75 years later. "If we are freaking out about what is happening tomorrow or what happened last quarter, then we're not doing our jobs," Mr. Edmundson said. Then there are the fees that outside money managers charge pension funds. While pension fund managers pay much less than the 1 percent or so of assets that an individual might pay for an actively managed mutual fund, every basis point (which is the term Wall Streeters use for one one hundredth of a percent) matters. Mr. Edmundson and Mr. Lambert, who are both 43 and consider themselves equal partners, manage about 35 billion. One basis point for them is 3.5 million, which covers a lot of monthly pension checks. Their most recent investment moves, they said, will save 4 million in fees each year, which compounds over time. No one at the three firms they cut loose would talk to me about whether they thought the pair had made a mistake. The men say they believe that their overall annual costs to run the funds (which also include a smattering of more expensive real estate and private equity investments) are about half a percentage point less than their peers, on average. Over the last decade, as the funds have made the transition toward indexed investments in stocks and bonds, the total return for the biggest fund has bested 73 percent of its peers, according to data from their consultants at Callan Associates. A word about those peers. Earlier this year, the New York City comptroller issued a report concluding that nearly all of the outperformance it achieved in investments like the ones that Nevada now indexes went into the pockets of the outside managers who achieved them, in the form of fees. The California Public Employees' Retirement System (known as Calpers) is strikingly paring its own use of expensive gurus for hire. Calpers's public statement on "active" stock and bond picking versus index investing, however, is decidedly muddled. "Calpers will use index tracking strategies where we lack conviction or demonstrable evidence that we can add value through active management," it states in the"Beliefs" document it adopted in 2014. Whose conviction? How much table pounding is required? And how can you acquire demonstrable evidence of how a particular investing strategy will perform going forward? The fact is that most professionals with outsize conviction and most of us won't get it right often enough to beat the index funds over the half century or more that we might be investors. So Mr. Edmundson and Mr. Lambert, whose moves were first reported in the trade publication Pensions Investments, have put 42 percent of public employee money to work tracking the S P 500 index of large United States companies, another 18 percent toward a basket of international stocks and 30 percent toward United States Treasury bonds. And that's it (save for its bit of private equity and real estate), though they will sometimes adjust the percentages. Your appetite for risk and need for higher or lower returns may dictate a different allocation, but it need not be much more complicated. Then, you must have the conviction to stick with the plan, avoiding the tendency that too many of us have to buy more when our investments have already increased plenty and lock in losses by selling when markets are low. On days like Thursday and Friday, when the stock market is declining, it's hard to sit calmly and do nothing, especially when commentators are yelling on television. So when the two men are feeling itchy, they make for the hills, literally, running on trails near Reno for 10 or 15 miles at a time. They can't trade while they are in motion, but that's probably a good thing. "We spend a lot of time up there talking each other out of stuff," Mr. Lambert said. "In investing, the answer 90 percent of the time is to do nothing."	N24News: A New Dataset for Multimodal News Classification	Your Money
Rupert Murdoch stood behind his top American asset, the anchor Bill O'Reilly of Fox News, for years, shrugging off a sexual harassment scandal in the mid 2000s and multiple complaints about Mr. O'Reilly's behavior that surfaced behind closed doors. Mr. Murdoch prizes loyalty and profits, both of which Mr. O'Reilly brought him in droves. And Mr. Murdoch disdains the politically correct mores of the media world, relishing any chance to defy liberal detractors who might challenge his success. But Mr. Murdoch, 86, has also proved, time and again, that he is a pragmatist at his core at least, when his hand is forced. Roger E. Ailes, the Fox News creator who generated billions of dollars for Mr. Murdoch, is gone. News of the World, the famed tabloid newspaper at the heart of a hacking scandal, is closed. Now Mr. O'Reilly, the top cable news host in the United States, is out. Mr. Murdoch signed off on the decision, even if, according to people briefed on the deliberations who spoke on the condition of anonymity to discuss internal matters, it took him longer than others in his circle to get there. And his memory is long. When the hacking fracas threatened to subsume his business, Mr. Murdoch watched his bid to acquire Sky, the British satellite and news giant, scuttled by British regulators. Now, he again has Sky in his sights, and Mr. O'Reilly's troubles surfaced at the moment when Mr. Murdoch must pass a so called fit and proper test, or a judgment on whether the people who will run the merged company are fit to do so. Controlling Sky would be highly lucrative, but it was not the only factor that weighed against Mr. Murdoch's natural fealty to his stars. Advertiser boycotts and protests at the Manhattan headquarters of News Corp, one of Mr. Murdoch's companies, were ratcheting up pressure. Before Wednesday's announcement, members of senior management at Fox News's parent company, 21st Century Fox, were briefed on the results of an internal investigation into Mr. O'Reilly's behavior. Mr. Murdoch, who often resists outside pressure, was also being counseled by his sons, James and Lachlan Murdoch, who are the top executives at 21st Century Fox and are intent on steering the family ship far into a new century, with new standards of workplace behavior. And while Mr. O'Reilly may have been Fox News's top draw, the channel's audience is aging. Mr. Murdoch had recently been presented with firsthand evidence that, for viewers, the Fox News message might be more important than the person who delivers it. Retail earnings and Black Friday: the week in business. Elizabeth Holmes will resume her testimony in her fraud trial. Mr. Murdoch, who took over stewardship of Fox News after Mr. Ailes's departure, decided in January to replace his departing star Megyn Kelly with Tucker Carlson, a seemingly past his prime conservative pundit who at the time was best known for wearing colorful bow ties on air. The television news industry did a double take. Tucker Carlson? At 9 p.m.? Mr. Murdoch, it turned out, had the right instincts. Ms. Kelly scored high ratings, but Mr. Carlson routinely outdraws her in the same time slot. His total audience, on some nights, had begun to rival that of Mr. O'Reilly. Not surprisingly, it was again Mr. Murdoch, this week, who decided that Mr. O'Reilly could be replaced. Mr. Carlson will now take over the 8 p.m. Eastern time slot that "The O'Reilly Factor" is vacating. Mr. Murdoch despises the perception that he does not stick up for those who are loyal to him. Some of his most cherished lieutenants, like the former News of the World editor Rebekah Brooks, were eventually forced out, only to return later, taking senior positions in Mr. Murdoch's circle. Jettisoning Mr. O'Reilly was most likely another painful moment for Mr. Murdoch. But it may have been less so than the episode last summer involving Mr. Ailes, who, besides being a critical colleague, was something of a Murdoch friend, one who helped Mr. Murdoch start Fox News two decades ago.	N24News: A New Dataset for Multimodal News Classification	Media
In his 1968 novel "Do Androids Dream of Electric Sheep?," Philip K. Dick introduced science fiction readers to "kipple," essentially a reimagining of the second law of thermodynamics. "Kipple is useless objects, like junk mail or match folders after you use the last match or gum wrappers," he wrote. "It always gets more and more. No one can win against kipple, except temporarily and maybe in one spot." Replace postapocalyptic San Francisco with Prohibition era Manhattan, dystopian sci fi with something akin to Paul Auster's icily deconstructivist mysteries and gum wrappers with rotting vegetation, and you get W. M. Akers's superb debut, "Westside," a novel steeped in existentialism while delivering gun molls, drunken wastrels and purebred thugs. The narrator, Gilda Carr, is a detective who specializes in "tiny mysteries" because her father's madness and subsequent disappearance are too soul crushing to investigate further. Gilda's environs present her with even greater challenges Manhattan has been walled from top to tail, separating the affluent Eastside (teeming with squalor and refugees nonetheless) from the nightmarish Westside (overrun by jungle, rot, darkness and unexplained disappearances). Naturally the feral Westside produces the divided city's finest bootleggers, poets and thieves; naturally the intact Eastside is as complicit in black market liquor deals as it is self righteous. When Gilda takes the case of a lost glove that involves vile secrets on both sides of the barrier, she uncovers liaisons threatening the entire metropolis and probably the fabric of the universe. Let's not get ahead of ourselves, however, because Akers's choice to spotlight a sleuth preoccupied by "those impossible puzzles that burrow into our brains like splinters" is viscerally effective. In this world, a missing coffeepot can mean more than a murder, and the unbearably pure joy of baseball statistics can sustain a lost soul. An alcoholic father could ruin someone's life, yes but so could having the fragment of a tune stuck in one's head for decades. Gilda knows this principle better than most, since her experience with tragedy is as wide as the Hudson, and she attacks both trivial and impossible questions with endearingly clearheaded ferocity and good humor. Akers's research is excellent, and he scatters plentiful Easter eggs for the savvy. The author knows his elevated train lines and "Dead Rabbits." This is key for a novel in which the fantastical hurtles on and offstage like a runaway cart horse, houses can disappear and the darkness can literally snatch one away or can it? A world that could be completely unwieldy is rendered tangible in the sounds of street music, glimpses of skittering shadows and whiffs of violent smells. One cannot effectively borrow from the horror genre as freely as Akers does without concrete imagery to sustain the imagination. His prose is sharply crystalline, especially when describing minute, bittersweet and even ugly moments. "I opened the bottle and inhaled deeply as I could," Gilda tells us. "Boulton's Rye. It smelled like my father's smile."	N24News: A New Dataset for Multimodal News Classification	Books
There are holiday episodes, and then there are episodes that invent new holidays. "The Strike" introduced Festivus, the now legendary annual protest by Frank Costanza (Jerry Stiller) against the commercialization of Christmas. Instead of decorating a tree, revelers gather around an aluminum pole and compete in "Feats of Strength." The greatest Festivus tradition of all is the "Airing of Grievances," which culminates in a hilariously uncomfortable holiday dinner. From the mind of creator Dan Harmon, "Community"'s experimental holiday special "Abed's Uncontrollable Christmas" is an animated tribute to kitschy 1960s stop motion holiday specials like "Rudolph the Red Nosed Reindeer." But it's also a glimpse into the one of a kind brain of Greendale Community College's resident pop culture obsessive, Abed Nadir (Danny Pudi). In the episode, some mysterious trauma has mentally transported him to a snow covered fantasy planet, where he embarks on a journey to uncover the true meaning of Christmas. As that's happening, it's up to his study group comrades to bring him back to live action reality. Many shows brighten up their story lines for the holidays, but Aaron Sorkin's political drama went darker with "In Excelsis Deo," a Season 1 highlight whose Emmy winning script showcases White House staffers' responses to tragedy. As Toby (Richard Schiff) hustles to arrange a proper burial for a homeless veteran whose body is found in the capitol, C.J. (Allison Janney) crusades for hate crime legislation in a side plot inspired by the real life murder of Matthew Shepard, a gay college student. Santa Claus, Superman and a guy dressed as an armadillo walk into a suspiciously spacious New York apartment. What sounds like the setup for an awful joke is actually the uproarious culmination of frantic efforts by Ross (David Schwimmer) to convince his half Jewish son that Hanukkah is just as fun as Christmas. Animal costumes aside, "The One With the Holiday Armadillo" is a humorous treatment of a very real parenting predicament that makes it a classic. Pine trees may have gone extinct centuries ago, but Christmas (well, "Xmas") still exists in the 31st century world of Matt Groening's animated sci fi comedy. Unfortunately, the holiday also activates a malevolent robot Santa programmed to kill everyone it deems naughty. With a subplot that has the hapless hero Fry hoping to woo his eternal crush, Leela, with the perfect gift, "Xmas Story" offers action, romance and plentiful laughs ideal viewing for an all ages crowd. Rebecca (Kirstie Alley) becomes the Grinch who stole Christmas Eve in "Christmas Cheer," a cozy episode from her first season on "Cheers." The episode begins when she enrages Sam (Ted Danson) by scheduling him to work on the night before Christmas; of course, the evening becomes a bonding experience for the staff and the regulars as a crew of tipsy Santas invades the bar. Things really start looking up for Sam when he encounters an angel in the form of a pretty flight attendant (Jayne Modean), who has a fondness for fancy lingerie. There's no lack of soapy intrigue in "The Best Christmukkah Ever," the first holiday special of this quintessentially mid 2000s teen drama, which features a love triangle, an arrest and an interfamilial legal dispute. But it also kicked off the show's sweet annual tradition of episodes that find the interfaith Cohen family celebrating "Chrismukkah." As explained by its teenage mastermind, Seth (Adam Brody), the holiday mashup's highlight is "eight days of presents followed by one day of many presents." No wonder it entered the cultural lexicon so quickly. In "Everybody Hates Kwanzaa," Chris's father (Terry Crews) trades Christmas for Kwanzaa, but it's not because he wants to celebrate African American culture it's because he's too cheap to spend money on presents for his family. This premise allows the show to educate viewers about a widely misunderstood holiday without watering down creator Chris Rock's biting humor, in an episode that also teaches young Chris (Tyler James Williams) an unexpected lesson about charity. NBC's "The Office" aired many memorable holiday episodes, but nothing tops Part 2 of the original British version's "Christmas Special," which is also the series finale. In the episode, Ricky Gervais's career making workplace comedy culminates at that most awkward of professional occasions: the company Christmas party, where alcohol loosens inhibitions and colleagues finally tell each other how they really feel. Despite its being Part 2, the episode works as a stand alone although its romantic climax is more satisfying if you've already watched the first and second seasons. In "The Real Santa," Jessica, the Huang family matriarch (Constance Wu), reinvents Santa Claus to make him more relevant to her kids. Instead of a white toymaker, Santa becomes a Chinese math and science whiz who calls his mom daily. And then he transforms into, well, Jessica herself, in a scene that's both laugh out loud funny and a heartwarming example of how America's most beloved traditions can evolve to suit all kinds of families. First aired in 2015, the episode was an instant holiday classic.	N24News: A New Dataset for Multimodal News Classification	Television
Jurgen Klopp, the coach of Liverpool, ambled out of the tunnel at Anfield before his team's Champions League match on Wednesday night when the wiggling, outstretched hands of some enthusiastic fans entered his sightline. It is a common sight, spectators at a sporting event looking for a bit of skin contact from their heroes, who in turn tend to absent mindedly oblige. But Klopp clearly had other thoughts. "Put your hands away!" Klopp barked at the fans with a couple more colorful words thrown in before stalking onto the field. The spread of the coronavirus has disrupted games and leagues and schedules around the world over the past week, forcing cancellations and postponements at every level. In those games that have gone on in professional stadiums, college arenas and local parks there has been a notable increase in these conspicuous little moments of caution, and in the subtle second guessing of the wisdom of a sports staple: the high five. Some athletes and coaches have tried to stop high fiving altogether. Instead, they have been knocking elbows, tapping forearms, clicking cleats and trying almost anything else to avoid the germ friendly high fives and handshakes that public health experts have discouraged. "I think there's just an understanding that we're going to do whatever we can to help protect each other and help protect ourselves," Crystal Dunn, a defender on the United States women's soccer team, said. Serving as her team's captain on Sunday, Dunn stood at the head of its pregame handshake line as a queue of players from Spain, having just high fived the referees, approached the Americans with their hands out. None Week 11 Predictions: Here are our picks against the spread. N.F.L. Tightens Covid Protocols: As cases rise and Thanksgiving approaches, the league is requiring masks inside team facilities and increasing testing. The Packers' Defense Is Their M.V.P.: Green Bay's oft overlooked defense has kept the team from falling out of the Super Bowl chase. The Long Path to the Super Bowl: With 18 weeks in the regular season and fewer teams earning byes in the playoffs, the Super Bowl is still a long way off. Playoff Simulator: Explore every team's path to the postseason, updated live. Dunn peeked back at her teammates and shrugged, unsure of what to do. As the Spanish players shuffled by, Dunn closed her hand and offered a glancing fist bump to each one. The American women had been trying to use elbow bumps all week, with varying success, as part of a larger antivirus effort. When they took the field before matches, they had their arms around the shoulders of their child escorts, instead of holding hands. And during the match, an alert over the sold out stadium's public address system noted that the players, typically approachable, "may not have as much interaction as usual with fans postgame." All of that mirrored the patterns emerging across sports in the past week: pregame handshake lines in the English Premier League featured players gliding past one another with their hands at their sides; some college conferences banned pregame and postgame high fives and handshakes altogether (before banning the games too); and the Minnesota Twins led the way among baseball teams when they banned hand to hand contact with fans and instructed players not to sign autographs, lest a fan's marker become a vehicle for the virus. "I just smiled and went, 'Hey, coronavirus!'" he said. "People are on autopilot. They want to give you a high five or a fist bump. But it's not worth it." Athletes may have taken for granted how omnipresent, and automatic, the high five can be in competitive settings. It may be the one gesture that ties all of the world's multifarious sports together: an articulation of both joy and commiseration, a way to communicate sportsmanship, or an apology, or just to generally promote warmhearted feelings. High fives are even thought to improve performance. In 2010, a widely circulated research paper "Tactile Communication, Cooperation, and Performance: An Ethological Study of the NBA" showed a positive link between touchy feely interactions between basketball teammates and their efficacy on the court. Good vibes, the theory went, can be contagious. But so can a lot of other things, unfortunately. "Maybe the kids come out and bow to each other," Chiapparelli said. "Maybe they click feet." Questions about this approach have inevitably returned to a more difficult question: Is it worth avoiding someone's hand before a game if you're going to wrestle them for a rebound soon after? How does "social distancing" work when you're in a scrum of sweaty bodies? Are fist bumps OK? It does not help that sports locker rooms can rival kindergarten classrooms as breeding grounds for illnesses. It is a lesson that baseball players have joked about for years, and one the N.B.A.'s Utah Jazz learned the hard way in the past week.	N24News: A New Dataset for Multimodal News Classification	Sports
The nearby lunch tables were filled with gallerists and businessmen, but Diamanda Galas put down her biscotto, opened her mouth slightly and proceeded to hold a single note a low, plaintive note for what felt like an eternity. It was a bright day, and she was singing in full view of others at the Trestle on Tenth in Chelsea. Some ignored her and others turned to watch, but Ms. Galas was completely oblivious. "I can do that for four minutes," she said, gripping her water glass. Dressed in all black, Ms. Galas perused the menu, pointing to items with her left hand, which has the words "We Are All HIV " tattooed on sequential fingers. This was her first New York performance in eight years, completely impromptu. Her next one involves considerably more planning. On Tuesday, as a part of the Red Bull Music Academy Festival, Ms. Galas the enigmatic composer and vocalist sometimes described as the Maria Callas of avant garde music will return to the New York stage with her nine foot Steinway in tow, playing at St. Thomas the Apostle Church in Harlem for three nights. She is calling her piece "Death Will Come and Will Have Your Eyes," named for the poem by Cesare Pavese. Ms. Galas, who would not disclose her age because she feels "it's irrelevant in the face of an entire career of making music," was back in New York, where she lived for decades before uprooting in 2011. Since 2014, she has been an artist in residence at the Grotowski Institute in Wroclaw, Poland, putting the finishing touches on a new conceptual piece tentatively titled "Das Fieberspital" (The Fever Hospital), which is named for a poem by Georg Heym. She hopes to perform it in the United States as soon as next year. The performance artist Marina Abramovic remembers the first time she saw a piece by Ms. Galas. "She was covered in blood," Ms. Abramovic said. "The audience and her became one beast together." It's that vim that has propelled Ms. Galas to continually breach the limits of music, improvising, mixing classical bel canto singing with demonic shrieks, muttering and glossolalic runs. Her vocal range is stunning, though the precise parameter is unknown. Theories put it at anywhere from three and a half octaves to eight octaves, and, like the Gyuto monks of Tibet, she can invoke more than one at a time. Raised in San Diego by a Greek mother and an Egyptian father, she has been honing her sui generis craft since she came to the world stage at the Festival d'Avignon in 1979, where she starred in "Un Jour Comme Un Autre," an opera by the experimental composer Vinko Globokar about imprisonment and torture. Mr. Globokar, 81, remembers the young Ms. Galas, who was then a college student. "She had a technique of singing where everything was allowed," he said. It set the tone for Ms. Galas's career. Shortly after, her attention turned to AIDS activism and the group Act Up, which inspired several of her most famous, as well as profane and horrifying, albums including "Plague Mass" and "Vena Cava." Her most recognized work is arguably "Masque of the Red Death," an operatic trilogy about society's indifference toward the AIDS epidemic, which had its premiere at Alice Tully Hall in Lincoln Center in 1989. It was a personal battle that hit home when her brother Philip Dimitri Galas died of the disease that year. Her brush with popular culture would come in 1994, when she teamed up with John Paul Jones of Led Zeppelin on "The Sporting Life," a collection of homicidal love songs that combined Mr. Jones's signature heavy grooves with Ms. Galas's malevolent ravings about castration, rape and torture. The two toured extensively and even appeared on "The Jon Stewart Show" on MTV. The reason for her departure, it turns out, was death, a recurring theme in her work. "My father died in 2010," Ms. Galas said. "The second time I saw my mother after that, it was clear to me that she had become extremely fragile." Ms. Galas had moved to San Diego to take care of her. "I am a Greek daughter," she said. "This means that I do not question my love for my mother." She added that this impulse was a continuation of her AIDS activism: "You do not abandon the loved one when he or she is dying." When her mother's health improved last summer, Ms. Galas slipped back to New York, into a Midtown apartment where she lives alone. Her days are filled with a rigorous schedule of voice lessons, contract negotiations, booking tours and arranging music. Promoting her art is something she does with great care with help from her small inner circle, which includes the artist Stephanie Loveless, who is her assistant. At the restaurant, one hour turned into four. The stories Ms. Galas tells, even about the most mundane facets of her life, have a way of protracting to Wagnerian proportions, such as her distaste for marauding flight attendants who stand watch at airplane lavatories. "They monitor how long you're in there," she said. "I'm traumatized." Ms. Galas is garrulous not only about her work, but also about the world as she sees it. Despite her dark wardrobe and wolflike rapacity on stage, she has a softness in person. She laughs a lot and engages the people around her. She noticed that the waitress had a Teutonic accent, and so she struck up a conversation with her in German. It ended with both in stitches. She is still driven by politics and social ills, as one would expect. These days, the rise of the Islamic State is a subject that gets her going, as is feminism as it relates to Hillary Clinton's presidential bid. To Ms. Galas, the link is indubitable. "She has been in the trenches for decades," she said, adding that "a woman who disavows feminism is a woman who does not realize the great amount of work done." And her art remains informed by her politics. "To be an artist is to be equal to the present," she said. "Because mediocrity is so largely rewarded and broadcast ubiquitously, like a swarm of mosquitoes, by obese and tone deaf accountants, the public is unable to learn about, let alone hear, see and digest the art of the present." Ms. Galas channels something much more primal. "The only thing that works is distilled rage," she said.	N24News: A New Dataset for Multimodal News Classification	Style
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. The first original song Sky Ferreira has released since 2013 veers sharply away from the armor clad pop that filled her first album. But in a way, it's a segue from that record's ominous (and atypical) title song, "Night Time, My Time," by way of the latter day "Twin Peaks"; she produced the song with the music supervisor for "Twin Peaks," Dean Hurley. A full minute of a dirgelike string section instrumental keening and quivering above, pulsating below opens "Downhill Lullaby" before Ferreira comes in, singing a chantlike verse in a low, ragged voice: "You leave me open when you hit me/No one can hear you, then you hurt me." She announced back in 2015 that her next album would be called "Masochism"; this makes clear why. JON PARELES From 1969 72, Joseph Jefferson led a Philadelphia funk band called the Nat Turner Rebellion, which released a few singles including "Tribute to a Slave" in 1969 and left an album's worth of unreleased music in the vaults of Sigma Sound Studios. The first full Nat Turner Rebellion album, "Laugh to Keep from Crying," has now been compiled by independent archivists and music business students at Drexel University, which received thousands of tapes from Sigma Sound as a donation. "Tribute to a Slave," a greeting across eras to the rebel slave Nat Turner, is vintage socially conscious, tambourine shaking funk. Amid wah wah guitars and assertive horns, it proclaims, "We ain't slaves no more." PARELES Recently, Lil Uzi Vert announced online that his career was on hold, if not over. What appeared to be a disagreement with his label seemed to be imperiling the release of any new music, including the long awaited album "Eternal Atake." In the last couple of days, however, there's been some movement amid the uncertainty. "Free Uzi" which his label said was not an official release made its way to SoundCloud and YouTube, and displayed Uzi at his frenetic best: rapping about a woman "back on my team/ 'cause my neck wet like a squeegee"; alluding to issues with his finances; and confessing to watching "The Big Bang Theory." JON CARAMANICA "Hustle" couldn't bang any more bluntly; it's three minutes of tightly packed pop escalation. "Don't hustle me," Pink berates a guy who "took my love/mistook it for weakness." Then she restates the line with a blunter word that radio stations and this newspaper won't use. The swinging beat harks back to rockabilly, and so does Pink's belted with a grin vocal, but the production expects a minuscule 21st century attention span, springing a new sound handclaps, backup voices, gunshots, bell tones, synthetic horns every four bars if not sooner. It's as meticulous as it is brash. PARELES Kelly Clarkson and Pink have been working in parallel for almost two decades. In 2017, when both artists had new albums ("Meaning of Life" and "Beautiful Trauma") they teamed for a cover of R.E.M.'s "Everybody Hurts" at the American Music Awards. Now they've collaborated along with Marshmello and Ed Sheeran's "Shape of You" team of Johnny McDaid and Steve Mac on a classic empowerment anthem either of them could have sung. It's from the forthcoming animated movie "UglyDolls," in which Clarkson plays a plush toy seeking self acceptance. Perhaps in the future this duo of powerhouse vocalists and electric live performers will seek a co headlining arena tour. GANZ As the influence of Nigerian highlife and American funk stretched across West Africa in the 1970s, different cultural traditions found their own ways in. In Benin, Sir Victor Uwaifo became known for rendering the ekassa a rhythm and dance associated with the coronation of a new king as a modern sound. On "IIziegbe (Ikassa No. 70)," horns and voices call back to him from across a bed of buoyant bass drum, played on every off beat. This is one of 12 recently dug up tracks, all from different artists, released Friday in the latest installment of Strut Records' "Nigeria 70" series. GIOVANNI RUSSONELLO "Put your makeup on, girl, stand up straight/Your face will take you farther than your brain": The mother figure that haunts "Pretty Shiny Things," the harrowing and beautiful new single from the country singer Kassi Ashton, is vicious and unapologetic. Ashton paints her with the savage acuity of Miranda Lambert and the lonely sorrow of Julie Roberts, which is to say she's painful to listen to, but hard to ignore. CARAMANICA Secret Machines, one of the best trios of the aughts, released a live album this week that was recorded in 2006 at the Garage in London. "Nowhere Again" is from the group's thundering, ominous 2004 debut, "Now Here Is Nowhere," but the band played it a bit poppier at this show shortly before the release of its second LP, "Ten Silver Drops." A year later, the guitarist Benjamin Curtis left the band to focus on another project, School of Seven Bells. He died from lymphoma in 2013 and documents of his time in Secret Machines with his brother, the keyboardist and singer Brandon, and the drummer Josh Garza are very valuable. GANZ Betty Carter was jazz's quintessential modernist: She liked to tease and stretch a classic melody until it was almost misshapen, testing her elastic instinct against the structure of a piece. In this live recording, captured at Lincoln Center in 1992 during the heady final years of her career, Carter sings "If I Should Lose You" in duet with the young pianist Geri Allen. The accompanist treats the song with her own sense of passionate restraint, collapsing its harmonies at the center, as if to represent the song's fraught, nearly fatalist romanticism. A record of the concert has just been released on CD by Blue Engine Records, Jazz at Lincoln Center's in house label. RUSSONELLO	N24News: A New Dataset for Multimodal News Classification	Music
Global policymakers moved to ease public anxiety over the coming economic hit from the coronavirus on Monday, as analysts warned of a severe slowdown in growth and a possible recession if the virus continued to spread. Finance ministers and central bankers from the world's advanced economies said the Group of 7 would hold an emergency call on Tuesday morning to discuss economic responses to the outbreak. The World Bank and International Monetary Fund signaled they were also ready to provide assistance, particularly to poor nations. Monetary policymakers from Japan to Europe on Monday pledged to act as needed to stem any economic fallout as infections spread. The Organization for Economic Cooperation and Development said global growth could plummet to just 1.5 percent in 2020, far less than the 3 percent it projected before the virus surfaced, should the outbreak sweep through the Asia Pacific region, Europe and North America. If things get bad enough, Japan and Europe could plunge into recession, the O.E.C.D. warned. Predictions for the United States were nearly as bad: Most analysts expect zero or negative growth in the second quarter, with some forecasting a potential recession before year's end. That glum outlook sent stocks in Europe temporarily lower, but expectations for a far reaching global response including the potential for a coordinated interest rate across central banks helped to stem market bleeding. The S P 500 posted its best gain in more than a year, rising by more than 4.6 percent, amid a surge in interest rate sensitive sectors such as utilities and real estate. Treasury yields continued to tumble, hitting a record low, as investors bet that the Fed will cut interest rates by half a percentage point at its next meeting. "It has already stoked expectations of a coordinated cut," Roberto Perli, a former Federal Reserve researcher who is now an economist at Cornerstone Macro, said in an email following news of the G7 meeting. "If it doesn't happen, it will only add to market volatility." President Trump joined in pushing for Fed action on Monday, saying that Chair Jerome H. Powell and his colleagues should quickly slash interest rates as economic risk from the virus becomes more stark. "As usual, Jay Powell and the Federal Reserve are slow to act," he wrote on Twitter. Later, when asked about the state of the economy amid a tumultuous financial week, the president noted that "the market's up today" and insisted, "Our country's very strong economically." But he said he would like the Federal Reserve to do more to address the financial challenges posed by the spread of the coronavirus. "I don't think the Fed's looking at it," he said, "but they should be. A senior administration official, who was not authorized to speak publicly about the administration's response, said Mr. Trump and his advisers were not discussing any fiscal stimulus measures, such as immediate tax cuts, because they viewed any damage from the coronavirus as likely to be temporary. Still, the official said, the White House wants the Fed to cut rates, in part to halt a decline in commodity prices. Mr. Powell has not committed to lowering borrowing costs, which are already in a range of 1.5 percent to 1.75 percent, lower than in previous expansions. But he signaled on Friday that the Fed was ready to act to support the economy. Investors now expect the Fed to slash rates by half a percentage point at its March meeting or even before, and see borrowing costs drop as much as a full point lower by the end of the year. Even if the outbreak is mild and mostly contained outside China the O.E.C.D.'s expected scenario global growth could be reduced about half a percentage point relative to previous forecasts, according to an update that the group released on Monday ominously titled "Coronavirus: The World Economy at Risk." 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. Goldman Sachs economists expect global growth to slump to around 2 percent for the full year, down from their previous 3 percent forecast. Neil Shearing, group chief economist at Capital Economics, wrote in a note Monday that in a good scenario, global growth will fall to 2.5 percent this year the weakest pace since 2009. In a bad scenario, it could shrink by 0.5 percent, a contraction on a scale with the financial crisis. Growth in the United States is also at risk from the virus, especially if the number of infections continues to rise. Goldman Sachs economists said in a note Sunday that "while the U.S. economy avoids recession in our baseline forecast, the downside risks have clearly grown." Deutsche Bank's economics team changed its baseline forecast to expect the economy to shrink in the second quarter, with the stock market falling 20 percent below its recent peak, before rebounding in the fall. Its new "worse case" forecast sees the United States entering recession before year end. The exact outcome is hard to quantify because the risks posed by the coronavirus are inherently unpredictable. It is unclear how far infections will spread, making it difficult to estimate the economic fallout from such actions as widespread quarantines and supply chain disruptions. Outbreaks in China, Japan, Iran, Italy and South Korea have already closed many factories and slowed or halted tourism. Even in the United States, which has had few cases, major companies like Twitter and Amazon have curbed business travel. The economic impact is slowly filtering through the real economy. Priya Misra, a rates strategist, spends a lot of time thinking about the path of economic growth, so it raised alarm bells in her mind when her employer, TD Securities, cut her international business trip short last week. It was part of the company's new ban on nonessential trips. Her concern only grew on Monday, as clients who were planning to come to her from other parts of the United States rescheduled in person meetings to phone calls. And it crescendoed when an out of town client told her not to drive to their office outsiders were no longer allowed into the building. "That's why I think the growth impact is still not understood people don't travel, people don't plan vacations," she said. "Manufacturing was already weak, but will we now see it in consumer spending?" If they last, preventive measures like travel limits and partial quarantine could have far reaching implications. Airlines, hotels and conference centers might suffer. Consumer spending, the backbone of an 11 year long economic expansion in the United States, could weaken. In China, where the virus has raged for about two months, data already suggest unexpectedly large economic costs. Two gauges of manufacturing activity slumped in February, with the Caixin manufacturing index falling to the lowest level in its history, according to data released Monday. Real time trackers of Chinese activity, from coal consumption to property sales, remain severely depressed. Central banks have pre emptively signaled that they stand ready to act as the damage mounts. The Bank of Japan, European Central Bank and Bank of England issued statements of their own on Monday, signaling preparedness. "The Fed led pivot reflects the global spread of the virus and its economic disruptions, sharp equity market weakness and an emerging realization that corporate cash flow problems could create strains in credit markets," Krishna Guha and Ernie Tedeschi at Evercore ISI wrote in a note after the announcements. But central bankers have far less room to loosen monetary policy today than they did heading into the 2007 recession. In the United States, the federal funds rate was above 5 percent back then and was ultimately lowered to near zero. Laurence Boone, chief economist at the O.E.C.D., said in a conference call on Monday that she welcomed expressions of resolve by central banks, but that the onus was also on elected officials. "Regardless of how the virus spreads in coming days and months, we call on governments to take action now," Ms. Boone told reporters. Political leaders could provide incentives for companies to shorten work hours rather than lay people off, or delay tax payments for small businesses suffering from plunging sales, for example. Ms. Boone said it would be "a very positive signal" if the United States and China were to drop the tariffs they had imposed as part of a trade war. "This is not a shock that central banks alone can address," Ms. Boone said. While officials in the United States wait for the Fed to act, government help is more forthcoming in parts of Europe. Italy has already announced a stimulus package, and the French finance minister, Bruno Le Maire, said on Monday that the government would "unlock whatever it takes" to help French companies. "We will show complete solidarity vis a vis all contractors that today are on the front line," he said.	N24News: A New Dataset for Multimodal News Classification	Economy
A bite size sampling of concours, cruise nights, auctions, club races and other upwellings of car culture happening across America this weekend: Coys of Kensington will hold a classic car auction at the German track, but not all of the lots will be sports cars. A 1967 Lancia Fulvia Zagato Competizione and a 1962 Austin Healey 3000 Mk II racecar will be auctioned, but so will a 1960 Fendt Farmer 1 tractor and a 1966 Mercedes Benz 600 limousine. More info. The California Automobile Museum's 6th annual cruise will be led by a vintage fire engine. Events in past years have featured participants dressed as 1940s gangsters and 1920s flappers, as well as a spirited presence by the area Model T club. Entertainment includes a beer garden, vendor booths and a performance by the Tattooed Love Dogs. More info. The backdrop for the latest installment in Nascar racing will be the storied road course at Watkins Glen. Tony Stewart has bagged the most wins at the track, but Dale Earnhardt Jr., who is second in the season points standings, has had three pole positions starts there. Visitors to Watkins Glen will be treated to a midfield campground and a town steeped in racing history. More info. After a monthlong hiatus, MotoGP is back in a 27 lap race on the Indianpolis Motor Speedway's 4.17 mile, 16 turn road course. Jorge Lorenzo and Marc Marquez of Spain lead the series points championship, with Lorenzo ahead by only six points. More info.	N24News: A New Dataset for Multimodal News Classification	Automobiles
Kataib Hezbollah, the militia targeted by American fighter bombers, is regarded as the most potent of the dozens of militias, mostly Shiite and backed by Iran, that were assembled into an umbrella organization, the Popular Mobilization Forces, to fight ISIS under the auspices of and with salaries paid by the Iraqi Army. But Kataib Hezbollah, whose commander once fought against American troops and now ranks among the most powerful men in Iraq, is also a sworn enemy of the United States, which has 5,000 or so troops and an unclear number of civilian contractors in Iraq to train security forces and prevent a jihadist resurgence. The militia would like to see the Americans driven out and Iran's influence in Iraq unchallenged. Another part of the equation is that Iraq has been weakened by months of violent demonstrations, which have forced the resignation of Prime Minister Adel Abdul Mahdi, setting off a power struggle. One target of the demonstrations has been the power wielded by Iran backed militias in Iraq, and Kataib Hezbollah may have correctly gambled that provoking the United States into airstrikes inside Iraq would divert popular passions toward anti American actions. Iraq, lacking a functioning government, now finds itself trapped in a fray over which it has little control, compelled by public indignation to denounce the American airstrikes on its territory but loath to lose the American counterbalance to Iran and its proxies. Iran, apart from its political calculations in Iraq, is also struggling under American economic sanctions and would no doubt like to make America's hostility as costly as possible for the Trump administration. After Mr. Trump loudly pulled out of the Iran nuclear deal and imposed tough sanctions on Iran, it is hard to see what incentives he could dangle to prevent Iran and its proxies from further complicating the task of American forces in Iraq or elsewhere in the Middle East. The president could conceivably lessen tensions by opening some form of dialogue with Iran, whether about a possible renegotiation of the nuclear deal or resolving conflicts in Yemen or Syria.	N24News: A New Dataset for Multimodal News Classification	Opinion
Welcome to Best of Late Night, a rundown of the previous night's highlights that lets you sleep and lets us get paid to watch comedy. If you're interested in hearing from The Times regularly about great TV, sign up for our Watching newsletter and get recommendations straight to your inbox. In a series of tweets Wednesday and Thursday, President Trump doubled down on his insistence that Alabama could have been affected by Hurricane Dorian. "The National Weather Service has to monitor the president's tweets as closely as they monitor actual hurricanes." SETH MEYERS "Climate change. It's once again the top issue for many people in America partly because of the devastation of Hurricane Dorian, which is such a crazy storm that it somehow hit the Bahamas, the Carolinas and then, thanks to President Trump's Sharpie pen, also Alabama." TREVOR NOAH "Clearly he drew on the map. Americans saw that and were like, 'Don't let him anywhere near the Constitution, please.' imitating Trump 'As you can see, our founding fathers clearly wanted free guac at Chipotle. That's what they I didn't do it. Someone else did that to the Constitution.'" JIMMY FALLON "My favorite thing about this is that he didn't even try to blend it in. He could have at least sent an intern to Kinko's to print up a new chart." SETH MEYERS "There is no question in my mind he now wants Alabama to be hit by a hurricane. He's dying for this to happen. If you are in Birmingham, Huntsville, Mobile, nothing would make him happier than to see you guys wiped out tonight." JIMMY KIMMEL In one tweet on Wednesday, Mr. Trump shared a map that included Alabama in the storm's potential path while saying he would accept apologies from "the fake news." "Pump your breaks there, Al Roker. No one's apologizing because that map doesn't prove anything. First of all, it's not from the National Oceanic and Atmospheric Administration, it's from the South Florida Water Management District. That's like getting your M.R.I. at Glamour Shots." STEPHEN COLBERT "Plus, right at the bottom of the map it says, 'National Hurricane Center advisories and county emergency management statements supersede this product. If anything on this graphic causes confusion, ignore the entire product.' Strong stuff. Strong statements. Strong statement. Though, I got to say, 'entire product' is a very disrespectful way to describe the president of the United States." STEPHEN COLBERT "The world's most precious forest is on fire. Brazil's leaders aren't doing enough to stop it and its president might even want this to happen. So I'm gonna be honest, folks; it seems like there's only one man who can stop this: Donald J. Trump. You see, what we need to do is we need to get the president to pull out that magic Sharpie of his, and we need to get him to send that hurricane down from Alabama all the way to Brazil to fan out the flames. Come on, Mr. Trump, use your power for good! Do it now, Donald! Do it now!" TREVOR NOAH "The storm surge has come ashore in the country he governs. Hundreds of thousands of people without power. What's he going to be like when he visits victims of the storm? as Trump 'So sad to see the damage here in South Carolina, or as many call it, east Alabama.'" STEPHEN COLBERT "According to reports, Florida's population is expected to increase by six million people by 2030 probably from all those people moving out of Alabama to escape the hurricane." SETH MEYERS "How lovely he's comforting imaginary victims of a disaster that never happened. as Trump 'I, for one, stand with all victims of the kaiser's assault on Narnia. The fake news never talks about all the zeppelins he didn't send to kill poor Mr. Tumnus.'" STEPHEN COLBERT The British late night talk show host Graham Norton explains how America inspired Brexit and the election of the British prime minister, Boris Johnson, while on "The Late Show." In 2017, Lizzy Goodman's "Meet Me in the Bathroom: Rebirth and Rock and Roll in New York City 2001 2011" earned critical praise for its documentation of the era's biggest bands. Now, Ms. Goodman has paired with the director Hala Matar for "Meet Me in the Bathroom: The Art Show," including more than 70 works from musicians such as Karen O of the Yeah Yeah Yeahs, Paul Banks of Interpol, and Tunde Adebimpe of TV on the Radio.	N24News: A New Dataset for Multimodal News Classification	Television
In Santiago's oldest skate park, the kids come and go but the dogs stay the same. According to its directors, Ivan Osnovikoff and Bettina Perut, "Los Reyes" got its start as a look at the inner lives of the youths that congregate around this aging sprawl of half pipes, pools and ramps. But the filmmakers eventually realized that two stray dogs who lived in the park, Football and Chola, were their real stars. The resulting film, which was shot over two years but breezes through its 78 minute running time, juxtaposes snatches of the kids' conversations with a visual focus on the dogs themselves. The canines don't do much this isn't an attempt to anthropomorphize them but they are mesmerizing to look at, as they lie about and chew on soccer balls, bottles, branches and, at one point, a brick. They also love to play a game where they balance a tennis ball on the edge of a ramp and then let it roll down. Exciting!	N24News: A New Dataset for Multimodal News Classification	Movies
HONG KONG There's no sign to mark it. But when travelers from Hong Kong cross into Shenzhen in mainland China, they reach a digital cutoff point. On the Hong Kong side, the internet is open and unfettered. On the China side, connections wither behind filters and censors that block foreign websites and scrub social media posts. The walk is short, but the virtual divide is huge. This invisible but stark technological wall has loomed as Hong Kong's protests smolder into their fourth month. The semiautonomous city's proximity to a society that is increasingly closed off and controlled by technology has informed protesters' concerns about Hong Kong's future. For many, one fear is the city will fall into a shadow world of surveillance, censorship and digital controls that many have had firsthand experience with during regular travels to China. The protests are a rare rebellion against Beijing's vision of tech backed authoritarianism. Unsurprisingly, they come from the only major place in China that sits outside its censorship and surveillance. The symbols of revolt are rife. Umbrellas, which became an emblem of protests in Hong Kong five years ago when they were used to deflect pepper spray, are now commonly deployed to shield protester activities and sometimes violence from the digital eyes of cameras and smartphones. In late July, protesters painted black the lenses of cameras in front of Beijing's liaison office in the city. Since then, Hong Kong protesters have smashed cameras to bits. In the subway, cameras are frequently covered in clear plastic wrapping, an attempt to protect a hardware now hunted. In August, protesters pulled down a smart lamppost out of fear it was equipped with artificial intelligence powered surveillance software. (Most likely it was not.) The moment showed how at times the protests in Hong Kong are responding not to the realities on the ground, but to fears of what could happen under stronger controls by Beijing. This week, as protesters confronted the police in some of the most intense clashes since the unrest began in June, umbrellas were opened to block the view of police helicopters. Some people got creative, handing out reflective mylar to stick on goggles to make them harder to film. "Before, Hong Kong wouldn't be using cameras to surveil citizens. To destroy the cameras and the lampposts is a symbolic way to protest," said Stephanie Cheung, a 20 year old university student and protester who stood nearby as others bashed the lens out of a dome camera at a subway stop last month. "We are saying we don't need this surveillance." "Hong Kong, step by step, is walking the road to becoming China," she said. Hong Kong's situation shows how China's approach to technology has created new barriers to its goals, even as it has helped ensure the Communist Party's grip on power. In the mainland, President Xi Jinping has strengthened an already muscular tech powered censorship and surveillance system. The government has spent billions to knit together networks that pull from facial recognition and phone tracking systems. Government apps are used to check phones, register people and enforce discipline within the Communist Party. The internet police have been empowered to question the outspoken and the small, but significant, numbers of people who use software to circumvent the internet filters and get on sites like Twitter. Let Us Help You Protect Your Digital Life None With Apple's latest mobile software update, we can decide whether apps monitor and share our activities with others. Here's what to know. A little maintenance on your devices and accounts can go a long way in maintaining your security against outside parties' unwanted attempts to access your data. Here's a guide to the few simple changes you can make to protect yourself and your information online. Ever considered a password manager? You should. There are also many ways to brush away the tracks you leave on the internet. "One country, two systems" the shorthand to describe China's and Hong Kong's separate governance structures has brought with it one country, two internets. Undoing that is an ask that is too large for many. Apps like the Chinese messaging service WeChat, which some in Hong Kong use, in part to connect to people in the mainland, have garnered suspicion. Gum Cheung, 43, an artist and curator who travels to the mainland for work, said he abandoned WeChat last year after he noticed some messages he sent to friends were not getting through. "We have to take the initiative to hold the line. The whole internet of mainland China is under government surveillance," he said .	N24News: A New Dataset for Multimodal News Classification	Technology
Palm Springs has always been known more for its palm trees and party scene than its culinary prowess. Hoping to change that perception is SO.PA, a new alfresco only restaurant hidden from the hum of East Palm Canyon Drive behind a whitewashed brick wall at the posh L'Horizon Hotel and Spa. "Designed by Steve Hermann," whom we are apparently supposed to know, as his name is flaunted on the sign out front. Mr. Hermann is also the owner of what he refers to as a "restaurant driven" hotel. He originally hired the Michelin starred chef Giacomo Pettinari (of El Bulli and Valentino) who opened SO.PA to immediate raves. Mr. Pettinari's father recently passed away, forcing him back to Italy. His replacement also came with Michelin stars: the chef Chris Anderson, formerly of Alinea and Moto in Chicago, who cooked 22 courses for Mr. Hermann before scoring the job. (Mr. Pettinari had cooked 20.) "Most owners want authority over the menu," he said. "Steve offered me free range." On a chilly evening in February (when the kitchen was still being run by Mr. Pettinari), we enjoyed just five, if you include the dreamy bowl of house preserved olives mixed with creamy sheep's feta and salted Marcona almonds we had with our 8 cocktails at the long walnut table reserved for "communal hour" (5 to 6:30 p.m.). Locals otherwise put off by SO.PA's prices take advantage; 10 percent of proceeds go to local organizations like the Desert AIDS Project.	N24News: A New Dataset for Multimodal News Classification	Travel
One of China's most influential tech companies, the internet finance titan Ant Group, is poised to raise a boatload of cash by selling shares. The sale puts another stamp on China's importance as a digital powerhouse. But it also shows how the tech world is fracturing. The company could be worth more than many global banks after its share sale, yet its business is highly concentrated in just one country: China. Instead of listing in New York, as many other Chinese internet companies have done, Ant is going public in Hong Kong and Shanghai. Here's what to know about the company and its initial public offering. Around the turn of the millennium, the internet was a lawless frontier, not least in China. Online shopping was a gamble. Buying and selling took place largely between strangers. Nobody could be sure they weren't being defrauded.	N24News: A New Dataset for Multimodal News Classification	Technology
It is one of popular culture's generational divides: whether you are old enough to remember when television stations concluded the night's programming with "The Star Spangled Banner." Decades ago, viewers would see a slide show of American imagery, perhaps a mountain range or frothy shoreline and then hours of static . Now, the early morning hours are filled with rebroadcasts and infomercials, eliminating any practical reason for a formal sign off. But recently, television broadcasters have been reintroducing the practice of playing the national anthem once a day, pairing it with the same flavor of patriotic imagery, but in high definition and with multilayered audio. Some viewers might hear political overtones, too. Gray Television, which has 145 stations, mostly in small and midsize markets, made it a companywide practice several months ago. Two other companies followed: CBS, at its 27 corporate owned stations, including those in New York and Los Angeles; and Nexstar Media Group, one of the largest owners of television stations in the country. Within five months, the national anthem has become a daily part of programming at more than 350 stations across the country. Hilton H. Howell Jr., Gray's chief executive, said that he wanted to bring the anthem back to local television after decades of it being a mostly abandoned tradition. Mr. Howell, 57, grew up in a broadcasting family in Waco, Texas and remembered the station that his grandfather founded, KWTX, signing off with the anthem around midnight and then going snowy. Gray went through a casting process to find the right people for the video accompanying the music. The one minute , 45 second clip includes a 9 year old South Florida girl , Reina Ozbay, belting the anthem into a hand held microphone, a uniformed soldier giving a salute and a young boy with his arms wrapped around a serviceman, perhaps his father. The video flips through an array of scenery : a band of wild horses gallops across a rural expanse, a whale's tail dips into the water, a harvesting machine pushes through a field of crops, an American flag ripples in front of an industrial looking town. Stations owned by Gray which stretch across the country from Fairbanks, Alaska, to West Palm Beach, Fla., to Presque Isle, Maine play the company's national anthem video in the early morning, typically around 4 a.m., though several schedule it for a second run before or after their evening newscasts, Howell said. Nexstar stations which now number nearly 200 after the company acquired Tribune Media Company and most of the CBS owned stations also play their version of the anthem before dawn. In New York (WCBS), Los Angeles (KCBS), Chicago (WBBM), Philadelphia (KPY) and Boston (WBZ), it plays around 4:30 a.m. Gray and Nexstar executives said the reason to bring back the anthem was simple: encouraging national unity at a time of deep division in the country and, as Howell put it, "bringing back a great tradition of television." (CBS did not make any executives available for comment.) "This is a purely nonpolitical statement by our company," Howell said. Still, the decision to revive the anthem tradition comes at a time when overt allegiance to "The Star Spangled Banner" has become one of the lines that separate blue and red America. The professional football player Colin Kaepernick started a movement, and became one of the most polarizing figures in the country, by kneeling during the anthem to protest racial injustice. As a presidential candidate, Donald J. Trump said that perhaps Kaepernick should "find a country that works better for him." As president, he called for N.F.L. players to be fired or suspended if they knelt during the anthem. To others, Kaepernick was a hero worth emulating. Athletes in other sports began to kneel. Representative Sheila Jackson Lee of Texas took a knee on the House floor, and Stevie Wonder, John Legend and Eddie Vedder did the same at their performances. The television executives were explicit in saying that playing the national anthem regularly had nothing to do with the kneeling controversy. But, Howell said, "If people want to kneel at 4 o'clock in the morning when we play this, fine with me." Regardless of their intentions, Mark Clague, an associate professor of musicology at the University of Michigan, said that in an era in which support of the anthem has become a "loyalty test," it is difficult to frame its reintroduction to the airwaves as apolitical. "It is somewhat provocative to bring the anthem to the fore in a new way at a moment of tension in this country," he said. Clague said it has been a politically charged song throughout American history. The lyrics that we are familiar with today, by Francis Scott Key, were written in 1814, after the United States unexpectedly won the Battle of Baltimore, which turned the tide of the War of 1812. Shortly before this triumph, the United States had suffered a series of embarrassing defeats, including the burning of the White House. It wasn't until 1931 that "The Star Spangled Banner" became the official national anthem. Around the same time, shortwave radio allowed Americans to hear broadcasts from overseas, and some noticed that stations in other countries concluded their programs by playing their anthems, Clague said. In a 1935 letter to the chairman of the Federal Communications Commission, Representative Virginia E. Jenckes of Indiana urged the agency to suggest to American radio stations that they sign off with "The Star Spangled Banner." "It is most impressive, for instance, at the end of a broadcast from Great Britain to hear the majestic rendition of 'God Save the King,'" Jenckes wrote, according to the Heinl Radio Business Letter, which summarized news that came out of the F.C.C. "Likewise," she wrote, "the 'Marseillaise' thunders through from Paris, and the German national anthem from Berlin." Television adopted the practice from radio, Clague said. Fresh off World War II, the national anthem signoffs of the 1950s were filled with military images. In the 1960s and 1970s, when the Vietnam War was dividing the country, the imagery centered more often on local street scenes and community snapshots. The anthem videos produced this year include a mixture of militaristic and community based images. CBS borrowed parts of Gray's anthem video (they were particularly impressed by the young girl's vocal rendition), adding visuals from cities where they have stations. Nexstar has been airing a variety of anthem videos that feature aspiring singers performing the song in different musical styles. In an early version, Julia Cole, a Nashville based country singer and 2018 "American Idol" contestant , performs the anthem in front of the stained glass windows of a church as images fade in and out: an American flag on an ordinary home, a construction worker looking up at the sky, what appear to be military helicopters flying over greenery. Considering broadcasters' stated purpose of being a neutral purveyor of the news, Howell said there was trepidation among some employees about reintroducing the national anthem as a consistent feature. But the only significant complaints Howell said he heard were from viewers objecting to their clip of a soldier saluting, because the camera angle made it so they could see his palm of his hand ( in the United States military, it is a no no to show the palm during a salute. ) The scene was reshot to make sure the palm wasn't exposed. Timothy C. Busch, the president of Nexstar Broadcasting, said that the response from viewers had been overwhelmingly positive and that he was not aware of a single complaint. "Then again," he added, "maybe they're all in bed."	N24News: A New Dataset for Multimodal News Classification	Television
Credit...Matthew Leifheit for The New York Times When Mary Boone learned, back in 2012, that she was under investigation for tax fraud, she called a woman who had been sent to prison for financial crimes. That's how she wound up across from Martha Stewart at Bottega del Vino, a fancy restaurant and wine bar around the corner from the Plaza Hotel. They met at a little after 3 p.m., knowing the place would be empty. As Ms. Boone, 67, recalled, Ms. Stewart was "funny and supportive." But one warning particularly resonated: "'Just watch. They're going to use you as an example.' I remember her saying that." On Valentine's Day this year, they did. Standing in a courtroom in downtown Manhattan after pleading guilty to two counts of filing false tax returns, Ms. Boone was sentenced to 30 months in prison. "It was worse than any of us expected," said her close friend, the designer Nicole Miller, who was there. "I thought she'd get a year." Sometimes, the degree to which people talked about Ms. Boone's Chanel suits and cobra skin high heels got on her nerves. But she didn't have her nose fixed (a procedure she disclosed proudly in Vogue), her hair straightened and her wardrobe upgraded because she wanted photographers to ignore her. Still, Ms. Boone was relatable. She talked about art without using words like "refraction." The basics of her un posh childhood became known because she discussed them openly, understanding that most legends are self made, not born rich. Today, Ms. Boone remains warm, unpretentious and deeply, raucously funny. Also prone to bouts of insecurity, reinforcing through her behavior that openness is not synonymous with honesty, and fuzzy details don't always obscure larger truths. The daughter of Egyptian immigrants (unless they were Lebanese), she was born in Erie, Pa., in 1951. Her mother's primary job was raising her daughters. Her father worked on the assembly line at General Electric and died at 29 from a genetic cholesterol condition. "He was totally fit," said Ms. Boone, who was 3 when it happened. From his death, Ms. Boone learned both to be propulsive and to look around corners. From her mother's subsequent marriage to a man who was more needed than loved, she learned to be both self reliant and open to relationships that are transactional. From a photograph of the Picasso painting "Les Demoiselles d'Avignon," she learned art was her calling. From the teenage years she spent in Michigan she learned she was not in the place to do this. From the Rhode Island School of Design, she learned New York couldn't come soon enough, and from a teacher at Hunter College, she learned that while her art was "terrible," she might make a better dealer. The professor who introduced this idea is Lynda Benglis, whose boyfriend in 1971 was Klaus Kertess. He ran Bykert Gallery, an influential but not especially profitable place on East 81st Street. Brice Marden and Chuck Close were among those whose paintings weren't selling. Ms. Boone began there as a secretary but had opportunities to do other things. That was an advantage that came from working at a place with limited resources and a boss who was figuring out he was gay. He needed space. She got responsibility. Every afternoon, the gallery filled up with artists and collectors. Even among them, she stood out. "What I remember is this rivetingly beautiful dark haired creature beavering away in her cubbyhole," said Barbara Jakobson, a longtime Museum of Modern Art trustee. "You had this impression from the beginning that she was so in control in a way, that Klaus had come to depend upon her. She had this air of authority, an aura around her, even then." (Ms. Boone said: "That is so not true. I was a nitwit. I didn't know anything.") Around 1972, Ross Bleckner, who went to the California Institute of the Arts, walked into Bykert with a bunch of his slides. The paintings were dark and caustic, but he had a knack for social networking dating back to his childhood in the Five Towns of Long Island, where one of his best friends was Donna Karan. He introduced Ms. Boone to classmates of his like David Salle and Mr. Fischl, as well as his good friend Barbara Kruger. After Mr. Kertess left the gallery, in 1975, Ms. Boone headed to SoHo and found a small ground floor space at 420 West Broadway beneath the gallery of Leo Castelli, whose status as the most august dealer of contemporary art in the world was somewhat in decline. The artists in his stable who were then considered a little stale included Andy Warhol, Roy Lichtenstein, Frank Stella, Richard Serra and Cy Twombly. Soon, Mr. Castelli and Ms. Boone were staging shows together. He gave her history. She gave him youth. Although Mr. Castelli also got some of that from Larry Gagosian, whom we'll get to later. They all liked to go this restaurant after work. One University Place. The owner was Mickey Ruskin, who also ran Max's Kansas City. In the kitchen was a guy named Julian, whose favorite things besides food were sex, breaking things apart and painting. Eventually he put those pursuits together with a series of canvases that came to be known as the plate paintings because he glued broken plates on them, Gaudi style. Ms. Boone wasn't sure at first that she wanted to be Julian's dealer. Then Holly Solomon, another gallery owner, started circling and Ms. Boone swooped in. After that, she shouted the name Schnabel from the rooftops. Soon enough, the world caught on. Ms. Boone appeared on the cover of New York magazine, as "The New Queen of the Art Scene." (Anna Wintour commissioned the piece.) Mr. Schnabel's paintings adorned the homes of characters in "American Psycho" and "Wall Street." Personas developed. Mr. Schnabel became known for his bombastic ego and not his big heart. Ms. Boone became known for her steamrolling drive and not the fragility underneath. Doug Cramer couldn't even get a Schnabel back then. Here he was, one of America's major collectors, business partner of the TV king Aaron Spelling, a person accustomed by his own estimation to getting what he wanted. "Julian painted, like, four of them a year," she said. When Mr. Schnabel got a show in Los Angeles at Margo Leavin's gallery, Mr. Cramer tried again to buy a painting and was rebuffed. A dinner was thrown in Mr. Schnabel's honor, and Mr. Cramer got seated next to him. By the end of the night, they struck a deal: a Mercedes for a painting. "I collected cars," said Mr. Cramer, who later became a MoMA trustee. "He wanted one." This became a problem for Ms. Leavin. Collectors aren't supposed to go over the heads of dealers and negotiate directly with artists. So Mr. Cramer gave her a commission. "I sent her a tire," he said. "We didn't speak for several years." Ms. Boone thought it was hilarious, and thereafter was his friend. "Part of her charm was her vulnerability, and she used that and played on that when she needed to," he said. "It was like she had two decks of cards and if one wasn't working for her, the other was." In 1986, Mr. Cramer hosted the wedding party in Los Angeles when Ms. Boone married Michael Werner, a leading dealer on the international art scene. (They divorced in the early 1990s.) In 2000, Mr. Cramer forgave Ms. Boone for selling a Damian Loeb painting he thought he'd bought to another collector. "The day before it was supposed to be delivered," Mr. Cramer said. "Somehow she always managed to come out of things O.K." "Her instincts led her to where she stayed," Ms. Jakobson said. "It was like she was a farmer with a beautiful plot but not a lot of acreage. She couldn't have made it bigger because it wouldn't have been possible to maintain control of it." As Ms. Boone became a highly successful stalwart who over the years showed Robert Mapplethorpe, Sherrie Levine, Brice Marden, Ms. Kruger, Tom Sachs and Ai Weiwei, Mr. Gagosian saw an opening. The story of Ms. Boone and Mr. Gagosian dates back to 1980, when an electrician arrived at 420 West Broadway to fix the circuit breakers. His name was Jean Michel Basquiat, and Ms. Boone didn't pay much attention then, so he signed up with Annina Nosei, a gallery owner on Prince Street, instead. Ms. Nosei put Mr. Basquiat in a show with Ms. Kruger and introduced him to Mr. Gagosian. Unlike Ms. Boone, Mr. Gagosian hadn't gone to art school, started in a great gallery or displayed exceptional drive at the beginning. It took him six years to graduate from U.C.L.A., after which he spent much of the 1970s running a poster shop in the Westwood neighborhood of Los Angeles. By the end of the decade, Mr. Gagosian was in New York, showing photographers like Ralph Gibson out of his loft in SoHo and reselling work by Mr. Marden and Diane Arbus to wealthy collectors including Charles Saatchi and S.I. Newhouse Jr. Mr. Gagosian and Mr. Basquiat became friends. Around 1981, they decamped to Los Angeles and lived briefly in Mr. Gagosian's house along with a singer Mr. Basquiat was going out with. She had a record contract and doubled as their driver because Mr. Gagosian lost his license and his roomie couldn't be trusted behind the wheel. "Hey, Madonna," they'd say to her. "We need to get to Sunset." That fall, Ms. Boone expanded into a larger space across the street from 420 West Broadway. It took Mr. Gagosian another four years to get a space in Chelsea, where no one went. Least of all Mr. Basquiat, who by then was showing with Ms. Boone. "I didn't have any so called 'primary' relationships with artists because they all had relationships with other dealers," Mr. Gagosian said in Interview magazine in 2012. Hoping for traction, Mr. Gagosian went to lunch one day at the Factory, where Warhol pulled out some old paintings that were oxidized in urine. Afterward, Mr. Gagosian called Warhol's dealer, Leo Castelli, and asked if he might stage a show of them. Mr. Castelli had already done successful exhibits of Mr. Salle and Mr. Schnabel with Ms. Boone and didn't much like standing around selling old work anyway. (Mr. Castelli also didn't love the so called piss paintings.) So he said O.K. When the show was a hit, Mr. Gagosian called about doing similar things for Robert Rauschenberg, Roy Lichtenstein and Jasper Johns. By 1989, Warhol and Basquiat were dead. Ms. Boone's marriage was showing strain, the stock market had crashed, and she was concerned about money. Too bad she had already sold her Basquiats, for definitely not enough. The buyer was Thomas Ammann, a frequent partner of Mr. Gagosian's on the secondary market. "I forget dates and misremember details," Ms. Boone said. "People make up stories about me." This, she said, includes the actor Alec Baldwin. One afternoon in 2010, Mr. Baldwin arrived at her gallery hoping to buy an old painting by Mr. Bleckner. Ms. Boone attempted to obtain it from the current owners, who were unwilling to sell. So she called Mr. Bleckner and asked if he might paint a painting like it to sell Mr. Baldwin instead. Mr. Bleckner could and they did. As Ms. Boone presents it, this is no different than Warhol painting multiple versions of, say, "Triple Elvis." Her position remains that she told Mr. Baldwin by phone this was the plan, but no paper trail backs that up. Moreover, the gallery stamped the back of the painting she sold him with the same inventory number as the original. It didn't look good. Mr. Baldwin filed a lawsuit in 2016, saying he had been defrauded. Ms. Boone settled for about a million dollars. Funnily enough, an additional term of the settlement was that Mr. Bleckner had to paint Mr. Baldwin another copy of the copy. "You want to know something? I regret that I settled," Ms. Boone said. "Because now I'm thinking this would be a good thing to spend time doing in jail. Fighting this lawsuit with Alec Baldwin. This guy's a fool." Mr. Baldwin said: "Mary is a devious, compulsive, eighth degree black belt liar. She wakes up in the morning and she starts lying." "The person most afraid of being robbed is usually a thief," Ms. Boone said. At dinner earlier this month, Ms. Boone regaled several guests with a story from her tenure in the '80s as an art adviser to Michael Ovitz, then the chairman of the talent agency CAA. "We were talking about the possibility of my having a second child," she said. "I was saying, 'probably not. One is enough.' And he said something like, '82 percent of the world's most successful people are only children. Look at me.' Then I read his book and he wrote about his brother. That's Mike Ovitz for you. Always an agent." Two days after the dinner, I found a black and white photograph of Ms. Boone and Mr. Basquiat that ran in Interview magazine in 2012. She's in front looking beautiful and mysterious. He's in back looking oh so handsome and not so high. The picture happens to be two snapshots Photoshopped together. The magazine wanted an image of them, and someone made sure it happened. Her eyes are dark and intense. When she is happy, the gaze is kind enough to reach across an avenue. When she is angry or afraid, it can be hard to meet. "Mary's sympathetic and she's not sympathetic," said Ron Warren, who has managed her gallery since 1985 and has been a partner in it since 2009. From the earliest days, she handed him enormous responsibility. To the end, she also saddled him with tasks that an intern could perform. "It's not meant to be demeaning," he said. "It's about trusting that I can do it in a way that she wants." Artists who have shown with Ms. Boone over the years remark upon her obsessive tendencies, her ability to distort things they've said and her habit of calling them too often when she needs something and not enough when she doesn't. They also described her as being impossible not to love (Ms. Simmons and Mr. Schnabel), generous to a fault (Mr. Marden) and great in a crisis. "The only thing you can look at is Martha Stewart," Mr. Sullivan said. "They ran her up a tree, too." Certainly, Ms. Boone's sentence was harsher than that given to other art world miscreants. Peter Brant received 90 days in jail in 1990 after pleading guilty to federal tax charges that included billing over 1 million in personal expenses among them, silk sheets, massages and scalp treatments to a newsprint company he owned. Al Taubman was sentenced in 2001 to a year in prison after his conviction in a price fixing scheme that swindled more than 100 million from auction house customers. He served less than eight months. Mr. Gagosian has also been accused of cheating the government out of taxes. Twice. He paid the government several million dollars and was never charged with a crime. On a recent Tuesday evening, Francesco Clemente and Mr. Sullivan milled around Mr. Gagosian's Upper East Side gallery during an opening of Helen Marden's paintings. "Did Brice tell you about how she gave him 1 million to fund his calligraphy?" Ms. Marden said, of Ms. Boone. Jerry Saltz, the art critic at New York magazine, wafted by. On Twitter he had suggested that it was not Ms. Boone who should be in hot water, but the evening's host, Mr. Gagosian.	N24News: A New Dataset for Multimodal News Classification	Style
IGOR LEVIT at Tanglewood in Lenox, Mass. (Aug. 15, 8 p.m.). If you can make it to the Berkshires in the middle of the week, you'll be rewarded with an uncommonly interesting program, one dedicated to ideas of freedom. Mr. Levit, an increasingly political pianist, plays Beethoven's "Eroica" Variations. He is then joined by the JACK Quartet for Schoenberg's "Ode to Napoleon" and finishes with Frederic Rzewski's enormous "The People United Will Never Be Defeated!" 888 266 1200, bso.org 'IN THE NAME OF THE EARTH' at the Cathedral of St. John the Divine (Aug. 11, 3 p.m.). Mostly Mozart is making a habit of commissioning large scale choral works. Following David Lang's "The Public Domain" in 2016, this year's comes from a composer with a special relationship to the world beyond the concert hall the environmentalist composer John Luther Adams. In all, about 800 participants in four separate choruses North, South, East, West will come together for "In the Name of the Earth," under the guidance of Simon Halsey. 212 721 6500, lincolncenter.org/mostly mozart festival MOSTLY MOZART FESTIVAL ORCHESTRA at David Geffen Hall (Aug. 10 11, 7:30 p.m.). Mostly Mozart's house band ends its summer season with another account of the composer's endlessly enduring Requiem. The Concert Chorale of New York is on hand, joining the soloists Jodie Devos, Jennifer Johnson Cano, Andrew Stenson and Ryan Speedo Green. Before that are Mozart's "Meistermusik" and the Piano Concerto No. 21, with Stephen Hough at the keyboard. Louis Langree conducts. 212 721 6500, lincolncenter.org/mostly mozart festival TALEA ENSEMBLE at the DiMenna Center for Classical Music (Aug. 16, 8 p.m.). James Baker conducts two works for this hourlong Time Spans program: Felipe Lara's "Fringes" and Oscar Bettison's "Livre des Sauvages." timespans.org	N24News: A New Dataset for Multimodal News Classification	Music
2018 Catlett Mora Family Trust/Licensed by VAGA at Artists Rights Society (ARS), NY; 2018 Faith Ringgold, Artists Rights Society (ARS), New York; George Etheredge for The New York Times 2018 Catlett Mora Family Trust/Licensed by VAGA at Artists Rights Society (ARS), NY; 2018 Faith Ringgold, Artists Rights Society (ARS), New York; George Etheredge for The New York Times Credit... 2018 Catlett Mora Family Trust/Licensed by VAGA at Artists Rights Society (ARS), NY; 2018 Faith Ringgold, Artists Rights Society (ARS), New York; George Etheredge for The New York Times Actually, African Americans could have seen such things coming. No citizens know the national narrative, and its implacable racism, better than they do. And no artists have responded to that history that won't go away more powerfully than black artists. More than 60 of them appear in the passionate show called "Soul of a Nation: Art in the Age of Black Power" now at the Brooklyn Museum, in a display filling two floors of special exhibition space with work that functioned, in its time, as seismic detector, political persuader and defensive weapon. This exhibition, which originated at the Tate Modern in London, asks basic questions about art. What's its purpose? To deliver a message? Cause a ruckus? Stand there looking pretty? And who is it for? The knowledgeable few? A wide public? These questions were in the air at the time much of this art was being made, beginning in the early 1960s when 15 African American artists who called themselves the Spiral Group gathered in New York City. Their work opens the show on the museum's fifth floor. For artists who worked with figures, this wasn't a stretch. Alston and Bearden were already depicting scenes of black life, and political protest was part of that life. For Lewis, the choice was tougher. He was committed to Abstract Expressionism, a movement interested in myth and emotion, not marches. Through it he had gained a foothold in a highly segregated mainstream art world. To mix politics with aesthetics was to place himself outside that world. He took the risk. His 1960 painting "America the Beautiful" appears, at a glance, to be a scatter of flame like white shapes on a black field; with slow looking the white shapes reveal themselves to be burning crosses and Ku Klux Klan hoods. Similarly, "Processional," from 1965, looks like an abstract horizontal flow of gestural uprights, though it was inspired by photographs of the Selma to Montgomery march of that year. In short, during the two decades covered by "Soul of a Nation," ending in the early 1980s, the choice of whether, and how, to make art "black" was a lively issue. And the show organized by Mark Godfrey and Zoe Whitley, curators at the Tate, and overseen in New York by Ashley James, an assistant curator at the Brooklyn Museum is, among many other things, about the varied and inventive solutions artists came up with. By the late 1960s, the national temperature had shot from civil rights era hot to Black Power torrid, and you see the change in art. After galleries of black and white Spiral paintings and shadowy DeCarava photographs come a punch of color and instantly readable symbols. Elizabeth Catlett's 1968 mahogany sculpture of a giant raised fist, "Black Unity," sits in the center of the first Black Power gallery, backed by a 1967 painting by Faith Ringgold of a hemorrhaging American flag, "American People Series 18: The Flag Is Bleeding." In a corner stands a bullet riddled wood door, a memorial by the artist Dana C. Chandler Jr. to the Black Panther leader Fred Hampton, killed in 1969 by the Chicago police as he slept in his apartment. Like many black artist activists of the day, Mr. Chandler's career developed largely within an urban African American neighborhood, his being the Roxbury section of Boston. And most of the work on the museum's fifth floor is arranged by city. At roughly the same time Mr. Chandler was working in Roxbury, Emory Douglas, the Black Panther's minister of culture, was designing eye grabbing polemical posters in the San Francisco Bay Area. And in the Watts section of Los Angeles, a cluster of extraordinary assemblage sculptors Betye Saar, John Outterbridge, Noah Purifoy were piecing together references to the Rev. Martin Luther King Jr., Aunt Jemima and African masquerades. In the Los Angeles work, hard distinctions between representation and abstraction are moot, as they are in a lot of art made in Chicago by members of AfriCOBRA (African Commune of Bad Relevant Artists), who specialized in pattern intensive dazzle. One of the show's inspired sights is a pairing of hand painted revolution themed dresses by the AfriCOBRA artist Jae Jarrell with pointillist portraits of Angela Davis and Malcolm X by her husband, Wadsworth A. Jarrell. Theirs is activist work not just because of its political content, or because its Pop energy makes you want to get up and dance, but also because it's so clearly designed, with its polish and flair, to infiltrate mainstream institutional space. And it sure does look fabulous here. Down on the fourth floor, regional divisions drop away and the representation vs. abstraction debate plays out. Advocates on one side insisted that art, to be black and powerful, had to declare its politics forthrightly, which abstraction could not do. Those on the other side argued that to confine black artists to a particular formal mode or racialized content was to perpetuate the art world's existing segregationist model. The stakes were high, the debate could be bitter. But the results were win win. What we see in the show itself is not suppression but florescence. That gesture gave casual snapshots the preciousness of formal portraits. It brought art directly into the community and turned the community into art. Ms. O'Grady titled her performance "Art Is ..." and, indeed, since the 1980s, the definition of "black" art has continued to expand, and debates about it what it encompasses, who can use it, whether it should exist as a category at all continue. In response to a backsliding nation, we're now in a second Age of Black Power. The political stakes are as high as they ever were. When it comes to "black" art, debate what it means, but go with Ms. O'Grady's ellipsis.	N24News: A New Dataset for Multimodal News Classification	Art & Design
Most art fairs involve a frenzy of art handling: packaging, shipping and unloading, followed by careful arrangement. But to prep for a new art expo in Chicago, galleries can pack light the art simply has to fit booths that are slightly larger than shoe boxes. This is the unique challenge at Barely Fair, which is dedicated to contemporary miniature art and mimics the layout of a traditional art fair, except reduced to a 1:12 scale. Organized by Julius Caesar, a veteran Chicago artist run space, it opens Sept. 20 with two dozen international exhibitors. Among them are the New York based Coustof Waxman and, from Milwaukee, Outlet Gallery, a single electrical wall socket that shows plug based installations . At Barely Fair, Outlet's booth will host 10 sockets, each powering a different section of one artwork. "Many of these galleries are on the small side," said Kate Sierzputowski, a co director at Julius Caesar. "I've been intrigued with how they create platforms for artists with superlow overhead, so we wanted to show a range of these spaces." The responses from exhibitors are diverse. Some have invited artists to create new works, like Serious Topics from Los Angeles, whose booth will burst with tiny art by 23 artists. Others will bring existing pieces that take on refreshed meaning in a scaled down context. Case in point: the Chicago based collection gallery Lawrence Clark, whose blue chip booth will feature matchbooks with photolithographs by Barbara Kruger, an Anish Kapoor maquette and brass stencils by Lawrence Weiner.	N24News: A New Dataset for Multimodal News Classification	Art & Design
Bursting at the seams with plot and patter, Coky Giedroyc's coming of age comedy, "How to Build a Girl," gives you a whole lot for your money. Sometimes almost too much: This brisk, breathless story of a socially inept high schooler in the 1990s who finds notoriety as a rock critic (adapted by Caitlin Moran from her semi autobiographical novel) has so many peaks and valleys that on paper it would look like Joe Exotic's polygraph. It's just as well, then, that it stars the supremely game Beanie Feldstein (playing a more mettlesome version of her "Booksmart" character) as Johanna, 16, an aspiring writer who craves being cool. Voluble and nerdy, Johanna lives in council housing ignominy in the British Midlands with a feckless father (an overlooked Paddy Considine), a postnatally depressed mother (Sarah Solemani) and a mess of brothers. Constantly stirring a caldron of wants, Johanna has little going for her except cheek, ambition and crucially a vocabulary.	N24News: A New Dataset for Multimodal News Classification	Movies
The Vice offices in Williamsburg, Brooklyn. The company's leadership has been making efforts to improve its finances and change a corporate culture that had fostered sexual misconduct. There were significant changes at Vice Media on Monday as the company which was once operated more like a frat party than a business takes shape under new leadership. First came the news that HBO was canceling the nightly program "Vice News Tonight" and that the executive who oversaw the show, Josh Tyrangiel, would be leaving the company. Vice Media quickly followed that report, which appeared in The Hollywood Reporter, with an announcement that Jesse Angelo, the former publisher of The New York Post, would become the company's president of global news and entertainment. The changes occurred on the watch of Nancy Dubuc, a former head of the A E cable network who joined Vice Media as chief executive last year and has been charged with the task of stanching the flow of red ink at the company. "Vice News Tonight" was the first show of its kind on HBO a daily news program aimed at a younger audience but it had trouble breaking through the din, averaging a little more than 550,000 viewers a day. Its cancellation by HBO, which last year dropped "Vice," a weekly newsmagazine, effectively ends the relationship between the premium cable network and the upstart media brand. "We've decided not to renew 'Vice News Tonight' after this season," HBO's executive vice president of programming, Nina Rosenstein, said. "We've had a terrific seven years partnering with Vice Media, first with the weekly newsmagazine series and most recently with the nightly news show." Mr. Tyrangiel was the editor of Bloomberg Businessweek for six years before he jumped to Vice in 2015. "It's been nearly four incredible years of harrowing challenges and huge highs," he said in an email to the Vice Media staff. Started as a freebie 'zine in Montreal in 1994, Vice Media has grown into a major entity with roughly 3,000 employees, the Viceland cable network, a digital outlet and a film production company. Mr. Tyrangiel helped make it a player in news. In addition to her efforts to turn around the company's finances, Ms. Dubuc has worked to change a corporate culture once rife with sexual misconduct. A New York Times investigation in 2017 detailed the mistreatment of women at the company and found four settlements involving allegations of sexual harassment or defamation against Vice employees. Mr. Angelo, the executive who is scheduled to start at Vice Media this month, left The Post in January after working for two decades in various roles at the tabloid, which is part of Rupert Murdoch's shrinking media empire. He departed soon after Mr. Murdoch's younger son, James, left the family fold. 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. The Murdoch company, 21st Century Fox, owned a piece of Vice Media for a time; James Murdoch is still on the Vice board as an independent member. He and Mr. Angelo have known each other since they were children, and Mr. Angelo was the best man at his wedding. The younger Murdoch stepped down as a chief executive of 21st Century Fox after the family sold most of its assets to the Walt Disney Company for more than 70 billion. The Fox stake in Vice went to Disney as part of that deal, giving Disney 27 percent of the company. "With him joining our executive team, Vice's strategic growth plan for news will begin and complement wider partnership opportunities already underway," Ms. Dubuc said of Mr. Angelo in a statement. A Vice Media spokeswoman disputed the relevance of any connection between Mr. Angelo and Mr. Murdoch. "Nancy made the decision to hire Jesse 100 percent," the spokeswoman said. "Our board was not involved in the decision." In a statement of his own, Mr. Angelo said, "The quality and impact of Vice News, Viceland and our digital channels are unparalleled, as are the people."	N24News: A New Dataset for Multimodal News Classification	Media
Companies linked to two Russian oligarchs exploited the opaqueness of the art world to buy high value art, bypassing U.S. sanctions, according to a report by the U.S. Senate's Permanent Subcommittee on Investigations that was published on Wednesday. American companies are barred from doing business with sanctioned individuals. But the report said the oligarchs, Arkady and Boris Rotenberg, two brothers who are close to President Vladimir P. Putin of Russia, were able to hide behind an intermediary who made the purchases on behalf of companies owned or funded by the Rotenbergs. The purchases of works at auction houses and through private art dealers in New York totaled 18.4 million in value and were made after the Rotenbergs came under United States sanctions in 2014. The report said the financial transactions were enabled by the secrecy and anonymity with which the art market operates and it called for tighter rules to force greater transparency. The investigators concluded that the auction houses including Christie's and Sotheby's and private sellers never knew the true identity of the oligarchs who were buying the art, but they said that was a loophole that needs to be closed for a sanctions policy to be truly effective. "It is shocking that U.S. banking regulations don't currently apply to multimillion dollar art transactions, and we cannot let that continue," Senator Rob Portman, Republican of Ohio, who is chairman of the subcommittee, said in a statement. "The art industry currently operates under a veil of secrecy allowing art advisers to represent both sellers and buyers masking the identities of both parties, and as we found, the source of the funds. This creates an environment ripe for laundering money and evading sanctions." None of the auction houses or dealers were accused of any wrongdoing. The report said they stopped doing business with the intermediary as soon as they learned of the Senate investigators' concerns. In a statement, Christie's said it welcomed "the opportunity to work with U.S. legislators on appropriate and enforceable A.M.L. guidelines for all tiers of the art trade here." Sotheby's said in a statement that it "takes Anti Money Laundering and United States sanctions policies extremely seriously and voluntarily participated in the Senate Subcommittee's investigation." The Rotenberg brothers were the subject of sanctions in March 2014, in an expansion of sanctions to wealthy businessmen with close ties to President Putin that came in response to Russia's invasion of Ukraine and annexation of Crimea. Despite the prohibition against U.S. entities doing business with the oligarchs, the Senate investigators traced numerous art transactions in a period of just a few months following the imposition of the sanctions back to anonymous shell companies that they said were linked to the Rotenbergs The report identifies a Moscow based art adviser named Gregory Baltser, whom it described as a naturalized U.S. citizen, as an intermediary who bought art for companies it said were linked to the Rotenbergs. Mr. Baltser typically operated through his company, Baltzer, a private art agency and club, that he established in 2013, the report said. In one case, in May 2014, Baltzer bought multiple works at a Sotheby's sale in New York for 6.8 million, including works by Henry Moore, Marc Chagall and Georges Braque. A Belize company called Steamort, which the report links to the Rotenbergs, wired funds from an Estonian bank account to Baltzer's London account and from there to Sotheby's bank in New York. In another case, in June 2014, a company called Highland Ventures bought a painting, Rene Magritte's "La Poitrine," for 7.5 million via a private New York art dealer, with funds it traced to a company owned by Arkady Rotenberg. Just a few months later, in November, Baltzer bought a painting, "Un port sous la lune," by the artist Tamara De Lempicka, at Christie's Impressionist and Modern Day Sale in New York, for 665,000 using funds wired by Highland Ventures and Steamort. In a statement, a lawyer representing Mr. Baltser, David A. Vicinanzo, said Baltzer "maintains a strict compliance program, and has never conducted any transaction prohibited by any sanctions list." "Baltzer can confirm that neither it nor Gregory Baltser has ever, at any time, represented or transacted in any way with Boris or Arkady Rotenberg." the statement said. It also said that Baltzer had relied on a list of sanctioned entities compiled by the U.S. Treasury Department and noted that the companies cited by the Senate investigators as being tied to the Rotenbergs were not included on that list. "Baltzer had urged the Subcommittee not to make unfair and untrustworthy allegations on the basis of information from unconfirmed sources," the statement said, "and is deeply disappointed that the Subcommittee has chosen to do just that." Investigators said Mr. Baltser had refused multiple requests to be interviewed by the subcommittee when he could have laid out his position. A representative for the Rotenbergs said in a statement that they had never circumvented sanctions. "Any statement asserting that any member of the Rotenberg family ever contemplated using art as a money movement tool is totally absurd," the representative said. "All transactions with works of art made by Rotenberg family members or on their behalf were made openly, strictly with lawful personal purposes and always on market terms."	N24News: A New Dataset for Multimodal News Classification	Art & Design
The title of Valeska Grisebach's beautifully complicated, rigorously straightforward third feature, "Western," has at least two meanings. The German workers who come to a remote rural valley in Bulgaria to build a hydroelectric plant are emissaries of the West, bringing the ambiguous benefits of capitalist development to a former Eastern Bloc nation. It's not the first time Germans have been here, as several people point out, even if the crew hardly resembles an occupying army. But they do call to mind the cavalrymen in a movie like "Fort Apache": interlopers in someone else's territory, surrounded by a local population that is wary of their presence and sometimes hostile to it. The Germans live in a camp some distance from the nearest village, whose residents most of them regard with contempt. The exception is Meinhard (Meinhard Neumann), who is older than most of his colleagues and has a different work history. A haggard loner with a thousand yard stare and a melancholy air, he claims to be a former soldier who has been in inhospitable places before. He befriends some of the Bulgarians, which spreads tension in every direction. To stick with the "Fort Apache" analogy, Meinhard is like the John Wayne character, interested in the "natives" and respectful of their customs. His boss, Vincent (Reinhardt Wetrek), is a bit more like Henry Fonda: arrogant, incurious, convinced of his own superiority. When he harasses Vyara (Vyara Borisova), a local woman who is swimming near the German camp, he threatens to put the whole enterprise at risk. The possibility of violence buzzes in the air like insects in the summer heat. But rather than force a situation drawn from contemporary reality into a ready made genre box, Ms. Grisebach plays with the implications of the western and the expectations of the audience. At various points, we may think we know where the story is heading sometimes dreading an inevitable tragedy, sometimes embracing a promise of reconciliation or redemption but the film is as full of detours and switchbacks as the mountain roads its characters must negotiate. And those characters are not always who they seem to be, even to themselves. Meinhard comes across as more sensitive, more stoical and tougher than his colleagues more of a man, in the old gunslinger ethos but it's possible that he overestimates his own mastery of a complex situation. It's also possible that his displays of decency toward the villagers are motivated by selfishness as much as altruism and that he may not be the righteous nice guy they take him for. Everything about "Western" may be knottier and more contradictory than it initially appears, but it also might be simpler. The friendship between Meinhard and Adrian (Syuleyman Alilov Lefitov), a local landowner and businessman, is direct and affectionate, and the actors show how intimacy can develop without a common language. Meinhard, nicknamed the "legionnaire," is jokingly described as Adrian's bodyguard, and events will test the extent and intensity of his loyalty. Geopolitics and global economics are elements in the atmosphere, less themes of the movie than part of the air its inhabitants breathe. It's worth noting that Maren Ade, whose "Toni Erdmann" is also about a German expatriate in a Balkan country, is credited as a producer of "Western." (Ms. Grisebach was a script consultant on "Toni Erdmann.") Both films combine highly specific individual narratives with sharp, critical scrutiny of the way the world is organized now the imbalances of power and autonomy that inevitably, though not always predictably, influence the ways people behave toward one another. "Anything can happen in a village," Adrian says ruefully, as matters seem to be coming to a head. It's something of a rebuttal to Meinhard's earlier observation that the one consistent truth of the human condition is the domination of the weak by the strong. But there are different kinds of strength, and there are also other factors at work, including laziness, whim, habit and random chance. The western as a genre, like Meinhard, believes in determinism, in a history governed by laws and patterns. "Western" has its doubts. There is no doubting Ms. Grisebach's filmmaking. Her eye for faces and for nuances of gesture and posture is matched by her ability to capture the beauty and strangeness of the landscape, and to make sense of its intricate geography. "Western" is as precise as a dropped pin on a GPS map, which makes its sense of mystery all the more powerful.	N24News: A New Dataset for Multimodal News Classification	Movies
We Know You Hate 'Moist.' What Other Words Repel You? How did those words make you feel? Certain everyday words drive some people crazy, a phenomenon experts call "word aversion." But one word appears to rise above all others: "moist." For that reason, a recent paper in the journal PLOS One used the word as a stand in to explore why people find some terms repellent. "It doesn't really fit into a lot of existing categories for how people think about the psychology of language," the study's author, Paul Thibodeau, a professor of psychology at Oberlin College, said of moist. "It's not a taboo word, it's not profanity, but it elicits this very visceral disgust reaction." A little less than a quarter of the approximately 2,500 unique subjects tested in Mr. Thibodeau's five experiments over four years had trouble dealing with any appearance of the word. When asked to react to moist in a free association task, about one third of those people responded with "an expression of disgust," Mr. Thibodeau said. Almost two thirds of those who later reported an aversion were so bothered by "moist" that they could recall its inclusion among a set of 63 other words an unusually high rate. The peer reviewed study attempted to explain why moist had become the linguistic equivalent of nails on a chalkboard for some people. Words that sound similar including hoist, foist and rejoiced did not put off participants in the same way, suggesting that aversion to the word was not based on the way it sounds. But people who were bothered by moist also found that words for bodily fluids vomit, puke and phlegm largely struck a nerve. That led Mr. Thibodeau to conclude that for those people moist had taken on the connotations of a bodily function. It has long been acknowledged that many people are cursed with moist phobia. In 2007, a linguistics professor from the University of Pennsylvania, Mark Liberman, wrote about moist in exploring the concept of word aversion. In 2012, the word came up again, after The New Yorker asked readers which ones they would eliminate from the English language. Mr. Thibodeau's study cites People magazine's 2013 attempt to have some of its "sexiest men" make "the worst word sound hot!" But Jason Riggle, a linguistics professor at the University of Chicago, said the excessive focus on moist might have made a broader understanding of word aversion more difficult. "Moist has become such a flagship word for this, and the fact that so many people talk about it now makes it harder to get a handle on" word aversion more generally, he said. That may help explain why other recent studies on word aversion, unlike Mr. Thibodeau's, found a close link between a word's phonological properties its combination of sounds and people's reactions. David Eagleman, a neuroscientist at the Baylor College of Medicine whose lab has conducted its own experiments into word aversion over the past year, found that an unusual combination of sounds in a group of made up words was more likely to put people off than several other factors. A study at Colby College last year also suggested that a word's phonological properties could repel people. Dr. Eagleman suspects that word aversion is similar to synesthesia, the blending of senses in which an aural phenomenon, such as a musical note, can trigger a visual or even an emotional response. He suggested that the process through which a specific combination of sounds evokes disgust might be similar. "There appears to be this relationship between phonological probability and aversion," he said. "In other words, something that is improbable, something that doesn't sound like it should belong in your language, has this emotional reaction that goes along with it." Dr. Eagleman said that his lab's experiments were a prelude to neuroimaging that could investigate how the brain responds when faced with aversive words. But in the meantime, it might help to compile a broader list of words that certain people cannot stand. So here's a question for you: Forgetting all things moist for a second, what other words (without explicit sexual, scatological, racial or taboo connotations) do you find repulsive? And we don't mean the merely annoying (like "literally") or obnoxious (like "synergy"), but words that are viscerally repellent. Name them, and tell us why they disgust you in the comments section. Feel free to recommend words already listed by others.	N24News: A New Dataset for Multimodal News Classification	Science
Six year old Joel Kupperman as a contestant on the radio show "The Quiz Kids" in 1943. He and other young contestants found nationwide fame answering questions about math, literature, sports and history. They called him the midget Euclid, and baby Einstein. In 1944, The New York Times said he lisped in logarithms. For a time, during World War II and its aftermath, Joel Kupperman was one of the most famous children in the country, and also one of the most loathed. From 6 to 16, Joel was a star on "The Quiz Kids," a thunderously popular radio program that later migrated to television. He captivated Marlene Dietrich and Orson Welles by performing complex math problems, joked with Jack Benny and Bob Hope, charmed Eleanor Roosevelt and Henry Ford. He played himself in a movie ("Chip Off the Old Block," in 1944), addressed the United Nations and was held up as an exemplar of braininess to a generation of children. (Hence all the loathing.) But his early fame became a taboo subject for his family in his adulthood, most of which was spent teaching philosophy at the University of Connecticut. In a rare interview with The New York Times in 1982, Professor Kupperman said his memories of being a national sensation were painful. "Being a bright child among your peers was not the best way to grow up in America," he said. He died on April 8 at an assisted living facility in Sheepshead Bay, Brooklyn. He was 83. His wife said he had struggled with dementia for years. His death certificate lists an "influenza like illness (probably Covid 19)" as the cause, she said. Originally broadcast from Chicago and sponsored by Alka Seltzer and One A Day vitamins, "The Quiz Kids" aired every Sunday night. For a while Joel was the youngest and, because of his lisp, the most adorable of its contestants, precocious boys and girls who fielded questions about math, literature, sports and history, all sent in by listeners. The Quiz Kids toured the country selling war bonds and, perhaps, an appealing image of Jewish children, as Professor Kupperman suggested to his son, Michael, a comic artist and illustrator, though not all of the children were Jewish. They were paid in war bonds, one per appearance, and a war bond was the price of admission for the studio audience. (By the end of the war the children had sold bonds worth an estimated 120,000,000 about 1.7 billion in today's money.) The show moved to television after the war, and the cameras did not favor a maturing Joel, who stayed on until he was 16, the dutiful son to a controlling stage mother, Michael Kupperman said. Though the producers brought in younger and cuter children to field questions, Joel's hand was always up, sometimes blocking the faces of the smaller children, which didn't make for riveting TV, as Michael put it a spectacle made only worse by Joel's robotic demeanor, which made him seem priggish. And then it was over: 10 years of Joel's life, nearly his entire childhood, meted out in 400 episodes. (The program, which ended in 1953, except for a brief run in 1956, largely escaped the quiz show scandals of the time, though Joel's mother later said that the producers had known of his interests and had tailored questions to them.) "All of us on the program experienced to some degree 'child star letdown,' but we remembered the actual experience fondly," Richard L. Williams, the show's other math whiz, now a retired diplomat, said in a phone interview. "It was a high for us. But Joel said it destroyed his childhood. When he was 6, I was 11. The program put stress on the smallest kids. They got the most attention and were the least equipped to deal with it." He added: "Once the show went on television they kept Joel, because he was so well known, but the general age got lower and lower. I'm guessing that experience was pretty sour for him. No real competition and no real comradeship." Joel was bullied at the University of Chicago, which he entered at 16. He studied math and was introduced to Asian philosophy and found a mentor in a visiting professor, who told him, as Karen Kupperman said, "You need to leave the country." Professor Kupperman earned a Ph.D. in philosophy from the University of Cambridge in England and joined the philosophy department of the University of Connecticut in 1960, remaining there until his retirement in 2010. His scholarly focus was on ethics and aesthetics, and he was an early champion of Asian philosophy at a time when Eastern traditions were considered more akin to religion or mysticism than philosophy. He drew from a variety of traditions, many of them ancient, which made his work cosmopolitan and original, said David Wong, a professor of philosophy at Duke University. "The tone of much of Joel's work is that of a gentle and wise interlocutor who refrains from lecturing to us on what the good life is," Professor Wong added, "but rather assists us in our individual and collective endeavors to live a good life by articulation of much good advice and well taken cautions." Professor Kupperman wrote several books on philosophy, including "Character" (1991) and "Six Myths About the Good Life: Thinking About What Has Value" (2006). Joel Jay Kupperman was born on May 18, 1936, in Chicago to Solomon and Sara (Fischer) Kupperman. His father was a civil engineer, his mother a homemaker. Joel's older sister was also briefly a Quiz Kid. There was so much mythmaking around the show, Michael Kupperman said, that it's hard to know with any conviction what parts of Joel's story are true. It is a fact that as a toddler he was taught math by his father, and Joel may indeed have lulled himself to sleep by singing the multiplication tables, but he probably did not use a beaded toy on his crib as an abacus, or catch a grocer cheating on a bill. On the other hand, it's quite possible that he spotted errors in an early math textbook, and it's fairly certain that a kindergarten teacher suggested that his parents reach out to "The Quiz Kids" producers. He met Karen Ordahl in Cambridge, Mass., after she had earned a master's degree in history at Harvard University, and they married in 1964, settling down together in Storrs, Conn., near the University of Connecticut campus. "When we were dating that first summer, if a store clerk heard his name, they would invariably say, 'I hated you when I was a kid,'" Ms. Kupperman said. "He was really determined to reinvent himself, and by college he was already thinking of himself as a philosopher. He wanted to retreat into the life of the mind, and in many ways he succeeded. He really lived in his head." And yet when his wife decided to pursue her Ph.D. in history at the University of Cambridge, Professor Kupperman took a sabbatical for a year followed by another year without pay so that she could do so. In England he cared for Michael and Charlie, then 7 and 4, while she worked toward her doctorate not typical male behavior for the times, Ms. Kupperman said. In addition to her and his children, he survived by his sister, Harriet Moss, and a grandson. Michael Kupperman began querying his father about his "Quiz Kids" experience in 2010, but within a few years Professor Kupperman's dementia was so advanced that any further memories were lost. Michael, however, had found scrapbooks in his father's study, meticulous records of his accomplishments press clippings, schedules and photographs that had been kept by Joel's mother. The memorabilia allowed Michael to further explore his father's long ago fame, its packaging and its bitter aftermath, which had led Professor Kupperman not only to forbid discussion of his childhood but also, it seemed, to block out of many of the details. The project led in 2018 to "All the Answers," Michael's graphic memoir of his remote father's life. Professor Kupperman told his son, "There's this weird notion that intelligence is a single thing, but people can be smart in some ways and stupid in others." His daughter, Charlie, recalled: "He talked a lot about the meaning of life, and how to be a good person and what happens after you die. I remember him telling me that when you die, it's like unplugging a radio. There's a glow that remains."	N24News: A New Dataset for Multimodal News Classification	Television
Since 2016, Luciana has worked at Burger King clocking more than 40 hours each week. This year, she added a second job, picking up shifts at Dunkin' Donuts. Even in the best of times she struggled to pay the bills given her low hourly wage. In March, as the novel coronavirus spread and the public started to heed the warnings from officials, sales dwindled and Luciana's hours were cut. Today, she is uncertain of her employment relationship with Dunkin' Donuts. At her Burger King franchise, only managers are working. She received her first unemployment insurance check in mid April. But the check didn't include the extra 600 that the CARES Act promised. It was for only 240, which isn't enough to pay for rent, food and her other bills. And she is one of millions of service sector workers whose lives have been upended by the pandemic. Since late February, we have been surveying service sector workers as part of our Work Family Text Study a daily text message based survey of 1,000 wage workers in the retail, food service and hospitality industries who have a young child (aged 2 to 7) and live in the Philadelphia area. Naturally, we didn't set out to study the effects of Covid 19. But the timing of our data collection coincided with the beginning of the crisis, and our participants' responses tell the story of how the economic downturn created by the virus response has immediately and profoundly affected the lives of workers on the front lines of the service industry. It's a grim Before and After picture. By the end of March, two thirds of workers we surveyed found themselves working less: 41 percent had been laid off; 31 percent had their hours reduced; and a mere 28 percent were still working as usual. By the end of April, jobs that previously looked safe also crumbled: 58 percent had lost a job, and only 20 percent were working as usual. But among those who have been laid off, fewer than one in five have so far managed to receive unemployment insurance benefits. Of course, this is all happening in a context in which roughly 40 percent of Americans were, before the pandemic, unable to afford a 400 emergency expense. For countless people, this emergency will be much more costly than that. Perhaps not surprisingly, roughly half of those we surveyed said they didn't have enough money to make rent for May. Nearly every worker we surveyed has been hurt in this crisis. But as we parsed the data, two groups emerged one facing substantially greater harm than the other. What differentiated these two groups wasn't their gender, race or ethnicity. Instead, it hinged on whether their employer was compensating them for the hours of work they have lost. Eighty seven percent of workers whose employers were unable or unwilling to provide them compensation for lost work experienced a decline in income; 59 percent of them reported losing more than half their income. A very different experience was reported by their peers with employers who provided at least some compensation for time not worked often through collective bargaining agreements, pressure campaigns, business models that incorporate the cost of supporting work forces in hard times or the incentive of government backed business loans. According to our survey data, half of the workers being compensated by their employers for lost work have avoided income loss altogether. But rather than giving employers the resources they need to cover payroll, Congress has so far chosen to deliver most income support through public benefits despite the fact that many state governments have intentional roadblocks that make it very difficult to get those benefits. But the United States can still reverse course. We can follow the model of many countries, such as Britain and Denmark, and require employers to keep employees on the books. As proposed in Representative Pramila Jayapal's Paycheck Guarantee Act, our government can cover payrolls for workers paid up to 100,000 a year until the crisis is over, and retroactively include employees who have been laid off since March. Its open ended funding would be an enormous improvement from the currently overwhelmed Payroll Protection Program, which runs out of money every time applications open because of its capped budget, leading to fights over who deserves its scarce dollars most. Our data show that it's not too late to pivot: Even now, 41 percent of the workers in our sample are still technically working in some capacity for their original employer, even if their hours are minuscule. Another 23 percent describe their layoff as temporary. Crucially, this means nearly two thirds of our respondents could be made whole by the Paycheck Guarantee Act. And there's still much that can be done for the workers who have been told that their layoffs are now permanent which was about 36 percent of the respondents to our survey. More than half of them were already receiving Supplemental Nutrition Assistance Program benefits, informally known as food stamps, before the crisis. If Congress was to boost the maximum SNAP benefit, that help would reach these worst hit families right away. "As long as we get SNAP benefits, we will be OK for groceries," one mother with two young children texted us. Our data sets from the Work Family Text Study reveal that there's little reason to reverse these repairs to the social safety net once the public health threat fades: the parents in our study were already facing an affordability crisis before the virus reoriented American life. Luciana, who worked at Burger King and Dunkin' Donuts before all of this, was struggling before the coronavirus. Both her low wages and the no sick leave policy of both of her employers contributed to the small amount of unemployment insurance she's eligible for and her lack of rainy day savings. When the economy, someday, resumes, "That would be the first thing I want to change," Luciana said. "I want to change the hourly wage cause can't nobody live on that 7.50 or 8," she told us. "I would fight for the minimum wage to be raised. And then I would fight for time and a half, getting paid our holiday pay. I would fight for everything that we're supposed to get. Fight for our overtime that they don't want to pay us for. Vacation time. Sick time. I would fight for all of that." Elizabeth O. Ananat ( LizAnanat) is a professor of economics at Barnard College, Columbia University. Anna Gassman Pines ( agpines) is a professor of public policy and psychology at the Sanford School of Public Policy at Duke 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
The Federal Reserve said on Monday that it would help backstop a new government effort aimed at encouraging banks to lend to small businesses, moving in to support a new federal program that has gotten off to a rocky start. Congress has dedicated 350 billion to make small business loans as part of the 2 trillion coronavirus support package it passed in March. The effort, known as the Paycheck Protection Program, is intended to encourage banks to lend to companies that agree to keep workers on the payroll. Most and in some cases, all of a loan would be forgiven if the borrower retained its workers and didn't cut their wages. The government would repay lenders for the forgiven portions of the loans. Companies with 500 or fewer employees can apply, on a first come first serve basis, and banks will give them the short term funding they need to keep workers on the books and cover expenses as coronavirus quarantines dramatically slow, or entirely stop, their cash flow. But the first few days of the program, which began on Friday, have been fraught. President Trump said Monday that thousands of small businesses had applied for more than 40 billion in program loans, but that is just a fraction of the total sum available, and reports of trouble applying abound. It is hard for the Small Business Administration to get so much money out the door quickly, and the model itself is posing a challenge for banks. Small business loans could fill up their balance sheets, making it hard for them to keep lending to other customers. That is where the Fed's new program would come in. While the Fed has released scant detail on what form the initiative will take, it has promised to create a financing solution to help banks lend to smaller companies. It could either lend directly to banks making Paycheck Protection Program loans, or essentially buy the loans once they are originated so that banks will not have to carry them on their balance sheets. The Fed said in a statement that it would release more information this week. The new Fed effort, which the central bank is rolling out under its emergency lending powers with signoff from Treasury Secretary Steven Mnuchin, addresses concerns raised by banks trying to participate in the program. "I urge Treasury and the Federal Reserve to launch a secondary market facility to purchase program loans from originating institutions," Rebeca Romero Rainey, president of Independent Community Bankers of America, wrote in a letter to Mr. Mnuchin and other government officials on Saturday. "This program should not be limited by the balance sheet capacity of participating lenders," she said. But it deals with only one of the continuing concerns banks have raised. "This is nice," said Ernie Tedeschi, a policy economist at Evercore ISI, but "I don't think it's a game changer." 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. The largest banks were grappling with limitations imposed by the program's structure and appeared days away from disbursing any money, even under the best circumstances. Citigroup had not yet activated an online application portal it been promising its customers for days. JPMorgan Chase was offering customers a chance to submit some basic information to express their interest. A spokeswoman said the bank was preparing to roll out a more robust application form "soon." Wells Fargo stopped taking new loan requests after announcing it had reached a 10 billion lending limit. Bank of America was taking detailed application information from customers and had loosened its eligibility requirements to allow customers without pre existing loans to get access to the program after initially barring them, but it was not clear how far the bank had gotten in submitting those applications to the S.B.A. for approval. And for banks of all sizes, the process of making the loans is time consuming. Banks have to enter each borrower's information into the S.B.A.'s online portal manually to seek approval from the administration for the loan. Borrowers have to provide detailed information about their businesses and financial histories, and there is no way for lenders to get around the paperwork by sending data in bulk. But that's just the beginning. Scott Salmon, a lawyer in New Jersey who has helped 75 small businesses try to tap into the program over the last week, said the lenders he talked to were in the dark about how the program worked until late last Thursday. "They have no more information about how everything is supposed to be handled than everybody else," Mr. Salmon said. "I'm on a couple different email chains with bankers at different banks, and they're passing on news articles and tweets." By Thursday afternoon, Mr. Salmon said, the S.B.A. had sent out just a handful of bullet points to banks on what to do. The banks themselves had to decide how much paperwork on the borrowers' financial histories would be sufficient and what, specifically, they had to do to prove they had checked to verify the authenticity of each borrower. Smaller lenders, Mr. Salmon said, appeared to be more nimble in handling these decisions. "It's easier to figure out what your process is going to be when you have a couple decision makers versus being the largest bank in the world," he said. Dan Taylor of Holton, Mich., who owns two small movie theaters in the area, made inquiries to 12 banks for a loan under the program. His own bank, a local lender called Chemical Bank, took his application on Sunday but warned him that it did not know how long approval would take. That was after Mr. Taylor had spent days filling out initial requests for a loan, including some to online lenders like Kabbage and Ameris Bank. He said he had received no response to those inquiries. Ameris Bank did not respond to a request for comment. "We're experiencing an extraordinary number of calls, and our customer service team is addressing them as quickly as possible," said Paul Bernardini, a spokesman for Kabbage, in an email to The Times. He asked that his email address be given to Mr. Taylor so he could try to assist him himself. In San Diego, Calif., Aaron Bearce, who with a partner owns Vitality Tap, a wellness cafe, described his attempts to apply for a loan through Chase, the bank his business normally uses. He waited past midnight on Thursday for an application page to appear on Chase's home page. It never did. On Friday, he received a notice from the bank that its application page would be up by noon, but it wasn't. Instead, the bank asked borrowers to fill out a simple online form with their names, tax identification information and contact information. Mr. Bearce completed the form, but said he has not heard anything since. "We have hundreds of underwriters calling customers, but the numbers of applications is very high," said Anne Pace, a Chase spokeswoman. "We have a new application process launching shortly."	N24News: A New Dataset for Multimodal News Classification	Economy
None of the bridal party in Saturday's royal wedding will be over five feet tall. Bridesmaids in royal weddings are almost always children, and very rarely adult women. (Pippa Middleton's role in William and Catherine's 2011 wedding was a rare exception.) The most famous person in Ms. Markle's tiny posse will be the bridegroom's niece and the daughter of the Duke and Duchess of Cambridge, a.k.a. William and Catherine. Florence is one of Prince Harry's goddaughters. Her parents are his friends Nicholas and Alice van Cutsem. Zalie is also Prince Harry's goddaughter. Her parents are his friends Zoe and Jake Warren.	N24News: A New Dataset for Multimodal News Classification	Style
"All the talk over what I wear and how I fix my hair has amused and puzzled me," Jacqueline Kennedy wrote long ago in "Campaign Wife," the syndicated weekly newspaper column she wrote during John F. Kennedy's 1960 campaign. "What does my hair have to do with my husband's ability to be president?" Come again? Mrs. Kennedy was, after all, acutely aware that her highbrow tastes and meticulously orchestrated wardrobe had everything to do with the glamour she wished to project as first lady. Certainly that is the view of Pablo Larrain, the Chilean born director of "Jackie." No hagiography, Mr. Larrain's film, which opens on Friday, presents a Jackie (Natalie Portman) as savvy and exacting in managing her persona as any cinema diva of the day, her fixation on style anticipating the image drunk culture that was to define the coming decades. There is plenty of ego in the onscreen Jackie, who is prompt to grasp that image often supersedes reality. Indeed, Ms. Portman's Jackie preens with a purpose, assiduously refining and exploiting her style in a way that was ripe for the television age. "Maintaining a glossy, impregnable front was very important for her," said Madeline Fontaine, the film's costume designer. "Whatever turmoil she may have felt, however exhausted she may have been, she insisted on being very much the representation of perfection, and she never allowed herself to drop that facade." "Jackie," which bears the noirish stamp of its producer, Darren Aronofsky, ventures past the character's glazed exterior, revealing the Jackie of the White House years through a screen of contradictions: alternately bemused and tormented, vulnerable and self willed, but ultimately the product of her own towering vanity. "If anything that a first lady does is different, everyone seizes on it," Ms. Portman's Jackie says, clearly relishing the notion. She is as quick to rationalize her propensity for mythmaking. "People like to believe in fairy tales," she says. That sequence was pivotal, Ms. Fontaine said. Left for once on her own, she said: "it was as if she were trying on many skins, taking them up, then throwing them away. She seemed constantly to ask herself, 'Who am I?'" To her public, Jackie's identity was rarely in question, so formidably had she succeeded in paving over any hint of disturbance and self doubt with an immaculate, strictly constructed veneer. She relied on a highly structured wardrobe that was "very feminine," Ms. Fontaine said, "but at the same time very controlled. Her clothes were a kind of soft cage." Luxuriously pliant but restrictive nonetheless, they functioned as armature, shielding Jackie from a rapacious public and, at the same time, defining her. "Her look gives the impression that someone has neatened you up with a sharp razor blade and finished off the whole effect with a small mathematical bow," Siriol Hugh Jones, a Briton, wrote in a 1962 article in Town Country. It seemed, as has been noted, chosen to be easily legible on small home screens. Jackie lovers, legion in the day, may recall the prim wool boucle Rodier suit she wore for her 1962 televised tour of the White House. "We had to make two different versions," Ms. Fontaine said. "One in the original shade of dark red, and another in pink, so that it would read as gray on camera, just as it did in the black and white original." There was the iconic pink suit she wore during her fateful trip to Dallas, a Chanel knockoff, as Ms. Fontaine learned. She recreated the look in collaboration with Chanel. "We hand dyed the fabric until we found the exact shade of pink," she said. "And then we made five of those suits." Chanel insisted on providing the buttons, the signature weighted chain stitched inside the lining and even a label, Ms. Fontaine said, "in case the jacket should be seen on a chair or on the floor." The real Mrs. Kennedy would likely have appreciated the fuss. "She managed her public wardrobe as if she were a costume designer in theater or film," Hamish Bowles wrote in "Jacqueline Kennedy: The White House Years," a book accompanying the Metropolitan Museum of Art 2001 Costume Institute exhibition of the first lady's wardrobe.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
On his first trip to Kamchatka, in the Russian Far East, the American conservationist Guido Rahr rafted down the Bolshaya River, the first of many adventures in what would become a lifelong obsession with exploring and protecting the region's innumerable untamed rivers and their incomparable salmon habitat. Born and raised in Oregon, Rahr spent his boyhood summers chasing salmon migrating up the Deschutes River to the sandy beds where they were born. By adulthood he had become one of the world's most accomplished fly fishermen, but his beloved salmon beset by logging, dams and fish hatcheries were in trouble. As he is about to embark on his dayslong fishing trip down the desolate, heavily forested Bolshaya, Rahr gets his first good look at the rafts his Russian guide, Misha, has procured cheaply made, with dinky plastic paddles, bad oarlocks and no life jackets. "We should be more concerned about bears," Misha says. Was there bear spray in that case, or a gun? There was not. "Maybe there won't be so many bears," Misha shrugs. "I don't know. I've never floated this river." Not the sort of thing you want to hear from a river guide, but Rahr learns to appreciate the Russian way of embracing fate, if not their way of catching salmon. Near the end of the trip, the paddlers come upon a gaggle of off duty submarine sailors fishing Russian style, which is to say with heavy tackle and lots of vodka. They don't know what to make of the Americanski with his laughably light fly rod and his menagerie of lures tied from feathers and bits of animal fur. To the submariners' amazement, Rahr promptly lands a large salmon, at which point there is a burst of applause, followed by singing, toasting and rounds of vodka for everyone, even though it is 9:30 in the morning. The Russians have never seen fly fishing because it is a lousy way to fish, at least if you are primarily fishing for food, and in the Russian Far East especially after the economic collapse that followed the dissolution of the Soviet Union procuring food is how most people spend the bulk of their time. The relatively weightless line on a fly rod is notoriously difficult to cast, the hook has no barb to hold the fish once it bites, and the tackle is so fragile that the angler has to chase after her catch as she reels it in, in order to avoid breaking her gear. But rich people love it, which proves to be Rahr's ace in the hole. Concerned by incipient development and overfishing in Kamchatka, he helps form a nonprofit to protect the world's last best salmon rivers ("strongholds," he calls them) and begins raising money by persuading wealthy patrons to come fly fish with him, so they can see the miracle of a healthy river for themselves.	N24News: A New Dataset for Multimodal News Classification	Books
Last Wednesday, I broke the news to Heather Cox Richardson that she was the most successful individual author of a paid publication on the breakout newsletter platform Substack. Early that morning, she had posted that day's installment of "Letters From an American" to Facebook, quickly garnering more than 50,000 reactions and then, at 2:14 a.m., she emailed it to about 350,000 people. She summarized, as she always does, the events of the day, and her 1,120 words covered a bipartisan vote on a spending measure, President Trump's surprise attack on that bill, and a wave of presidential pardons. Her voice was, as it always is, calm, at a slight distance from the moment: "Normally, pardons go through the Justice Department, reviewed by the pardon attorney there, but the president has the right to act without consulting the Department of Justice," she wrote. "He has done so." The news of her ranking seemed to startle Dr. Richardson, who in her day job is a professor of 19th century American history at Boston College. The Substack leader board, a subject of fascination among media insiders, is a long way from her life on a Maine peninsula particularly as the pandemic has ended her commute that seems drawn from the era she studies. On our Zoom chat, she sat under a portrait that appeared as if it could be her in period costume, but is, in fact, her great great grandmother, who lived in the same fishing village, population a bit over 600. She says she tries not to think too much about the size of her audience because that would be paralyzing, and instead often thinks of what she's writing as a useful primary document for some future version of her historian self. But there was no ignoring her metrics when her accountant told her how much she would owe in taxes this year, and, by extension, just how much revenue her unexpected success had brought. By my conservative estimate based on public and private Substack figures, the 5 monthly subscriptions to participate in her comments section are on track to bring in more than a million dollars a year, a figure she ascribes to this moment in history. "We're in an inflection moment of American politics, and one of the things that happens in that moment is that a lot of people get involved in politics again," she said. Many of those newly energized Americans are women around Dr. Richardson's age, 58, and they form the bulk of her audience. She's writing for people who want to leave an article feeling "smarter not dumber," she says, and who don't want to learn about the events of the day through the panicked channels of cable news and Twitter, but calmly situated in the long sweep of American history and values. Dr. Richardson's focus on straightforward explanations to a mass audience comes as much of the American media is going in the opposite direction, driven by the incentives of subscription economics that push newspapers, magazines, and cable channels alike toward super serving subscribers, making you feel as if you're on the right team, part of the right faction, at least a member of the right community. She's not the only one to have realized that a lot of people feel left out of the media conversation. Many of the most interesting efforts in journalism in 2021, some of them nonprofit organizations inspired by last summer's protests over racism, will be trying to reach people who are not part of that in group chat. One new nonprofit, Capital B, plans to talk to Black audiences, while another well regarded model is Detroit's Outlier Media, which is relentlessly local and often delivered by text message. For Dr. Richardson's audience, it's an intimate connection. She spends hours a day answering emails from readers. She spent most of Saturday sending thank you notes for Christmas presents. The challenge for many of those efforts, and for nonprofit news organizations in general, has been reaching large numbers of people. Dr. Richardson, whose run of short essays began when she was stunned by the response to one she posted last September, has done that by accident, though she credits her huge audience of older women to the deepening gender gap in American politics. "What I am doing is speaking to women who have not necessarily been paying attention to politics, older people who had not been engaged," Dr. Richardson said. "I'm an older woman and I'm speaking to other women about being empowered." Dr. Richardson confounds many of the media's assumptions about this moment. She built a huge and devoted following on Facebook, which is widely and often accurately viewed in media circles as a home of misinformation, and where most journalists don't see their personal pages as meaningful channels for their work. Ford and Rivian no longer plan to work jointly on electric vehicles. Elizabeth Holmes took the stand in her trial. Follow along with our reporters. Ken Griffin, head of Citadel, bid highest for a copy of the Constitution. She also contradicts the stereotype of Substack, which has become synonymous with offering new opportunities for individual writers to turn their social media followings into careers outside big media, and at times appears to be where purged ideological factions go to regroup. That's true of Never Trump Republicans pushed out of conservative media, whose publications, The Dispatch and The Bulwark, are the largest brands on the platform (just above and below Dr. Richardson's revenue, respectively). And it's true of left leaning writers who have broken bitterly with elements of the mainstream liberal consensus, whether around race or national security, from the Intercept co founder Glenn Greenwald to the Vox co founder Matthew Yglesias to the firebrand Matt Taibbi, whom Dr. Richardson unseated from the top slot in late August. Dr. Richardson happened into this frontier of the media business pretty much by chance. When readers on Facebook started suggesting she write a newsletter, she realized she didn't want to pay hundreds of dollars a month for a commercial platform, and jumped at Substack because it would allow her to send out her emails without charge to her or her readers. Substack makes its money by taking a percentage of writers' subscription revenue, and she said she felt guilty that the company's support team wasn't getting paid for fixing her recurring problem: that her extensive footnotes set off her readers' spam filters. She seemed intensely uncomfortable talking about the money her work is bringing in. "If you start doing things for the money, they stop being authentic," she said, adding that she knew that was both a privilege of her tenured professorship and "an old Puritan way of looking at things." Like the other Substack writers, Dr. Richardson is succeeding because she's offering something you can't find in the mainstream media, and indeed that many editors would assume was too boring to assign. But unlike the others, it's not her politics, per se: She thinks of her politics as Lincoln era Republican, but she is in today's terms a fairly conventional liberal, disturbed by President Trump and his attacks on America's institutions. She's a historian who studied under the great Harvard Lincoln scholar David Herbert Donald, and her work on 19th century political history feels particularly relevant right now. This spring, she published her sixth book, "How the South Won the Civil War: Oligarchy, Democracy, and the Continuing Fight for the Soul of America," an extended assault on the kind of nostalgia that animates Mr. Trump's fight to preserve Confederate symbols. The face of the South in Dr. Richardson's book is a bitterly racist and sexually abusive South Carolina planter and senator, James Henry Hammond, who called Jefferson's notion that all men are created equal "ridiculously absurd." What is unusual is to bring a historian's confident context to the day's mundane politics. She invoked Senator Hammond when Representative Kevin McCarthy and other Republican leaders signed on to a Texas lawsuit seeking to reverse the presidential election, comparing the Republican action to moments in American history when legislators explicitly questioned the very idea of democracy. "Ordinary men should, Hammond explained, have no say over policies, because they would demand a greater share of the wealth they produced," she wrote. She is, ultimately, offering what feels like straightforward, if thoughtful, answers to the big questions about America right now. One subscriber, Dani Smart, 50, who works for her family real estate brokerage in Richland, Wash., told me that Dr. Richardson helped her "sort through this maelstrom." (In fact, the edgier younger sibling of Dr. Richardson's "Letters From an American" is a newsletter that's called "WTF Just Happened Today?" Its founder, Matt Kiser, says he reaches more than 200,000 subscribers a day and is supporting the business on voluntary contributions.) Dr. Richardson's "readers are people who have been orphaned by the changes in media and the sensationalism and the meanness of so much of Twitter and Facebook, and they were surprised to find her there and pleased and spread the word," said Bill Moyers, the former Lyndon B. Johnson aide and public television mainstay. Dr. Richardson isn't sure what she'll do next. She plans to keep writing her letters through Joseph R. Biden Jr.'s first 100 days as president. But her routine isn't sustainable: She makes dinner most nights and eats with her partner, a lobsterman, then starts reading. She often falls asleep facedown on her desk for an hour around 11 p.m. before getting back up to write. I've been getting "Letters From an American" in my inbox since July, and I have to admit that I rarely open them. I live on Twitter much of the time, where yesterday is old news, and everyone assumes you know the context. I find it hard to hit the brakes to look at a print newspaper, much less Dr. Richardson's rich summaries. When I confessed that to Mr. Moyers, he didn't seem surprised. "You live in a world of thunderstorms," he said, "and she watches the waves come in."	N24News: A New Dataset for Multimodal News Classification	Media
THE HUSTLE (2019) Stream on Amazon and Hulu. Anne Hathaway and Rebel Wilson play competing con artists in this comedy, a rethink of the 1988 movie "Dirty Rotten Scoundrels" (which was itself a remake of "Bedtime Story," from 1964). Like those two older movies, this one concerns swindlers in the French Riviera who compete to cheat a mark out of a considerable amount of money. Unlike those two older movies, the target here is a tech executive (Alex Sharp) with a Zuckerberg haircut. "You will probably see the major plot twists coming, but you won't necessarily enjoy what happens any less," A.O. Scott wrote in his review for The Times. "Soignee swindlers in an opulent Mediterranean setting are pretty irresistible, and there's something reassuring about a story that could have been told, with some variations of tone and topicality, at any point in the last hundred years or so." TRIAL BY MEDIA Stream on Netflix. Reality and TV blur together in this documentary series, which revisits famous court cases and the role that media coverage played in them. The show includes episodes focused on the 1984 shooting of four teenagers on a New York City subway; the trial of Rod Blagojevich, the former Democratic governor of Illinois; and more.	N24News: A New Dataset for Multimodal News Classification	Television
New Evidence of Age Bias in Hiring, and a Push to Fight It MADISON, Ala. Across the United States, mammoth corporations and family businesses share a complaint: a shortage of workers. As the unemployment rate has tunneled its way to a half century low, employers insist they must scramble to lure applicants. The shadow of age bias in hiring, though, is long. Tens of thousands of workers say that even with the right qualifications for a job, they are repeatedly turned away because they are over 50, or even 40, and considered too old. The problem is getting more scrutiny after revelations that hundreds of employers shut out middle aged and older Americans in their recruiting on Facebook, LinkedIn and other platforms. Those disclosures are supercharging a wave of litigation. But as cases make their way to court, the legal road for proving age discrimination, always difficult, has only roughened. Recent decisions by federal appeals courts in Chicago and Atlanta have limited the reach of anti discrimination protections and made it even harder for job applicants to win. It is complicating an already challenging juncture of life. Workers over 50 about 54 million Americans are now facing much more precarious financial circumstances, a legacy of the recession. More than half of workers over 50 lose longtime jobs before they are ready to retire, according to a recent analysis by the Urban Institute and ProPublica. Of those, nine out of 10 never recover their previous earning power. Some are able to find only piecemeal or gig work. "If you lose your job at an older age, it's really hard to get a new one," said Richard Johnson, an Urban Institute economist who worked on the analysis. 'The Look in Their Eyes' Tom Adair dressed in a sharply pressed white shirt and a blue blazer with gold buttons for the weekly meeting for ExperiencePlus, a group for job seekers over 50 held in the small library at St. John the Baptist Church in Madison, Ala., near Huntsville. A former quality manager at Toyota and an Air Force consultant, Mr. Adair said he has had temporary consulting assignments over the last decade but has not been able to get a steady full time job since the recession's nadir in 2009. "I ace the phone interviews," Mr. Adair said. "They say: 'Your resume speaks volumes. You could hit the ground running. It looks like you're the perfect fit.'" "But you come in, and you're D.O.A.," said Mr. Adair, who is 71 and has neatly clipped gray hair. "You can see the look in their eyes." "My wife says: 'We need to get you a face lift. We need to get your hair dyed,'" he said. Older workers are much more likely to wrestle with prolonged joblessness than younger ones, according to the Bureau of Labor Statistics. On average, a 54 year old job hunter will be unemployed for nearly a year. Repeated inquiries can go unanswered, like space probes lost in a distant galaxy. In one of the most comprehensive studies, resumes were sent out on behalf of more than 40,000 fictitious applicants of different ages for thousands of low skill jobs like janitors, administrative assistants and retail sales clerks in 12 cities. In general, the older they were, the fewer callbacks they got. Those in their 60s "never do better, and often do worse," than those a decade or two younger, said David Neumark, an economics professor at the University of California, Irvine, who oversaw the research. It is toughest for women, who suffer more age discrimination than men starting in their 40s, the researchers found. "The evidence of age discrimination against women kind of pops out in every study," Mr. Neumark said. With a small pension and Social Security, he said, he and his wife are "just getting by." "It's devastating," Mr. Adair said. "You go through the stages just like dying. First you can't believe it. You're so sure and your wife is so sure, and even the recruiter is. Then you get mad." By the end, you feel like giving up, he said. Hiring complaints and lawsuits are rarely filed because they are difficult to prove and the cost is high, said Robert E. Weisberg, a regional attorney with the federal Equal Employment Opportunity Commission in Florida. 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 bring a case against Seasons 52, a national restaurant chain, Mr. Weisberg said, the commission looked to establish a pattern of bias over a period of years by combining statistical analyses with testimony from applicants. The agency examined whether the chain could have hired so few applicants 40 or older if there had been no age discrimination, and calculated the odds at less than one in 10,000, according to court documents. The commission also collected affidavits from 139 applicants at 35 restaurants. George Simmons was 45 when he applied at a Seasons 52 in Lone Tree, Colo., in 2014. "My interview was going well until the interviewer asked me my age," he stated. After he answered, he said, he was shown the door. "I asked what was the problem," he said, "and the interviewer responded that the restaurant was looking for younger people." Heidi Barsaloux was 44 when she applied for a bartender position at a Seasons 52 in Schaumburg, Ill., in 2010. "An interviewer told me that they were not looking for people with that much experience and wanted people who were more green," she said. A third applicant was told, "We are not looking for old white guys." Ultimately, the chain, part of Darden Restaurants, agreed last year to pay 2.85 million and hire a monitor to prevent discrimination against applicants over 40. As part of the settlement, the chain denied any wrongdoing. There have been other legal offensives. The Communications Workers of America has filed a lawsuit on behalf of millions of older Americans against Amazon, T Mobile and Cox Communications, accusing them and hundreds of other major employers of systematic age discrimination in hiring based on targeted online advertising. The union and several workers have also filed complaints with the Equal Employment Opportunity Commission against more than 70 employers and employment agencies related to age discrimination in recruiting. It expects that some of those will turn into class action lawsuits. By exposing so much of the help wanted process on the internet, "the transformation to digital recruiting has shined a spotlight on how discrimination happens, and it's made it much easier to do so," said Peter Romer Friedman, a lawyer at Outten Golden working with the union. "We're going to start going after these companies, one by one." And in a broad settlement with civil rights groups and the union, Facebook agreed to eliminate the ability of advertisers to screen out minority groups, women or older job seekers from seeing particular help wanted listings. The decision mirrored one involving R. J. Reynolds Tobacco made earlier by the Court of Appeals for 11th Circuit in Atlanta, which the Supreme Court declined to review. It ruled that unlike employees already on the payroll who can show that a policy has a negative impact on a group regardless of the motivation, applicants would have to prove intentional discrimination. Troy Kirkpatrick, a spokesman for Becton Dickinson and Company, which owns CareFusion, said, "We are deeply committed to providing equal employment opportunities and a workplace free from discrimination, and as such we are pleased with the decision from the Seventh Circuit Court of Appeals." In April, Mr. Kleber and the AARP Foundation asked the United States Supreme Court to review the case. "It defies common sense," Mr. Kleber said, to think Congress "intended to offer greater legal protections to people who have jobs than people looking for jobs" when it passed the Age Discrimination in Employment Act in 1967. Other older workers and advocates elsewhere are making the same argument, pushing for a broader interpretation of the law. In a federal court in California, a class action lawsuit against the global accounting firm PwC that claims "substantial evidence of age disparities in hiring" was certified in April. The company noted on its career website and in reports that the average age of its 220,000 member work force was 27, and that 80 percent of the staff members were millennials (born after 1981). PwC responded that the company's "hiring practices are merit based and have nothing to do with age." It added, "The plaintiffs' accusations are false, and we will prove that in court."	N24News: A New Dataset for Multimodal News Classification	Economy
STEWARTSTOWN, N.H. When Robert Reed and his family turned their all terrain vehicles onto a dirt trail in far northern New Hampshire, he was surprised to see tracks from a bigger machine. The rough trail is typically used only by riders of all terrain vehicles frolicking on a new 1,000 mile regional network of A.T.V. trails called Ride the Wilds. Mr. Reed figured he was following the path of a game warden in a pickup, so he was intrigued when the family's A.T.V.s reached the top of Sugar Hill and he saw a sparkly blue Mercedes Benz GLA250. "That car must have very good traction," he said. Mercedes would be pleased with that comment, since the GLA was equipped with 4Matic all wheel drive. It might be less enthusiastic about the "car" description, since the G in the model name is the company's designation for a sport utility vehicle with "some off road capability." Mercedes describes the new for 2015 model as "the gateway" to its S.U.V. lineup. The GLA enters a growing segment of small luxury S.U.V.s like the Audi Q3, BMW X1, Lexus NX, Lincoln MKC and a new Land Rover, the Discovery Sport, that goes on sale next year. But while the GLA badge announces "sport utility vehicle," its mechanical underpinnings whisper "car." Much of the GLA's innards is shared with the least expensive Mercedes automobile sold here, the CLA Class, which was new for 2014. The most affordable GLA will be the front drive GLA250, which is due to reach showrooms next spring with a starting price of 32,225. On sale now is the all wheel drive 4Matic version priced at 34,225. That is about 6,600 less than its GLK350 sibling, which is about four inches longer and had previously been the least expensive Mercedes S.U.V. Also available now is the GLA45 AMG, a high performance 355 horsepower version priced at 49,225 and up. Mercedes is not particularly generous with standard features. Basic equipment on the GLA250 4Matic test car did not include a compass, garage door opener, auto dimming mirrors or dual climate controls. All are part of a 2,300 Premium Package that included a fancier stereo. Other options, including a navigation system, bi xenon headlights and blind spot detection brought the total to 41,625. But the company isn't counting on no extra cost features to attract buyers. It's figuring the Mercedes name will be the main attraction for consumers considering their first luxury vehicle. Even though competitors may offer more standard equipment, "it is just the prestige of knowing there is a lot going into a Mercedes," said M. Bart Herring, general manager for product management at Mercedes Benz USA. Despite a price that nearly touched 42,000, the test car's interior didn't look particularly luxurious, a trait that it shares with most of its competitors the biggest exception being the Lincoln MKC, which offers elegant design and materials, if not the same degree of prestige. The GLA can be noisy on bad roads, but the surroundings are comfortable. The controls are generally easy to use, although some of the buttons like the fan speed setting are small. Mercedes says there is 17.2 cubic feet of cargo space behind the second row. That's about the same as the Lexus NX and a little more than the Audi Q3, but about eight cubic feet less than the MKC and BMW X1. On pavement, the GLA250 4Matic isn't so much sporty as it is eagerly compliant. Its light steering is predictable but lacks road feel. Body lean is nicely controlled, and the brake pedal has a quick, firm and reassuring feel. The body has the exceptional solidity one expects of a Mercedes. Indeed, the GLA feels far stronger than competitors like the Q3 and particularly the shaky MKC. The rough road ride, however, can be jolting. Power comes from an engine shared with the CLA sedan, a 2 liter direct injection 4 cylinder rated at 208 horsepower. The turbocharged engine produces 258 pound feet of torque at an accessible 1,250 revolutions per minute, which means that it responds quickly, particularly with the 7 speed automatic. But as with most 4 cylinder engines there's a droning and vibration at low engine speeds that seems inappropriate in a Mercedes. In Car and Driver's testing, it took 6.4 seconds to go from zero to 60 miles per hour. The federal economy estimate is 24 m.p.g. in town, 32 on the highway. The GLA250 4Matic has eight inches of ground clearance, helpful in deep snow or while traveling a rough dirt road. In addition, there's an off road button that recalibrates the transmission and how the engine responds to allow delicate power inputs, which is helpful on rough terrain. Another feature helps to slow the vehicle on steep descents. Mercedes' claim that the GLA is an S.U.V. is comical in the case of the high performance version, the GLA45 AMG, whose 4.8 inches of ground clearance is less than some cars'. Rather, think of it as a very hot hatchback, like a Volkswagen GTI or Mazdaspeed 3 with more exclusivity, performance and a higher price tag. The GLA45's 355 horsepower engine is a turbocharged 2 liter twin cam 4 cylinder rated at 332 pound feet of torque between 2,250 and 5,000 r.p.m. The transmission is also a 7 speed automatic, and a sport suspension is standard. Re engineering by AMG, the company's in house tuning operation, has resulted in a firm ride and instant responses whether accelerating, stopping or turning. That's accompanied by enough lateral grip that one might assume any corner can be taken at high speed. This might, however, be an ill advised assumption. Mercedes says the GLA45's unloaded weight of 3,457 pounds is only 29 more than the GLA250 4Matic, and the acceleration is impressive under any circumstance. Mercedes says it takes only 4.8 seconds to reach 60 m.p.h., and the top speed is 155 m.p.h. The combination of power and handling makes the CLA45 such an engaging companion that one might temporarily forget the cost of such entertainment. Though the price starts below 50,000, the test vehicle carried a sticker of 60,705 with options including leather upholstery, carbon fiber trim, an upgraded interior, a rearview camera and navigation system, blind spot assist, a performance exhaust and a panorama sunroof. Fuel economy is estimated at 23 m.p.g. city and 29 m.p.g. highway. As with the GLA250, premium fuel is recommended but not necessary. Mercedes predicts that the GLAs will appeal to upwardly mobile buyers in their 30's. But such vehicles also likely to attract those who once bought midsize cars or S.U.V.s and are interested in a smaller vehicle with "premium content," Jeff Schuster, the senior vice president for forecasting at LMC Automotive, wrote in an e mail. But despite Mercedes' marketing wizardry and the GLA's sport utility tag it's a good guess that Mr. Reed and his A.T.V. riding family have seen their first and last GLA on anything that could be remotely considered off road.	N24News: A New Dataset for Multimodal News Classification	Automobiles
The never ending fascination with 1970s New York night life takes a more tangible form at Night Fever, a temporary bar and gallery that opened last November at the Museum of Sex. Built around a photo exhibit of Bill Bernstein's explicit black and white photos from infamous clubs like Xenon and Studio 54, the bar allows patrons to view the art while sipping cocktails and dancing to the disco beat. "It's like a time travel space where you get to see these different examples on the wall and you could try something out maybe for a night," said the associate curator, Lissa Rivera, describing how the art serves as a how to manual for partying in that hazy decade. Previously a lounge and library for erotic books, the large room was given a disco makeover as a new gallery for the Bernstein photos, which were recently published as a book. Serge Becker, a downtown impresario (the Box, Miss Lily's), was brought onboard to assist on the project and, working with the designer Jason Volenec, created a Factory esque space featuring foil on the walls, low slung black sofas, zebra rugs, chrome coffee tables and a constellation of disco balls. At the center of the room is a monolithic Richard Long sound system, roped off like the work of sonic art that it is.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Charles Garcia drives against former N.B.A. player Sim Bhullar on March 19 in his first game for Taoyuan Pauian Archiland. It was the last game Pauian played at Banqiao Arena before all games in Taiwan's Super Basketball League were moved to a smaller training center. As a student at George Washington University, Ben Metcalf worked as a Washington Wizards ball boy for the same two seasons that the Wizards employed a shooting guard named Michael Jordan. Soon after, Metcalf was an intern in the Orlando Magic video room when they beat the Knicks on opening night and then lost 19 games in a row. Metcalf downplayed the novelty of such a distinctive start to his climb in the sport with the claim that "every video guy has the same stories." Yet it will be harder for him to dispute the idiosyncratic nature of his latest resume entry: Metcalf, 38, is an American head coach in Taiwan, working in what is believed to be the world's only widely recognized professional basketball league that is operating during the coronavirus pandemic. The global health crisis has shut down nearly every league on the basketball map, but not Taiwan's Super Basketball League. So on Thursday night, Metcalf coached his Taoyuan Pauian Archiland team in an 85 77 loss to Bank of Taiwan, which was led by the former Duke guard Matt Jones with 29 points. Pauian played again Friday and Saturday in its final two regular season games and will open the playoffs Tuesday all of which is taking place in a small gym with no fans in a modest version of the "bubble" environment that the N.B.A. is likely to try to replicate if conditions in the United States allow the resumption of its suspended season. The S.B.L. indeed has some significant advantages over the N.B.A., as well as various leagues in the region that have either stalled in their efforts to relaunch (China) or decided to outright cancel the rest of the season after unsuccessful restarts (Japan and South Korea). Taiwan's league comprises only five teams in a country, crucially, that has coped with the coronavirus pandemic as well as any. Despite its proximity and considerable business ties to China, where the coronavirus originally spread, Taiwan's successful containment fewer than 400 reported Covid 19 cases and only six deaths as of April 10, according to the island's health minister has been attributed by many experts to lessons learned and measures adopted after the outbreak of severe acute respiratory syndrome (SARS) in 2003. "Life here is pseudo normal," Metcalf said. An order from the Taiwanese government nonetheless shut down all arenas under government control on March 19, suspending indoor events with more than 100 people and all outdoor events with more than 500. The S.B.L. initially planned to shut down for two weeks but managed to relocate days later to the HaoYu Basketball Training Center to stage all games there and ensure gatherings in the building never stray beyond 100 occupants. The only people allowed inside, beyond the teams playing and the referees, are camera operators for the television broadcasts, officials found at the scorer's table, and journalists at a press row table behind one of the baskets. Many working in those capacities, as well as various team staffers and inactive players on the bench, wear masks with some forced to watch in socks if they forget that only rubber soled shoes are permitted inside. Grey curtains hang over the windows behind the opposite basket, covering the glass from an adjacent weight room so it stays hidden from TV viewers. "It feels like an adult league," said Charles Garcia, Pauian's star American import. "It's a rec center," Metcalf said, "for lack of a better term." Playing without fans, to Garcia, is the big turnoff. The well traveled Los Angeles native, who played professionally in 11 countries before leading the Taipei Fubon Braves to the Taiwanese title last season as finals M.V.P., strongly backed the recent assertion by the Lakers superstar LeBron James that playing in an empty arena would be unacceptable for the N.B.A. "No way, no way, no way," Garcia said. "You need the fans. Where you going to find your energy? I can't even imagine that in the N.B.A. That would be really tough." When they arrive at the HaoYu door, S.B.L. players are greeted by league officials who check their temperature with a forehead thermometer and record the information next to each player's name. It is assumed that a confirmed coronavirus case in the league would lead to an immediate suspension of S.B.L. play, but no Covid 19 testing is done on site. Any player with a temperature above 99.5 degrees Fahrenheit is refused entry to the facility. Metcalf said high fives among Pauian players have been "outlawed." They have rubbing alcohol sprayed on their hands as soon as they exit layup lines and during timeouts by Penny Peng, the team's athletic trainer. Peng also makes the players wash their hands thoroughly at halftime and after the game, but such mandates may not be universal. In Pauian's recent loss to first place Taiwan Beer, opposing players could be seen on a Twitch broadcast exchanging high fives during pregame introductions. Another big change: Pauian's official Facebook page has seen an uptick in messages from presumed bettors from countries like India and Russia, seeking information on lineups and injuries amid a scarcity of live sports available to gamblers. The Chinese Basketball Association, with 20 teams in a huge country, is understandably seen as a more representative study guide for the N.B.A., and the C.B.A. continues to inch closer to a return after a stoppage that has lasted more than three months. The former N.B.A. guard Pooh Jeter said in a Twitter post on Thursday that "it's starting to be normal over here in China" and that his Fujian Sturgeons team have begun practicing five on five. Yet it is reasonable to expect the N.B.A. to mimic some of the S.B.L.'s game night protocols if it can ultimately secure the needed backing of government officials and public health experts to reopen. One proposed plan to potentially resurrect the season calls for convening teams at a centralized site, like Las Vegas, where the N.B.A. already stages the G League Showcase every December without fans. "The only noise is from your teammates," Garcia said. "I don't even drink Red Bull, but I'm drinking Red Bull now before a game to find energy. When I get a dunk, you want to scream, but you can't. It's pointless. So I just run back on defense." After stops in far flung leagues as disparate as Bahrain, Iceland and the Philippines, Garcia appeared to have found a home in Taiwan. He began this season with the Fubon Braves alongside the N.B.A. veteran O.J. Mayo in the ASEAN League, which culled its 10 teams from eight countries. Garcia, a 6 foot 10, 240 pound forward, then joined Pauian within a week of the ASEAN League's shutdown in March and quickly helped Metcalf's team assemble a five game winning streak. Garcia's season, though, turned tragic on Wednesday when his father, Charles Sr., died of kidney failure at 59. The news reached Garcia in the midst of a two game suspension for a recent scuffle with the 7 foot 5 Sim Bhullar, who briefly played in the N.B.A. with the Sacramento Kings and began the season as a teammate alongside Garcia and Mayo with the Braves. Rather than make his expected return to the lineup on Friday against JeouTai and the league's No. 2 scorer Franklin Session of Cal State Los Angeles, Garcia flew back home to California. Pauian has also lost its best outside shooter and sixth man Lee Chi Wei from the Taiwanese national team to a broken hand. Since it is too late, according to league rules, to replace Garcia on the roster with another import, Metcalf experimented with some new rotations during the Bank of Taiwan loss, searching for combinations to compensate for all the offense he has lost. Born in Japan when his father was stationed there in the Navy, Metcalf has also lived in England and Turkey and moved to Taiwan in 2007 in hopes of learning Mandarin after working under five coaches in four N.B.A. seasons with the Magic. He initially planned to stay for "a couple years" but never left, marrying a Taiwan native and landing the Pauian job at age 33. "This game takes us some strange places," Metcalf said. With his 5 month old son asleep, Metcalf then excused himself to take advantage of the quiet in the house to resume watching game film. One of coaching's least glamorous pastimes, in these coronavirus times, is suddenly a privilege. "Always a video guy at heart," he said.	N24News: A New Dataset for Multimodal News Classification	Sports
If I had any problem with the book, it was logistical, related to certain plot points inserted seemingly for convenience, but without organic explanation, or even a simple acknowledgment from our narrator. This kind of quibble is both big and small. It bothers because it pushes the general suspension of disbelief too far, but thankfully the moment is brief. Despite this narrative not so sleight of hand, Bump's ending still manages to be unexpected and unromantic, while containing so much love and hope. It would be a mistake to think of this book as a political one one about the police, or gang violence, about being black in America. Such language is a legacy of the white male voice (his dominance ever diminishing, one hopes) who believes there is such a thing as an apolitical novel, a neutral position, in this country and climate. Above all this book is personal: Bump's meditation on belonging and not belonging, where or with whom, how love is a way home no matter where you are, is handled so beautifully that you don't know he's hypnotized you until he's done. Most funny things are funny because they're real, this book included. I mean real, here, as something distinct from realism; his characters feel true to their environment in ways only an author who has known people like this, has lived a life at least adjacent to this one, could write. Amid ambient contemporary questions about cultural appropriation, I believe in the power of imagination, that you aren't required to have lived everything you write about. That said, readers of color know a fake on the page, in the language when we see one. I don't know the life has lived, if it actually resembled Claude's. But the overwhelming impression of this novel from the cheap weed smoked out of lunchroom apples to Claude's reluctant "diversity" assignment for his college paper, which ends up being "all about death and fixing injustice" is that it's genuine. There's something big (and yet stifled) happening in the publishing world now, a reckoning with who has the right to write what when it comes to fiction. My personal stance on writing fiction across racial divides is that you better have a pretty damn good reason to do it, and it better not sound even a little bit altruistic. I also believe we as readers have a responsibility to not only call out problematic examples, but also to honor those doing it right, those of any color who are writing about underrepresented or misrepresented communities, and doing the best of what fiction can do at the same time. is doing that, has done that. And "that's enough culture for one day."	N24News: A New Dataset for Multimodal News Classification	Books
TERENCE BLANCHARD AND THE E COLLECTIVE at the Blue Note (April 18 21, 8 and 10:30 p.m.). Since his arrival in the 1980s as a member of the Young Lions scene, Blanchard has become one of jazz's most effortlessly flexible trumpeters and inquisitive bandleaders. He is known for scoring most of Spike Lee's movies (his music for "BlacKkKlansman" was nominated for an Oscar this year), but his most consistent concern over the past few years has been the E Collective, a quintet of Blanchard and spry young improvisers who play his explosive original music often guided by social concerns and currently include the guitarist Charles Altura, the pianist Fabian Almazan, the bassist David Ginyard Jr. and the drummer Oscar Seaton. 212 475 8592, bluenote.net EVAN CHRISTOPHER at Dizzy's Club Coca Cola (April 24, 7:30 and 9:30 p.m.). A New Orleans based clarinetist, Christopher dedicates himself to uplifting the jazz legacy of his hometown, while situating it within the context of other traditional black music of the Caribbean. He has a strong and clear tone, and an ebullient stage presence. He performs here with the pianist David Torkanowsky, the bassist Neal Caine and the drummer Darrian Douglas. 212 258 9595, jazz.org/dizzys DAVE DOUGLAS ENGAGE at Happylucky No. 1 (April 19 20, 8 p.m.). Douglas, 56, is good at pulling musicians together in contexts that support their musical voices but sound different from what they typically do. That's the case with Engage, a new ensemble that features five younger improvisers, each aligned with a different corner of the avant garde. As Engage, they play low boil, medium tempo music soaked in lovely harmonies; it's not about centrifugal motion or free improvising so much as it's about depth and connection and body. The group, which recently put out a new disc via Douglas's subscription based Greenleaf Music label, will appear in a slightly modified but equally impressive form here: Douglas on trumpet; Anna Webber on alto flute, bass flute and tenor sax; Tomeka Reid on cello; Miles Okazaki on guitar; Nick Dunston on bass; and Kate Gentile on drums. happyluckyno1.com/happenings LARRY GOLDINGS, PETER BERNSTEIN AND BILL STEWART at Jazz Standard (April 19 21, 7:30 and 9:30 p.m.). Over the past three decades, this trio has been one of jazz's quiet stalwarts. Goldings's organ is sometimes frisky, sometimes smoldering; Bernstein plays the guitar more crisply and adroitly than almost anyone in the game; and Stewart's drum work balances the influences of Tony Williams and Paul Motian into an attack that's buoyant and tonally sensitive and complex. The group released a charming album last year, "Toy Tunes," and will likely draw from that material during this weekend run. 212 576 2232, jazzstandard.com LAURENCE HOBGOOD at the Rubin Museum of Art (April 25, 7 p.m.). As a pianist and arranger, Hobgood may be best known for his two decade collaboration with the vocalist Kurt Elling, which came to an end a few years ago. On "tesseterra," Mr. Hobgood's new album, he draws upon the textural and stylistic breadth he long deployed as Elling's musical director; the album finds him combining a jazz trio with a string quartet, playing a mix of thoroughly rearranged classic rock tunes, jazz standards and a Chopin waltz. Two impressive things stand out: how enormous his arrangements make the string quartet sound, and how fluidly these seven musicians blend together. He will play material from the disc at the Rubin with that hybrid ensemble: Leonor Falcon and Tomoko Omura on violin, Jen Herman on viola, Brian Sanders on cello, Matt Clohesy on bass and Jared Schonig on drums. laurencehobgood.com/rubin cd release concert KASSA OVERALL AND KRIS DAVIS at the Jazz Gallery (April 25, 7:30 and 9:30 p.m.). Once a month since December, Overall a drummer, producer and contemporary music syncretist who recently released a solid album merging jazz and hip hop has brought a prominent piano innovator to the Jazz Gallery for a one night collaboration as part of his continuing "Time Capsule" project. Davis is among the most radical pianists of her generation, a sharply articulate and ruggedly uncompromising improviser; joined by the bassist Stephan Crump, she'll almost certainly take Overall who strikes the drums in measured, deliberate gestures, despite his zesty demeanor as a performer into fresh territory. 646 494 3625, jazzgallery.nyc GIOVANNI RUSSONELLO	N24News: A New Dataset for Multimodal News Classification	Music
My first summer job was at the port of Beirut. It was the late '90s and I was just a teenager. I spent muggy months entering shipping data as part of an ambitious new program to move the port from analog to digital log keeping. It was as unglamorous as you would expect from a bottom rung job in the bowels of a Middle East bureaucracy. But despite the heat and the monotony, there was optimism. The port was critical infrastructure in an economy rejuvenating after 15 years of civil war. Digital log keeping was part of the future and an attempt to introduce much needed order and transparency to a recovering public sector. This was, after all, the same port that had been rendered unusable during the civil war by sunken vessels and unexploded ordnance, save for one area controlled by a militia. The Lebanon that emerged from that rubble is gone, gradually choked by a cynical political class. Yesterday, it was finished off. The port of Beirut was blown up in an explosion that killed at least 100 people (and counting), wounded more than 4,000 and destroyed blocks of the city. Lebanon now faces a new type of catastrophe for which decades of war and political instability were poor preparation. By all appearances the port disaster did not involve the usual suspects Hezbollah, Israel, jihadist terrorism or the government of neighboring Syria. The truth seems to be both duller and more disturbing: Decades of rot at every level of Lebanon's institutions destroyed Beirut's port, much of the city, and far too many lives. It is precisely the banality behind the explosion that captures the particular punishment and humiliation heaped on Lebanon. So far, Lebanese officials are in agreement about what happened, though it's likely that more than one "official" account will emerge. After all, this is Lebanon, a country deeply divided by politics, religion and history. But here is what we know as of now, according to reporting by credible Lebanese media: Some 2,750 tons of ammonium nitrate unloaded from a disabled vessel in 2014 had been stored in a port warehouse. Then yesterday, a welding accident ignited nearby fireworks which caused the ammonium nitrate to explode. Ports are prime real estate for political, criminal and militia factions. Multiple security agencies with different levels of competence (and different political allegiances) control various aspects of their operations. And recruitment in the civilian bureaucracy is dictated by political or sectarian quotas. There is a pervasive culture of negligence, petty corruption and blame shifting endemic to the Lebanese bureaucracy, all overseen by a political class defined by its incompetence and contempt for the public good. It's unclear what combination of these elements let a bomb in waiting sit in a warehouse for almost six years, moved fireworks next to it and allowed irresponsible work practices to be carried out nearby. But the catastrophe, while exceptionally severe, is the result of business as usual in Lebanon. The country is familiar with explosions, and it is just as familiar with disasters caused by failures of public services: a garbage crisis that dates back to 2015, an environmental catastrophe in 2019 and power outages this year that last up to 20 hours a day. The consequences of yesterday's explosion will be even more serious than the immediate casualties and property damage. The main grain silo, which holds some 85 percent of the country's cereals, was destroyed. Even more, the port will no longer be able to receive goods. Lebanon imports 80 percent of what it consumes, including 90 percent of its wheat, which is used to make the bread that is the staple of most people's diets. About 60 percent of those imports come through the port of Beirut. Or, at least, they did. The timing couldn't be worse. An economic crisis has devastated Lebanon for several months. The country's currency has collapsed, a problem that is itself a result of years of mismanagement and corruption. Hundreds of thousands of people can no longer buy fuel, food and medicine. As Lebanese have seen their savings wiped out and their purchasing power disappear, a new vocabulary appeared among even my optimistic Lebanese friends and family. To describe the country, they began using words like "doomed" and "hopeless." And the coronavirus crisis has placed greater pressure on the health sector. After yesterday's explosion, hospital staff were reportedly treating injuries in streets and parking lots. The explosion may well put Lebanon on the path to a food and health catastrophe not seen in the worst of its wars. Lebanon's political class should be on guard in the weeks ahead: Shock will inevitably turn to anger. But I fear that old habits die hard. These politicians are well practiced in shifting the blame. I don't expect many if any high level resignations or admissions of responsibility. Will there be a revolution? An uprising of anger? Any revolutionary impulse has to compete with tribal, sectarian and ideological affiliations. For that matter, so do the facts: Even if a single official version of the port incident is presented (and even if it is true), some will not believe it. Paradoxically, our distrust of our politicians makes it harder to unite against them. These are real obstacles. Yet there has never been more urgency for reform and accountability, beyond the likely scapegoating of midlevel officials. It is difficult to imagine such a concerted, sustained national movement because it has never materialized. But hunger and a collapse in health care may change that. Lebanon and the Lebanese will need a rapid influx of external aid to stave off a critical food shortage and public health catastrophe. It seems to be coming, from countries across the Middle East and around the world. But this will not arrest the country's decline. Emergency aid will only magnify public humiliation and helplessness. Yesterday's explosion made clear that Lebanon is no longer a country where decent people can live secure and fulfilling lives. As I watched videos of Beirut engulfed in smoke and checked in with my friends and family, I found myself thinking for the first time in a while of that summer when I worked at the port. The digitization project was completed, but parties who disliked the transparency it brought found ways to work around it. Today, it's irrelevant, of course. The port is destroyed. As for the Lebanese, they will be far more consumed by survival than progress. Faysal Itani is a deputy director at the Center for Global Policy and adjunct professor of Middle East politics at Georgetown 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
Don't Believe the Lie That Voting Is All You Can Do The Black Lives Matter movement has had significant wins in recent months. Municipalities have removed statues of racists, corporations have changed branding that reinforced racial stereotypes, schools have cut ties with police forces and cities have reduced police funding. But too often, politicians, celebrities and community leaders who applaud the protesters for these victories are quick to follow up by asserting, like Mayor Keisha Lance Bottoms of Atlanta, that voting "would be the most effective response, the deepest payback" for George Floyd's death or that there is "no greater form of protest" than voting, as Lisa Deeley, chair of the Philadelphia City Commissioners, put it. I've led movements for most of my adult life and have heard similar misguided refrains far too many times. The truth is voting is an honorable act that many movements use as a tactic. But the popular message that it's the only real source of power misleads the public about how social change happens and stifles the energy required to bring about the change we need. Instead of suggesting that participation in movements is inferior to voting, people with influence should educate themselves and the public about the often hidden role of social movements in achieving change in this country. Movements led to the abolition of slavery, brought Jim Crow to its knees and won child labor laws, the minimum wage, the Clean Water Act and more. African Americans and women wouldn't even have the right to vote if it weren't for people taking action. Those victories weren't just the results of elections. They came from the work of activists to change social conditions. Where voting changes the players on the battlefield, social movements alter the very terrain on which the battle is being fought. "Movement work is the thing that enables any of the legal and policy change to be successful," Chase Strangio, a lawyer who won the recent Supreme Court ruling protecting L.G.B.T. rights, explained in an interview with GQ. He noted that Justice Neil Gorsuch, who wrote the majority opinion, had initially worried that protecting transgender people might result in social upheaval. But less than a year later, his mind had been changed. "On some level, I have to believe that in eight months, he learned something from watching what was going on in the world," he said. "And that is a testament not to our briefs and not to the legal movement, but to the organizing movement." A common misconception about movements like the mythic story that Rosa Parks's refusal to move to the back of the bus spontaneously sparked the civil rights movement is that they "just happen." Yes, George Floyd's brutal murder, a flagrantly racist president and the pent up emotions of a pandemic motivated people to take to the streets to demand racial justice. But social movements never emerge just because conditions are bad. Bill Moyer, a movement strategist, wrote about this dynamic in his "Movement Action Plan." He noted that the partial meltdown of the Three Mile Island nuclear power plant in 1979 became a rallying point for people concerned about the dangers of nuclear power. Yet Michigan's Enrico Fermi plant had been closer to a full meltdown in 1966 and didn't lead to soul searching or a social crisis. The difference was that in the intervening years, organizers had worked to seed local groups, build national networks, hone responses to the pronuclear lobby and develop alternative policy platforms. The current movement has done all those things, spurred largely by the 2014 protests in Ferguson, Mo., over the killing of Michael Brown. It grew into a network of dozens of local Black Lives Matter chapters across the United States and Canada. Groups like Black Youth Project 100 and Movement for Black Lives built comprehensive policy platforms, leading to radical, ground shaking demands like "defund the police." As Jessica Byrd, a leader in Movement for Black Lives, said in a recent interview with Time, "Movement made this moment different." If one isn't aware of this work, it's easy to assume that after this phase of street protests ends, the movement will be gone and it will be time to turn to the "real" work of voting to fulfill our civic duty. But people who understand movements know that voting is not the end it's one part of the process. Movements amplify complex questions that otherwise get simplified to sound bites in elections. Questions like: Does society really need armed police answering mental health crises? Can the police be reformed while still armed with military grade weapons? What are practical alternatives to police systems? By changing people's views, movements apply pressure to decision makers. Contrary to popular belief, movements shouldn't be measured by whether the preferred candidates get into office, nor are they undermined by short term failures to cobble together national legislation. A better yardstick for a movement is the public's perception of the problem, a growing certainty that current policies don't work and ultimately people's commitment to embracing alternatives. After all, the 1960s student sit ins against segregation did not immediately result in legislative wins. Even after the peak event of the March on Washington, it took another year for the 1964 Civil Rights Act to become law. It's tempting to think that reform will rain down if we elect the right leaders. Yet most of us know through experience that voting is no magic bullet. Regardless of who wins the election in November, anyone seeking justice knows there's an enormous amount of work ahead of us. Movements provide an avenue to do that work. So yes, I'll vote and help turn out the vote. But I'll never believe the lie that that's the best or only thing I can do to change this country. Daniel Hunter is the associate director of global trainings at 350.org, a strategist with Sunrise Movement and the author of "Building a Movement to End the New Jim Crow." 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
Left and center, Museum of the City of New York; right, Ozier Muhammad/The New York Times Left and center, Museum of the City of New York; right, Ozier Muhammad/The New York Times Credit... Left and center, Museum of the City of New York; right, Ozier Muhammad/The New York Times The blogs are aflame with righteous indignation at the Museum of Modern Art's decision to demolish its new acquisition, the 2001 American Folk Art Museum, at 45 West 53rd Street, designed by Tod Williams and Billie Tsien. Its peculiar but much admired facade of roughened bronze captures the dark side of high style modernism, the spaceshiplike surface reminiscent of the planet destroying Death Star in the "Star Wars" series. But MoMA's plan can hardly be a surprise, because its entire history since 1937 is based on demolishing potential landmarks. Construction of big, comfortable brownstones began on this block of West 53rd in 1867. It was certainly reassuring when, in 1884, John D. Rockefeller bought the free standing brownstone at 4 West 54th Street along with its spacious garden, promising to be a most congenial backyard neighbor. In the 1890s serious money began to move onto 53rd and built houses to match, like William Barbour, a linen merchant who in 1901 had the architect C. P. H. Gilbert design a chaste limestone mansion at 11 13 West 53rd Street, later occupied by MoMA as its first building. The following year the banker George Blumenthal hired Hunt Hunt to design a deliciously corpulent Beaux Arts house at 23 25 West 53rd, which later became MoMA's bookstore. In 1905 Archibald Rogers, a yachtsman and engineer, began a sober limestone town house at 35 West 53rd, and John D. Rockefeller Jr. backed both men up with his eight story limestone house at 10 West 54th Street, designed by William Welles Bosworth. That is sometimes described as the tallest single dwelling ever built in New York. Houses by Gilbert, Augustus Allen and other prominent architects joined the crowd. Even though they chose a side street address, these were people with Fifth Avenue fortunes. The 1910 census found Blumenthal at home with his wife and 12 servants, including a valet, a butler and two footmen. But desertions began in 1911, when Blumenthal himself began a huge limestone house at Park Avenue and 70th. In 1922 the remaining householders fought off an attempt to convert his 53rd Street place into a club, but things were beginning to fall apart, and in 1924 it was the subject of an ad in The New York Times: "The House A Jewel; The Price A Bargain." The Rockefeller family had started protecting their West 54th Street properties by purchases on 53rd Street as early as 1900, and in 1924 they bought the old Barbour house at Nos. 11 13. They eventually began to see tarnish on the sterling reputation of the West 50s, and started spending more and more time at their house in Westchester. But they still owned 10 houses on West 53rd Street alone, and others on 54th. It was particularly convenient, then, when the fledgling Museum of Modern Art, co founded in 1929 by John D. Rockfeller's wife, Abby, outgrew its office building quarters on Fifth and 57th. The Rockefellers gave the museum a new home in the old Barbour mansion. This the museum outgrew in 1937 and replaced with a work of sleek modernism. Fortune once more smiled on MoMA when the Rockefellers gave it their old homestead on West 54th Street, which became a sculpture garden. The museum began acquiring neighboring properties, including flanking town houses, which it also demolished. By the 1960s the remaining private houses on the street had been converted to apartments and stores. In the 1970s MoMA began mobilizing for the grand expansion resulting in the 52 story Museum Tower development next door, depicting it as a matter of survival. This required the demolition of a row of buildings, including the Blumenthal and Rogers houses, but the subject of landmark designation did not even come up. Preservation organizations have little incentive to run afoul of the boards of influential cultural institutions. Even Ada Louise Huxtable, clearly unhappy with MoMA's plan, did not broach the subject in a 1979 article in The Times, "Side Street Spoilers." MoMA got a pass on the issue of landmark protection. MoMA had a neighbor on the block, the American Folk Art Museum, which had acquired the six brownstones at 45 55 West 53rd Street and had its own grandiose plans, including a 31 story office building with a three story museum at the base, a deal that fell apart in the 1990s. Meanwhile, MoMA continued vacuuming up the rest of the block, demolishing both the 19 story Dorset Hotel on West 54th Street and the 1907 City Athletic Club next door, which was a possible landmarks candidate. The American Folk Art Museum, its sails much trimmed, built its present structure 12 years ago, to much praise from the architectural press. Now it, too, will fall, while MoMA proceeds to fold the folk art site into its own, and also take the lower floors of a tower to be built to the west. That will leave the museum in possession of four fifths of a city block, and no further place to go ... but up. Fortunately, the new tower will be a thousand feet high.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Ballet companies usually like to tuck contemporary work safely between some tutus, carefully sheltering their audiences' delicate sensibilities. Not New York City Ballet. (Hooray.) Program 3 of the Festival of 21st Century Choreographers on Thursday was fairly austere, notable for its impressive musical range, with several scores commissioned by City Ballet. In two ballets, the musicians are integrated into the piece itself. Richard Tanner's 1982 "Sonatas and Interludes" has its pianist (Elaine Chelton) onstage, as a couple (Sara Mearns and Amar Ramasar) perform a spare pas de deux of almost mathematical precision, set to five sections of Cage's 1944 46 writings for prepared piano. The sonorities (plinking, chiming, ticking, jangly) are wonderfully unexpected, more playful than Mr. Tanner's rather sternly compelling duet, to which both Ms. Mearns and Mr. Ramasar bring a focused clarity and subtlety of phrasing that are a joy to behold. Mauro Bigonzetti's 2002 "Vespro," to a commissioned score by Bruno Moretti, also has a pianist (Alan Moverman) onstage, alongside a mezzo soprano (Meg Bragle) and a saxophonist (Ed Joffe), and the ballet begins with Joaquin De Luz first perched on top of the piano, then crashing onto it repeatedly. The music, with its echoes of the Baroque, is more interesting than the overwrought choreography, although Mr. De Luz is a tour de force here. That's true, too, of Tiler Peck and Tyler Angle in Benjamin Millepied's 2012 "Two Hearts," a pretty, competent ballet set to another commissioned score, by Nico Muhly. Mr. Millepied is sensitive to Mr. Muhly's shifting rhythms, and he creates a vivid showcase for Ms. Peck's breathtaking technique and timing, and Mr. Angle's remarkable, unobtrusive partnering skills. But emotion pervades only the work in the final pas de deux, set to a dark folk song and oddly disconnected from the rest of the piece.	N24News: A New Dataset for Multimodal News Classification	Dance
The George, in the New York City suburb of Montclair, N.J., is a collaboration between Bobbi Brown, the founder of the beauty line Bobbi Brown Cosmetics, and her husband, Steven Plofker, a real estate developer. The 32 room property, open since April 1, was originally built in 1902 as the private home of Charles Van Vleck, a wealthy local businessman. In the 1940s, the building was converted into The Georgian Inn, a residential style hotel that hosted many long term guests (the property's original name inspired its current one). Mr. Plofker and Ms. Brown bought the property in a run down condition in 2015 and spent two years modernizing the building, along with restoring many of its original elements such as the stained glass window in the lobby. The hotel's interior now has contemporary furniture and decor and a slightly industrial feel, with touches like exposed brick walls and guest rooms with metal closets. Mr. Plofker and Ms. Brown are longtime Montclair residents, and The George is their first hospitality venture. "We're avid travelers and love small hotels with personal touches," Ms. Brown said. "We wanted to create one in our hometown ." Montclair, 12 miles from New York City, is an affluent suburb that is home to producers, artists and other creative types. The George is about a 15 minute walk from downtown Montclair, a vibrant area with restaurants and locally owned boutiques, and near the Montclair Art Museum, which has a notable collection of American and Native American art. New Jersey Transit has several trains a day between Montclair and New York Penn Station; the ride takes from 50 minutes to an hour.	N24News: A New Dataset for Multimodal News Classification	Travel
In the span of just two days, Salt Lake City learned that it would join the list of American cities without a daily newspaper after both of its major papers said they would stop printing a daily edition at the end of the year. The Deseret News will instead print a weekly edition, as well as a monthly magazine, its editor, Doug Wilks, said in an op ed article on Tuesday. That news came the day after the city's other major newspaper, The Salt Lake Tribune, announced that it would switch from a daily printing schedule to a weekly one. The newspapers said that on Dec. 31 they would end a 68 year old partnership that allowed them to collaborate on printing, delivery and advertising. Utah Media Group, which manages the printing operations, told its 161 employees on Monday about "the coming end of the printing company, detailing severance packages," The Deseret News reported. "I'm heartbroken," the city's mayor, Erin Mendenhall, said in a phone interview on Tuesday evening. "Our capital city has had two fantastic papers for my lifetime and longer," she said.	N24News: A New Dataset for Multimodal News Classification	Media
VOX LUX (2018) Stream on Hulu. Natalie Portman plays Celeste, a pop star whose success was born from tragedy. As a teen in 1999, Celeste survived a school shooting and was discovered after she sang at the memorial service. With the help of her sister (Stacy Martin) and manager (Jude Law), Celeste rockets to fame. But by 2017, overcome by scandal, her career is in a nose dive. As Celeste prepares for her comeback, she gives in to fits of rage and faces the challenges that come with fame and motherhood. Written and directed by Brady Corbet, the film was chosen as a New York Times Critic's Pick by Manohla Dargis, who wrote in her review, "Portman's performance puts an exclamation point on Celeste's every gesture, word and saunter." Portman also sings original songs written by Sia. BLITZED: NAZIS ON DRUGS (2019) Stream on Acorn TV. Narrated by Steven Berkoff, this one hour documentary explores how drugs played a role in World War II. Theodor Morell, Adolf Hitler's personal doctor, gave the Nazi leader daily drug cocktails and fed the troops methamphetamine. The film looks at whether and how drugs affected the war's outcome.	N24News: A New Dataset for Multimodal News Classification	Television
For Peloton's first two years in business, venture capital investors didn't get it. The company's founders struggled to convince them that blending stationary bikes and streaming live video classes would work. It had to cobble together money from a network of more than 200 angel investors to get off the ground. But six years and a quarter of a million bikes later, the company is the toast of Silicon Valley. On Friday, Peloton announced it had raised 550 million in financing from prominent investors led by TCV, a firm known for investing in Facebook, Netflix and LinkedIn. Peloton has now raised 1 billion and is valued at 4 billion. The combination of hardware and software that initially turned off investors is now viewed as an advantage. After Peloton sells customers a bike for 1,995, the company charges a 39 monthly subscription for the live video classes. Jay Hoag, general partner of TCV, compared the business model to Apple's iPhone and App Store. And he said Peloton's repeat revenue from subscriptions reminded him of Netflix, where he's a board director, and of Spotify, a TCV portfolio company. "They have a similar sized opportunity to reshape fitness," he said. Peloton is on track to bring in 700 million in revenue for the fiscal year ending in February, said Jessica Kleiman, vice president of global communications for Peloton. It plans to go public in 2019.	N24News: A New Dataset for Multimodal News Classification	Technology
Facebook faced criticism on Wednesday after an analyst pointed out that the company's online advertising tools claim they can reach 25 million more young Americans than the United States census says exist. The analyst, Brian Wieser at Pivotal Research, said in a note Tuesday that Facebook's Ads Manager says it can potentially reach 41 million 18 to 24 year olds in the United States and 60 million 25 to 34 year olds. The catch, according to Mr. Wieser: the census counted just 31 million 18 to 24 year olds last year and 45 million 25 to 34 year olds. "The buyers and marketers I talked to were unaware of this and they are using it for planning purposes," Mr. Wieser said in an interview. "Buyers are still going to buy from them and plan for them, but this is something that doesn't need to be an error and puts every other metric they might provide into question." The criticism over audience figures comes as Facebook disclosed on Wednesday that hundreds of fake accounts apparently based in Russia had purchased 100,000 worth of political advertising during the American presidential election last year; the tech firm said it had shut down the accounts.	N24News: A New Dataset for Multimodal News Classification	Media
Re "Yale Is Accused of Racial Bias in Admissions" (front page, Aug. 14), about a Justice Department charge that Yale discriminates against Asian and white applicants: I'm writing as an Asian American alumnus of Yale College and the son of low income immigrants and Cambodian genocide refugees. At the end of this article Swan Lee, one of the people accusing Yale of bias, is quoted as saying: "It feels great to finally have our existence be recognized by the government." The government has "recognized" our existence only when it's politically expedient, such as when the president refers to the "Chinese virus" or "kung flu" to deflect blame. With just a few months until the election, this rushed and predictable announcement by the Justice Department is meant to sway Asian American voters and drive a wedge in communities of color. Just as when the anti affirmative action activist Edward Blum declared "I needed Asian plaintiffs" after his lawsuits (with a white plaintiff) challenging the University of Texas's admissions policies failed, the government has decided that it needs Asian Americans as a tool to further its goals of dismantling diversity in higher education and winning re election. But it has not recognized that some Asian American subgroups, like Cambodian Americans, have significantly higher poverty rates than the national average, and struggle to access higher education even at community colleges. Until the government takes action to help all Asian Americans access higher education, then they have not truly recognized our existence.	N24News: A New Dataset for Multimodal News Classification	Opinion
On Tuesday night at Watchung Booksellers in Montclair, N.J., Hillary Rodham Clinton held a book signing for "What Happened," her new book recounting the events leading up to the 2016 presidential election. But there was something competing for the attention of her eager fans: Huma Abedin's dungarees. Ms. Abedin, the vice chairwoman of Hillary Clinton's 2016 campaign, wore Alice Olivia pre fall 2016 floral embroidered flare jeans to the event. Since she tends to be photographed on the streets of Manhattan in pantsuits or patterned dresses, opting for these the day after her soon to be ex husband, Anthony D. Weiner, was sentenced to 21 months in federal prison for sexting with a 15 year old girl, was an intriguing choice. Ms. Abedin has a long relationship with fashion. She has been spotted with Anna Wintour all over New York City this year. She attended the Met Ball twice and was shot for Vogue multiple times, wearing designers like Oscar de la Renta (her wedding gown) and Ralph Lauren. When she stood by Mr. Weiner during his 2013 New York City mayoral campaign as he acknowledged that his pattern of texting sexual images to women had continued, she wore a subdued outfit with a black cardigan sweater and her hair back in a bun.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Nets guard Kyrie Irving will have an operation on his ailing right shoulder and miss the rest of the regular season, Sean Marks, the team's general manager, told reporters on Thursday. Marks said the decision had been made after Irving spent the "last few days visiting with a specialist." Irving is expected to return in time for the beginning of next season, but a more specific timetable will not be determined until after the operation. "He's obviously upset about this," Marks said. "We're here to support him, support the process, moving forward with him." Irving, one of the franchise's marquee free agent signings from last summer, had already missed much of the season because of the injury, plus a few games because of a knee injury. He was limited to only 20 games, but when he was on the court, Irving was one of the most productive players in the N.B.A., averaging 27.4 points a game on a 59.5 true shooting percentage, in addition to 6.4 assists a game.	N24News: A New Dataset for Multimodal News Classification	Sports
If the future of filmmaking is remote and socially distanced, a Zoom seance isn't such a bad place to start. Rob Savage, the director and co writer of "Host," finds a surprising amount of ingenuity in mining the horror of yet another quarantine conference call. Streaming on Shudder, the film makes easy observations about how the pandemic has changed the most mundane activities, but perhaps contains even greater insight. As Haley (Haley Bishop) gathers a group of friends to speak with a medium (Seylan Baxter), the unleashing of an angry demon seems to speak to a collective id. Savage makes common Zoom call interruptions, like strange noises and glitchy video, play double duty as both red herrings and supernatural disturbances. But while the unhappy ghost wreaks havoc, the yearning for collective activity simmers beneath the film's lo fi aesthetic. Channeling the spirits of the dead, on the internet no less, becomes a useful analogy for mourning the recent past. As we sit at home with the devices that promised us limitless possibilities in our hands, "Host" identifies the uncomfortable in between state we exist in, operating ghostlike. One can relate to the fury the poltergeist unleashes, thrashing apartment objects about.	N24News: A New Dataset for Multimodal News Classification	Movies
President Trump is perhaps the world's most powerful television addict. And like any TV fan, he has strong opinions about what he watches. In a series of caustic criticisms this week, Mr. Trump laced into on air stars like the CNN news anchor Don Lemon and Stephen Colbert, host of "The Late Show" on CBS. He insisted that he had tuned out networks like CNN and MSNBC, but he proceeded to comment in detail about those networks' coverage of his administration. Speaking at the White House with reporters from Time magazine, Mr. Trump derided Mr. Lemon as "perhaps the dumbest person in broadcasting" and called Chris Cuomo, the CNN morning anchor, "a chained lunatic." "He's like a boiler ready to explode," Mr. Trump said of Mr. Cuomo. "The level of hatred. And the entire, you know, the entire CNN platform is that way." The president went on to lament the plight of Jeffrey Lord, his stalwart on air defender on CNN, saying: "Poor Jeffrey Lord. I love Jeffrey Lord. But sometimes he's sitting there with eight unknown killers that nobody ever heard of." CNN's public relations team issued a blunt riposte to Mr. Trump on Thursday: "His comments are beneath the dignity of the office of the President." Mr. Trump told Time that he had installed a new 60 inch television in his dining room, and he showed off his prowess with the unit's DVR, on which he compiles cable news clips. The president often reacts on Twitter in real time to cable news segments that he deems critical or ungenerous. Retail earnings and Black Friday: the week in business. Elizabeth Holmes will resume her testimony in her fraud trial. Once a frequent guest on the airwaves, Mr. Trump now appears most regularly on Fox News, speaking with opinionated hosts like Jeanine Pirro, who will run an interview with him on Saturday, and Sean Hannity. He has also granted interviews to the major broadcast networks, including a session with NBC's Lester Holt on Thursday in which the president said he had long planned to fire James Comey, the director of the F.B.I., who was dismissed on Tuesday. The president said he enjoyed watching Fox News in the mornings, "and their ratings have gone through the roof because everyone knows I'm watching Fox." He called MSNBC's coverage of him "ridiculous." His toughest remarks, however, were reserved for Mr. Colbert, whose recent off color joke about Mr. Trump and President Vladimir V. Putin of Russia prompted some online protests among conservatives. "There's nothing funny about what he says," Mr. Trump said of Mr. Colbert. "And what he says is filthy. And you have kids watching. And it only builds up my base. It only helps me, people like him." The president also took credit for Mr. Colbert's recent ratings rise. "The guy was dying," Mr. Trump said. "They were going to take him off television; then he started attacking me, and he started doing better. Inexperienced in government, Mr. Trump appears to feel more at ease in the realm of popular culture, and even amid one of the most frenetic crises of his young administration, he is unafraid to go to that comfort zone. In a head turning Twitter post on Thursday afternoon as his administration was being castigated for its handling of the Comey firing Mr. Trump linked to a Twitter post by Rosie O'Donnell from last year in which the actress, a longtime nemesis of Mr. Trump's, called for Mr. Comey to be dismissed.	N24News: A New Dataset for Multimodal News Classification	Media
After a convoluted explanation of the almost trueness of this story, a bit of sleazy transactional sex on a boat and a possibly metaphorical scene of a sheep freezing to death in an air conditioned villa, we are deposited at the outer edge of the Berlusconi circle, pulled ever closer to the man himself. Our guide, for a while, is Sergio Morra (Riccardo Scamarcio), a handsome young climber with enough sensitivity in his features to make us trust him at least a little. Scamarcio gives off a whiff of Tony Curtis in "Sweet Smell of Success," and also of Marcello Mastroianni in "La Dolce Vita," though his milieu makes theirs look positively antiseptic. In Sorrentino's Italy (and Berlusconi's), parties never stop, promises are rarely kept and a woman's place is wherever a man can get a good look at her breasts. Sergio, who has a wife named Tamara (Euridice Axen), finds his way into the confidence of Kira (Kasia Smutniak), a favorite of Berlusconi's who promises access to "him him." Sergio's plan is to join the ranks of procurers who bring young women to Berlusconi's attention. In exchange, he hopes for a low level political appointment that will bring in some money. Sergio is quickly upstaged by the prime minister himself, who is in a temporary Napoleonic exile in Sardinia. Berlusconi, dressed in white linen, wanders the grounds of his estate, chatting with his wife, Veronica (Elena Sofia Ricci), one of his grandsons, a loyal lieutenant and a court musician. (Though the chronology is not precise, it seems to be 2008 or 2009 .) He pontificates, he sings sentimental songs, he sweet talks and browbeats political rivals and allies, and generally behaves like a guy having the time of his life. Occasionally a note of wistfulness or melancholy slips into his monologues, but real regret and deep introspection are alien to his character. He's a salesman, a showman, a ladies man, a man of the people. What he isn't, in this version, is a monster or a clown. Sorrentino, who has plumbed the decadence of the Roman elite in "The Great Beauty" and splashed around in Vatican intrigue in "The Young Pope," shows more interest in the theater of politics than in its substance. In some ways Berlusconi, a media mogul and cruise ship crooner in earlier phases of his career, a creature of appetite and excess, is Sorrentino's ideal subject. But the overlap in their sensibilities turns "Loro" into a blurry, distracted, sentimental portrait. Berlusconi's womanizing a source of scandal and titillation that is overdue for a serious reckoning serves as an alibi for Sorrentino's voyeurism. And in any case, the film regards Berlusconi's sexual appetite with tender indulgence. Which is also how it treats his scheming and double dealing. A little more than 10 years ago, in the midst of the real Berlusconi's reign, Sorrentino and Servillo made "Il Divo," a scabrous portrait of Giulio Andreotti, one of the masterminds of the now defunct Christian Democratic Party through much of its long ascendancy . That film was an acid etched, unnerving portrait of ideological rot disguised as moral righteousness. This one, by contrast, is warm and soft, which makes it either startling in its sincerity or horrifying in its cynicism. Either way, it might be a portent of things to come, as filmmakers try to frame the legacies of leaders who succeed through shamelessness. Not rated. In Italian, with subtitles. Running time: 2 hours 31 minutes.	N24News: A New Dataset for Multimodal News Classification	Movies
PALERMO, Sicily On a stormy night in October 1969, thieves broke into the Oratory of San Lorenzo, a small chapel in what was then Palermo's dilapidated Kalsa quarter, and made off with one of the city's artistic masterpieces: Caravaggio's "Nativity" altarpiece. Investigators, both national and international, never gave up hunting for the lost painting, which is still No. 2 on the F.B.I.'s list of the top 10 art crimes. Leads pursued in the past all led to dead ends. But new evidence presented at the Oratory this week has revived hopes that the painting might still be found or, at the very least, that its fate might be discovered. In the '60s, no major crime could occur in Palermo without the Mafia knowing about it. So it was natural that investigators looked to Mafia turncoats for clues. Many were interrogated over the years, and some had harrowing tales to tell. One said that the "Nativity" whose dating flip flops between 1600 and 1609, depending on which scholars you ask had been burned in a fire. Another said it had been abandoned and subsequently eaten by mice, or by pigs. Yet another said it had been hidden and was only unveiled during Mafia boss summits. A mobster is said to have used it as a bedside rug. Then in May last year, yet another turncoat, Gaetano Grado, told his tale to an Italian parliamentary body commonly called the Antimafia Commission. Its president, Rosy Bindi, said in an interview that she had never been convinced by the rumors that swirled around the painting, and so the commission, which has an investigative mandate, decided to dig a little deeper. According to this account, two days after the painting was taken, Gaetano Badalamenti, then one of the top Sicilian mobsters, asked Mr. Grado, who at the time was the Mafia member in charge of downtown Palermo, to look into the theft of the Caravaggio. The turncoat said that he tracked down the thieves, and that the painting, after passing through the hands of several mobsters, had eventually ended up with Mr. Badalamenti. (Mr. Badalamenti spent his last 17 years in a federal prison in the United States as one of the leaders of the so called "pizza connection" drug trafficking ring. He died in 2004.) Mr. Badalamenti invited a "very old" Swiss art dealer to see the Caravaggio, according to Mr. Grado. When the dealer laid eyes on it, he "sat and cried, and cried," to the point that Mr. Badalamenti "thought he was stupid," Mr. Grado recalled. Then the Swiss man announced that he would cut it into pieces because it would not sell otherwise. The dealer, who is not named in the evidence that has been made public, has since died, commission officials said. Mr. Grado's account checked out on various fronts. "He's the first turncoat with a direct connection to the theft," Francesco Comparone, the commission's top councilor, said. On Wednesday, Ms. Bindi said: "If you find the right thread, then everything follows. It's clear that Grado was that thread." Not everyone, however, was convinced. For the last 10 years, the Oratory where the theft took place has been managed by the Amici dei Musei Siciliani, a cultural association that promotes art in Palermo. On Wednesday, its president, Bernardo Tortorici di Raffadali, told the dignitaries attending the presentation of the Antimafia Commission's findings, that he thought Mr. Grado's story didn't hold up. He said that over the years, he had moved two altarpieces including a high tech digital copy that had substituted for the missing Caravaggio "a dozen times." It was "extremely complicated," he said, because of the size, weight and position of the canvas above the altar. "This theft was commissioned," he said, adding that he didn't think that line of investigation had been adequately pursued. Ms. Bindi responded that the commission's investigation found that the thieves that night "had been under the guidance of two experts in art thefts." And while the commission found no indication that the Mafia had commissioned the theft, she added, "that doesn't mean that it didn't involve people who knew what they were doing." Ludovico Gippetto, the president of a Palermo cultural association called Extroart, has also adopted Caravaggio's "Nativity" for his project "Wanted," a publicity campaign that involves periodically peppering Palermo with posters of looted artworks on the premise that the better known a work of art is, the harder it is to sell on the black market. In some cases, the strategy has worked, and the works have been anonymously returned. But not in the case of the "Nativity." Mr. Gippetto also has doubts about the Mafia's involvement with the Caravaggio. He said that the daughter of one of the two sisters who were the custodians of the Oratory in 1969 told him that a second object an item that has not been named in depositions had also been stolen on the night of the theft, he said. "Why have the police never interrogated her?" he asked. He's also been told, "by a source," that the theft was on commission for "a family so powerful that the police couldn't even knock on their door," he said during an interview. He declined to expand further, except to say that the family was not in Italy. "Of course," he added, "it's just a hypothesis." At least Mr. Grado's revelations keep the search for the painting alive: The Antimafia Commission's findings have convinced Palermo prosecutors to open a new investigation into the theft. Lt. Col. Nicola Candido, the operations commander of the art theft squad in the Caribinieri, Italy's military police, said that Mr. Grado's revelations had offered new lines of investigation "involving international police forces," but none from the United States. He declined to elaborate because investigations were ongoing. One Caravaggio scholar said she was naturally thrilled that the "Nativity" could still come to light, but was dubious about turncoat accounts. "They haven't been extraordinarily trustworthy," Francesca Cappelletti, who teaches at the University of Ferrara, said. But Ms. Bindi said that the turncoat's new revelations offered the hope that at least a part of the painting could be recovered. "It would be a way of giving back to the city something that belonged to it," she said. Even with a high quality copy in place, the lost painting leaves a void. In an interview on Wednesday, Leoluca Orlando, Palermo's mayor, said, "To think that in this moment, this work, or part of this work, could be in someone's home or a museum that should upset everyone."	N24News: A New Dataset for Multimodal News Classification	Art & Design
Why do we sometimes gravitate toward the unknown when we feel alone? The writing in Jeff Sharlet's gorgeous new book, "This Brilliant Darkness: A Book of Strangers," takes place between lonely traumas: his father's heart attack and his own, two years later. As a magazine writer and the author of several books, Sharlet has made a long career of telling stories, but after his heart attack he started to re evaluate the kinds he thought were worthwhile. "I'd begun to notice patterns in the stories I told," he writes, "and then I'd accepted that the patterns were really formulas." He stopped taking on assignments, gave up returning phone calls and began ignoring deadlines. Instead he turned to posting snapshots on Instagram. These were not solipsistic selfies but images of strangers and their lives. The results, collected in "This Brilliant Darkness," are reminiscent of the work of James Agee, who states in "Let Us Now Praise Famous Men," "If I could do it, I'd do no writing at all here. It would be photographs; the rest would be fragments of cloth, bits of cotton, lumps of earth, records of speech, pieces of wood and iron." Like Agee and his collaborator, the photographer Walker Evans, Sharlet finds a powerful alchemy in writing and looking, and his snapshots inspire a series of micro narratives a mix of documentary, memoir and meditation. "This is a book of other people's lives," he writes, "lives that became for a moment the duration of a snapshot my life, too." In this communion of taking and sharing images an act between strangers, photographer and subject, author and reader lies the heart of this book. Sharlet takes us to pockets of the world most of us will never see or bother to notice, and he has an unusual ability to find grace in everyone's story, training his eye on those whom the rest of us avoid, either out of fear or a lack of curiosity. We meet drifters, radicals, heroin addicts, night shift workers, junk shop owners. The story of 61 year old Mary Mazur, a homeless woman, is a small masterpiece for its nuanced depiction of unresolved grief. When Sharlet meets Mazur, she's at Crown Fried Chicken, in a wheelchair, being accosted by the police, gripping her most beloved possession a plant. Mazur has owned a lot of pets and plants, and, with a few exceptions, all have had one of three names: Cleopatra, Pinky or Beauty. It's not easy to care for them. "But you gotta love something," she says. When Mazur gets a Walmart gift card, she buys a fish tank and 10 fish. All 10 fish get three names. Three, we learn, is the number of children Mazur has had all taken away from her. When one of the fish dies, she keeps it for a while, unable to let go. Sharlet also photographs the most ordinary objects and moments: the light at sundown, a scale, a window lit with the glow of a television. It's as if there had been a net strung beneath the edits of his previous books and articles, catching all the incredible moments too enigmatic to fit a traditional story. The white space in "This Brilliant Darkness" is teeming with life, too, functioning less like a break between vignettes than the lonely domain of strangers a harrowing reminder that there are millions of stories out there, and this book contains just a fraction of them. When we suffer, we often no longer feel connected to the things we know; in many ways "This Brilliant Darkness" is a document of the searching that follows grief. On one page, Sharlet might be writing about Skid Row. On another, he's discussing a postcard he wrote to his mother (who died of breast cancer when he was still in his teens). Poignantly, Sharlet also writes about sharing snapshots with his subjects. The book ingeniously reminds us that all of our lives our struggles, desires, grief happen concurrently with everyone else's, and this awareness helps dissolve the boundaries between us.	N24News: A New Dataset for Multimodal News Classification	Books
Nintendo tapped into the retro gaming trend last year with the release of the NES Classic Edition game console, a 60 gadget that came loaded with 30 vintage games, which became an unexpected hit. Now, the Japanese video game giant is again nodding to the past with the Super NES Classic Edition console. When the original Super NES console was introduced in the United States in 1991, it was beloved by a generation of fans because it introduced games with narrative adventures that demanded a new level of engagement compared with previous systems, whose games merely replicated the endless levels and high scores of arcade games. The Super NES Classic, which is being released on Friday, looks exactly like the original, except it is small enough to sit in the palm of your hand. The 80 console comes preloaded with 21 16 bit games from Nintendo's early 1990s glory days, including "The Legend of Zelda: A Link to the Past," "Super Mario World" and "Yoshi's Island," as well as third party titles like "Final Fantasy III" from Square and "Super Castlevania IV" from Konami. As a bonus, the game package also includes a never released sequel to "Star Fox," one of the first three dimensional games developed by Nintendo. So what was it like to delve into the past? I spent a long weekend testing the Super NES Classic, with a little help from my 8 year old niece Caroline, who provided a fresh perspective on a console that became obsolete long before she was born. Our verdict: The Super NES Classic Edition offers hours of fun, but its lack of many modern features made the console feel like a novelty for misty eyed gamers. Although die hard fans might want to get one fast before it can only be found on eBay, casual gamers may be better off skipping the console and downloading a few classic games a la carte from the Nintendo eShop, the company's online store. Here's a taste of what Caroline and I experienced playing the Super NES Classic Edition. The console is easy to set up: Just plug it into a TV via the included HDMI cable. After that, I had a blast exploring the dungeons of Hyrule in "The Legend of Zelda" and tossing TNT barrels in "Donkey Kong Country." In fact, I played so long, a creeping ache lead to worries about the onset of the dreaded "Nintendo thumb." But as fun as the retro games are, Nintendo did little to update the gameplay for modern audiences. The Super NES Classic has no internet connection, so there is no way to compete online with friends. (The console does come with a pair of controllers, allowing for two player mode at home.) And in a time of wireless technology that allows controllers to be used in any spot in a room, the Super NES Classic controllers are wired and plug into the console, which limits a player's mobility and leaves a mess of cables draped over the floor. The cables are longer than those of the NES Classic, but they are still only about five feet long. I had to place the console on a chair in the middle of the room to play from the comfort of my couch. Another limitation: The Super NES Classic has no slot for game cartridges, so if you hung on to your old Super NES games in the hopes of using them again, you are out of luck. They will not work on this system. Nintendo does offer games from past consoles for download for the Wii U through its Virtual Console service and, starting Wednesday, arcade games for the Switch through its Arcade Archives service. But the Super NES Classic does have a few new and nifty features. One is called Rewind, which lets players back up a minute or so in a game to restart difficult challenges. And each game has four "suspend" points, allowing players to save a game midlevel unlike in the original system, which forced you to rush to finish a level because your mother was calling you to dinner. A feature called Frame also allows players to pick a border around games to fit today's wider screen TVs. The console also offers three display choices: the original 4:3 aspect ratio of the games, a CRT filter that replicates the same blurry look of cathode ray tube TVs, and a Pixel Perfect mode that makes the games look crisp and clean. It's hard to imagine that today's youth would want to play 16 bit games on an outmoded system when they are accustomed to ergonomic controllers, powerful processors, surround sound audio and high definition screens. And the simple, side scrolling gameplay of the past is no match for the interactive worlds created by augmented and virtual reality games. So the real draw of the Super NES Classic is nostalgia. That's a theory I tested with Caroline. Over the hour we played with the console together, she was drawn to the characters she recognized (Mario, yes; Samus Aran of "Super Metroid," not so much). She wanted to play "Super Mario World," which she loved once she learned how to make Mario ride Yoshi. But for a child used to touch controls on mobile devices, other games were harder. Maneuvering Luigi around the track in "Super Mario Kart" proved to be too difficult, and she put the controller down after the first race and switched back to "Minecraft" on her Kindle.	N24News: A New Dataset for Multimodal News Classification	Technology
In Paris, the most striking hotels are not always the largest. Or the grandest. On my visits to the City of Light, I am drawn to smaller, tucked away edifices most of them private mansions, many with ivy kissed courtyards. These intimate 19th century lodgings offer belle epoque charm and top drawer amenities. For me, they evoke the high society of turn of the century Paris and the grandeur of those times. Though the nattily attired dandies and haughty aristocrats (for the most part) have faded into history, their mansions have survived offering would be bons vivants and lovers of 19th century French literature the kind of accommodations that recall the raconteur filled salons chronicled in the novels of Honore de Balzac. The location of La Reserve Paris is best described as in the thick of it. The mansion in the style of Baron Georges Eugene Haussmann, the architect celebrated for reimagining modern Paris, is in the stylish 8th arrondissement, on tree lined Avenue Gabriel overlooking the Grand Palais, Eiffel Tower and Place de la Concorde's towering obelisk and steps from the boutiques of Avenue Montaigne. Despite the heavily trafficked area, it manages to feel removed from the fray. Over cocktails in the jewel toned salon, reading in the interior courtyard, lounging in your sleek yet sumptuously appointed room, it's not difficult to conjure the image of the Duke de Morny (Napoleon III's half brother who owned the mansion from 1854 to 1888) leaning over the wrought iron balconies, gazing at the sunset. Reimagined as La Reserve in 2015 with interiors by noted designer Jacques Garcia, the 40 large rooms (26 are suites) have kitted out marble bathrooms (heated floors, Toto Japanese toilet) and luxurious accents like Quagliotti linens, separate robes for bathing (fluffy) and lounging (brushed cotton) and a walk in mini bar area brimming with made in Paris chocolates, wines and juices. The hotel also has a pool and small spa. Rates start at 1,100 euros, or about 1250 Amid the narrow, streets of the Left Bank, close to the Latin Quarter's jazz clubs and book shops and profiting from the youthful glow of the Sorbonne, L'Hotel exudes the bohemian spirit of Saint Germain des Pres. This 20 room hotel, tucked into rue des Beaux Arts, delivers a theatrical brand of opulence along with a juicy history. Erected in 1828 on the palace grounds of Queen Margaret of Valois (first wife of Henry IV), the property began as a boardinghouse ("un hotel de voyageurs") and evolved into a hotel, first Hotel d'Allemagne in 1868, then Hotel d'Alsace in 1870 which attracted literary types (Oscar Wilde and the Argentine poet Jorge Luis Borges were both residents). Once recast as L'Hotel in the 1960s, it became watering hole de choix for glitterati, including the Spanish surrealist painter Salvador Dali and Jean Cocteau, the French poet, dramatist, screenwriter and novelist. It was home to Serge Gainsbourg, the irreverent French singer songwriter, and the British actress Jane Birkin (the album "Melody Nelson" was written here) and a luxurious Parisian perch for Frank Sinatra, Elizabeth Taylor, Mick Jagger and Jim Morrison of The Doors who famously attempted to commit suicide by tossing himself from a first floor window only to land on the roof of a parked car. Fin de siecle glamour runs from the top floor Cardinal's Suite down the leopard carpeted spiral stairway to Le Bar where tufted velvet chairs, vintage barware and an outre vibe attract a nightly crowd of locals. Rooms, with names like Saint Petersbourg, Marco Polo and Mata Hari, are flamboyant, furnished to reflect their inspirations. Start or end the day in the candlelit subterranean plunge pool and hammam steam room. In Montmartre, on quaint Avenue Junot far from the beret infested tourist traps surrounding the hilltop church of Sacre Coeur, the former home of the Hermes family was transformed 11 years ago into a tiny and quirky hotel with five suites. Each suite was individually designed by artists handpicked by the owner, interior designer Morgane Rousseau. As you walk through the wraparound garden, down the cobblestone pathway (where you'll be greeted by chickens) and through the classic facade, the Moulin Rouge era appeal of Hotel Particulier is revealed: moody velvet drapes, gilded wallpaper, taxidermy and the animated din of a petanque game carrying over from the court next door. Rooms are modern with contemporary photography and whimsical touches like a painted set of eyes peering down at the bed. You don't need to go far for a buzzy cocktail scene. Descend to Le Tres Particulier, the hotel's romantic bar, a 2014 addition, with black and white checkered floor, red fringe trimmed velvet club chairs, potted palm trees and a crowd of champagne sipping locals.	N24News: A New Dataset for Multimodal News Classification	Travel
In normal circumstances, I help groups meaningfully connect with one another. I get phone calls from people trying to figure out things like how to create a leadership retreat that's transformational and provocative, and actually gets people to talk about the things they actually need to talk about and might have been avoiding, without feeling cheesy or too contrived. Or how does a public official re imagine a town hall, and do it in a way where they're actually changing their relationship with their constituents? Or simply a friend finding themselves coaching their seven year old's soccer team, and wanting to know how to run each practice so that they feel like they're becoming part of a team, not just learning a sport? In the past few weeks though, the calls that I've been getting have been very different. People want to know how do we do this together while we're actually apart? And many of the calls that I'm getting are related to the core moments that people are still wanting to mark without having the tools that they usually have to mark them with. Many of us right now are in the position where we're trying to figure out whether to cancel a gathering altogether, to postpone it until who knows when, or to migrate it into a digital platform. Ellen, the woman who called me about her Seder, is coming already having decided to try and reinvent this night digitally. This is how the email invite to this year's Seder reads. And one of the reasons we chose this gathering as the first episode in the series is because of the four foundational questions that Passover gives us, and particularly, the magical first question. How or why is this night different from all other nights? This question is generally asked by the youngest at a Seder. The reason is to draw them into the story and make them feel part of the night. And this, to me, is the question, not just for Passover, but for all of our gatherings. Why are we doing this? To what end? How do we make this night different from all the others that came before it? How is this wedding different than all the other ones in our community? How is it unique to the people getting married? Unique to this moment? The first step to creating a meaningful, transformative gathering is to understand the deeper purpose underneath it, and make sure that purpose is specific and unique to the need it's trying to serve in that moment. I call this the Passover principle of gatherings. When you're planning a gathering, to ask first, how is this gathering different because of whose planning it, because of who you're inviting, because of what it is you're trying to do, then all of the others? With this in mind, I called Ellen, the woman having the Zoom Seder in California. In any gathering, there are official hosts and unofficial hosts. Every gathering has an opportunity to get your guests to feel like sub hosts, to help them share in the creation of the event, and also worry about its success. And one of the simplest ways to do that is to give people specific roles and give those roles titles. I had a friend who often, when she was hosting large groups of people, would choose five water ministers for a night, and five wine ministers. And ahead of time, or sometimes when people just walked in the door, she said hey, would you mind doing this role tonight, which is anytime you see an empty glass, would you mind just filling up their water? And by giving it a name, a water minister, she changed an activity or a task into an identity. And in that identity, she elevated their role and gave meaning to the larger group. And this is what I'm trying to do with Ellen here to move away from this kind of obligatory task of getting grandma online or to help somebody download Zoom and make sure they test it, to actually honoring and elevating and seeing that role as part of an essential ritual. When you help somebody plug in to Zoom or Skype or Google Hangout, part of what you're doing is you're moving them from a state of disconnected to connected. So we start to play with that idea on this call. There's always like, the someone leading the charge. But there's a way, if you have 40 different people coming in, to create an element of like sub hosts. And so if there's this like, almost like, if the major note is these three hosts, this year it may make sense to have some minor notes be technical hosts, allowing the younger ones ahead of time to really say, would you be you can make up a word for it. I mean, maybe people are already online. But would you be a Zoom guide? Or like, a pun! I don't know if there's like, a Yiddish pun or a Hebrew pun, like between Zoom and There must be. There must be. Yeah, yeah. Right? Like, instead of a rabbi, a Zoombi. Or you know, like, just just really playing around with this idea that's not just this technical happenstance, but part of creating meaningful gathering is making the implicit explicit. And I just we can keep moving, but I would just really I would play a lot around with this idea of actually inviting maybe it's like, four or six of the children's generation or the teenage generation or the young 20's generation, to actually play a role and realizing that it's actually it's a different thing to create sacred space on in a digital world. And we're inviting you to actually be our sacred space holders in this world that you understand better than we do. You were saying the purpose is to kind of get the Seder done. Or like, to have the Seder. Tell me a little bit more. So again, why in this moment this year, like, you could just say let's pause this year. Tell me, like, what is the deepest, most specific need of this community this year? And why is hosting the Seder fulfilling that need? It's a beautiful holiday. And it's not only about the Jewish people escaping Egypt and going to Israel, but it's about everybody. It's about all the people that escape from horrible circumstance. So it's a reminder always about our world and about being aware of other people and the struggles that they have and how fortunate we are. And then there's also something so beautiful about reciting words that have been around for thousands of years, and that the torch has been passed year after year after year. Now, the what comes up for me when I hear that, which is it's a beautiful concept. And what worries me is there's a lot of people. Like, we have done things where we have shared like, what's happening with everybody's kids. And this can go on for a long time. So I worry a little bit you've got this person reading a poem, this person playing a song, and this person whatever. So I wonder whether or not we could create like, a and again, this takes some technology but some sort of separate document where people put their offerings somehow online for all of us to look at before and take away with us, and maybe do a little bit of it? So a couple of ideas. One is this is a good assignment and a challenge for one of your young digital hosts to figure out. Right? And give them the constraints. And get them to figure out like, what's the best technology in order to do this? But the spirit of the invitation to really explain it, is just like, we are still going through an act, but we have to do it differently this year. Right? And then the second thing I'd say is, with the offering, I mean, it could be also really simple. Like, everybody send a drawing or photograph or a GIF of what they would have liked to you know, serve. There's so much there's so much it can be very simple or it can be complex. But just really it's also just like a muscle. It's like, one of the things like the danger of Zoom is it's a lot easier to be a passive participant. And so one of the things we're building this year, in order to create more meaningful virtual gatherings for the rest of our lives, let alone in a crisis, is what is what are the different ways we can actually help people meaningfully guest a Zoom gathering? So I would play around with that. And then if you go to the second part, and it's like, how do you set the room or how to set the table? And here, I would invite each person I mean, if you're doing it in Zoom, there's a setting in which whoever the host is, like, you almost welcome everybody else into their living room or dining room or wherever they're hosting it. That's one option. But the other is each person brings a sacred object or brings a like a sac some object that they offer to the collective like, window of 40. And again, it doesn't have to make like, not everybody will be able to see all of the screens. Like, some of this also is to create a psychological contract. Yeah! Like, some people bring their grandfather's bible. And some people bring letters from their you know, grandparents who died in the Holocaust. Or there are things. Yes. They bring a thing. And again, this is also the preparation of the guest, right? So for example, say for the opening ritual, and you tell them everyone bringing a sacred object. And then the host welcomes people. Says in the same way that you have in years past, their kind of like, opening monologue and then to kind of check in and then invite, almost as if you do like, you know, it's like when the communities come together or teams come together, and you get a chance for each team to almost like, call in, to go to each household that has a screen, and just invite them in. And the person who's hosting should like, coordinate this. And maybe you go from east to west, or alphabetical order, or the person who has been to the most Seders down to the person who is like, the newest. Or you know, or vise versa. Like, you can make meaning in order as well. But each person gets like, 10 seconds. And part of this is also practice. It's like, almost like a group poem. And they show their object. And maybe each person ahead of time they think like, how can I explain this object and that significance in 10 words or less? And again, all of this is a challenge. But part of creating meaning is having people work for it, right? You want to suffer a little. One of the opportunities of this moment is like, because we have these constraints, we also have an opportunity to create new meaningful ritual that doesn't take 12 hours. So you may be listening to this podcast in quarantine. I'm doing these calls from sheltering in place, sometimes through my cell phone, sometimes on a landline, sometimes even from my car, when that's the only quiet place I can find. And as we settle in together over the coming weeks, I invite you to think about your gatherings, your moments of meaning creation. And begin to think about new ways to invent meaningful gatherings for the people in your life while we're physically apart. One of the things that this moment I believe, will reveal is that the core of every gathering is not actually food. It's a convening mechanism, but it's not the purpose. Nor is the table, nor is the script. The core of every gathering is its underlying animating purpose. The need that the community is trying to fulfill. How is this night different from all other nights? Asking this question, whether you're celebrating Passover with your family this week, or perhaps gathering apart over Easter or any other holidays or birthday party or a wedding, to ask this question, to think how might this be different? And then to find the right structure can be very powerful. We have structure all around us. If you think about parliamentary procedure is a structure, a fantasy football draft day is a structure, a tea ceremony is a structure, even a karaoke night is a structure. But part of the possibility and opportunity of gatherings is to not assume the specific structure ahead of time. To first ask what is the purpose? And then ask what might be a structure that could help us get us there, particularly while we're gathering virtually? I want to close by sharing an example of an invented structure that I've been playing around with. In 2012, Bruce Springsteen gave this keynote speech at the South by Southwest Conference, a musical and technology conference, that was canceled this year. And in that speech, he gave a musical autobiography of his life, from the songs that most shaped him as a young boy, to a teenager, to a young adult, not only as a musician but also as a human being. And I was telling a friend about this amazing speech. And he said, well, why don't we, why don't our group of friends do that? And here's how it works. It's called the Seven Song Salon. You invite a group of people, could be family, it could be friends. And what they're committing to is to listen to everybody else's musical autobiography and to share their own. Each person gets one salon. So whether it's 60 minutes or 90 minutes over Zoom, you can invite people to do it over dinner, bring your own dish. And the person needs to prepare ahead of time. And you bring the seven songs that most shaped you over the course of your life, from the earliest memories to the present day. These can be songs that, at some moment, you may have listened to on repeat. It could be songs that bring you back to a very specific moment in time. It can be a formative song. It can be painful. It can be beautiful. It can anything. And this is what I mean by powerful structure, that when you have a legitimate need that everybody else agrees on so in this case, wanting to meaningfully connect with other people in a different way structure can actually give us a sense of focus and form to make order out of the chaos, to use Amichai's language, to figure out how do we actually do this together. I invite you to try it and tell us about it. The reason I focus on gatherings is because I believe anybody can gather well. I don't think you need a fancy house. I don't think you need a fancy fish knives or have to know the right etiquette. I think that we are, even more now than ever before, in a moment of radical invention. And to be a good gatherer, you need to have a relevant need, and have people who want to solve that need with you. The way we gather becomes the way we live. And right now, we're facing a moment of massive interruption. And we have an opportunity to also invent, in these very difficult times, new ways to be together that are meaningful and relevant, and help us not only get through this time, but to generate new ways of being together that might survive well past this time.	N24News: A New Dataset for Multimodal News Classification	Style
Q. How has the Kalimantan changed? A. In 1971 when I first went there, it was one of the wildest places left on earth. There were still headhunters on the interior. There were no roads. Rivers were the only highways. Tourism began in this area only about 20 years ago. I remember a pamphlet that the government issued that told people what a tourist was, what you did with a tourist. One of the wonderful things about Indonesia is the warm, gracious people. They treat tourists as guests. We have encouraged tourism. We wanted to bring tourists to increase awareness of the orangutans. At Camp Leakey, we see up to 15,000 a year from all over the world. The local people saw them coming in and built up the tourism industry. The good thing is that the money stays in the area. The cooks are local. The guides are local. The boats are local. That's one of the reasons the local people are so supportive. What do visitors do or see at Camp Leakey? After you go into the education center, you can walk to the feeding station. Once a day, the orangutans are provided with fruit and they usually come through the trees to the feeding platform. The feeding lasts two hours and some people watch them the whole time. The time to come is now. I went to see the gorillas in Rwanda and there are only a limited number of visitors allowed. There are very strict rules. It's wise. The national park at Tanjung Puting has investigated what it would take to set up a system like that. There's no limit at this point. It's not necessary yet. You get very intimate encounters with the orangutans at Camp Leakey.	N24News: A New Dataset for Multimodal News Classification	Travel
In 1995, Tom Hanks lent his voice to Woody, the trusty sheriff doll in Pixar's "Toy Story." Since then, Hanks has become a grandparent, while the films have evolved into a soulful meditation on growing up and the passage of time. "Toy Story 4," out Friday, finds Woody moving on yet again, with what feels for now, at least like a conclusive ending. Here, Hanks talks about the franchise and what it says about family, and the unique pleasures and demands of playing a children's plaything. These are edited excerpts from the conversation. Has the process of recording Woody changed much? He still yells an awful lot. (Shouting) "Guys come on! We have to go! We just can't leave her there, guys! Come on!" He is in some ways the compass of responsibility for everybody in the room. And he's always been tightly wound. There are times when my diaphragm is sore at the end of a four or five hour recording session, just because the challenge is to wring out every possible option for every piece of dialogue. It's every incarnation of outrage and surprise and disappointment and heartache and panic and being plused and nonplused. Fortunately, because I don't smoke or get too drunk, my voice sounds more or less the same. How does seeing Woody out in the world compare to seeing your own face on a movie poster? We were at Disneyland with the kids. You know they're always having parades and things like that, and there was a thing, an absolute extravaganza, and Woody is a part of it. We were there watching it and my daughter who's in her 30s, by the way the first time we saw it, she burst into tears. And I said, "It was kind of great, wasn't it?" But she pointed out to me that Woody will be part of that for the rest of time, the same way Mickey is. And in no small way, I am Woody. Have you developed a special fondness for the "Toy Story" films? Believe it or not, I actually think they're important. It's a disparate group of toys, but there is this sense of both true family and extended family that is representative of anybody's life, including the little kids, who just might be delighted by toys that come to life. This one's about moving on, you know. The pairing up and the moving on that must happen in life. Because we are forever being changed. So much of the films are about family. How does that resonate with you as a parent? These are just such magnificent motion pictures for that very reason. There's the moment in "Toy Story 3" where Andy's mom is in Andy's empty bedroom and this thing comes over her. The mom mourning the fact that her boy was grown up and was no longer her little boy. I'm not even in that scene and I was knocked out by it. You think, how could they possibly animate this and have it be so, so profoundly right? This is the same movie that has all of the toys thinking they're about to meet their end in a fiery inferno. And what do they do, but reach out for each other. That's really high country stuff there. You can't even call that a cartoon. That was a deep encapsulation of real authentic human feeling. How do you tackle emotional scenes when you're on the soundstage with the script? It's an imaginary stretch. To the point of exhaustion. Because you're only using your voice, you can't go off mic, you cannot use any of your physicality. You have to imagine that physicality. In a lot of ways that's the antithesis of what you do as an actor. I found a lot of times the only way I could do it would be closing my eyes. Not seeing the stage and the people there, and trying to work myself to a place. My last few sessions I had them set up the mic stand with my back to them. I don't think I could've done the last few recording sessions the other way. If there was a scintilla of self consciousness to any of those lines, it would have been unsatisfying. I understand Tim Allen warned you about those last scenes. As we were getting closer to what I knew were going to be the last few recording sessions, Tim sent me a text, saying: (gruffly) "Have you done these last pages yet? I'm still getting over it." It's been such a long journey with these characters. They are four completely different films. There's no formula to them. And they don't crank these things out. It takes them a while to see the possibility and to work up these stories that are going to be worthwhile. I think they would all probably go throw themselves off the San Francisco Oakland Bay Bridge if they had made a "Toy Story" movie and everybody said it was just O.K. That just won't fly. And I think that might be one of the reasons they're saying, well, after "Toy Story 4," we don't know what the future of this is going to be. I remember the first time I met Woody. They wanted me to come over because they were going to try this new form of animation. And there was Woody and the whole bit. I watched this test probably six times in a row and just thought, how did they do that? Not how did they make the image, but how did they make it spark to life so seamlessly? And the grandchildren? Do they enjoy "Toy Story"? They've seen them all many times. It is the perfect babysitter. What's interesting is, I think because they hear their grandfather's voice and they know that I'm Woody, I guess the disbelief is not quite as suspended as, for example, for "Frozen." That was all encompassing. They're girls.	N24News: A New Dataset for Multimodal News Classification	Movies
GIVEN the tens of millions of people in retirement or about to enter it, it's surprising how few plan for something most of them will eventually need: help doing basic tasks at home. But perhaps it is not so surprising: It's like learning a difficult new language late in life. Only about 1 percent of those aged 65 to 74 live in nursing homes, the Census Bureau reports. Most retirees continue to live at home as they age, even though many do not have relatives nearby to assist them as it becomes harder to handle daily activities because of declining health, mobility or cognitive difficulties. Of those who need the help most, many won't admit they need it or obtain assistance willingly on their own. They fear loss of independence and becoming a burden to their families. This is an issue I'm facing in my own family and it's difficult to navigate. For most older people, it is far preferable to stay at home rather than enter a nursing home. But it isn't easy to make it work. Just ask Coleen Wagner, who lives in Saratoga, Calif., and has helped several relatives find home care. That includes, most recently, her mother in law, who was 85 and had dementia at the time. She has since died. "We went through six people," Ms. Wagner said, "And most stayed only a few months. It was difficult. Finally we found someone who was amazing. The caregiver also did gardening and cleaned up. We paid her 30,000 a year." Home care, often referred to as caregiving or nonmedical in home services, provides help with the activities of daily living. Professionals who perform these services may not need licensing or certification, although many are certified nursing assistants. Requirements vary from state to state. "Home care is about quality of life and ensures that chronic conditions are being addressed and gives family caregivers peace of mind that their loved ones are safe at home," said Phil Bongiorno, executive director of the Home Care Association of America, a trade group. "A lot of people don't know what home care is, but it's playing an increasingly important role in maintaining the health and safety of seniors across the country." Home health aides or assistants fill in the gaps for family members who either can't be with a loved one or are unable to provide comprehensive services. Aides provide daily help with bathing, toileting, dressing, eating and shopping. They can stay for a few hours a day or overnight, depending upon the needs of the client. What they don't do is provide nursing services, therapies or other medically related tasks, although they may assist with home health needs. The idea behind home care is to keep a person living independently at home for as long as possible. That will not only avoid the huge expense of an assisted living facility or nursing home, but may lead to better overall health and quality of life. While continuing care communities offer a promising alternative for some, many require deposits of up to 1 million plus monthly fees running in the thousands of dollars. Providing home care is not only more cost efficient, it's least disruptive to loved ones. Mike Steiner, who is assisting his 94 year old great aunt Dorothy, sees home care as a way for her to remain in her home and relatively independent. He hired a veteran of the war in Afghanistan to care for her. At various times, he has also assisted his mother and stepmother with finding home care. Mr. Steiner, who served four years in the Navy and 20 years as a project manager for Motorola, turned his experience with his family into a business. When he was laid off from Motorola in 2012, he bought a Right at Home franchise, which now has 55 employees serving an area north of Chicago. Mr. Steiner's great aunt resisted in home aid, but she eventually agreed. "The problem with me is that I've got a 50 year old brain in a 94 year old body and they just aren't in sync anymore," she told him. "I don't really need a caregiver but I'm 94 years old and I'm going to indulge." Locast, a nonprofit streaming service for local TV, is shutting down Capital One's chief executive was fined after being called a 'repeat offender.' When deciding what kinds of home care services are needed, the first layer of decision making is often dictated by medical professionals. If someone is being discharged from a hospital or rehab facility, they may need in home medical care. That's mostly covered by Medicare, but on a limited basis. Although there's some local support for home care assistance, most Americans pay for it out of pocket. Some long term care insurance policies may cover home care. Although regulated by the states in varying degrees, home health professionals are usually independent or employed by small private firms. Nearly five million Americans are being served by 12,000 home health agencies, which provide referrals in exchange for a portion of the service fee to clients, according to the Centers for Disease Control and Prevention. More than 80 percent are for profit. Mr. Steiner's firm charges 18 to 30 an hour, depending on the services needed. The highest rate is for 24 hour in home care, where the assistant stays in the home. That typically averages from 250 to 500 a day. Nationally, home health aides and homemakers the term for a professional who provides light housekeeping charge a median rate of 20 per hour, according to a survey by Genworth, an insurance company. That compares with more than 220 a day for a nursing home and about 120 a day for assisted living. However you approach providing home care, keep in mind there are no uniform national or state standards. "It's terribly fragmented," said Bonnie Burns, a consultant with California Health Advocates. "We don't have a system in this country for people who need this kind of care. That's why we're struggling." To find home care support, you can contact local agencies or try county health departments or those providing services for the elderly. Internet searches will turn up a variety of agencies, although there's no rigorous service rating system to evaluate these firms. The best advice often comes from someone from a family with personal experience. "It's hard to get quality home care information and keep it up to date," says Rosalie Kane, a professor at the University of Minnesota, who studies long term care issues and needed home care services for her father and mother. "It's caveat emptor." When considering a home care company or professional for a loved one, you should insist that the firm do a thorough review of the daily needs of the client and offer a customized care plan. Make sure any agency or firm does complete background checks of its aides, has a quality control system and will handle any problems promptly and professionally. If you need specific medical services at home for yourself or a parent, the support system is much more elaborate. Medicare, for example, provides listings and evaluations of health care agencies through its Home Health Compare site. You can find nearby agencies through a ZIP code search and see patient care quality ratings and re hospitalization rates. Medicare also covers some hospice care.	N24News: A New Dataset for Multimodal News Classification	Your Money

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