Split (2)

train · 585k rows

text stringlengths 1 39.7k	original_task stringclasses 8 values	original_label stringclasses 35 values
WASHINGTON For most of the 21st century, wealthy nations have engaged in a race to the bottom on corporate taxes, cutting rates in an effort to poach business activity across borders. Very quickly, that script has flipped. Developed countries are now moving to impose new taxes on technology companies, like Facebook and Google, that have large presences in their citizens' daily lives but pay those countries little tax on the profits they earn there. France moved on Thursday to become the first country to impose a so called digital tax of 3 percent on the revenue companies earn from providing digital services to French users. It would apply to large companies, numbering more than two dozen, with robust annual sales in France, including United States based Facebook, Google and Amazon. British leaders also detailed plans on Thursday to impose a similar tax, of 2 percent, on tech giants. And the European Union has also been mulling a digital tax. The digital revenue grab is pitting traditional allies against one another, threatening to set off a cascade of tax increases and tariffs unless political and economic leaders work out a multinational agreement to avert them. Late Wednesday, the Trump administration said it would pursue an investigation into whether France's tech tax amounted to an unfair trade practice that could be punishable with retaliatory tariffs. Administration officials, including Treasury Secretary Steven Mnuchin, have also raised concerns about Britain's move. The French tax, which would exact a bigger toll on foreign companies than French ones, has been denounced by the American tech industry, along with Democratic and Republican leaders, who are looking for ways to avoid such one off decisions by more closely coordinating international digital tax arrangements. Administration officials have tried to shape an effort being led by the Organization for Economic Cooperation and Development to broker an international system for taxing digital profits. A lobbying flurry has broken out in Washington to influence the negotiations. And in its attempts to show international leadership and not go it alone, as Mr. Trump has in his trade wars with China and other partners the administration is pushing the Senate to vote next week on a package of long foundering updates to international tax treaties, which could demonstrate to allies that it is serious about leading the effort to broker a digital armistice. Countries have competed to reduce corporate tax rates, and attract business activity both physically and on paper, for two decades. The average rate tracked by the Organization for Economic Cooperation and Development has fallen seven percentage points since 2000, to just over 21 percent today. France and the United States both cut rates substantially for 2018, with Mr. Trump's signature tax cuts bringing the American rate of 21 percent right to the international average. Technology companies' revenue has surged worldwide, but not their tax payments, prompting many wealthy governments to complain that digital businesses are not paying their fair share. The European Union calculates that digital company revenue is growing more than four times as fast as revenue for other multinational companies, partly from ad sales to European consumers. Because the firms have relatively light physical presences in Europe, they benefit from the current system, which taxes companies based on where their operations and assets are and not where their sales are generated. The European Union has said this has allowed tech companies to pay less than half the effective tax rate of other multinationals, and European leaders want to tax them in a way that takes into account where their users are. Mr. Mnuchin has spent much of his time discussing the issue at international forums with finance ministers from around the world. During meetings of the International Monetary Fund and the World Bank in April, Mr. Mnuchin said it was a "priority" to find an international solution, and he pressed France and Britain to abandon their own tax plans once a compromise is reached. At the Group of 20 finance ministers meeting in Japan in June, Mr. Mnuchin underscored his concerns, and the finance ministers agreed in their communique to work toward finding a common set of rules to close loopholes that global technology companies have been using to reduce their tax bills. 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. "I'm not in favor of the current digital tax that has been proposed by France and the U.K.," Mr. Mnuchin said, warning a system of unilateral digital taxes would not work. "We have significant concerns with both of those." The United States has called for a tax that is based on companies' income, not sales, and said specific industries should not be singled out with a different standard. The Treasury secretary has dispatched his deputy, Justin Muzinich, to help broker an agreement. The Organization for Economic Cooperation and Development released a "road map" in May, agreed to by nearly 130 countries, toward finding agreement on a global digital tax plan. France has said that it will repeal its tax once a group agreement is reached. The subject will come up again when finance minsters gather in Chantilly, France, for the summit of the Group of 7 industrialized nations next week. Bruno Le Maire, the French finance minister, has suggested that France's tax will help accelerate an international pact. "We are willing, especially with Steven Mnuchin, to give new impetus during the G7 in Chantilly on the very specific topic of minimum taxation," Mr. Le Maire said in an interview last month. The Treasury Department said in a letter to the Senate Finance Committee on Thursday that it is considering a range of responses to the French tax. "We have and will continue to urge France to forbear from such unilateral actions and join with us in an intensive effort to reach a comprehensive, multilateral solution," wrote Kimberly J. Pinter, deputy assistant secretary in Treasury's office of legislative affairs. As negotiations persist, administration officials and Republican Senate leaders have worked together to break a decade long logjam on updating international tax treaties, some of which were negotiated in the early years of the Obama administration. Senator Mitch McConnell of Kentucky, the majority leader, moved on Thursday to set up a vote on the quartet of treaties next week, in what would be a bipartisan victory for multinational companies. The package is expected to succeed in garnering the support of two thirds of senators voting on the issue. The so called tax protocols would update existing tax treaties with Spain, Japan, Luxembourg and Switzerland. They would allow companies with operations in those countries to avoid some previous tax penalties for transferring money to their operations abroad, in a provision proponents say would encourage multinationals to invest more in the United States. They would also update the existing treaties to allow for more detailed sharing of information among countries on individual and corporate taxpayers. The treaties were held up for years by Senator Rand Paul, Republican of Kentucky, who objected to that information sharing. But the Senate Foreign Relations Committee overrode his complaints and voted to advance the treaties last month.	N24News: A New Dataset for Multimodal News Classification	Economy
ATLANTA Ten days after a controversial noncall marred the ending of the N.F.C. championship game, N.F.L. Commissioner Roger Goodell finally addressed it publicly, acknowledging that the officials had blown the call. "It is a play that should be called," he said at his annual state of the league address on Wednesday. "Whenever officiating is part of any kind of discussion postgame, it is never a good outcome for us. We know that, our clubs know that, our officials know that." Late in the fourth quarter in a tied N.F.C. championship game on Jan. 20, with New Orleans deep in Los Angeles territory, Rams cornerback Nickell Robey Coleman hit Saints wide receiver Tommylee Lewis before he could attempt to catch a pass. Robey Coleman could have been called for pass interference or helmet to helmet contact, but instead was called for neither. The Saints went on to kick a field goal but left enough time on the clock for the Rams to tie the score and send the game into overtime, where Los Angeles won. The league had refused to comment publicly on the play for more than a week, but Saints Coach Sean Payton said shortly after the game that Al Riveron, the N.F.L.'s director of officiating, had told him officials got the call wrong. Robey Coleman was later fined for a helmet to helmet hit. None Week 11 Takeaways: Here is what we learned this week. N.F.L. Tightens Covid Protocols: As cases rise and Thanksgiving approaches, the league is requiring masks inside team facilities and increasing testing. The Jets Lose Again: Falling to the Miami Dolphins, the Jets' receiver Elijah Moore offered consolation. 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. "We understand the frustration of the fans," Goodell said Wednesday before detailing the extensive contacts the league had with the Saints, including their owner, Gayle Benson. "Coach Payton spoke to Al Riveron, our head of officiating, immediately after the game," Goodell said. "Al told him that is a play we want to have called. I have spoken to him. Troy Vincent, the head of football ops, has spoken to him. I have spoken to Mrs. Benson. The coach has also talked to the head of the competition committee, Rich McKay." Asked if he had considered ordering the game replayed from the point of the missed call, Goodell said, "Absolutely not." He also noted the league rule book states that the results of games should not be overturned because of routine officiating errors. Goodell said the league's competition committee would consider changes to instant replay to address such calls, but he added that in the past there had been little appetite to allow replay officials to call penalties on plays where no flag was thrown. He also said he did not think adding an eighth official was a good solution. "I don't think adding an official is an answer to all of the issues, and particularly this issue," Goodell said. Goodell's 40 minute question and answer session was dominated by the play in New Orleans, but Goodell also was asked about a number of other hot button topics, including Colin Kaepernick; the effectiveness of the league's Rooney Rule in diversifying coaching staffs; President Trump; the messy inheritance fight over the Denver Broncos; and league investigations of the players Kareem Hunt and Reuben Foster. The most pointed question invoked Atlanta's past as a hub of the civil rights movement, and how history will judge Kaepernick's continued absence from the league. Kaepernick, the former San Francisco 49ers quarterback, has filed a grievance accusing owners of colluding to keep him out of the N.F.L. because of his social activism. Goodell said the league office had no role in the personnel decisions of individual teams. "Our clubs are the ones that make decisions on players that they want to have on their roster," he said, adding, "That is something we as the N.F.L. take pride in." He also was asked if the league's Rooney Rule, which requires teams to interview at least one minority candidate for head coach openings, was still effective. The rule was strengthened in December, but the number of minority coaches in the league has dropped precipitously after four black head coaches were fired after the season. Goodell said the league did not view the success or failure of the Rooney Rule, which was adopted in 2003, in one year increments. He said the league was talking with coaches about how to provide greater opportunities to minority coaches, and announced that a quarterback summit would be held in June at Morehouse College, a historically black college in Atlanta, to train new coaches. The commissioner refused to take the bait when asked about President Trump, who said two years ago that the N.F.L. should allow more and harder hits. Goodell noted the irony of his being asked about officials throwing too many flags at a news conference dominated by criticism of a game in which a flag was not thrown, before saying simply that the N.F.L. strives for games to be officiated at the "highest level." Asked about the ongoing fight in Denver over the inheritance of the Broncos, Goodell said that it was "sad when disputes like this occur," but that he could not say much publicly because the league office could have to adjudicate the dispute. Finally, Goodell said league investigations into Foster and Hunt were continuing. Foster, a linebacker, was released by the 49ers after being arrested on domestic violence charges for a second time, then was signed by the Washington Redskins. Charges against Foster have been dropped, but Goodell said Foster still could be punished under the league's personal conduct policy. Hunt, a running back, was released by the Kansas City Chiefs in November after TMZ published video showing him pushing and kicking a woman. He remains unsigned. A New York Times investigation revealed that the N.F.L., despite interviewing Hunt earlier in the year, failed to question him about the incident. Goodell said there had been a "tremendous amount of progress" made in the investigation in the last 30 to 60 days, though he did not detail what that progress entailed.	N24News: A New Dataset for Multimodal News Classification	Sports
President Trump praises a "strong, sharp and powerfully focused" Chinese President Xi Jinping for his handling of the coronavirus outbreak. "President Xi strongly leads what will be a very successful operation," Trump said. This offended some Americans. At a time when many Chinese are criticizing Xi for initially covering up the outbreak, should America's president really side with a dictator who punished doctors rather than listening to them? That critique seems right to me. But a focus on China's failures or on Trump's praise risks distracting from our own failures in health care and this is where Trump's actions have been more destructive than his words. He has proposed enormous budget cuts for Medicaid, the National Institutes of Health and the Centers for Disease Control and Prevention; if carried out, these would leave the U.S. more vulnerable to a pandemic. But whatever happens with the coronavirus, America's health system is a mess. That is a consequence of failures that go way back, and Trump is now compounding them. In particular, his lawsuit to destroy Obamacare without offering anything to take its place is the height of irresponsibility; it's not policy but vandalism. Already, Trump's policies have led to the loss of health insurance for 400,000 children. Imagine that your child is crying from an ear infection or a toothache and you have no doctor to go to. Or you're worried that your daughter is slow to speak or your son isn't growing properly. What are you supposed to do? I've written scathing columns about Xi's bungling of the coronavirus outbreak, but we Americans live in a glass house. A newborn in Beijing has a longer life expectancy (82 years) than a baby born in Washington, D.C. (78), or New York City (81). Democrats' internecine battle over so called Medicare for all is largely irrelevant, because the plan won't get through Congress. What's imperative is simply achieving universal medical and dental coverage, either by a single payer system (like Britain's) or a multipayer system (like Germany's); both work fine. What matters is the universal part. In some ways, America's health care is outstanding. Specialized anti cancer treatments are saving lives. But over all our system has two fundamental flaws. First, outcomes are mediocre and inequitable. Rich Americans live 20 years longer than poor Americans, and low income American men have approximately the longevity of men living in Sudan. Several American counties have a shorter life expectancy than Cambodia does. We're bad at simple things, like vaccinating children. Rwanda has a higher share of girls vaccinated to prevent cervical cancer than the United States does. One study found that 21,000 American children's lives would be saved each year if we only had the same mortality rates as the rest of the rich world. So two American kids die each hour because we have worse child survival rates than our peer countries. In my reporting, I've been struck by how much more widespread dental pain is in America than in other countries. Some 74 million Americans don't have dental coverage, about four times as many as lack medical insurance. When their teeth rot, they suffer constant excruciating, debilitating pain that should be unfathomable in a country as rich as ours. Health care in the United States is "a moral morass," a question of our "soul," Uwe Reinhardt, a brilliant health economist at Princeton wrote in "Priced Out," a book recently published posthumously. The second fundamental problem with our health care system is that it delivers these second rate outcomes at enormous cost. "Prices for virtually any health care product or service in the United States tend to be at least twice as high as those for comparable products or services in other countries," Reinhardt wrote. We spend an average of more than 10,000 per person on health care each year, more than twice what France, Canada and Japan each spend (even though the French, Canadians and Japanese all live longer). An excellent forthcoming book by Anne Case and Angus Deaton, "Deaths of Despair and the Future of Capitalism," argues that this discourages hiring of low income workers. The average cost of a family health insurance policy is 20,000, which is a reason for a company not to hire a junior employee and assume insurance costs. "Unless costs are somehow reined in, the long run prospects for less educated Americans remain bleak," Deaton warns. Sadly, health professionals are part of the problem. Dentists have fought the licensing of dental therapists, who can perform simple procedures more cheaply. And doctor groups limit medical training and qualified foreign physicians to keep prices high; that's why there are fewer doctors per capita in the United States than in peer countries. As Case and Deaton write: "The industry that is supposed to improve our health is undermining it." This year's election should in part be a debate about all these issues, and the coronavirus anxiety should remind us of the dysfunction of our own health system. Let's hold China accountable but we Americans should also look unflinchingly in the mirror.	N24News: A New Dataset for Multimodal News Classification	Opinion
WOMEN'S WORK A Reckoning With Work and Home By Motherhood is an exercise that both equalizes and divides. It's an experience shared by women across the world a lesson in dissolving borders, in love and in sleep deprivation. It is work: a flow of activity that requires organizational thinking and endless labor. It is also an institution that clings to gender stereotypes and casts a harsh light on class and race the firm boundaries of opportunity and care that privileged parents can draw around their own children, often to the detriment of other people's. "Some problems we share as women," Audre Lorde famously observed in a 1980 speech at Amherst College. "Some we do not." sets out in "Women's Work" to explore the underside of motherhood the realities of labor and child care that men ignore and that women of privilege regularly gloss over: leaving the nannies and cleaners out of their books, excluding them from social media posts and rendering their work invisible. "I'm complicit," Stack writes. "The women I've rented are sweeping the floor outside my office even as I type; I hear the swish of their brooms over the boards." Stack's book is a memoir in three parts, tracing her experience of motherhood while living in China and India, and recounting the relationships she forms with the women who work in her home. Stack, a former foreign correspondent for The Los Angeles Times, has covered multiple wars, reported from Egypt and served as the paper's bureau chief in Moscow. At the start of the book, Stack is still a reporter, still accustomed to jumping on a plane at a moment's notice or running toward whatever crisis is happening nearby. And then, pregnant with her first child, she decides to quit her job and attempt to write a novel. She envisions motherhood as a kind of writing retreat, a gently napping baby in the corner as sun streams through the window. It's an idyll that disintegrates nearly as soon as the baby, a boy, arrives home from the hospital. "The cold reality of my gender was dawning on me," Stack writes. "Somebody, after all, must wash and feed and train the kids and get the food and clean the house and care for the sick and elderly." Early on, she describes this work not as a job, but as a "constant gaping demand for labor." (This is a characterization I disagree with child care requires labor, yes, but also skill and a body of knowledge, whether earned by experience, passed down from family members or found in books.) Stack is overwhelmed by her domestic responsibilities; she is exhausted and anxious: "Just thinking about getting any more tired was like sliding slowly and nauseously down the walls of a carnival Gravitron that has just stopped spinning." Her loss of identity is so profound that early in the book she arrives home from a dinner out and starts writing an essay titled "How to Disappear." When Stack's husband, Tom, returns to work two weeks after their son is born, Stack hires her first nanny who also cooks and cleans a woman named Xiao Li. The low value placed on the work the two women are doing hangs over the household like a cloud. Tom, infuriatingly, insists on calling Xiao Li "the maid." His exacting standards and Stack's sleep deprivation make it difficult to work, even with help, and his questions about her writing are loaded and tense. "If Tom and I were willing to live in a messy apartment, or to eat more takeout, then the addition of Xiao Li might have signified an easy path back to my writing desk," she writes. "But we're both neat freaks and Tom is a picky eater, and since Xiao Li had started working for us, he didn't see any need to accept an unkempt domestic existence." As Stack gets more comfortable in her role as mother and employer, she realizes that she is leaving Xiao Li out of family photos. Moreover, most of the women she knows do the same, implying that they are capable of doing the work of motherhood all on their own, rendering the true labor invisible. "Like Apple computers or Goodyear tires, I reaped the benefit of cheap Chinese labor," she writes. The difference, however, is that she loves Xiao Li. Here is a woman who knows the rhythms of Stack's home, the moods of her child and the preferences of her husband. In early motherhood, Stack makes clear, Xiao Li keeps her afloat. The conflicts to come are wrenching and Stack is unflinching in her account. Xiao Li, who has a young daughter of her own, gives Stack's son a plastic toy for Christmas. The gift traps Stack between Xiao Li and her husband who is convinced the toy is toxic and Stack wonders: "It was the only sort of toy her daughter would ever have. How could I dismiss it as a kidney failure waiting to happen? I might as well announce that her life and its contents were too cheap, her country too disgusting, our baby too precious for her offerings." When Xiao Li's own daughter becomes ill, Stack scrambles to balance her concern for the other woman with her understanding that time off for Xiao Li means infringement on her own shrunken supply of professional time. A single person a nanny is no stand in for a life jacket. It is after Stack moves to India and hires two new women Pooja and Mary to help cook, clean and raise Stack's growing family that the account of her domestic life starts to feel limited. Her prose is beautiful as she shines light on the contradictions of her position. With respect to supporting a family, she writes: "There is a lingering expectation that men will pay in money. But when it comes to time, it is almost always the woman who pays. And money is one thing, but time is life, and life is more." In India, however, the gulf between her situation and those of the women in her household begins to feel too vast, the poverty surrounding her too extreme. It becomes increasingly clear that the problems facing the women who work for her extend far beyond this particular domestic setting and beyond Stack's ability to access and understand them fully. It is late in the book when Stack announces her plans to her friends that she will write about the compromises of her domestic life and the lives of her employees. This, she says, almost always went badly: "As if the simple exercise of placing myself alongside the nannies was already an affront." Stack's relationships with these women, however, make writing about them difficult. Xiao Li has little interest in letting her former employer in on the details of her own life. In India, she follows Pooja to her home village, where we get a glimpse of the forces that have been at work in Pooja's life (poverty, casual rape, domestic violence and a tenuous local political situation), but the visit feels truncated, Pooja's life available to us only in outline. We never get a sense of how she spends her days, the details that make a person seem real. In the book's conclusion, Stack tells us: "The answer is the men. They have to do the work." It's hard not to wonder whether, for Xiao Li or for Pooja, a more egalitarian domestic sphere would be enough; they share some of Stack's problems, but not all. In that same speech at Amherst, Audre Lorde was offering a way forward for the women's movement in the 1980s. "It is not our differences which separate women, but our reluctance to recognize those differences," she told her audience. "The future of our earth may depend upon the ability of all women to identify and develop new definitions of power and new patterns of relating across difference." At its best moments, Stack's book is a sharply observed, evocative reckoning with the ways her struggles intersect and diverge with those of the women she employs. As it progresses, however, her own narrative overshadows those of the women she wishes to reveal. She shows us how we have ignored these women and exploited them. She names the difference, but as readers we do not get to travel across it.	N24News: A New Dataset for Multimodal News Classification	Books
THE IMPEACHERS The Trial of Andrew Johnson and the Dream of a Just Nation By Brenda Wineapple Impeachment is a doleful affair. The nation has impeached a president only twice, and in each case the Senate failed to remove him from office, leaving a split decision with no clear winner and no clear justice. The first presidential impeachment, of Andrew Johnson in 1868, has been by and large written into history as a Big Mistake. That's largely due to the efforts of historians of the Dunning School, who spent decades creating a narrative of Reconstruction as a tyrannical, corrupt and failed social experiment. The restoration of white supremacy in the South was seen as a right and proper undertaking to reconcile a torn nation. According to the Dunning School, the Radical Republicans who impeached Johnson are the villains of the piece, and the story of Johnson's impeachment is a cautionary tale about the overreach of ideologues. Given that context, not to mention the headlines of today, it's hard to think of a better time for a reassessment of Johnson's impeachment. Brenda Wineapple's ambitious and assured volume "The Impeachers" rightfully recenters the story along the main axis of moral struggle in American history: whether the nation is indeed a democracy for all its citizens or not. "To reduce the impeachment of Andrew Johnson to a mistaken incident in American history, a bad taste in the collective mouth, disagreeable and embarrassing," she writes, "is to forget the extent to which slavery and thus the very fate of the nation lay behind Johnson's impeachment." This book was one of our most anticipated titles of May. See the full list. Johnson was, to put it mildly, an odd duck: "the queerest man who ever occupied the White House," according to a contemporary. He was a bullheaded but canny narcissist, given to drunken harangues and racist demagogy. His aides tried in vain to keep him from making impromptu speeches to rowdy crowds lest he do something like call for the hanging of a member of Congress. An unschooled tailor who worked his way up the political ladder to become a Tennessee senator, Johnson harbored a deep resentment of the aristocratic Southern planters, who viewed themselves as his betters. When that aristocracy threw its support behind secession in defense of slavery, Johnson loudly, proudly dissented. "If you persist in forcing the issue of slavery against the government," he declaimed, "I say in the face of Heaven, give me the government and let the Negroes go." When he rode out of the state to Washington in 1861, he was tailed by secessionist assassins who wanted him dead. Though he was a Democrat, a party associated in the North with treason, his courageous defense of the Union made him an icon of patriotic loyalty and a natural to join Lincoln's National Unity ticket as vice president in 1864. Want to keep up with the latest and greatest in books? This is a good place to start. None Learn what you should be reading this fall: Our collection of reviews on books coming out this season includes biographies, novels, memoirs and more. See what's new in October: Among this month's new titles are novels by Jonathan Franzen, a history of Black cinema and a biography by Katie Couric. Nominate a book: The New York Times Book Review has just turned 125. That got us wondering: What is the best book that was published during that time? Listen to our podcast: Featuring conversations with leading figures in the literary world, from Colson Whitehead to Leila Slimani, the Book Review Podcast helps you delve deeper into your favorite books. But Johnson is a case study in how the very same character traits that make someone heroic under one set of circumstances can make him downright deplorable under another. Thrust into power after Lincoln's murder, Johnson was terribly ill equipped to settle the two major questions that faced the nation: how the Confederate states would be reintegrated into the Union and whether America would become a multiracial democracy or the upholder of state enforced white supremacy. On the first question, Johnson held the eccentric view that since secession wasn't constitutional, it had, essentially, never happened. The states had never left, and now that the war was over their representation should be re established as quickly as possible. To Congress's growing horror, he acted on this belief by giving pardons to Confederates and appointing traitors to positions of power throughout the South. This had predictable results: the reassertion of white supremacist power in the former slave states, and spasms of antiloyalist and antiblack violence. "In the summer of 1865," Wineapple writes, "a few miles north of Decatur, Ala., a paroled Confederate soldier lured a former slave into the woods. The man was said to have gotten too 'saucy' when he learned he was free, so the ex soldier shot him three times in the head and hurled his body into a river." This was one of countless such incidents. Former Confederate soldiers, sometimes wearing their old uniforms, roamed the South as newly empowered sheriffs, harassing, beating and arresting black freedmen. At night, the newly formed Ku Klux Klan set upon "black men and women and their white Republican friends ... yanked them out of bed, and whipped them with beech sapling switches before they rode off." In the most shocking incidents, ones that dominated press coverage across the North, militias in Memphis and New Orleans, with the full backing of local white governments, massacred black men and women and white Republicans in the streets by the dozen while the United States Army stood by. The reign of racist terror hardly troubled Johnson, for he was to his very bones a vicious racist. "This is a country for white men," Johnson had been heard to say, "and by God, as long as I am president it shall be a government for white men." He scoffed at the accounts of violence as Radical propaganda, the lurid fabrications of abolitionist fanatics. He hated the Freedmen's Bureau and the radicals who supported it, even comparing it to slavery itself, and he loathed the idea of black suffrage. "Negroes have shown less capacity for government than any other race of people," he proclaimed, and warned against efforts to "Africanize the half of our country." Such views were not uncommon, of course, and in fact at the beginning of Johnson's tenure, Northern white elites, not to mention the masses, had little or no enthusiasm for actual racial equality. But as the atrocities in the South got worse and the defeated traitors appeared to be snatching an improbable victory from the ashes of defeat, Northern politicians radicalized, and increasingly saw Johnson's administration as a dangerous failure, his invective toward Congress and his constant vetoes of even modest legislation intolerable. After a supremely ill fated midterm campaign in 1866, in which Johnson brayed before crowds like a self pitying martyr, Republicans won landslide victories. Their overwhelming majorities empowered the so called Radicals, men like Thaddeus Stevens, Charles Sumner and Wendell Phillips, who were not only abolitionists, but believed, in Phillips's words, in "impartial justice to all races and people." Johnson was determined to make sure that never happened, and when Congress convened in 1867, impeachment became a possible course of action. But there were several hard questions. The problems with Johnson were obvious: He was a racist demagogue unfit for the office he held. But was that an impeachable offense? Had he committed a high crime or misdemeanor? Contemporaries wrestled with the question of whether a clear cut legal infraction was necessary, and the most aggressive members of Congress (and some of the most self serving) started several investigations to find some kind of smoking gun. They pursued unfounded rumors that he had invited prostitutes into the White House, and was even implicated in the assassination of Lincoln. When those expeditions came to nothing, the House Judiciary Committee originally voted in 1867 against impeaching the president. But as Johnson vetoed bill after bill designed to protect black Southerners and white loyalists and strip former Confederates of power, tensions between Congress and the president mounted. Congressional Republicans, with huge majorities borne of the fact that the Southern states had still not been readmitted, took matters into their own hands. Using their veto proof majorities, they began to institute their own vision of Reconstruction, partnering with two heroes of the war who still held positions in the executive branch, Gen. Ulysses S. Grant and Secretary of War Edwin Stanton. Under congressional Reconstruction, the Southern states were divided into military zones to be occupied and administered by the armed forces while they rewrote their constitutions and rebuilt new biracial governments for all their citizens. Ratification of the 14th Amendment was made a condition of their readmittance to the Union. This made for some odd bedfellows. Even though the Department of War was constitutionally under the president, it operated as a kind of quasi independent entity to administer Reconstruction against the wishes of the commander in chief. "It was Johnson who was defying the laws of Congress and, in turn, the Army was defying him," says Wineapple, the author of several books on American history and American culture. "The situation was approaching mutiny on one side," one of Grant's aides wrote, "or else treason on the other." In order to safeguard this arrangement against an increasingly vindictive and erratic president, Congress used its veto override to pass the constitutionally dubious Tenure in Office Act. It required the president to get Senate approval to remove his own cabinet officials. On Feb. 21, 1868, Johnson triggered the impeachment tripwire when he defied Congress and sacked Stanton. The House promptly impeached him on 11 articles, the bulk of which dealt with Stanton's removal. Though much anticipated, the actual trial of Johnson ended up being more than a bit anticlimactic. In Wineapple's telling, it quickly descended into near constant disputes over process and authority: Who gets to rule what will and won't be admissible? What witnesses can be called? Did Johnson intend to violate the law or merely challenge its constitutionality? The question of conviction would turn largely on the president's intent, and this proved a difficult thing to divine. As the trial stretched on, it was easy to lose the essence of the actual conflict amid the long winded men in love with their own voices. James Garfield, then a member of Congress, complained that "this trial has developed in the most remarkable manner the insane love of speaking among public men. Here we have been wading knee deep in words, words, words." In the end, exhausted with the entire enterprise, desperate to return to some facsimile of normality and aided by some possibly unsavory back room maneuvering, enough Republicans joined Democrats to vote against removal and spare Johnson by a single vote. Johnson was saved, but damaged enough that he couldn't even secure his own party's nomination for president that year. Ultimately, as Wineapple explains, there was a miserable mismatch between the cramped proceduralism embedded in Congress's articles of impeachment and the depth of Johnson's actual transgressions. The man had betrayed the cause of the war. He had desecrated the memories of the dead Union soldiers, black and white. He was, every day that he stayed in office, endangering the lives of freedmen and white unionists throughout the South. But he wasn't impeached for any of that. He was impeached largely over the fact that he fired a secretary of war who openly hated him. The true "high crime" that Johnson committed was using the power of his office to promote and pursue a White Man's Republic. That was a usurpation greater than any violation of a specific statute. And for that, Andrew Johnson deserved impeachment and removal. True then; true now.	N24News: A New Dataset for Multimodal News Classification	Books
A glittering bumper crop of million dollar babies will be shown at the 83rd International Motor Show in Geneva, where press previews begin on Tuesday. While mass market automakers like Fiat, Ford, General Motors and Volkswagen are struggling in Europe with bloated inventories, falling sales and red ink, many luxury brands are reporting record sales and profits. Hence, an unprecedented number of ultraexpensive new cars will be mixed among the 130 or so premieres at Geneva. Ferrari, Lamborghini and McLaren will take the wraps off vehicles priced above 1 million. Lamborghini's limited edition sports car may set a record for vehicular excess; the car is rumored to carry a price tag of more than 4 million. Not far behind, in terms of stratospheric prices, will be new six figure vehicles from Rolls Royce, Bentley, Aston Martin and a wide array of the boutique car builders, performance tuners and design houses that make the Geneva show an annual carnival of automotive excess.	N24News: A New Dataset for Multimodal News Classification	Automobiles
NEW YORK PHILHARMONIC at David Geffen Hall (June 8, 8 p.m.). This is the kind of special multimedia, new music event that the Philharmonic undertook as a matter of course not so long ago, and should, too, in the future. Esa Pekka Salonen conducts his own "Foreign Bodies," with a new live video installation by Tal Rosner, as well as a violin concerto by Daniel Bjarnason (Pekka Kuusisto is the soloist). After intermission, the Boston Ballet, choreographed by Wayne McGregor, joins the orchestra for "Obsidian Tear," set to Mr. Salonen's "Nyx" and "Lachen Verlernt." 212 875 5656, nyphil.org NEW YORK PHILHARMONIC CONCERTS IN THE PARKS at various locations (June 12, 8 p.m., through June 15). James Gaffigan, a very good young American conductor, takes charge of the Philharmonic this year as it tours the boroughs with a program involving Saint Saens, Bernstein, Rimsky Korsakov and more. See it at Van Cortlandt Park on June 12, Central Park on June 13, Cunningham Park on June 14 and Prospect Park on June 15. (Staten Island, as ever, must content itself with an indoor concert of chamber music on June 17.) 212 875 5656, nyphil.org REINIER VAN HOUDT at Spectrum (June 14, 7:30 p.m.). A strong new music pianist with close ties to the Wandelweiser school of composition think very long pieces, immaculately comprising few notes, resounding rarely plays Michael Pisaro's "Green Hour, Grey Future," for piano and electronics as part of the Modern Piano ( ) Festival. spectrumnyc.com	N24News: A New Dataset for Multimodal News Classification	Music
On Thursday, be sure to check out the Bergdorf Goodman pop up of Beau Souci, a line founded by Paola Russo, owner of the Los Angeles concept boutique Just One Eye. Designed by Aurelie Larrousse, who graduated from Studio Bercot in Paris, it marries French chic with SoCal cool in looks like a gold and silver watersnake leather skirt ( 2,750) paired with a plain white tee ( 140). Also on Thursday, Lady Gaga's longtime stylist Brandon Maxwell will celebrate the debut of his namesake line at Bergdorf Goodman with a shopping event from 1 to 3 p.m. during which you can try on glam pieces like a one shoulder gown with a wave slit ( 2,895). And La Garsonne will unveil a retrospective of Yohji Yamamoto runway looks, including a houndstooth crinoline dress from fall 2003 and a printed cape from the current spring collection, that highlight the iconic designer's focus on androgyny and deconstruction. At 465 Greenwich Street. ... The British heritage brand Belstaff has a SoHo pop up closing Saturday. You'll find lots of luxe biker jackets like a nappa satin leather moto in a lovely brick shade ( 2,495). At 63 Greene Street. Kicking off its country focus for 2016, Opening Ceremony has teamed with another beloved downtown emporium, Pearl River Mart, on a China themed capsule. It includes an all American varsity jacket embroidered with phoenixes and dragons ( 450) and a classic cheongsam recast in denim ( 295). At 35 Howard Street.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
WASHINGTON The National Collegiate Athletic Association and its sprawling membership of schools are mired in fights behind closed doors, in statehouses and on Capitol Hill over whether and how student athletes should be allowed to profit off their renown. Here are answers to some questions surrounding the debate, which is virtually certain to last for many more months. What are the rules right now? The N.C.A.A.'s Division I manual is a thick anthology of guidelines, but Article 12, which covers amateurism and athletic eligibility, is under the greatest scrutiny by elected officials across the country. Part of that article bars a student athlete from accepting compensation in exchange for allowing "his or her name or picture to advertise, recommend or promote directly the sale or use of a commercial product or service of any kind." The bylaws forbid sponsorships, but also activities like taking cash for autographs or monetizing social media channels. The N.C.A.A. also has a rule with some exceptions that players cannot participate in a college sport if they have agreed to be represented by an agent. Didn't California do something about this? Yes, but with a long windup. Back in September, California approved legislation that challenged the N.C.A.A.'s bans on agents and endorsement deals. It was, however, something of a time delayed assault: The measure is not scheduled to take effect until 2023. Still, it has already encouraged lawmakers in dozens of other states to consider bills of their own, and many have drawn bipartisan backing. Some of those proposals would take hold far faster than the California law. In Florida, for instance, one proposal was written to go into effect this summer if it passes. What does the N.C.A.A. think? No state has passed a measure like California's just yet, and politicians across the country are approaching the subject with varying levels of intensity. But the N.C.A.A., which opposed the California legislation, has worried publicly about the prospect of a "patchwork" of laws that it fears could undermine rules that apply to colleges nationwide, with conferences and national championship contenders coming from many different states. In response to the mounting pressure from California and other states, the N.C.A.A. has conceded that it must modernize its bylaws, but its working groups and committees have not released any proposals for changes. And the N.C.A.A., which has repeatedly signaled that any revisions would only go so far, is unlikely to give final approval to any rewrites of its rules before January 2021, when it will next hold an annual convention. "The member schools are working really hard to try to figure out where they want to be on this particular topic," Mark Emmert, the president of the N.C.A.A., said in January at the group's convention in Anaheim, Calif. "We've been talking with and exploring whether or not it makes sense to have a congressional solution so that there's some kind of nationwide resolution to it, and we're going to have to work our way through that." A Senate subcommittee is scheduled to hold a hearing on Tuesday in Washington, where Emmert is expected to be among the witnesses. The Senate panel will not vote on any proposals, but some members of Congress have already introduced bills related to college sports. Although Emmert spoke carefully last month about whether Congress should play a role in settling the debate, the N.C.A.A. has stepped back from lobbying in the states, and some of the most influential figures in college sports have said they want the federal government to intervene, in part to give legal cover to a multibillion dollar industry where antitrust issues are a chronic concern. So when might Congress actually do anything? Probably not anytime soon. The situation could change quickly, but final action at the federal level may be far away, especially in a year with a presidential election. Still, the Senate hearing on Tuesday is a signal of the rising interest on Capitol Hill, and lawmakers in both parties have voiced concerns about the N.C.A.A.'s existing rules. Some of those legislators are among the most prominent members of Congress, including Senator Cory Booker, Democrat of New Jersey, and Senator Mitt Romney, Republican of Utah. But top legislative leaders have not openly thrown their weight behind any legislation, and the White House has not committed to supporting any specific proposal, either. Given the tensions around the subject, a proposal that shows signs of advancing could still provoke fearsome opposition from the N.C.A.A. or its critics. Indeed, some N.C.A.A. skeptics already fear that it will use Congress to put a stop to the most potentially consequential changes to the business model of college sports. "The N.C.A.A. is hoping that Congress will wipe away what the states are pursuing at this point," said Ramogi Huma, the executive director of the National College Players Association, an advocacy group for athletes, and another witness at Tuesday's hearing. "Congress can either expand these rights and freedoms nationwide, or they can eliminate them."	N24News: A New Dataset for Multimodal News Classification	Sports
First, the residents of Sesame Street relocated to HBO Max ( 180 a year). Then, the Disney princesses found an expensive new home on Disney Plus ( 69.99 a year). And this holiday season, shoppers are finding that one of the more venerable fantastical characters for children Santa Claus is blocked by a paywall. At Harrods in London, for example, access to the Christmas Grotto, an attraction sponsored by Swarovski, was initially only available to customers who had spent PS2,000 or more at the famous department store. (The store did make an allowance for 160 families who had not spent that much money, The Guardian reported.) Father Christmas has been visiting Harrods (which did not respond to multiple requests for comment) every year since 1955. Until recently, it cost nothing to visit him. But in 2019, he is not just pricey, he's also overbooked. Tickets to see him are no longer available. In the United States, a visit to Papa Noel is cheaper. But it often costs money, even at the nation's most notable shopping centers. For example, a visit to Santa at the Mall of America starts at 18.95 and, what with the photo packages, can run as high as 130.95. Fortunately for the overscheduled parent, there exists a service called Santa's Fast Pass, a kind of T.S.A. PreCheck for visits with St. Nick at malls around the country. (In Australia, the same service is called Santa's VIPs.) Santa's Fast Pass is operated by a company called Cherry Hill Programs, which is owned by Keystone Capital, a Chicago based investment firm. Cherry Hill has contracted about 1,100 Santas this holiday season and will deploy them at close to 900 locations around the United States, the company said. None of its Santas are allowed on malls' Christmas sets without a full background check. "Our business is really unique because we're hyper seasonal," said Matt Windt, Cherry Hill's chief marketing officer. "We run Santa operations. We also do bunny operations. And besides that, we are literally always thinking about Santa Claus and the Easter bunny." Through the Santa's Fast Pass website, which was introduced in 2008, Cherry Hill is able to charge money for a bevy of photo packages. Booking a time to visit Santa on a Sunday afternoon at the Eastridge Mall in Casper, Wyo., for instance, can cost 41.69 including tax and a fee. A more deluxe package, complete with a "resin frame" and "lighted shadow box," will cost 136.14. Mr. Windt said that people who book online tend to buy more expensive packages than those who buy in person. Perhaps it's inevitable that the parents of would be lap sitters accede to the law of supply and demand. At the bigger malls, some Santas are (already!) almost as busy as the guy at Harrods. There are four Santas on offer at the Mall of America in Minnesota: Santa Sid, Santa Jon, Santa Sam and Santa Larry. Bad news for anyone who wanted to book Santa Jon: As of this writing, there were only two times left with him, 4:30 p.m. on Monday, Nov. 18 and 10:45 a.m. on Dec. 9. One has passed; the other is probably gone. Macy's, which offers visits to Santa gratis and lays claim to the "one real Santa Claus," says on its Santaland website that children have been able to visit the man in the red suit at their stores since as early as 1862. The Macy's Santa is available for between 11 and 14 hours per day at the store's 13,000 square foot Christmas village between Nov. 29 and Dec. 24. Photo packages start at 21.99. Residents of Brockton, Mass., say that James Edgar, the founder of a local dry goods store, was the first department store Santa. He dressed as the character in 1890. Mr. Edgar's story is told annually at a Brockton tree lighting celebration each year, thanks to the efforts of a nonprofit organization called USA Christmas Town. Participation is free; a Santa is present. Lynn Smith, a volunteer with USA Christmas Town who has lived in Brockton since 1985, said that Santa's exclusivity in other locales made her sad. "It's like making magic inaccessible," she said. The message machine that picks up the line for Macy's Santaland, opens with a polite tip: "Santa suggests you have a pencil and paper ready," it says. "Remember, there is only one real Santa Claus and you will find him at Macy's Santaland." Cherry Hill has a more standard answering machine. Callers are instructed to press three for customer service and five for payroll. However, if they stay on the line, they are treated to this unusual directive: "If you are a Santa, press nine."	N24News: A New Dataset for Multimodal News Classification	Style
The conductor Laurence Equilbey at Lincoln Center, where she will conduct Haydn's "The Creation" as part of the Mostly Mozart Festival. PARIS Laurence Equilbey stopped the rehearsal. "No, no," she said, her tone more sorrow than anger. "There is first pianissimo, then fortissimo. You're playing half soft, half loud; it's horrible." The Insula Orchestra, a period instrument ensemble that Ms. Equilbey founded in 2012, tried the phrase again. "Much better," she called out. "Remember: No muscular force, just the force of joy." The 47 musicians were rehearsing Haydn's "The Creation," the blithely triumphant 1798 oratorio that Ms. Equilbey, 56, and her two groups Insula and the Accentus choir are bringing to Lincoln Center's Mostly Mozart Festival on Thursday and Friday. It will not be the sort of concert you'll want to enjoy with your eyes closed. This "Creation" is staged by Carlus Padrissa, of the Barcelona based theater troupe La Fura dels Baus, and it features a 30 foot crane, huge helium filled balloons, singers submerged in an aquarium, and a chorus dressed in rags and holding iPads. The production is proof of Ms. Equilbey's stubbornly individual approach to leading her orchestra, the resident ensemble at La Seine Musicale, the egg shaped wood and glass performance center that opened last year on the Ile Seguin, an island on the Seine just west of Paris. She has made a name for herself by tenaciously embarking on unusual projects like "The Creation," embracing technology, and programming neglected repertoire, particularly the work of female composers. "My whole path has been taken alone," Ms. Equilbey said in an interview in her dressing room at La Seine Musicale. "It was quite difficult to establish myself as a conductor," she added, "although I didn't really think about it at the time. But no one helps you. You have to motivate yourself." Her realization of the "disastrous" inequality in the field came late, she said. "Only four percent of conductors who are programmed are women, and with the numbers we have, it should be around 20 percent." When Ms. Equilbey began her career, it was even harder for women than it is today, said Laurent Bayle, the general director of the Cite de la Musique in Paris. "She was really hard working and resilient," Mr. Bayle added. "Some say she is very ambitious, and she is, but she knew you can't be a conductor without conducting and she created those opportunities." "Today," he added, "she is a pioneer for women who want to make a career in that field." Ms. Equilbey grew up in Paris and Germany and discovered classical music at boarding school, where she learned several instruments and sang. When she took a conducting course at the Sorbonne while studying the history and theory of music, it was, she said, "a revelation." She spent two years in Vienna, studying with Claudio Abbado and Nikolaus Harnoncourt "a great mentor," she said, who inspired her love of the sound of period instruments. When she returned to Paris in 1991, she created Accentus. "Unfortunately for music," she said, "French culture was interrupted by the Revolution, and the kind of choral ensemble I knew and loved in Vienna and London just didn't exist." That meant state funding for choral music was nonexistent, but Ms. Equilbey managed to raise money from private sources and to establish Accentus as a force on the French music scene, partly by commissioning new work. She also created a school for young singers that is now part of the Regional Conservatory of Paris, and which is being used as a model for similar institutions around the country. The creation of Insula was much easier, since Ms. Equilbey was invited by the Hauts de Seine region to form a resident orchestra at La Seine Musicale. Although there are several period instrument orchestras in France, Insula is largely alone in embarking on experimental, multidisciplinary projects. "I want to open things up for the public," Ms. Equilbey said. "I like to take risks. But that's not my manifesto. I can also do completely traditional things. I think one should do both." "The Creation" was her opening salvo at La Seine Musicale's inaugural concert in April. "When I think about it, we were crazy, doing all this technological stuff in a new hall, which we really didn't know," she said. "But it immediately conveyed the ideas of innovation and openness." The chaos of our time, he added, "is economic, war, refugees. In America this is so current, with the Mexican border and what is happening now. We are fine in our paradise in the West, but there are many people in chaos, not paradise." There are fanciful sequences: Adam and Eve, for example, emerge from a large aquarium and hang suspended in the air while singing. "We have to stay underwater for five minutes at first, so it's really hard to sing afterwards," said the baritone Thomas Tatzl, a soloist alongside Christina Landshamer and Robin Tritschler. "But you get used to it, and I really like the production; it's really not boring." Jane Moss, the artistic director of Lincoln Center, said that she had long admired Ms. Equilbey. "I would argue that it's inspired by Haydn's "Creation" rather than being an interpretation," she said of the Padrissa staging. "It's about the power of artistic creation itself." "It's a perfect introduction for anyone under 30," she added, "because it does transcend your basic classical music expectations." Ms. Equilbey aims to create two interdisciplinary productions each year, and has another project with La Fura dels Baus planned for the celebrations of Beethoven's 250th birthday in 2020. She said she is also always thinking about how to bring in more female musicians, composers and conductors. "My thesis is that if we manage to get the arts to a more balanced state, society will evolve," she said. "It's not the other way around."	N24News: A New Dataset for Multimodal News Classification	Music
In the early 2000s, mash ups had a cultural moment. Mad studio scientists would combine two (and sometimes more) completely different songs to create a new one. The trend peaked with Danger Mouse's full length "The Grey Album," which fused the Beatles' White Album with Jay Z's "The Black Album." More than a decade later, the Bedlam company is taking a stab at a theatrical mash up with "Uncle Romeo Vanya Juliet," which is stitched together from parts borrowed from Chekhov and Shakespeare maybe the show should be credited to Chekspeare. Bedlam and its bold artistic director, Eric Tucker, have paired classics before. But unlike previous combos ("Sense and Sensibility" and "The Seagull," "Hamlet" and "Saint Joan"), "Uncle Vanya" and "Romeo and Juliet" are presented at the A.R.T./New York Theaters in a single evening rather than in repertory, and with a new hybrid title. Concretely, this means that one moment, the five actors bear Russian names and knock back vodka shots; the very next, they are in another era and country, speaking in blank verse and thou'ing each other.	N24News: A New Dataset for Multimodal News Classification	Theater
Suppose you're a young choreographer running your own ballet company in New York, and one of the city's main dance stages offers to present your work for three nights. You say yes, right? For Emery LeCrone the choice wasn't so obvious. When invited by the Joyce Theater to return to its Ballet Festival, a biennial event spotlighting independent and emerging ballet choreographers, she thought back to the 2015 festival when her troupe made its Joyce debut, performing for two nights. Despite selling out both shows, she came out of that experience in a state of what she calls "burnout, completely." While the Joyce offered its stage and the visibility that comes with it, Ms. LeCrone was responsible for most other production costs, from hiring costume and lighting designers to renting rehearsal space. To present a program of the caliber she wanted, with 10 dancers and live music, she raised the 43,000 she needed on her own. So would she do it again? "I almost didn't," Ms. LeCrone, 30, said recently after a rehearsal in TriBeCa, recalling a discussion with the Joyce's director of programming, Martin Wechsler. "I said: 'It's so hard, it's so much for one person. The fund raising, the production. I don't know if I can do it.'"	N24News: A New Dataset for Multimodal News Classification	Dance
Justin Peck stops short of calling it a protest dance, but his newest ballet, "The Times Are Racing," is certainly of the moment. The dancers wear sneakers, and T shirts and hoodies emblazoned with words like Unite, React, Act, Protest and Fight. (The costumes are by Humberto Leon for Opening Ceremony.) The electronic music is Dan Deacon's blood stirring four movement suite from "America," a 2012 album written out of his frustration with the state of the country and the world. Mr. Peck, 29, started choreographing the dance before the presidential election, but after Donald J. Trump won, he said, the ballet changed course. A few days before its Thursday premiere at New York City Ballet, Mr. Peck, the company's resident choreographer and a soloist this time he even included a part for himself spoke about the work, his love of tap and how his teenage obsession with the video game Dance Dance Revolution had not been in vain. Here are edited excerpts from that conversation. Did the choreography change or become more focused after the election? It changed. It's a less optimistic piece than it could have been. But it's also going back to the music. It's such a cathartic piece, and I think the choreography and the arc of the whole ballet has that feeling of exhaustion and running in a way that doesn't need to be spelled out too much. I feel people are going to be able to interpret it in whatever way they want to. How did the sneakers come in? When I'm in sneakers, it changes my body carriage. I feel more in my own skin. I also think there's less emphasis placed on line and accuracy and more freedom to dance with more energy and fullness and risk. I've done one piece with sneakers for L.A. Dance Project, and I really enjoyed working in that way and I wanted to explore it more at New York City Ballet. We have " N.Y. Export: Opus Jazz" and "West Side Story Suite," and I've danced both. In this piece, you're mixing tap with ballet and a little hip hop? It's hard to describe. I would say you could even separate the tap influences: Rhythm tap and hoofing meets Fred Astaire soft shoe, and Gene Kelly classical tap film movements meets ballet, which is definitely the backbone of the piece. And that meets hip hop meets party dancing. But it's mixed in the same way that Dan's music is synthesized together. The ballet features a sneaker tap number for you and Robert Fairchild. Savion Glover is one of your heroes, right? He is! The reason I started dancing in the first place was my dad took me to see "Bring In 'da Noise, Bring In 'da Funk" when I was 9. I was so enamored with his style and his athleticism and the intricacy of his tap choreography that I started training. Is the tap the reason you cast yourself in the dance? That was a big factor. I always really loved tap as an art form, and in this piece of music there was one section that is highly percussive and intricate. I felt the only way to express that through movement was using tap dance techniques, and for me it was less about the sounds we were making and more about the physicality of the movement. It's not on a lot of ballet dancers' resumes to be able to tap in that way, and I knew Robbie had that ability as well. The duet also takes partial inspiration from when Robbie and I were roommates at the School of American Ballet. We were 17, and we got really into Dance Dance Revolution, the video game. We actually got a system for our dorms, and we started to play it obsessively, and we got really good and really in sync with our movement. We would play until superlate at night and then wake up the next morning with shin splints and not be able to go to class. Laughs I wanted it to almost be like we were both following along on the same Dance Dance Revolution video game level track. In the game, standing players hit arrows with their feet in keeping with musical and visual cues. That's why the movement is completely identical. I love it when you go to an arcade and you see two people who are really good at that game and they're moving completely together. I wanted to use it as the inspiration for this duet, too.	N24News: A New Dataset for Multimodal News Classification	Dance
Perhaps no souvenir from Cleveland quite captures the city's underdog pride as the popular T shirt that reads "Cleveland Against the World" by the artist Glen Infante. It's a quick two mile shopping trip west of downtown to get one at his store iLTHY, short for I Love The Hype, one of the lively shops in the arts and entertainment friendly Gordon Square Arts District. Like many good news stories in Cleveland these days, the growth of Gordon Square owes something to LeBron James. The Cleveland Cavaliers superstar acted as the executive producer on a 2016 CNBC reality TV show called "Cleveland Hustles" in which budding entrepreneurs, each mentored by established business owners, competed to win financial backing and open retail outlets in Gordon Square. Whether the rebound needed Mr. James's help is a matter of some debate in the area. "To create good TV, you have to create a villain. That villain was vacancies," said Ben Bebenroth, the chef and owner of Spice Kitchen Bar who has been operating his farm to table restaurant in the district since 2012. He characterized growth in the past five years as "explosive," adding that the last 12 months have been "epic."	N24News: A New Dataset for Multimodal News Classification	Travel
Yalitza Aparicio as Cleo and Daniela Demesa as Sofi in "Roma," written and directed by Alfonso Cuaron and produced by Netflix. Given how much it has been spending on content, the move isn't surprising, but the latest jump anywhere from 13 to 18 percent depending on the subscription plan is the biggest increase since Netflix started its streaming service a dozen years ago. That's going to hurt some consumers. Many of its users pay for the service even if they don't consistently watch its content, partly because of its attractive pricing. A bare bones subscription, for instance, had cost 8 a month. But fee increases at Netflix are inevitable. One of reasons: Netflix burns a lot of cash. The company's appetite for content means it has to spend big, resulting in what's known as negative free cash flow. More money is going out the door than coming in, a difference that Netflix covers by borrowing even more. "We change pricing from time to time as we continue investing in great entertainment and improving the overall Netflix experience," the company said in a statement announcing the changes, which apply just to United States customers. Netflix's most popular plan, which gives a customer two simultaneous streams, will get the largest increase, to 13 a month from 11. Still, it's cheaper than HBO, whose streaming service costs about 15 a month. The 8 a month plan will now cost 9, and the high end version, which allows for four simultaneous streams, jumps to 16 from 14. (The new prices took effect Tuesday for new subscribers. For existing customers, the increases will start in about three months.) Netflix, which will report quarterly earnings on Thursday, has committed to spending over 18.6 billion on content. That's for shows and films that won't appear on the service for months, whether it's the next season of "Stranger Things" or the forthcoming lineup from the super producer Shonda Rhimes. It also includes content that's currently playing, like "Friends," which ran on NBC from 1994 through 2004 and is owned by AT T's WarnerMedia. The show is wildly popular on the service. Worries that it would leave Netflix prompted an outcry on social media. "The only reason I have an account with Netflix is to rewatch 'Friends,'" one customer said. 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. That helps to explain why Netflix agreed to pay AT T approximately 100 million to keep the show through this year, a threefold increase from what it had been paying on average. Original shows owned by Netflix are also expensive. "Stranger Things," whose new season will become available this summer, costs as much as 8 million per episode. Netflix has to pay for all of that up front. Multiply that by the hundreds of hours of original content that Netflix produces every year, and the cash starts to bleed out. The company had negative free cash flow of 2 billion last year. It expects that figure to rise to about 3 billion this year and about the same next year. That has added to the company's debt: up to 12 billion before it proposed borrowing another 2 billion in October through a bond offering. Spending big on content while keeping prices modest has helped Netflix expand its customer base, about 58 million in the United States and 130 million worldwide. Those figures will be updated Thursday as part of its earnings report. But Netflix technically isn't losing any money. In fact, it claims a profit every quarter since accounting rules allow entertainment companies to record most of their production or licensing costs later on. The stakes for owning content have risen. Big pocketed players like the Walt Disney Company, AT T and NBCUniversal plan to compete with Netflix with streaming services of their own. Both Disney and AT T's WarnerMedia plan to unveil their products by the end of the year, and NBCUniversal, owned by Comcast, is working on an ad supported model streaming service that it plans to make available in early 2020. Not to be left out, Amazon offers a streaming service as part of its Prime shipping program for 13 a month, or 120 a year. Hulu sells an ad free service for 12 per month. (Disney will take control of Hulu once it completes its acquisition of the bulk of Rupert Murdoch's Fox business, sometime around the middle of the year.) There is also Apple, which has spent well over 1 billion to create original TV shows. The boom in streaming has increased costs throughout Hollywood, where competition for talent and property has intensified. As Netflix's chief executive, Reed Hastings, said in October: "There's never been so much TV and movies being created around the world. So the game is on."	N24News: A New Dataset for Multimodal News Classification	Media
These Americans Hated the Health Law. Until the Idea of Repeal Sank In. DOYLESTOWN, Pa. Five years ago, the Affordable Care Act had yet to begin its expansion of health insurance to millions of Americans, but Jeff Brahin was already stewing about it. "It's going to cost a fortune," he said in an interview at the time. This week, as Republican efforts to repeal the law known as Obamacare appeared all but dead, Mr. Brahin, a 58 year old lawyer and self described fiscal hawk, said his feelings had evolved. "As much as I was against it," he said, "at this point I'm against the repeal." "Now that you've insured an additional 20 million people, you can't just take the insurance away from these people," he added. "It's just not the right thing to do." As Mr. Brahin goes, so goes the nation. When President Trump was elected, his party's long cherished goal of dismantling the Affordable Care Act seemed all but assured. But eight months later, Republicans seem to have done what the Democrats who passed the law never could: make it popular among a majority of Americans. The change in public opinion may not denote newfound love of the Affordable Care Act so much as dread of what might replace it. The nonpartisan Congressional Budget Office estimates that both the House and Senate proposals to replace the law would result in over 20 million more uninsured Americans. The shift in mood also reflects a strong increase in support for Medicaid, the health insurance program for the poor that the law expanded to cover far more people, and which faces the deepest cuts in its 52 year history under the Republican plans. Most profound, though, is this: After years of Tea Party demands for smaller government, Republicans are now pushing up against a growing consensus that the government should guarantee health insurance. A Pew survey in January found that 60 percent of Americans believe the federal government should be responsible for ensuring that all Americans have health coverage. That was up from 51 percent last year, and the highest in nearly a decade. The belief held even among many Republicans: 52 percent of those making below 30,000 a year said the federal government has a responsibility to ensure health coverage, a huge jump from 31 percent last year. And 34 percent of Republicans who make between 30,000 and about 75,000 endorsed that view, up from 14 percent last year. "The idea that you shouldn't take coverage away really captured a large share of people who weren't even helped by this bill," said Robert Blendon, a health policy expert at Harvard who has closely followed public opinion of the Affordable Care Act. In 2012, when The New York Times talked to Mr. Brahin and others here in Bucks County, Pa., a perennial swing district outside Philadelphia, their attitudes on the law tracked with national polls that showed most Americans viewed it unfavorably. But now, too, sentiment here reflects the polls and how they have shifted. Many people still have little understanding of how the law works. But Democrats and independents have rallied around it, and many of those who opposed it now accept the law, unwilling to see millions of Americans stripped of the coverage that it extended to them. Five years ago, people here could barely turn on their televisions without seeing negative ads warning that the Affordable Care Act would lead to rationed care and bloated bureaucracy. The law's supporters, meanwhile, including the president whose name is attached to it, were not making much of a case. To win support, Democrats were emphasizing that little would change for people who already had coverage; President Barack Obama famously promised that you could keep your plan and your doctor, even as a few million people's noncompliant plans that did not offer all the law's required benefits were canceled as the law was rolled out. "The best way to get something passed was to argue it was small change," said Stanley Greenberg, a veteran Democratic pollster. "It was only when Republicans got control that people then on their own discovered that this is what the benefits are." Jennifer Bell, sitting outside Mr. Murphy's bagel shop with a friend, was raised a Democrat and always supported the health care law. But it was only after she was injured in a serious car accident in 2013 that she thought to advocate for it. She used to get health insurance through her job as a teacher. Now disabled with extensive neurological damage, and working part time in a record store, she qualifies for Medicaid, and without it, she said, could not afford her ongoing treatment. "It's very, very scary to think about not having health insurance," she said. "If the condition doesn't kill you, the stress of having it does, in this country," she added. "The fact that people do without health insurance is a sin, in my opinion." Ms. Bell, 35, joined about 2,000 others for a women's march in Doylestown after the inauguration, and now makes calls to Representative Brian Fitzpatrick and Senator Patrick J. Toomey, both Republicans, urging them to protect the Affordable Care Act. She is working to elect a Democrat challenging Mr. Fitzpatrick, who voted against the House bill to replace the law, saying he worried about people losing coverage. More vigorous support among the law's natural constituents since Mr. Trump's election has helped lift public opinion. The Kaiser Family Foundation polls tracking monthly support for the law have shown the greatest gains among Democrats and independents, with an increase of 10 to 12 points among each group over the last year, while Republicans' opinion has remained as unfavorable as ever. "When something is threatened to be taken away, people start to rally around it," said Liz Hamel, the director of public opinion and survey research for Kaiser, a nonpartisan group. There has been an increase in the percentage of Republicans and Democrats saying that Medicaid is important for them and their families; between February and July the percentage of Republicans saying so had increased 10 points, to 53 percent. The law still faces hurdles even beyond the debate in Congress. Five years ago, Cindy McMahon, who works at the store on the vegetable farm her family has owned for nearly a century, was not intending to buy health insurance, despite the law's requirement that people have it or pay a tax penalty. She remains uninsured (and the Trump administration has suggested it may not enforce the penalty). "If I had to pay a penalty, it's still less than I have to pay for having health care all year," Ms. McMahon said. At 52, she has diabetes and says the strips to test her blood sugar are so expensive that sometimes she tests once a month rather than daily. She has not looked into whether she might qualify for the Medicaid expansion; she was not aware Pennsylvania had expanded the program. Frank Newport, the editor in chief of Gallup, said that the area of biggest agreement in polls is that Americans want the law changed. In the most recent poll, 44 percent of Americans said Congress should keep the law but make "significant changes." That compares with 23 percent who want to keep it as it is, and 30 percent who support the Republicans' plan to repeal and replace it. Mr. Greenberg said the growing belief that the government should make sure people have health coverage was less an outbreak of compassion than a matter of affordability. In focus groups he conducted, Trump voters said they wanted the president and Congress to lower their health insurance premiums; they did not want to lose the Affordable Care Act's protections against insurers charging more to people with pre existing conditions, or denying coverage of basic health benefits. Mark Goracy, an insurance consultant in Langhorne, near Doylestown, calls the coverage he and his wife get through the individual market "a joke." Their premium is 1,415 a month, with combined deductibles of more than 12,000. Still, Mr. Goracy, 62, said he nonetheless wants the law's mandate blocking insurers from charging people more because of pre existing conditions to survive. While he once wished for "root and branch" repeal of the Affordable Care Act, he is not disappointed about the Republican failure to repeal it. "Unlike when Democrats passed A.C.A. with not one Republican vote, what the Republicans need to do is get together with 20 or 25 Democrats and pass some kind of reform," he said. "That, to me, is how legislation is supposed to proceed."	N24News: A New Dataset for Multimodal News Classification	Health
INSURING for long term care is a lot like trying to cover the future financial impact of climate change. It's a universal problem that looms large, is hard to predict and will be costly to mitigate. Few have prepared for this gathering storm. Private long term care insurance is available, of course, to help pay for expensive services if you are mentally or physically incapacitated late in life. But it is a notoriously confusing and not always reliable product. That's why few people turn to such insurance. Some 70 percent of those over age 65 will require some form of long term care before they die, but only about 20 percent own a policy. Instead, millions of those who end up needing long term care pay for it out of pocket or, after impoverishing themselves, turn to the government for support. The median annual expense for a semiprivate nursing home room is more than 80,000, according to a national survey by Genworth, an insurance company. That's 4 percent more than last year, which means that the cost is growing at more than double the rate of overall inflation. A private room can cost more than 90,000 annually. Stand alone long term care insurance is an imperfect financial hedge to a complex situation. And for many people it doesn't make sense to pay for a policy that may never deliver its promised benefits. While insurance premiums are lowest when you're younger, you may not need it for decades, if at all. In the interim, most policy owners face premium increases, which is why many people let the policy lapse, leaving them with no coverage and no compensation for money spent on premiums. Premiums on such policies have more than doubled from 2007 to 2014, according to the American Association for Long Term Care Insurance, a trade association. A 55 year old couple typically paid a combined 1,982 annually seven years ago for a policy offering 100 a day in benefits and 5 percent annual inflation protection with a 90 day deductible. Last year, that same policy would have cost around 5,000. It's hard to compare policies side by side because of multiple layers of coverage, exclusions and prices based on age and health, said Howard G. Gleckman, a senior fellow at the Urban Institute and author of "Caring for Our Parents" (St. Martins, 2009). And the business has proved difficult for insurers to figure out: Only 14 companies currently sell the policies, compared with nearly 100 a decade ago. "Some 90 percent of the companies 10 years ago offering these policies stopped selling it," Mr. Gleckman said. "They underestimated the risks and people were claiming benefits a lot longer." Moreover, many insurance companies, which invest premium dollars in fixed income investments, have been hurt by low yields in recent years. Locast, a nonprofit streaming service for local TV, is shutting down Capital One's chief executive was fined after being called a 'repeat offender.' "The reason why companies dropped out is that this is a tough product to make a return on investment on," said Jesse Slome, executive director of the long term care insurance association. For many middle income Americans retiring with modest assets (under, say, 500,000), long term care insurance may not be a good use of their money. "It's really hard to see how this will be a viable product for the middle market," Mr. Gleckman said. "This is not a product people want to buy. It's too complicated and too expensive." The typical policy charges a 3,000 annual premium, Mr. Gleckman has found, but it can be much more for those who are older and want maximum coverage. New policies are short term and buyers will pay double the premium for just 3 percent annual inflation protection. Lifetime coverage is no longer offered, and, unlike basic health insurance, you can be rejected for a policy based on health history. Some 45 percent of applicants age 70 or older were denied coverage in 2014, the trade association reported. Since the policies are complex with "waiting" or "elimination" periods during which benefits are not paid but reduce cost they are difficult to analyze. Perhaps the biggest question surrounding long term care insurance is how many policyholders stop paying premiums. A recent report by the Center for Retirement Research at Boston College concluded that "more than a third of those with L.T.C. insurance at age 65 will let their policies lapse at some point, forfeiting all benefits." Mr. Slome disputes that finding, claiming the center's survey is based on old data. "People lapse insurance policies just like they stop newspaper subscriptions," he said. "After the initial period, very few people lapse, and over time the average today is less than 1 percent annually." "What happened five years ago," he contended, "is not happening today." To avoid being one of those who falls through the cracks, it is important to carefully review what you're getting before you buy it. "Do you understand the policy?" asks Brenda Cude, a professor at the University of Georgia. Dr. Cude recommends consulting with an "adviser who has your best interests in mind." "The professional advising you likely has a financial stake in selling you a policy, but one who follows a fiduciary standard will put your best interests first," she said. "I would want to work with a professional who asks for a complete picture of my family's financial resources. There are no easy answers or quick rules of thumb." As if these questions weren't difficult enough, there are also estate planning considerations. You may want to leave something to your heirs and not want to see your estate consumed by long term care expenses in your final years. Several newer products called hybrids add on long term care benefits to life insurance and annuities that may address this concern. But they add even more layers of cost and complexity. For those in such situations, experts advise consulting an elder law attorney and fee only financial planner who doesn't make money from recommending the policies. That's the best way to receive an objective and nuanced evaluation on whether this product makes sense for you.	N24News: A New Dataset for Multimodal News Classification	Your Money
After years of rebuilding, upgrading and outfitting, OceanXplorer, a former oil rig turned research vessel, is ready for its operational debut.Credit...Andy Mann After years of rebuilding, upgrading and outfitting, OceanXplorer, a former oil rig turned research vessel, is ready for its operational debut. In 2014, when crude oil was selling for more than 100 a barrel, the cost of a new drill ship for oil exploration could run to 100 million. So when the price of oil crashed, Ray Dalio, the founder of Bridgewater Associates, an investment firm in Westport, Conn., saw an opening. In 2016, he bought a lightly used oil ship at a very attractive price and transformed it into his dream a vessel for big science, big technology and big storytelling. Mr. Dalio's aim is to help Homo sapiens connect more intimately with the ocean, with what he calls "our world's greatest asset." OceanXplorer is now making its operational debut, after years of rebuilding, upgrading and outfitting. So is Mr. Dalio, 71, as a new kind of entrepreneur. He sees his glistening, high tech ship as a superstar not only of oceanic research but of video production, nature television shows and livestreaming events that will open the abyss to an unusually wide audience. "It's going to change things," in part by inspiring a new generation of ocean explorers, Mr. Dalio said. Schoolchildren in classrooms will be able to guide the ship's undersea robot through the primal darkness, uncovering riots of life. He quickly bought Alucia and, late in 2011, also bought his first bubble sub after doing a test dive in the Bahamas. Almost immediately, the pair of vehicles made a major discovery. The giant squid huge and slimy, its tentacles lined with sucker pads, its big eyes unblinking is a fixture of horror fiction, including Jules Verne's "20,000 Leagues Under the Sea." But it had long eluded science. A 1994 book by Richard Ellis, "Monsters of the Sea," called the creature so mysterious that "no one has seen a giant squid feeding in fact, no one has ever seen a healthy giant squid doing anything at all." In the summer of 2012, off Japan, Alucia and its bubble subs hosted a team of scientists who found and filmed one of the beasts. The discovery made a global splash in 2013 on newscasts and documentaries. Mr. Dalio's youngest son, Mark, was then an associate producer at National Geographic's television network. Fascinated by the squid hunt, he persuaded his father to finance a multimedia venture, Alucia Productions, that would chronicle Alucia's research. In 2017, the ship appeared in the BBC documentary series "Blue Planet II," which was credited with producing a surge in applications for the study of marine biology. By that point, Mr. Dalio had purchased the drill ship and was turning it into a suite of mobile laboratories for deep science and public education. For expert advice, he turned not only to his son, to Woods Hole and to Dr. Pieribone of Yale but to the film director James Cameron. The Hollywood mogul knew a great deal about marine science and technology, having plunged to the ocean's deepest spot in an undersea craft of his own design that he then donated to Woods Hole. Among other things, Mr. Cameron suggested banks of lighting that would illuminate not only the sea creatures being studied but the experts examining them. Last year, he told Variety that the giant ship, as a set, would illuminate the passion that drove exploration of the ocean. "You are going to have adversity and psychological challenges," he said. "The crew will be disappointed, the explorers will be disappointed. But for every moment there's a setback or challenge, there's going to be that moment of discovery. You want to take the audience on that roller coaster journey, because that's what exploration is all about."	N24News: A New Dataset for Multimodal News Classification	Science
It may have slipped by you, but last week Donald Trump suggested that he may be about to give U.S. farmers who have yet to see any benefits from his much touted trade deal with China another round of government aid. This would be on top of the billions in farm aid that Trump has already delivered, costing taxpayers several times as much as Barack Obama's auto bailout a bailout Republicans fiercely denounced as "welfare" and "crony capitalism" at the time. If this sounds to you like a double standard Democratic bailouts bad, Republican bailouts good that's because it is. But it should be seen as part of a broader pattern of breathtaking fiscal hypocrisy, in which the G.O.P. went from insisting that federal debt posed an existential threat under Obama to complete indifference to budget deficits under Trump. This 180 degree turn is, as far as I can tell, the most cynical policy reversal of modern times. And this cynicism may win Trump the election. If Trump does win, there will be many recriminations among Democrats, especially about the vanity candidates who continue to fragment the field despite having no realistic chance of becoming the nominee. But while these recriminations will have much truth to them, the biggest factor working in Trump's favor is a strong economy not as strong as he claims, but good enough to provide a significant political lift (unless growth is derailed by the coronavirus). Trump likes to bad mouth the Obama economy. In reality, from 2010 onward, America experienced steady growth in both G.D.P. and employment and there was no upward break in the trend after 2016. But recovery from the 2007 9 recession could and should have been faster. What slowed recovery? Unprecedented fiscal austerity. In particular, government spending grew far more slowly during the Obama recovery than it did under either George W. Bush or Ronald Reagan. Does fiscal austerity hurt growth? Yes. We've seen this fact demonstrated again and again over the past decade, most recently in Japan, where an ill advised effort by Prime Minister Shinzo Abe to reduce the budget deficit sent the economy plunging at a 6 percent annual rate. And the austerity of the Obama years definitely slowed recovery; without those spending cuts, unemployment might well have fallen to 4 percent as early as 2014. So who was responsible for all this austerity? The answer, overwhelmingly, is Republicans in Congress. Remember, they threatened to create a financial crisis by refusing to raise the debt limit unless Obama cut spending. Again, they insisted that austerity was essential because government debt was an enormous threat to America. But they lost all interest in deficits as soon as one of their own occupied the White House. Trump inherited a 600 billion deficit; he's blown that up to 1 trillion and hardly a single Republican in Congress has expressed dismay. How much have Trump's deficits boosted the economy? Well, they're poorly designed stimulus; the biggest item was tax cuts for corporations, which corporations used to buy back stock rather than to expand their businesses or raise wages. But while the Trump stimulus probably didn't deliver much bang per buck, it involved a heck of a lot of bucks. And Trump's economy also gets a lift from the fact that Republicans have ended the de facto economic sabotage that prevailed throughout the Obama years. Incidentally, the experience of the past three years also refutes two of the main arguments used to justify the disastrous turn to austerity after the financial crisis claims that deficits would hurt confidence and lead to a sharp rise in interest rates. None of this has happened. So how can Democrats run against Republican fiscal hypocrisy? Not by warning about the dangers of deficits that's both wrong on the substance and politically ineffective, because nobody cares. They might do better by pointing out that while Trump has rushed to cut taxes for corporations and the wealthy, he has been shortchanging the future. Ignoring his campaign promises, he has done nothing to raise much needed spending on infrastructure. And despite its obvious indifference to budget deficits, his administration seems determined to deprive children of the adequate health care and nutrition they will need to become productive adults. And there's an important lesson for Democrats going beyond this election namely, how to deal with what I've called the Very Serious People, centrists who spent years insisting that government debt was the most important issue of our time (and also believing, or pretending to believe, that Republicans were sincere in their supposed concern about debt). The V.S.P.s have gone oddly silent under Trump funny how that works but they'll surely be back if Democrats retake the White House. But they have no idea what they're talking about, and never did. If and when they re emerge, Democrats should ignore them. The Times is committed to publishing a diversity of letters to the editor. We'd like to hear what you think about this or any of our articles. Here are some tips. And here's our email: letters nytimes.com. Follow The New York Times Opinion section on Facebook, Twitter ( NYTopinion) and Instagram.	N24News: A New Dataset for Multimodal News Classification	Opinion
Two fashion tycoons who are longtime friends and business partners are the first known billionaire buyers at One57, the Midtown tower under construction that will be New York's tallest building with residences, according to two people familiar with the matter. Lawrence S. Stroll, of Quebec, and Silas K. F. Chou, a native of Hong Kong, agreed late last year to buy full floor units above the 80th story at One57, at 157 West 57th Street. Mr. Stroll paid just under 50 million. Mr. Chou paid just over 50 million after prices had been raised, said the people familiar with the matter, who declined to be identified, citing confidentiality agreements. News of the purchases, first reported by The New York Post, opens at least a small hole in the veil of secrecy at One57, a 1.5 billion development whose buyers' identities have been slow to emerge. Since the building began sales last November, the only buyer to be revealed before Mr. Stroll and Mr. Chou was Richard Kringstein, the co owner of the Herman Kay Company, which makes women's and men's outerwear; he bought a three bedroom apartment for an undisclosed price.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Those final few minutes, just before kickoff, have been mapped out with almost military precision. At exactly 8:50 p.m. local time, a disinfected Champions League match ball will be placed on a ceremonial plinth. At 8:53 p.m., the players will leave their locker rooms. The teams will enter the field, separately, no more than two and a half minutes later. At 8:57 p.m., as the strains of the Champions League anthem blare out of the stadium's speakers, the players will face the stands all but empty while maintaining social distancing: a meter between each player. Team photos are at 8:57 p.m. and 50 seconds but the photojournalists do not have long to take them: the coin toss is at 8:58. And then, at 9 p.m. local time on Wednesday, European soccer will enter uncharted territory. After months of planning, weeks of uncertainty, hours of meetings and hundreds upon hundreds of pages of protocols and instructions, the strangest, most intense Champions League in history will finally begin its (belated) push to the final. Rather than providing a slow burn climax to the European season, with the final three rounds of games held over almost two months and staged across the continent, the Champions League, the most coveted prize in club soccer, will be settled in only 10 days and in one city: Lisbon. Per the rules, the two players Angel Correa and Sime Vrsaljko were isolated from the rest of the team, and on Monday Atletico announced that it would return to training and continue its preparations for a Thursday quarterfinal against RB Leipzig. That, too, is allowed; even amid a locker room outbreak, a team can keep playing as long as the club can field 11 starters and two reserves who test negative. The entire knockout round, in fact, is an abrupt break from history, and not one UEFA the competition's organizer, and European soccer's governing body is eager to repeat. Nor is it quite as pure a Champions League as anyone might have hoped, since there are vast differences in the preparations of the eight teams that have made it. Paris St. Germain, which plays the opening match against Italy's Atalanta on Wednesday, has played only two competitive games since March. Bayern Munich had a monthlong break between the German Cup final and its meeting with Chelsea on Saturday, a layoff that Oliver Kahn, the club's forthcoming chief executive, worries might be a disadvantage. And then, of course, there are the myriad demands being placed on the teams to ensure the tournament can play to a finish. "I have a feeling that whichever team handles all of these fears and responsibilities the best has a big chance to win," Kahn said. Those requirements touch almost every aspect of each team's preparation. Last week, representatives of all 12 clubs still involved in the competition at that stage joined an online call with UEFA, European soccer's governing body, to go over what the tournament would look like. They were presented with three sets of slides, amounting to more than 130 pages as well as being sent the 31 page "Return To Play" protocol governing almost every aspect of their stay in Portugal. As well as detailing where each team will stay and train in the city, the slides informed them that they would be afforded 210 bottles of water, as well as 90 bottles of Gatorade, every day at their appointed training facility; that they can ask for up to 50 kilograms of ice to be made available during training sessions and games; and that they must supply not only photos but the dimensions of their team buses, if they were planning on providing their own. They were presented with maps of the stadiums they will use, detailing where, precisely, their players will be allowed to warm up. So called "fast feet" exercises must take place away from the playing surface, and the area in front of each goal mouth must not be touched. Players will not be permitted to perform warm downs on the field at all, to protect the turf as much as possible for other matches. They were walked through the testing schedule for each of their players one before setting off for Lisbon, one immediately upon arrival, one the day before each game. The results will be returned to them no more than six hours before kickoff to ensure that the competition does not see an outbreak of the sort that has disrupted several major sports in the United States. UEFA has a procedure in place should a team record a positive test: Its game will go ahead, with that player (or players) not involved. Games will only be canceled if a team cannot name 13 fit players. In that situation, the team that cannot proceed will forfeit. The result will be recorded as a 3 0 defeat. UEFA, the meeting made clear, has a procedure for almost anything. There is a good reason for that. The organization has put far too much work in for the competition not to play to a finish, for Europe to be devoid of a champion. It has not only been a monumental effort in terms of planning, but in terms of politics, too. The day after Atletico Madrid eliminated Liverpool, last year's winner, in March, the idea that the Champions League might be completed seemed a fanciful one. The coronavirus pandemic had brought soccer to a halt across Europe, and the continent's showpiece competition was frozen midway through its round of 16. As the hiatus dragged on and leagues tried to pick a way back to action, the Champions League appeared, if anything, in even greater peril. UEFA had publicly stated its commitment to playing out the competition the financial consequences of failure to do so were too much to contemplate but the path ahead was anything but clear. By May, UEFA had realized there was only one available conclusion. The tournament had to be wrapped up in a maximum of three weeks. Unlike the domestic competitions that were returning, it had to corral teams from multiple countries, with differing regulations on containing the virus. It would have to be a knockout competition, a series of one and done games played in a single country, more akin to the closing stages of a World Cup. Turkey was convinced it could host such a tournament: the Champions League final had, after all, been scheduled for Istanbul before the pandemic struck. UEFA, though, was skeptical. Turkey was regarded as too much of a risk. Germany, Spain, Hungary and Portugal all volunteered to take its place, and Turkey agreed to step aside, promised next year's final instead. At the same time, Portuguese officials made their move. Fernando Gomes and Tiago Craveiro, the president and chief executive of the country's soccer federation, had developed a close relationship with UEFA's leadership. They stressed to them that Portugal, at that point, had not been as hard hit as other nations, and that Lisbon had experience hosting major events. The pitch worked. With a format and a venue, UEFA now had to take care of the organization. In ordinary circumstances, that might take months. It had only a few weeks. A hosting agreement, including tax breaks, was hammered out with the Portuguese government and a detailed health protocol was created. The games, UEFA announced, would take place without fans. To avoid complaints of favoritism and petty arguments among the teams, hotels were allocated slots in the competition draw, meaning where each team would stay and train would be as much a case of luck of the draw as the opponents it would face. UEFA's leadership, led by its president, Aleksander Ceferin, held a call with senior Portuguese officials, including the prime minister, Antonio Costa. The soccer officials provided a detailed presentation, involving mountains of statistics and graphics, that, they said, showed Portugal's testing record and handling of the virus meant there was little threat to the tournament. That final hurdle cleared, UEFA could press on. On Aug. 4, it presented the final version of what its emergency Champions League would look like to the clubs. The focus was on all of the sudden norms of this new world: face masks and hand sanitizing and social distancing. There will be just one nod to the past. At 8:50 p.m., precisely 10 minutes before kickoff of each match, a match ball will be placed on its plinth. On the ball's curved surface, just beneath an image of the Champions League trophy, two words will serve as a reminder that this is not how it was supposed to be. "Istanbul 2020," it will read.	N24News: A New Dataset for Multimodal News Classification	Sports
When it comes to home seating, most people think sofas and chairs. But sometimes there's nothing better than a good bench. "A bench is great for extra seating when you don't want another big, chunky upholstered piece," said Katrina Hernandez, 32, an interior designer and an owner of the New York design firm Hernandez Greene. Her business partner, Joshua Greene, 36, offered another perspective. "They're like the kicker on the football team," he said. "You don't use them that much, but when you do, they need to be really good." Since he and Ms. Hernandez started their firm in 2014, it turns out, they've used them quite a bit. In the houses in the Hamptons and apartments in Manhattan they've designed, you'll find benches in entryways, at the foot of a bed and in front of a living room fireplace. So how do they know they've chosen the right one? A few things to consider: Should it be upholstered or not? In a foyer or mudroom, a bench with a hard seat works well, Mr. Greene said, but "in living spaces, like living rooms and bedrooms, it needs to be soft." What proportions will work best? A bench with a deep seat is ideal in a living room, Mr. Greene said, but "in a hallway, you want to go long, not deep."	N24News: A New Dataset for Multimodal News Classification	Real Estate
BURBANK, Calif. The once catatonic corner of moviedom dedicated to merchandise has suddenly come alive as studios walloped by vanishing DVD sales and determined to keep fans engaged between sequels look at themed toys, clothes and home decor with renewed vigor. And Pam Lifford, the president of Warner Bros. Consumer Products, is in many ways leading the charge. "To gain market share, it has to come from somewhere," she said with a mischievous grin, padding in sparkly shoes past a "Hobbit" themed pinball machine at Warner headquarters here. Ms. Lifford, described by License Global magazine as "savvy, seasoned and supercharged," credits toy ready movies that were already in Warner's pipeline, like the Potter prequel "Fantastic Beasts and Where to Find Them." Kevin Tsujihara, Warner's chief executive, credits the way Ms. Lifford came in guns blazing. "I'm confident we can build on the momentum Pam and her team have created," he said in an email. "It's a great growth opportunity for the company." With the decline in DVD sales speeding up and the box office stalling on a global scale even as movies become more expensive to make studios like Warner for the first time are looking to merchandise as an engine. Film companies will release 25 movies with toy tie ins this year, according to Bloomberg analysis, up from roughly eight annually in the past. "Jumping headfirst into the space" is how a Sony spokesman on Friday described its new approach, which will be on display in July with the release of "The Emoji Movie." More than ever, consumer products are influencing moviemaking decisions namely, sequels and more sequels. Retailers are more willing to devote shelf space to tie in products when there is already proven interest. (Notably, there was almost no merchandise tied to "King Arthur: Legend of the Sword," which flopped badly for Warner this month.) But how much movie bric a brac can the market bear? Some analysts worry that the public will eventually say enough is enough. That happened in 2002, when retailers were stuck with a vast array of "Treasure Planet" items nobody wanted, leading to a Hollywoodwide pushback. Retail earnings and Black Friday: the week in business. Elizabeth Holmes will resume her testimony in her fraud trial. Consumer products can also be a surprisingly fraught business. Some studios have recently found themselves caught in social media storms involving gender parity why are some female characters less prevalent in stores than male ones? and items that overreach, like a "Moana" costume that turned children into tattooed Polynesian warriors. But the opportunity is too great for studios to pass up, and Exhibit A is Disney. Over the last five years, operating income at Disney's consumer products and video game business has roughly gone from 1 billion to 2 billion, fueled by hits like "Frozen." Disney is the world's No. 1 licenser, with themed products generating 56.6 billion in retail sales last year. "Disney does a great job of using consumer products to keep fans energized," said Anthony DiClemente, an analyst at Nomura Instinet. It is not a coincidence that Warner, Universal and 20th Century Fox have turned to Disney veterans to invigorate their merchandise divisions. Ms. Lifford spent 12 years at Disney Consumer Products, leaving in 2012, when she was an executive vice president. (More recently she worked at Quiksilver.) Jim Fielding, former president of Disney Stores Worldwide, took over consumer products at Fox in January. Vince Klaseus became Universal's consumer products and video game chief in 2014 after a long run at Disney. When Ms. Lifford arrived at Warner Bros. Consumer Products, which has about 330 employees worldwide, she was shocked to find that licensing efforts were scattered across 437 shows and films from the studio's library. "That was not an efficient approach," she said. Warner now concentrates on three areas: all things Harry Potter; DC Comics superheroes; and classic cartoons, including Looney Tunes (Bugs Bunny, Daffy Duck) and Hanna Barbara (the Flintstones, Tom and Jerry). Mindful of increasing upheaval in the retail world, as more consumers move away from traditional stores toward online shopping, Ms. Lifford also insisted that Warner become an "active" licenser instead of a "passive" one the Disney way, which involves extensive retail hand holding. "We needed to be curating retail experiences so that each one is special," she said. "In today's environment, no one can afford to look the same."	N24News: A New Dataset for Multimodal News Classification	Media
Whether personally or professionally, Daniel Kronauer of Rockefeller University is the sort of biologist who leaves no stone unturned. Passionate about ants and other insects since kindergarten, Dr. Kronauer says he still loves flipping over rocks "just to see what's crawling around underneath." In an amply windowed fourth floor laboratory on the east side of Manhattan, he and his colleagues are assaying the biology, brain, genetics and behavior of a single species of ant in ambitious, uncompromising detail. The researchers have painstakingly hand decorated thousands of clonal raider ants, Cerapachys biroi, with bright dots of pink, blue, red and lime green paint, a color coded system that allows computers to track the ants' movements 24 hours a day and makes them look like walking jelly beans. The scientists have manipulated the DNA of these ants, creating what Dr. Kronauer says are the world's first transgenic ants. Among the surprising results is a line of Greta Garbo types that defy the standard ant preference for hypersociality and instead just want to be left alone. The researchers also have identified the molecular and neural cues that spur ants to act like nurses and feed the young, or to act like queens and breed more young, or to serve as brutal police officers, capturing upstart nestmates, spread eagling them on the ground and reducing them to so many chitinous splinters. Dr. Kronauer, who was born and raised in Germany and just turned 40, is tall, sandy haired, blue eyed and married to a dentist. He is amiable and direct, and his lab's ambitions are both lofty and pragmatic. "Our ultimate goal is to have a fundamental understanding of how a complex biological system works," Dr. Kronauer said. "I use ants as a model to do this." As he sees it, ants in a colony are like cells in a multicellular organism, or like neurons in the brain: their fates joined, their labor synchronized, the whole an emergent force to be reckoned with. "But you can manipulate an ant colony in ways you can't easily do with a brain," Dr. Kronauer said. "It's very modular, and you can take it apart and put it back together again." Dr. Kronauer and his co authors describe their work in a series of recent reports that appear in Proceedings of the National Academy of Sciences, The Journal of Experimental Biology and elsewhere. "His system is unbelievably promising for anyone who wants to study social behavior," said Corina Tarnita, an associate professor of ecology and evolutionary biology at Princeton University who has worked with termites and microbial communities. "You can ask, what are the basic ingredients, the elementary operations that nature has used repeatedly to produce societies whether you're talking about ants, slime molds, baboons or even the very first human societies." Gene Robinson, a honeybee expert and director of genomic biology at the University of Illinois at Urbana Champaign, said, "Social insect colonies are the quintessential complex system, and Daniel has developed a very powerful set of tools addressing big questions of how they operate, and how, in the absence of central control, local interactions can give rise to global patterns." One key to the raider ant's potential as a laboratory workhorse is its adaptability. Many ants are finicky. Not so Cerapachys. "It's a weedy species," Dr. Kronauer said. "That's true of a lot of model organisms they have a global distribution, they're good at invading disturbed habitats, and they're good at being raised in a lab." To trace the knotted skeins of antly social life, the researchers take a battery of approaches. They knock out ant genes or edit the lettering of ant genes and see how the ants respond. They ply ants with radioactively labeled neurochemicals and check where in the ants' brains the signaling molecules gain purchase. The project represents basic research at its most seductively cerebral, yet it may well reveal insights into human disease, like why cancer cells ignore all stop signals from their surroundings, or why the brain turns in on itself during depression. "By studying the neuromodulators that make ants so sensitive to their social environment," Dr. Kronauer said, "we could learn something fundamental about autism and depression along the way." The five year enterprise has not been glitch free. Early on, the ants were stricken by a mite infestation. "It came out of nowhere and killed off 80 percent of the colonies," Dr. Kronauer said. "I went home and told my wife, we're done." Now the protocols are established, the ants are thriving and members of Dr. Kronauer's lab handle their subjects with deft efficiency. In one experiment, Vikram Chandra, a graduate student, plucked individual ants from a dish with a small pair of pliers and passed the tool over to Amelia Ritger, a research assistant. She peered through a microscope to inject a dose of hormone into each ant's abdomen and then returned the pliers to Mr. Chandra for a refill. "We'll go through a few hundred of these over the next couple of hours," Ms. Ritger said. "They move, you follow. You can't really do experiments," he said. He wanted to delve deeper, take ants back to the lab, do sequencing, transgenics, knockouts, molecular work, the whole fruit fly buffet. But what sort of ants would comply? As a rule, biologists who study ants in the lab must constantly replenish their stocks from the wild, which would preclude the precise genetic research Dr. Kronauer had in mind. Then he happened on three papers about the obscure C. biroi, and he knew he'd found his ant. Beyond its amenable weediness, the clonal raider ant seems almost custom tailored for experimentation. The world's 12,000 known species of ants display a variety of reproductive and survival strategies. The most familiar examples are the fully eusocial ants, in which many sterile female workers do all the chores, a single large queen lays all the eggs, and a sprinkling of male ants, or drones, supply the sperm. Among clonal raider ants, there are no permanently designated workers and queens. Instead, all the ants in a colony switch back and forth from one role to the other. About half the time, they behave like workers, gathering food for their young generally, by raiding the nests of other ants and stealing their larvae. The rest of the time, they go into queen mode and all colony members lay eggs together. Moreover, there are no male raider ants: The eggs develop parthenogenetically, without sperm, creating phalanxes of genetically identical female clones. The ants' unusual mix of genetic uniformity and wildly protean conduct offers a powerful tool for cracking the old nature versus nurture conundrum, and the Kronauer researchers have been mapping out the interplay between genes and environmental cues in shaping essential behaviors like reproduction and sociality. Sequencing the genome of the ant, the scientists found that one class of odorant receptor genes had been "massively expanded," Dr. Kronauer said, suggesting that C. birois may be even more dependent than the average ant on chemical communication. The researchers then used gene knockout techniques to eliminate that category of odorant receptors from some ants, and the results were startling. The knockout ants had no trouble detecting food. In fact, Dr. Kronauer said, "they would eat much more than other ants do." Their appetite for socializing was another matter. "These ants are like little tanks," Dr. Kronauer said. Why is it important to kill off an ant that might breed off season when that ant is your genetic twin? Dr. Kronauer compared the police ants to the body's immune system, and the rebel ant to cancer. "An ant colony faces similar problems as a multicellular organism," he said. "You can't have components that don't respond to regulatory cues and start to replicate out of control." When the ant police come knocking, there's no rock big enough to hide you.	N24News: A New Dataset for Multimodal News Classification	Science
Spend some time in Ojai and locals will let you in on their motto: "Keep Ojai lame." It's a tongue in cheek resistance to the increasing tourist traffic in this small, verdant city, 80 miles northwest of Los Angeles. Long a haven for yogis, spa goers and anyone with vaguely spiritual inclinations the Ojai Valley runs east west rather than north south, which some say creates an "electromagnetic vortex" of good energy the city is also drawing fashion types and foodies with new shops, restaurants and cool places to hang out. Many popular spots are located along or just off Ojai Avenue, the main drag that is easily traversable by foot or bike. Since 2014, this bar, cafe and home goods shop has been charming locals and visitors with prettily plated snacks and generous pours of wine. The ample outdoor space includes a hammock for those who want to hang.	N24News: A New Dataset for Multimodal News Classification	Travel
The director Gabe Polsky's "Red Penguins" qualifies as a follow up of sorts to his 2014 documentary "Red Army," titled after a nickname for the Soviet Union's near indomitable national hockey team. But this time, sports are almost incidental. The new documentary is interested in hockey as a commercial entity. It delves into what happened when, in the early 1990s, two owners of the Pittsburgh Penguins took a financial stake in a cash strapped franchise known as the C.S.K.A. sometimes called the Central Red Army for its previous relationship with the Soviet armed forces as the team's greatness was slipping. Although this episode might sound like a footnote in the story of Russia's transition to capitalism, "Red Penguins" is filled with tales of cultures clashing and misunderstood intentions. The de facto protagonist is not an athlete but a goofy, curly maned marketing executive, Steven Warshaw, whose up for anything attitude made him a fun drinking buddy for his new Russian pals.	N24News: A New Dataset for Multimodal News Classification	Movies
VIENNA The day after I arrived in this grand city, the ostentatious capital of an empire that vanished 100 years ago, a taxi emblazoned with an ad for an Austrian brand of mineral water drove past me. Its slogan, rendered in now customary hashtag form, was jungbleiben or stayyoung and in TV commercials for the campaign, Keira Knightley and Sienna Miller swig straight from the bottles, and Agyness Deyn shouts in passable German, "If you want to stay young, you'd better get started early." Spend more, consume more, drink up but never, ever get old. Well, whether you are strapping or sedentary, and no matter how much you hydrate, old age is coming for you and youth, I'm learning as a worn out thirtysomething, is wasted on the young. Embracing the fate that awaits all of us, and casting it as something more virtuous than an affliction to be mitigated with spring water, is the project of "Aging Pride," an extensive gambol through the art of our later years at the Belvedere Museum and one of the largest exhibitions of the season in Vienna. Frank self portraits by the printmaker Kathe Kollwitz, the photographer John Coplans and the painter Maria Lassnig are joined by biting videos and photographs that explore the social side of aging, by contemporary figures such as Martin Parr, Hans Op de Beeck, and Fiona Tan. The show is capacious and good natured, though in a rapidly aging country like Austria, "Aging Pride" has a particular demographic bite. When the general population is getting older (and art audiences more so), we had better expect a few more gray hairs in our white cubes. With nearly 200 works, ranging across a century and intermingling icons of art history with figures little known outside Austria, the show can charitably be called a grab bag. More than one of its galleries resembles a storeroom more than a carefully hung exhibition. ("Aging Pride" has been mounted not in the famous Upper Belvedere, the plush Hapsburg palace where tourists take lip smacking selfies in front of Gustav Klimt's "The Kiss," but in the Lower Belvedere, where the royals actually lived.) With so many works in relatively little space, the curator Sabine Fellner has been obliged to group the art by clashing themes that cancel each other out more than they illuminate: desire and loneliness, retirement and reinvention, death and memory. The virtues of "Aging Pride," then, lie in the works themselves. Nudes of old people, men and women alike, play a crucial role in this exhibition as markers of the body in evolution, and as test cases for the social meanings of desire and disgust. Ms. Lassnig, a hero of Viennese painting who died in 2014 at 94, appears here in the 1975 self portrait "Butterfly," her breasts drooping, her arms gaunt, her mouth pursed. A more recent nude self portrait on show is "Centered" (2002), by the American figurative painter Joan Semmel whose unabashed paintings of herself unclothed influenced a generation of feminist successors. Ms. Semmel, who turned 70 the year she painted the work, sits with her right leg bent and her arm wrapped around her knee. She holds a camera in front of her face: a marker of authorship, but also a mask. Compared with the paintings, the photographs of nude older people in the exhibition display less benevolence. A late suite of images by Mr. Coplans, a British artist (and co founder of the magazine Artforum) who photographed his body with merciless objectivity, divides his nude, reclining body across four starkly cropped prints. His distended belly, flabby thighs and skin speckled by decades of exposure to the sun appear in a cool, even light, as if he were already on a mortuary slab. But there are also more tender photographs, and not all the nudes are self portraits: Juergen Teller photographs a then 64 year old Helen Mirren in the bath, her nipples faintly visible beneath the soapy water, her face steely and seductively absolute. The image is a confident sally against double standards of sex appeal: If Denzel Washington can still draw looks in his early 60s, why can't she? Paintings of nude old people are relatively rare in art history, not only because of a cult of youth and beauty. More concretely, humans now live decades longer than they did just a couple of centuries ago. (When the Belvedere was built in the early 18th century, the life expectancy for European males was under 30.) In the catalog for "Aging Pride," Ms. Fellner notes that the ranks of the elderly are set to expand 37.5 percent in Austria over the next 12 years alone. Low birthrates from Spain to Slovakia, combined with increasing life spans, will see Europe's work force shrink nearly 12 percent by 2060: a phenomenon with not only worrisome economic consequences but political ones, too. What sort of lives will these old Europeans lead? Loneliness is a risk though changing work patterns and isolating technologies have seen a surge in loneliness among the young and long term relationships pose hazards of their own. Mr. Op de Beeck's grave video "Coffee" (1999) shows an older couple in an overlit cafe, she staring into the distance, he slumping in his chair, bored, absent. Increasing life spans and improving medical technologies have also introduced a growing danger in old age: that of dementia, of the body outlasting the brain. In a revealing series of black and white portraits by the Vienna based photographer Regina Hugli, people with Alzheimer's disease show expressions of delight, confusion, bemusement and utter vacancy. But old age can also be a third act of life, permitting new identities and greater social independence. It need not entail a loss of sexual desire western literature bulges with dirty old men, and women of a certain age, too, have the right to desire. One of the delights of "Aging Pride" is a short video by the Austrian artist Carola Dertnig, who interviewed her grandmother, then 86, about a dream she had the night before: she had fantasized that she was in a forest, locked in the arms of "a hunk." She is embarrassed to have such desires at her age, but only a little. No art in "Aging Pride" speaks more eloquently to our collective power to reimagine old age than a clip from the German choreographer Pina Bausch's "Kontakthof" her 1978 masterpiece of lonely hearts on the dance floor, which she created for her company of dancers in Wuppertal, Germany, but later restaged with volunteers over 65. The older dancers, wearing the same tight suits and slinky silk dresses that Bausch's regular troupe had worn, go through the ritual preening they learned over decades; they get lucky or get humiliated, and come back for more. Their bodies are notably stiffer than the average professional dancer, but they are here, they are boogieing, and they are ready for love.	N24News: A New Dataset for Multimodal News Classification	Art & Design
To write a memoir, first you have to take yourself seriously to consider your life worth scrutinizing, your thoughts worth passing along. That's maybe not such a high bar to clear in this confessional, self obsessed age, but for a woman in the 15th century? Rather unusual, especially if the writer in question didn't know how to read. When the English mystic Margery Kempe set down her observations and adventures in "The Book of Margery Kempe," she apparently dictated it. And when you watch John Wulp's "The Saintliness of Margery Kempe," a curiosity of a comedy inspired by the memoir, you know that this is something its grand, restless, flailingly ambitious heroine absolutely would do. The great Frances Sternhagen played Margery in the original Off Broadway production, in 1959, opposite Gene Hackman as her put upon husband, John. The delightful news about Austin Pendleton's uneven revival at the Duke on 42nd Street, starring Andrus Nichols as Margery and Jason O'Connell as John, is that the standard for those roles hasn't slipped a millimeter. Both veterans of the theater company Bedlam, these are actors whose names on a cast list are a tipoff: If they're in it, exciting performances are likely afoot. From the moment we meet Margery, bristling with anger, and John, who soon shifts from placating her to suggesting an exorcism, Ms. Nichols and Mr. O'Connell are delicious to watch. I kept wanting to put them in a Charles Ludlam play.	N24News: A New Dataset for Multimodal News Classification	Theater
Chelsea rallied to avoid a defeat at Leicester City on Saturday, but the draw meant it has won only four of its last 13 Premier League games. LEICESTER, England More than a decade ago, one of the world's foremost cardiovascular health experts tracked the heart rate and blood pressure of two Premier League managers during a game. His findings were, by most measures, alarming: pulse rates that, at times, spiked to four times their ordinary level; blood pressures that soared to dangerous levels. The doctor who carried out the experiment, Dorian Dugmore, was in no doubt as to the warning contained within his findings. Every week, he said, "these guys are putting their hearts on the line." For now, though, Frank Lampard seems almost immune. He is seven months into his career as a Premier League manager, and he has spent most of it smiling. The long hours might have added a little to the shadows under his eyes, but his mood is unfailingly cheery. He skips up the stairs onto his dais at news conferences. He has a disarming knack of chuckling and charming at even the most challenging, impertinent questions, a well worn recipe of wry grin, one liner, and then, "No, but seriously." For a man who spent much of his career learning at the knee of Mourinho, Lampard's style is unexpectedly chipper. He is not, unlike his mentor and, indeed, like essentially all of his peers in the Premier League these days much of a brooder and a bristler. In his first few months, it was easy to explain why. Lampard, uniquely in this phase of Chelsea's history, appeared to be under no immediate pressure whatsoever. The club accepted, it seemed, that he would have to learn on the job to some extent: his only previous managerial experience, after all, had been a season with Derby County in the championship. Youth has always bought managers time. Fans are, broadly, willing to suffer a little and only a little today if they feel that the promise of tomorrow is genuine. For once, and in a complete volte face from its usual modus operandi under Roman Abramovich, Chelsea seemed to agree. This would, the line came again and again, be a transitional year. Not quite a freebie, but not far off, either. On the face of it, the gamble has worked. Chelsea sits fourth in the Premier League, possessed of a comfortable cushion over the gaggle of teams Manchester United, Tottenham, Wolves and Sheffield United in pursuit. A 2 2 tie with Leicester City on Saturday meant the gap to third place remained at eight points, most likely too much to be overhauled, but no matter: a return to the Champions League would represent a more than acceptable start for Lampard. His squad already has reached the last 16 of this year's competition, another box ticked. Getting past Bayern Munich later this month would, if anything, be exceeding expectations. His young players, too, are flourishing. Tammy Abraham, for so long the avatar of all that was wrong with Chelsea's approach to youth, has scored 15 goals in his long awaited first season as the club's first choice striker. The midfielder Mason Mount and the winger Callum Hudson Odoi have played their way into contention for England's national team. Reece James has adapted so well to the Premier League that he is currently forcing Cesar Azpilicueta, the club captain, to play out of position. That is how it seems. It is not, necessarily, how it is. Lampard was pleased Saturday with what he described as a "fair" point against Leicester a team, after all, one place higher in the league but it meant that Chelsea has now won only 4 of its last 13 Premier League games. That it remains secure in fourth place is not, increasingly, through its own merit, but through the failings of Manchester United and Tottenham, in particular. When the transfer window closed Friday without any new arrivals to his squad, Lampard suggested that Chelsea had made itself "underdogs" in the race for a Champions League spot. Twenty four hours later, he decided to drop Kepa Arrizabalaga, the most expensive goalkeeper in the world, for the first time in the Premier League season, in favor of his veteran understudy, Willy Caballero. This was always the challenge Lampard was likely to face. Chelsea is prepared to wait for a while, of course, for the future to arrive, to give Lampard chance to grow. It is willing to do what Leicester, for example, has been doing for a couple of years: to accept that youth buys time, but also needs it. But Chelsea is not Leicester. The profiles of the clubs are completely different, even if their league positions are reasonably similar. It is easy to believe that Chelsea wants to wait, wants to be patient, wants to trust in its young players. It is much harder bordering on impossible to know if it will be able to stick with that approach, or whether there will come a point where today, all of a sudden, matters more than tomorrow. For now, Lampard is still smiling. A few minutes after his news conference had finished here in Leicester, as the home team's manager, Brendan Rodgers, was speaking, he burst through the door again. He was about to leave, and he wanted to say goodbye to Rodgers. "I didn't want to be rude," he said, with a laugh. He left the room at a jog, a smile on his face. That is not bad, seven months in. The question now is how long it will last.	N24News: A New Dataset for Multimodal News Classification	Sports
Now Lives: In a small two bedroom apartment on the Lower East Side, with a shower in the kitchen. Claim to Fame: A multihyphenate artist and social ringleader, Ms. Escobar is the latest in a glamorous line of Warhol like ambassadors to downtown New York's nexus of art and night life. Her subversive practice includes retouching Alexander Hamilton's face on a 10 bill and found object pieces like "used makeup wipes from nights spent with a former lover," she said. She is also a D.J. and host of Glam, a monthly party at China Chalet on lower Broadway. "Even though it's a mixed crowd, we are queer people doing a queer party," said Ms. Escobar, who is transgender. "Glam is a safe space for sisters to come together." Big Break: Although she moved to New York in 2010 to pursue fashion, she soon soured on the industry and "started dabbling in night life a little bit to pay my rent." Recent gigs include fashion week parties for Diane von Furstenberg and the makeup artist Pat McGrath, and the opening party for the Whitney Biennial. Her late night credentials have boosted her art world profile. She was part of a group video show at the Artists Space gallery last year, and starred in a surrealist food styling cooking show for Dis Magazine.	N24News: A New Dataset for Multimodal News Classification	Style
"I liked Disney princesses and princes. I dreamed of wearing my mother's high heels or a dress. I was really fascinated by femininity." The year is 2012, the speaker 19 year old Hari, who as Hari Nef has since gone on to stardom as an actress, model, transgender activist and social media personality. At the time, Hari was one in a spirited parade of teenagers inclined eager, in fact to share with the photographer and filmmaker Michael Sharkey their passions, hopes and sometimes gnawing anxieties. "So much of this project is about the freedom of expression," Mr. Sharkey said, "and style or physical appearance has a lot to do with personal expression." Mr. Sharkey, 46, self effacing in a uniform of dark T shirt and jeans, is no stranger to the topic; he has been tracking his quarry, mostly in their teens, since 2006, and has brought to his project a keen eye for the quirky and original. "These kids' style is spiked with defiance," he said. "That's something that young people, who were bullied, ridiculed and ostracized for so long, feel they can afford now." In an often openly hostile political climate, defiance can function in more ways than one. "Being outrageous and flamboyant in your personal style can be a kind of armor," Mr. Sharkey said. "For people that you're trying to attract, it can also be the entrance to conversation; for people you are trying to repel, it can work very effectively as a weeding out process." For Mr. Sharkey, who has worked as a fashion photographer, the absorption with flamboyance has given way in recent years to a more ardent pursuit. "I've became much more interested in character, especially the malleable character of young people," he said. We were seated in his studio, a rambling ground floor loft in the Red Hook section of Brooklyn. One by one, Mr. Sharkey displayed images from a selection that would go on view in Exeter the following week. There was Brandon, 18, thrusting out his chest the better to show off his tight, incandescently white dress shirt; Kenny, 21, his plum tone hair sculpted into a high rise helmet; and Chanel, 18, leaning suggestively against a mash up of animal prints in her bedroom, wearing nothing but her skivvies. There was Hari as well, streaked with multicolored warrior like markings and gazing directly into the camera; and Mars, flaunting a thatch of straw colored hair and the twin chest scars that marked the early phase of a female to male transition. "Some of these kids, they're proud of their scars," Mr. Sharkey said. "They wear them as a badge of honor." He added: "It's important for me to visually represent the physical transformation of these young people. Part of the squeamishness in our culture is that we have so few opportunities to address the physicality of this kind of transformation." "People transform their bodies all the time," he said. "We wear makeup, we go to the gym, we are always turning our physical selves into something truer to an idea that we have of ourselves." In the interviews accompanying his photographs, Mr. Sharkey asks subjects where they imagine they will be in 10 years. Their goals are often surprisingly modest, even prosaic at times.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
European soccer leaders have told teams to plan for a return to action in July and August and issued a threat by suggesting leagues that cancel the season face the risk of their teams being barred from the Champions League. The details of the next steps to deal with the fallout from European soccer seasons frozen in time by the coronavirus are contained in a letter reviewed by The Times. They provide a degree of much needed clarity and coordination for an industry scrambling for solutions to the first stoppage of its kind since World War II. The letter, signed by European soccer's governing body UEFA and two powerful lobby groups representing the interests of the continent's top leagues and clubs, makes clear that as things stand all efforts must be made to complete the frozen in time seasons. Competitions that do not exhaust all options to reach a conclusion were warned there were likely to be consequences. "Any decision of abandoning domestic competitions is, at this stage, premature and not justified. Since participation in UEFA club competitions is determined by the sporting result achieved at the end of a full domestic competition, a premature termination would cast doubts about the fulfillment of such condition," said a portion of the letter issued late Thursday evening and sent to all of UEFA's 55 national soccer federations and the members of the European Club Association and European Leagues body. The letter came hours after the Belgian league announced that it had decided, subject to board approval, to cancel its competitions. The Dutch national federation earlier this week appeared to set its own date for when the current domestic calendar must be completed, making Aug. 3 the cut off. On Friday, UEFA's president Aleksander Ceferin, expressed frustration by unambiguously spelling out the consequences for those that abandon league championships. "Solidarity is not a one way street," he told German public broadcaster ZDF. "The Belgians and any others who might be thinking about it now are risking their participation in European competitions next season." Ceferin added that the leagues must be completed by the end of August, and could not be stretched into September or October. The disruptions mean the season could go well past June 30, the day in the soccer calendar when one season officially ends and another begins. The consequences of playing through that date are multiple and complicated not least by player contracts being registered to begin and end within that framework. FIFA has said it will be redrafting regulations to meet the new reality, but needs good will on all sides to cut through a thicket of legal entanglements. The Premier League alone is facing a bill of near 1 billion to broadcasters if it fails to play the remainder of the season. The letter, though, does provide more clarity about the direction the industry is looking to move amid daily speculation fueled by nervous executives and sports media. There have been suggestions of voiding entire seasons or deciding final places based on current standings, even though for many leagues there is about a quarter of the campaign remaining. Those games would normally determine not only the final places but also the short term financial future of the clubs. For instance, qualification for the Champions League can be worth as much as 100 million euros to some teams, and relegation and promotion between tiers can lead to a triple digit swing in revenues, too. In Belgium, Brugge is 15 points clear in the championship with one regular season game and playoffs to go. Still, with the league announcing Brugge would be champions subject to the approval of its General Assembly on April 15, the team could be denied a potentially lucrative place in the Champions League should UEFA decide to take action. The Belgian league issued a statement on Friday, saying it held talks with UEFA over its stance. Officials, it said, called for a flexible approach to the crisis that takes account for the specific situation facing each league. In Belgium, the league has already received its full payment from broadcasters. In England, there has been criticism directed at some clubs who favor calling the season off, and starting again next season, with critics of the move suggesting they were motivated by self interest. West Ham, a London club just outside of the relegation positions in the Premier League, are among those to have floated the idea. A column penned in U.K. tabloid The Sun by its vice chairman Karren Brady received opprobrium when it was published last month. "There is no dodging the possibility that all levels in the EFL, as well as the Premier League, will have to be canceled and this season declared null and void because if the players can't play the games can't go ahead," Brady wrote. A day later, UEFA on March 17 announced it had postponed its quadrennial European Championship in order to provide more space for league play to return. "It is of paramount importance that even a disruptive event like this epidemic does not prevent our competitions from being decided on the field, in accordance with their rules and that all sporting titles are awarded on the basis of results," Thursday's letter said. "As responsible leaders in our sport, this is what we must ensure, until the last possibility exists and whilst planning, operational and regulatory solutions are available." Concrete plans, the group said, are being worked out, with a definitive agenda set to be released in the middle of May. Currently UEFA is planning for domestic games to return in July and August, with the current Champions League and Europa League seasons to recommence once those seasons have been completed. With little sign of the restrictions on movement and mass gatherings in much of Europe being lifted in the near future, plans are being made for many of those games to be played without fans. Clubs have had to devise fitness programs for players to work out at home and even when they are allowed to return, they will have to maintain strict sanitary conditions. Some teams, like Borussia Dortmund of Germany, have allowed players back but have limited their practice to training in pairs, while others are making contingencies to deep clean buses and planes that may be used and have told players that should they return they may not be able to wash together at club facilities. "We are confident that football can restart in the months to come with conditions that will be dictated by public authorities and believe that any decision of abandoning domestic competitions is, at this stage, premature and not justified," said the letter signed by UEFA president Ceferin, European Club Association chairman Andrea Agnelli and Lars Christer Olsson, president of the European Leagues group.	N24News: A New Dataset for Multimodal News Classification	Sports
ATLANTA Most teams that win championships enjoy a honeymoon. There are parades and victory laps and time to prepare for a title defense. Not so with Atlanta United, which won its first M.L.S. Cup on Dec. 8 and, because of Major League Soccer roster rules, had to spend the next day releasing some of the players who led it to the title. In fact, from almost the moment the final whistle blew in Atlanta United's 2 0 victory over the Portland Timbers, the club president, Darren Eales, has had to grapple with a host of changes, including finding a new coach, selling one of his team's best players and juggling the remaking of a star studded roster. At times, the off season has seemed comically short. Atlanta United reconvened as a team and opened its preseason training camp in mid January, then flew to California before the Super Bowl to prepare for a preseason friendly against Club Tijuana. Last week, Atlanta United lost to Costa Rica's Herediano, 3 1, in the first stage of the Concacaf Champions League (the teams meet again in Atlanta on Thursday night), and on Sunday it opens its M.L.S. season against D.C. United in Washington. All of this meant Eales had to get his off season work done quickly, and he has not wasted any time. On Jan. 14, Atlanta United introduced Frank de Boer, the former manager of Ajax, Inter Milan and Crystal Palace, as the replacement for Atlanta's former coach, Tata Martino, who took over Mexico's national team. Then Eales signed Josef Martinez, the league's most valuable player last season, to a five year contract extension. Soon after, Pity Martinez, a 25 year old Argentine midfielder, was signed; that move allowed Eales to sell Atlanta's playmaker, Miguel Almiron, to England's Newcastle United for a reported 23 million, smashing the M.L.S. transfer record. Two days before the Super Bowl, the hyperkinetic Eales sat down at his favorite Atlanta coffee shop appropriately named Octane to discuss the team's dizzying off season, its sale of Almiron and whether, in fact, other teams in M.L.S. can copy the Atlanta model. You knew you were going to have a lot of holes to fill in the off season. What was the process? When we went out and built the club, our intention was to be clear with the fans from the very start. We were going to attract players who were young, or going toward the prime of their career, rather than a last contract or a last hurrah for a player from Europe. The idea here is, we're part of this global network of soccer clubs. Miggy came to us, he had two fantastic years, won the M.L.S. Cup in the second season, had tremendous success on the pitch, and then he got a chance to fulfill his dream to go to the Premier League and play for a club there. So obviously, it was good for him, good for the league, because now the league can say, 'We have a mechanism for you to showcase yourself, so come to M.L.S., play in a short window, and when the right moment comes, you can move to a top league in Europe.' That was the dream we sold, and we had to at least prove the concept because otherwise it was going to be difficult for us to recruit other players if we didn't do that. This business model is routine elsewhere, but it's still new to M.L.S. Wasn't it hard to see Almiron go? Miggy delivered everything we could have expected, and we won an M.L.S. Cup. On top of that, we didn't spend dead money on a player at the end of his contract and get nothing in return. We actually got well in excess of what we had spent on the player in the first place. So it makes good business sense, good sporting sense, and that was always the vision. You signed Josef Martinez to a contract extension, then acquired Pity Martinez, before you sold Almiron. Was that sequencing deliberate? We're really pleased that we did the whole succession plan in reverse. We got our player in Martinez before we moved the player on to Europe Almiron . Hypothetically, if we first sold a player for 30 million and went out to buy a player, everyone's going to quote us 30 million. It's the nature of the beast. So to secure our replacement in advance with a number we were comfortable with, it gave us a little more carte blanche. You also had to replace Tata Martino, whose reputation was instrumental in attracting young players to Atlanta for the first year. When we sat there after winning the Cup, we knew the coach was going. The reality is, it's no different than Nick Saban, who has said how he loses his coordinators every year but he doesn't mind because he knows the replacements come in and work hard because they have a chance to move on. We can embrace that as a club. When coaches want to come to Atlanta, they can see that as well. Frank de Boer coached at Ajax, at Inter and Crystal Palace. For me, I'm really excited because certain coaches fit players. With Ajax, he had great success. He went into situations at Inter and Crystal Palace that weren't good fits. But he was the right fit for us. A lot has had to go right: Not just the success on the field, but an owner with deep pockets, a new stadium, enthusiastic fans. You have all of that. Everyone's been asking when soccer is going to succeed in America, but if you watched the Cup final, with 73,000 passionate fans who were tailgating all afternoon, with an exciting style of play, it really has happened in America already. It's great for me because yes, I wanted to make Atlanta United a real success story. But we're also part of the bigger story, which is growing the game of soccer in America, being the pioneers to hopefully one day make it one of the top leagues in the world. Can other M.L.S. teams replicate what you've done? I'm not sure about replicating, but like every other business, you look at what other businesses are doing successfully and try to take those things that might work. I'm a fan of how L.A.F.C. came into the league. You saw the way they filled out their roster; there were similarities. I wouldn't say they were copying us, but there were similarities. That's a good thing. We were in a strange situation as pioneers trying to grow the league. There will be more teams looking, when they think of their out of pocket expenditures, money above the cap, not just the salaries there's much more awareness around investing more than we would have in a transfer fee for a younger player because we might have a chance to make a profit, or make our investment back. That's going to open up an avenue for a few more clubs. With all this activity, did you get a chance to take any time off this winter? My aim is to get to March, the international break. I promised the wife and family I'll take a week off, and football won't be mentioned. I'm hoping to get to the end of March and then I'll crash.	N24News: A New Dataset for Multimodal News Classification	Sports
The Food and Drug Administration on Tuesday gave an emergency green light to the first rapid coronavirus test that can be run from start to finish at home, paving a potential path for more widespread testing outside of health care settings. The test, developed by the California based company Lucira Health, requires a prescription from a health care provider, and people under the age of 14 also cannot perform the test on themselves. But with a relatively simple nasal swab, the test can return results in about half an hour, and it is projected by the company to cost 50 or less, according to the product's website. Clinicians can also run the test on their patients, including children younger than 14, potentially delivering results during a single visit to a care center or pharmacy instead of routing a sample through a lab. A handful of other tests have been given emergency authorization by the F.D.A. for at home collection of samples, which are then shipped to a lab for processing. But Lucira's test is the first to remove the need for an intermediary. "Today's authorization for a complete at home test is a significant step toward the F.D.A.'s nationwide response to Covid 19," Jeff Shuren, director of the F.D.A.'s Center for Devices and Radiological Health, said in a statement. "Now, more Americans who may have Covid 19 will be able to take immediate action, based on their results, to protect themselves and those around them." People who test positive for the coronavirus are advised to isolate themselves from others for 10 days starting from the onset of symptoms or from the day they tested positive, per guidelines from the Centers for Disease Control and Prevention. Laboratory tests that look for the coronavirus's genetic material using a technique called polymerase chain reaction, or P.C.R., are still considered the gold standard for detecting the virus. But the new at home test relies on similar principles, using a method called a loop mediated isothermal amplification reaction, or LAMP. Like P.C.R., LAMP repeatedly copies the virus's genetic material until it reaches detectable levels, enabling the test to identify the virus even when present at only very low levels in the respiratory tract. LAMP is faster and less cumbersome than P.C.R., but is generally thought to be less accurate. People taking the battery powered test must swirl a swab in both nostrils, then dip and stir the swab into a vial of chemicals. That vial is then plugged into a test cartridge that processes the sample. Within a half hour, the test cartridge will light up as "positive" or "negative." Federal guidelines note that people taking the test should report the results to their health care providers, who must then inform the public health authorities to help track the virus's spread. An at home test for the virus "was going to happen," said Omai Garner, a clinical microbiologist and diagnostics expert at the University of California, Los Angeles Health System. "I am hopeful that it works well." Dr. Garner added that the news should be taken with a note of caution. In recent months, several experts have called for more widespread at home testing as a way to help curb the virus's spread. But others have raised concerns about the practicality of a strategy that would most likely rely on tests that sacrifice a degree of accuracy for convenience and a more affordable price tag. Ahead of the holidays, a C.D.C. panel is set to weigh Pfizer BioNTech and Moderna boosters for all adults. What has Covid done to your country's reputation? Americans and Britons give mixed reviews. The F.D.A. authorizes Pfizer BioNTech and Moderna booster shots for all adults. According to the product's instructions, Lucira's LAMP test was able to accurately detect 94.1 percent of the infections found by a well established P.C.R. based test. It also correctly identified 98 percent of the healthy, uninfected people. The study, which was conducted by the company, was small, and included only people who had symptoms of Covid 19, the disease caused by the coronavirus. The packaging for the test notes that it "has not been evaluated" in asymptomatic people. Although the company has yet to release more detailed results on its product's performance, "the data look good" and could enable the test to fill an important gap, said Susan Butler Wu, a clinical microbiologist at the University of Southern California. One of the most serious issues bedeviling efforts to identify people infected by the coronavirus is the inconsistent access to reliable laboratory testing in many parts of the country, especially outside urban centers. "This type of assay can play a big role there," Dr. Butler Wu said. Representatives at Lucira Health did not respond immediately to requests for comment. Saskia Popescu, an infection prevention expert and epidemiologist at George Mason University, cautioned that home testing, while a notable advance, is not a panacea. "No test is perfect," she said, and a negative result should not be taken as a free pass to mingle. Moreover, testing alone cannot prevent the spread of disease, and must be combined with other public health measures like physical distancing and masking, she added. Dr. Popescu also expressed concern at the vagueness around reporting results. At home testing adds another degree of separation to the reporting process, which would need to include communications between patients and their health care providers, then a follow up between those health care providers and public health officials. The merits and pitfalls of at home testing should continue to be weighed, Dr. Popescu said, adding: "We need more accessible and fast lab based testing." Like the Science Times page on Facebook. Sign up for the Science Times newsletter.	N24News: A New Dataset for Multimodal News Classification	Health
The messages used words like disappointed, disheartened, angered, upset, ashamed, frustrated, infuriated, disillusioned, deeply saddened and disturbed. On Friday, 236 employees of Pinterest, a company known for its virtual pinboards, expressed solidarity on an internal chat app with three former co workers who have accused the company of racial and sex discrimination and retaliation. Many of the employees also shared and signed an online petition calling on Ben Silbermann, Pinterest's chief executive and co founder, to change the company's policies. Then they logged off, staging a virtual walkout. The series of actions were the latest in a growing employee movement of discrimination lawsuits, harassment accusations and walkouts over injustices across the tech industry and the investors who fund it. The Pinterest accusations stand out because they include some of the highest ranking executives at the 21 billion company. In a lawsuit this week, Francoise Brougher, Pinterest's former chief operating officer, accused the company of sex discrimination, retaliation and wrongful termination. When she spoke up about a sexist remark from a colleague, she was fired, the lawsuit alleges. She followed the suit with a lengthy blog post, "The Pinterest Paradox: Cupcakes and Toxicity," which was widely shared in tech circles.	N24News: A New Dataset for Multimodal News Classification	Technology
Under pressure from the National Highway Traffic Safety Administration, Graco Children's Products has agreed to recall about 1.9 million rear facing infant seats with a faulty buckle that can make it difficult to free a child during an emergency. In February and March, Graco said it would recall about 4.2 million forward facing child seats designed for older children with the same buckle. But Graco told federal regulators it did not want to recall the 1.9 million rear facing infant seats because even if the buckle was hard to release, the seat was of a different design: The portion of the seat holding the child could be detached from its base and quickly lifted from the vehicle, while the base would remain anchored to the vehicle's seat. The safety agency pushed Graco, saying that "the hazards and risks involved in the delay of extricating a child from a rear facing infant car seat in any emergency situation are significantly increased and rise to the level of unreasonable risk when the harness buckle is difficult to open or is stuck in a latched condition." If Graco had continued to resist and federal regulators would not back off, the dispute could have resulted in a public hearing on the defect and, eventually, a court case.	N24News: A New Dataset for Multimodal News Classification	Automobiles
LOS ANGELES In another jolt to its old order, Sony on Tuesday said that Thomas E. Rothman would take over as chairman of its motion picture group, an appointment that risks new turmoil on Sony's lot, but represents a Hollywood style comeback for the executive. Mr. Rothman, who was pushed out as chairman of Fox Filmed Entertainment in 2012, has recently been working to resuscitate Sony's semi moribund TriStar label. He will take over for Amy Pascal, who was herself edged out this month after a difficult run for Sony at the box office and fallout from last year's online attack on the studio. Sony also said that Michael Lynton, the Sony Pictures chairman and chief executive, had renewed his contract with the studio, but did not disclose the terms or duration of the deal. "Tom knows this business inside and out like few others do," Mr. Lynton said in a statement about Mr. Rothman. The movie business is trying to navigate unreliable ticket sales in North America, pressure from parent companies to limit risk on ever more expensive films and a still sputtering home entertainment market. To cope, studios have sometimes shifted toward unshowy managers who are much more likely to promote their fiscal conservativeness than their filmmaking prowess. Universal Pictures has been placed in the hands of a more business oriented executive, Jeff Shell. Kevin Tsujihara, a conservative home entertainment executive, rose to run Warner Bros. By contrast, Mr. Rothman once the host of his own movie show on cable television is clearly immersed in show business and its traditions. At the same time, he made a reputation at Fox for a hard knuckled insistence on keeping down costs, something that has not been Sony's strong point over the last decade. Sony's announcement notably said nothing of Doug Belgrad, who was promoted to president of the studio's motion picture group last year. Mr. Belgrad had been a leading contender for the spot assumed by Mr. Rothman, and Ms. Pascal and others at Sony had backed him. He joined the company in 1989. While Mr. Rothman is taking charge of the film operation, he will not have oversight of Sony's television business, as Ms. Pascal did. Steve Mosko, president of Sony Pictures Television, will report to Mr. Lynton only, the studio said. Sony executives declined to be interviewed on Tuesday, and Mr. Belgrad did not return a call. People briefed on Sony's operation said Mr. Rothman hoped Mr. Belgrad would remain in place, and two people briefed on Mr. Belgrad's plans said he intended to stay. The people who spoke of the plans spoke on the condition of anonymity. Elizabeth Holmes Hones Her Defense in Day 2 of Testimony Kevin Spacey was ordered to pay 31 million to the 'House of Cards' studio after sexual harassment allegations. Mr. Rothman, those people added, did not expect to make major changes at Sony in the near term. But he intends, they said, to complete its shift toward a more sharply defined divisional structure in which operations like Screen Gems, the TriStar label and the associated Studio 8, run by the former Warner executive Jeff Robinov, would each have a distinct strategic thrust. At Fox, Mr. Rothman had run just such an operation, built around quasi independent units like Fox Searchlight, Fox 2000, the Fox animation operation and the 20th Century Fox label. In the coming months, Mr. Rothman will continue to oversee the TriStar unit, which will remain intact as a supplier of modestly budgeted, potentially high return films. Since arriving at TriStar in summer 2013, he has assembled a slate that includes Jonathan Demme's "Ricki and the Flash," in which Meryl Streep plays an aging rock star; Ang Lee's "Billy Lynn's Long Halftime Walk," a war drama; and Jodie Foster's "Money Monster," a thriller starring Julia Roberts and George Clooney. Mr. Rothman started his career as an entertainment lawyer and worked at Columbia Pictures, which now forms the heart of Sony's movie operation, in the 1980s. He is an ardent film fan who hosted his own screenings of classic films on the Fox Movie Channel and is credited with founding Fox Searchlight, the successful art house label. Despite some notably ambitious projects Fox made "Avatar" and "Life of Pi" on his watch Mr. Rothman also focused heavily on populist films that could border on the lowbrow, as with the successful "Alvin and the Chipmunks" series. Ms. Pascal is leaving to become a producer on Sony's lot and will work on some of the studio's most important franchises, including the Spider Man series. There is a point of irony in his moving into her office: Ms. Pascal, more than anyone, was responsible for bringing Mr. Rothman to Sony after his ouster from Fox. When word of Ms. Pascal's departure surfaced this month, several producers and executives associated with Sony noting Mr. Rothman's peppery style privately voiced wariness of him as a possible successor to an executive who was considered more conciliatory and more willing to give latitude to filmmakers. Alex Proyas, who directed "I, Robot" for Fox during Mr. Rothman's tenure, was among the more outspoken filmmakers who objected to the studio's close supervision of their work. "I had a lot of problems with Fox, and I'm not the only filmmaker that had problems; they're just very interfering," Mr. Proyas said in a 2009 interview. Still, Mr. Rothman's allies at Fox and elsewhere have long said that the claims of volatility and interference on various films were overstated. And people briefed on Sony's current management change said Mr. Rothman had made a strong accommodation with its executive staff over the last year and planned as little disruption as possible in relationships that have already been shuffled as Mr. Lynton and Ms. Pascal rebuilt their operation. While at Fox, Mr. Rothman opposed a proposed distribution partnership with DreamWorks Animation even after it became clear that Rupert Murdoch, the chairman of 21st Century Fox, favored the alliance, which eventually happened. In retrospect, Mr. Rothman's caution over the DreamWorks Animation deal was prescient. Struggling through a rough patch, the animation studio has since pulled back on movie production and announced layoffs that would affect about 20 percent of its employees. Several films that Mr. Rothman left in Fox's pipeline also became megahits, including "X Men: Days of Future Past," which took in 748.1 million worldwide.	N24News: A New Dataset for Multimodal News Classification	Media
Credit...Grant Hindsley for The New York Times SEATTLE It was supposed to be a quiet Saturday. Sydney Brownstone was in the newsroom at The Seattle Times, monitoring the police scanner for any activity and planning to spend the day, Feb. 29, working on an upcoming article. Then came an email saying someone had died at the Life Care Center of Kirkland, an assisted living facility about 20 minutes to the northeast. More people were sick. It was the coronavirus. Journalists began streaming into the newsroom. The disease had already been on people's minds: The paper's health reporter, Ryan Blethen, had started reading up on the coronavirus when the outbreak began in China, figuring that if it came to this country, it could hit the West Coast first. In January, when the first person in the United States got sick in nearby Snohomish County the newsroom began preparing, making a spreadsheet listing all members of the staff and what they would need to work from home. Soon after the news broke on Feb. 29, the staff realized that this wasn't just a one off story. This was an outbreak, and The Times was at the epicenter. For journalists, a sense of excitement comes with covering a major story, with giving people crucial information during a crisis. But to the employees of The Seattle Times, these weren't just any readers. These were their neighbors, their children's teachers and their friends. The Times has 58 reporters, and nearly all of them are covering the coronavirus, likely making them the largest group of journalists from a single outlet on the ground in Seattle. As the national media began descending on Kirkland, The Times remained focused on telling residents which schools had closed, how they could buy groceries online and how local health care workers were beginning to ration medical supplies. "That's what local papers are meant to do," Ms. Brownstone said. "We're not built for a lot of other things, but we're built for this." Ms. Brownstone writes for Project Homeless, one of several projects at the paper funded by community grants money that The Times has relied on as the decline of print advertising and subscriptions has decimated local papers around the country. (The Times's newsroom of roughly 150 people, including editors and other staff, is half the size it used to be.) In the newsroom, tubs of Clorox wipes sit on tables. Editors have started to hold meetings remotely, even for those in the office, who log in from their desks. The executive editor, Michele Matassa Flores, has encouraged the staff to work from home, but many aren't listening. The tone of her emails has gotten more forceful. "IMPORTANT: We expect you to be working remotely," a recent subject line said. Ms. Flores is planning for when an employee gets sick. This week, she had a conference call with editors from seven other regional papers who were preparing for the virus to reach their communities. They wanted to know how Ms. Flores was covering the outbreak while keeping her staff safe. "We all know each other and talk on occasion," she said. "It's like a support group for regional papers." 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. Mr. Blethen has been on the health beat for a little more than a year. He spends his time going to a hospital to talk to the doctors who have received some of the first coronavirus patients. His family has also owned The Times for more than 100 years it is one of the last family owned papers in the country and his father is the publisher. Mr. Blethen has been going into the office. He wants to make sure he's living up to the expectations anyone may have of him. "I think it is up to us to actually be there even if there is some danger, because if we're not going to do it, nobody's going to do it," he said. "I'll be one of the last people not coming in." There has also been a lot of bad information to be debunked, said Paige Cornwell, a reporter. "You're seeing a lot of rumors of 'Oh, this person tested positive here, this person tested positive there.' You're having to correct that as well," she said. The paper is sharing its online coronavirus coverage free to nonsubscribers, but subscriptions are still up. Readers even sent pizzas to the newsroom. "We actually started subscribing again," said Kristine Zaballos, a resident of Seattle who uses the paper to learn which businesses are still open, as well as for entertainment. "It's one of the things you can do: You can read more when your other options are limited," she said. Evan Bush, who covers climate and the environment, was one of the first reporters at the paper to start writing about the virus. He likes being outside, and his hands are normally a little beaten up from rock climbing. Now his knuckles are red and scabby from all the hand washing. He has been walking the half hour to work, and avoiding public transit as much as possible. "That's what we have throughout our newsroom deep ties to this area and deep love for this area and a sense of duty and obligation to report this in a way that I would say is smart and thoughtful and compassionate for Seattle," Mr. Bush said. Ms. Flores, who has been executive editor since May and has worked at The Times for more than 25 years, has been thinking a lot about what the paper will tell readers if someone on its staff falls ill. She wonders how to explain that the newsroom is staying safe, and trying to keep the community safe, so that people are not scared to encounter her reporters. In case the office closes down, she is making plans to move half the paper's limited supply of protective gear the masks, goggles and gloves that, until now, had sat in a supply closet in case the annual May Day parade gets too wild and the police use tear gas to a staff member's detached garage, where someone can retrieve it even if the home is quarantined. She said she was glad that her bosses at The Seattle Times Company, which also owns The Yakima Herald Republic and The Walla Walla Union Bulletin, were the ones who had to worry about the possibility that the printing plant would have to close. "We have uttered the words," she said. "That's a scary proposition." Ms. Cornwell has a can of La Colombe coffee and a dozen other drinks on her desk. They have been accumulating since the first case was confirmed in January, and she simply hasn't taken the time to throw them away. She spends her time ping ponging between nursing centers that have reported illnesses, the newsroom and the daily briefings at the Kirkland center, where relatives of the residents peer into windows and meet with administrators, desperate for information on the condition of their loved ones. "The facilities have said, 'Well, if someone wants to leave, they can,' but there's a lot of confusion among the residents," Ms. Cornwell said. She added that some people required too much care for their families to take them home. Her own mother had spent time in an assisted living facility after suffering a stroke. Ms. Cornwell recently had a nightmare in which her mother was trapped inside and Ms. Cornwell couldn't get her out. Last Tuesday was primary election day in Washington. Like any other reporter at a local paper who has to pitch in on multiple beats when things get busy, Ms. Cornwell spent most of it focused on the coronavirus before heading to the newsroom to help update the website as results came in. "I need to take advantage of being healthy," she said. She would also have to interview a relative of someone who died of the coronavirus. She wasn't yet sure how she'd juggle everything. She knew, however, that she'd figure something out.	N24News: A New Dataset for Multimodal News Classification	Media
Dennis Cheatham said he felt as if he were receiving a message from the past last May when a package arrived in the mail from Nielsen asking him to participate in the survey that for decades has detailed the television viewing habits of Americans. He was eager to take part, but quickly ran into a problem. Mr. Cheatham's family canceled its satellite subscription about five years ago, and the roughly 20 page timetable diary Nielsen provided for him to record his family's viewing made no room to log the hours he, his wife and two children spent streaming shows on digital outlets like Netflix. "I just kind of shoved it in there and wrote Netflix wherever I could," said Mr. Cheatham, 40, a professor of graphic design at Miami University in Oxford, Ohio. "Is Nielsen not paying attention to technology? Don't they notice that something has changed?" Mr. Cheatham is not the only one asking that question. Nielsen, the 93 year old company that has long operated an effective monopoly over television ratings in the United States, is facing blistering criticism from TV and advertising executives who see it as a relic of television's rabbit ears past as the digital revolution transforms how people consume entertainment. New competition notably the 768 million merger this week of the media measurement companies comScore and Rentrak is forcing Nielsen to evolve. One of the latest public criticisms was made last month, when Linda Yaccarino, the ad sales chief at NBCUniversal, complained that Nielsen was failing to accurately measure TV and account for all of the television group's audiences. "Imagine you're a quarterback, and every time you threw a touchdown, it was only worth four points instead of six," she said at the International CES trade show. The stakes are high. Some 70 billion in advertising dollars are traded in the United States each year based on Nielsen's ratings, and hundreds of television programs live or die based on that viewership data. Chief among the complaints about Nielsen is that viewers across the country like Mr. Cheatham and his family are streaming billions of hours of video on outlets like Netflix, Amazon and Hulu, but that their behavior is not being captured in industry ratings based on Nielsen data. "The TV ratings system as we know it is outdated," said Tim Nollen, a Macquarie analyst. Nielsen executives promise that they are paying attention and are ready and able to track the myriad ways people consume media. They also underscore that paper diaries are deployed to measure viewing in local television markets, which account for a small part of the business, and that panels with more sophisticated electronic meters measure national viewing. "We're not arrogant about the landscape and about the needs of marketers and media companies and agencies to have better, more comprehensive data," said Steve Hasker, Nielsen's global president chief operating officer. "We're much more focused on meeting those needs and executing against our road map than we are looking over our shoulder." For a long time, the only real recourse television and ad executives had was to grumble. They still relied on and paid for Nielsen measurement because it was their main option. 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. Now, new rivals seeking to challenge Nielsen's dominance have emerged. The latest came on Monday, when comScore and Rentrak announced they were united after the closing of their merger. ComScore, founded in 1999, has expertise in measuring the use of digital media, while Rentrak uses data from set top boxes to measure what people watch on television. Combined, the companies are seeking to measure audiences across screens mobile, desktop, television and more. Whether any of the new players will dethrone Nielsen is unclear. Some industry analysts like Mr. Nollen and other executives said that because of its legacy, Nielsen remained best positioned to provide a single source of ratings data across TV and digital. Others question whether ratings will even be relevant in a not too distant digital future, when ads are bought and sold based on specific data about viewers, such as location, occupation, salary and purchases, rather than broad audience metrics. "The road is littered with the roadkill of companies that have tried to compete with Nielsen over the years," said Alan Wurtzel, president of research at Comcast's NBCUniversal. "Now, some of these new entities might wind up being able to do things in a way that Nielsen can't. If they have figured out a better mousetrap, they could give the industry something to seriously think about." In the last year, Nielsen has released 69 new products and technology innovations most notably introducing a measurement called total audience metric to track TV viewing across video on demand, mobile and streaming. Yet Nielsen is established on an inherent conflict that can impede the adoption of new measurement methods. Nielsen is paid hundreds of millions of dollars a year by the television industry that it measures. And that industry, which uses Nielsen's ratings to sell ads, is known to oppose changes that do not favor it. "People want us to innovate as long as the innovation is to their advantage," Mr. Hasker said. Some television and advertising executives have said that Nielsen has started to address their concerns. CBS, for instance, announced in September that it was working with Nielsen to measure viewers across streaming and mobile. Still, others complain that Nielsen is not moving quickly enough. Nielsen executives said the new ratings would be ready for this spring's industry bazaar known as the upfronts, when advertisers commit tens of billions of dollars for the coming television season. But media and ad executives said that was highly unlikely. Nielsen has made the total audience metric data available to networks for a preview period but is not permitted to publicly release data about the viewership for particular shows and networks until it agrees with clients on terms. Another major initiative from Nielsen was the expansion of its national television ratings panel, which deploys electronic devices to track minute by minute viewing. To capture more diverse and splintering audiences, the company increased its panel to nearly 41,000 households, or about 100,000 people, from 21,000 households. Again, some executives said that the change came too late. When it is possible to track the websites people visit, what products they buy and which shows they stream, advertisers say they are seeking much more detailed information. Mr. Hasker said that Nielsen was exploring ways to incorporate more digital data, like Facebook registration information and direct feeds from set top boxes, into its ratings. The battle between the old and the new measurement establishment already is playing out across the local television market, which is measured separately from the national market. For years, Nielsen deployed its paper diaries to measure viewing. Rentrak entered the market and won a number of clients by offering an alternative: using the data from set top boxes to measure what people are watching on the television. After closing its deal with comScore, the new company is expected to include more complete and accurate digital viewing data by merging Rentrak's television metrics with comScore's digital data. But even that new method is not perfect. Some critics point to holes in Rentrak data, stating that set top box measurement does not represent the total population. "We have heard from our clients across the industry, and the message has been very clear: Measurement needs to evolve," Serge Matta, comScore's chief, said Monday in announcing the closing of the merger. Nielsen plans to phase out the use of unreliable television diaries like the one Mr. Cheatham received in the local markets where they are used and replace them with more accurate electronic devices. The decision, Mr. Hasker said, was not spurred by the competition but was made because "using paper diaries in an increasingly digital world is an incredibly difficult thing to explain and justify."	N24News: A New Dataset for Multimodal News Classification	Media
1202 Third Avenue (between East 69th and East 70th Streets) A 900 square foot vacant retail space, formerly a dry cleaners, is available on the ground floor of this 31 story 1986 condominium on the Upper East Side. The space, to be delivered as a vanilla box, features 12 foot, 4 inch high ceilings and 24 feet of frontage along Third Avenue. No cooking is allowed since the building has a strict no odor policy.	N24News: A New Dataset for Multimodal News Classification	Real Estate
A federal jury in Los Angeles on Monday found that Katy Perry's 2013 hit "Dark Horse" copied a Christian rap song called "Joyful Noise," in the music industry's latest legal battle over copyright infringement. After a weeklong trial that included testimony by Perry and her longtime producer Dr. Luke, the nine person jury returned a unanimous verdict that Perry's song had infringed the copyright of "Joyful Noise," a 2008 song by the artist Flame, whose real name is Marcus Gray. The next phase of the trial, to begin Tuesday, will determine the damages owed by Perry and her co writers, including Dr. Luke, whose real name is Lukasz Gottwald; the star producer Max Martin; Henry Walter, known as Cirkut; Sarah Hudson; and the rapper Juicy J, who performed on the track.	N24News: A New Dataset for Multimodal News Classification	Music
In 2015, the music licensing agency BMI reached 1 billion in revenue for the first time, and Michael O'Neill, the company's chief executive, predicted that it would take another three years before the agency could, after expenses, pay 1 billion in royalties to its songwriters and music publishers. The organization, whose hundreds of thousands of members include stars like Taylor Swift, Ed Sheeran and Sting, announced on Thursday that it had 1.13 billion in revenue and distributed 1.02 billion in royalties during its most recent fiscal year, which ended in June. BMI and other performing rights organizations, like its rival Ascap, collect money whenever songs are played on the radio, streamed online or piped into a restaurant. "Revenue is a great number," Mr. O'Neill said in an interview, "but distributions are actually what goes into a songwriter's pocket." Returns at BMI and Ascap have been steadily rising over the last decade or so, as technology and patterns of music consumption have changed. (Ascap won bragging rights in 2015 by hitting 1 billion in revenue a few months before BMI did.)	N24News: A New Dataset for Multimodal News Classification	Media
Few love stories resemble a fairy tale as much as the courtship and marriage of Ariana Austin and Joel Makonnen. Of course, it helped that the groom is an actual prince and the bride has a prominent lineage of her own. Mr. Makonnen, known as Prince Yoel, is the 35 year old great grandson of Haile Selassie, the last emperor of Ethiopia. And Ms. Austin, 33, is of African American and Guyanese descent; her maternal grandfather was a lord mayor of Georgetown, the capital of Guyana. As the couple noted on their wedding website, their union happened when "Old World aristocracy met New World charm." The old and new combined on Sept. 9, in a marathon day of events that lasted from 11 a.m. until late in the evening, and took place within two states. Their marriage had been more than a decade in the making. In the nearly 12 years since they first met on a dance floor at the Washington nightclub Pearl, in December 2005, Mr. Makonnen and Ms. Austin have pursued degrees, jobs and, at times, each other. Eventually, planning a wedding just became the next item on this ambitious couple's to do list. "I think we both had this feeling that this was our destiny," Ms. Austin said. "But I felt like I had things that I had to do." Ms. Austin remembered being impressed with Mr. Makonnen's worldliness. He was born in Rome while his parents, Prince David Makonnen and Princess Adey Imru Makonnen, were living in exile from Ethiopia. He grew up in Switzerland; his father died in 1989. "He talked about weighty things as a young man," Ms. Austin said. "He mentioned the revolution. Things that sound heavy for someone who was 23." Mr. Makonnen's family is part of the Solomonic dynasty, whose reign ended in 1974. That year, a civil war in Ethiopia broke out after Haile Selassie, the 225th emperor of Ethiopia, was deposed by a Marxist Derg military coup. By the time of his death under mysterious circumstances in 1975, it was clear that Mr. Selassie had presided over a country divided by his legacy. He was deposed after months of political unrest directed at his administration, which was accused of being spendthrift and out of touch. The civil war lasted until a coalition of rebel groups overthrew the government in 1991. The emperor, though, had been a powerful proponent of African anticolonialism, a leader adept at securing foreign aid for his country and pushing education initiatives. He was forced into exile when the Italians invaded Ethiopia in 1936, but returned in 1941 after convincing the British to aid him in a fight to secure his country's independence. Ms. Austin said she has marveled at the lore surrounding her new family, one whose lineage was said to reach back to the biblical King Solomon and the Queen of Sheba. "It's unbeatable heritage and history," Ms. Austin said. "It combines sheer black power and ancient Christian tradition." For ambitious couples, meeting and falling in love at a young age can quickly present the kind of timing problems that can doom a relationship. And Mr. Makonnen and Ms. Austin found themselves circling the globe without each other, though they remained in touch. After graduating from American University in 2006, Mr. Makonnen took a six month internship in France. By the time Ms. Austin left to attend Harvard University in 2012 for a master's degree in arts education, both had grown tired of the rotation. They took some time off from each other that year. But they were back together by Valentine's Day in 2014. Mr. Makonnen, who was finishing up his law degree at Howard University, bought a princess cut diamond ring and showed up at the home of Ms. Austin's parents with the bauble in one hand and balloons in another. Perhaps a bit nervous, he knocked too loudly, leading Ms. Austin to think the house was being burglarized. She called her parents, who were returning home from a dinner party. They said they owed it to each other to try and set down roots, and both have settled into life in the Washington area. Mr. Makonnen works in the legal department of Otsuka America Pharmaceutical, and Ms. Austin works in philanthropy at the Executives' Alliance for Boys and Men of Color, a division of Rockefeller Philanthropy Advisors. Both have tried to use their skills to help each other. When Ms. Austin founded Art All Night, an overnight arts festival in Washington, she said, Mr. Makonnen gave her ideas for the project. And she wants to help him create a documentary about his great grandfather. "A biopic is definitely on our agenda," Ms. Austin said. Despite all of the globe trotting, those close to the couple say there were never doubts that the two would end up together. "It was a happy melding, I think," said Ms. Austin's mother, Joy Austin, the executive director of HumanitiesDC, an affiliate of the National Endowment for the Humanities. "We, as the New World, felt that the Old World was very receptive of us, and we were of them." Of the reception, Mr. Austin, the president of the Neighborhood Associates Corporation, a group focused on community engagement in Washington, said that it had been "a little bit daunting" to throw a multiday party that drew several members from one of the oldest families in the world. But he relaxed as he jokingly chided his three daughters for dancing and thanked several high profile guests for attending. Mr. Makonnen's mother, a retired United Nations international officer, was among those in attendance. Other guests included several of Mr. Makonnen's relatives who have connections to the family dynasty; Brandon T. Todd, a council member of Washington's Fourth Ward; Eleanor W. Traylor, a scholar of African American literature; and J. R. Deep Ford, Guyana's ambassador to United Nations organizations in Geneva and the Government of Switzerland. Muriel Bowser, the mayor of Washington, could not attend but sent along her best wishes. "Saturdays are prime politician days," Mr. Todd said from his seat near the reception dance floor. "I had five things I canceled to be here. When Bobby and Joy ask you to show up, you show up." The reception came complete with a photo booth, a candy table and Bob Marley, Marvin Gaye and Bruno Mars hits. After the dancing died down, Mr. Makonnen and Ms. Austin, true to form, were planning to turn to the next thing on their to do list: moving in together in Washington. On their wedding day, Ms. Austin still lived with a roommate in Washington, and Mr. Makonnen was in Alexandria, Va. "If the wedding didn't take so much time," Mr. Makonnen joked, "we would have moved out already."	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
She falls for Pat, a troubled teenager who has been in and out of jail, and they have a baby. Now Gemma, still a child herself, has to consider the path that her new family will forge in a town where the possibilities in life seem limited. The directors Ellen Fiske and Ellinor Hallin don't shy away from the fact that Gemma's life is full of hardship. She and her friends describe beatings and crimes, but whatever trials they face, the camera is gentle and steady, providing the nurturing gaze they lack. Here, there are no raised voices, no bursts of violence. "Scheme Birds" employs a verite approach, observing as life passes by, and the directors favor visual stillness over the shakier kineticism of hand held camerawork. Rather than dragging down the energy, this tranquillity instead draws attention to the jitters and jumps of these young people who are in the process of choosing what their adulthood will look like. The visual style is unusual for a documentary. The film gets impossibly close to its subjects, joining Gemma and Pat on cramped dates in a Ferris wheel box and lingering close enough while they sleep to catch the sound of their breathing. Each shot seems deeply considered, as if it had been storyboarded and blocked before the call to action. For all the impetuousness of its subjects, this is a film of remarkable respect and restraint a documentary that carves shape into a messy reality. Not rated. Running time: 1 hour 30 minutes. Rent or buy on Amazon, iTunes, Google Play or Vimeo.	N24News: A New Dataset for Multimodal News Classification	Movies
"I've spent my whole life protecting him and not talking about him," Matt Salinger said of his famously secretive father. But that is changing as he works to keep "The Catcher in the Rye" and other J.D. Salinger works alive in the digital age. In the five decades since J. D. Salinger published his final short story, "Hapworth 16, 1924," his small, revered body of work has stayed static, practically suspended in amber. Even as publishers and consumers adopted e books and digital audio, Salinger's books remained defiantly offline, a consequence of the writer's distaste for computers and technology. And while Salinger kept writing until his death nearly 10 years ago, not a word has been published since 1965. That is partly because of his son, Matt Salinger, who helps run the J. D. Salinger Literary Trust and is a vigilant guardian of his father's legacy and privacy. But now, in an effort to keep his father's books in front of a new generation of readers, the younger Mr. Salinger is beginning to ease up, gradually lifting a cloud of secrecy that has obscured the life and work of one of America's most influential and enigmatic writers. This week, in the first step of a broader revival that could reshape the world's understanding of Salinger and his writing, Little, Brown is publishing digital editions of his four books, making him perhaps the last 20th century literary icon to surrender to the digital revolution. Then this fall, with Mr. Salinger's help, the New York Public Library will host the first public exhibition from Salinger's personal archives, which will feature letters, family photographs and the typescript for "The Catcher in the Rye" with the author's handwritten edits, along with about 160 other items. "It's kept him very much alive for me," he said during an interview at the New York Public Library. "It's been fascinating and joyful and moving and sad." Want to keep up with the latest and greatest in books? This is a good place to start. None Learn what you should be reading this fall: Our collection of reviews on books coming out this season includes biographies, novels, memoirs and more. See what's new in October: Among this month's new titles are novels by Jonathan Franzen, a history of Black cinema and a biography by Katie Couric. Nominate a book: The New York Times Book Review has just turned 125. That got us wondering: What is the best book that was published during that time? Listen to our podcast: Featuring conversations with leading figures in the literary world, from Colson Whitehead to Leila Slimani, the Book Review Podcast helps you delve deeper into your favorite books. It's also put him in the awkward position of becoming a de facto public face for an author who detested publicity and once told an interviewer that "publishing is a terrible invasion of my privacy." "It's weird, because I've spent my whole life protecting him and not talking about him," Mr. Salinger said. The question of what Salinger left behind when he died in 2010 at the age of 91 remains one of the most tantalizing mysteries in American literature. His son has the answers but is not revealing much for now, apart from the fact that there is more writing a lot of it and that he is preparing to release it. He doesn't want to inflate expectations for Salinger fans by describing the contents, beyond confirming that his father did continue to write about the Glass family the precocious cosmopolitans who feature in beloved stories like "Franny and Zooey" and "Seymour: An Introduction" among other subjects. "He would want people to come to it with no preconceptions," Mr. Salinger said. "I wanted people to know that, yes, he did keep writing, there's a lot of material, and yes, it will be published." A film producer and actor who played Captain America in a 1990 action film that was never released in U.S. theaters, Mr. Salinger, 59, is to some degree an unlikely representative for a reclusive literary icon. He now has to fend off people his father called "wanters" fans and journalists who hounded Salinger for an interview, an autograph, a photo, another book. These days, the wanters come to the author's son, seeking permission for film adaptations, plays, Salinger tote bags. (Mr. Salinger said he is firmly opposed to screen adaptations and nixed the tote bag idea.) He has agonized over some of these new initiatives, torn between wanting to honor his father's desire for privacy and control, and wanting the books to reach a wider audience. There are signs that Salinger's profound influence on generations of American writers and readers may be waning. In an essay published in The Guardian earlier this month, the novelist Dana Czapnik wrote of students and teachers who aren't as enamored of Holden Caulfield, the phony hating protagonist of "The Catcher in the Rye," as previous generations, and an Electric Literature article published last year suggested "alternatives and supplements" to the book by female and nonwhite authors. While he rarely gives interviews, Mr. Salinger has opened up more about his father recently. He felt compelled, he said, to counter the claims in a 2013 documentary and a tie in book by David Shields and Shane Salerno, which caused a stir with the revelation that Salinger had left behind five unpublished works, along with instructions to publish them between 2015 and 2020. "So much in that book and that movie were utter fiction, and bad fiction," said Mr. Salinger, who noted that his father "encouraged us to take our time" and didn't give a timeline for publication. Mr. Salerno said that the book and film were based on nearly a decade of research, and were legally vetted. He added that he felt vindicated by Mr. Salinger's recent statements that the writer's unpublished works will be released in coming years. "Matt Salinger finally confirmed to the world that what I wrote back in 2013 was true, and that more than 40 years of his father's writing would be published," Mr. Salerno said in a statement to The New York Times. For now, the contents of J. D. Salinger's archives remain a closely held secret. His unpublished work sits in a secure storage facility between his son's home in Connecticut and the New Hampshire home of the Salinger Trust's other trustee, Salinger's widow, Colleen Salinger. (She declined to comment for this article.) Matt Salinger has been preparing the unreleased work for publication since 2012. He sometimes found himself getting lost in the files, entranced by his father's voice. "Everything's a rabbit hole," he said. Creating digital files has been daunting, he said, because he has not been able to find reliable optical recognition software to convert the handwritten pages into electronic text, so he types the material himself. The Salinger estate was among the most stubborn holdouts against digitization, and the arrival of his e books will fill a major gap in the digital library. "This is the last chip to fall in terms of the classic works," said Terry Adams, vice president, digital and paperback publisher of Little, Brown. "All of the other estates of major 20th century writers have made the move to e books, but Matt has been very cautious." Matt Salinger resisted requests to issue e books for years, knowing his father's aversion to the internet. He once tried to explain Facebook to him and remembers he was "horrified" by the notion of digital oversharing. "I hear his voice really clearly in my head, and there's no doubt in my mind about 96 percent of the decisions I have to make, because I know what he would have wanted," Mr. Salinger said. "Things like e books and audiobooks are tough, because he clearly didn't want them."	N24News: A New Dataset for Multimodal News Classification	Books
It should come as no surprise that Halloween will look a bit different this year, but one normal morsel you can count on is that Party City is probably fresh out of cat ears by now. If you've left your costume to the last minute, do not fret. Pretending we aren't ourselves, even for just a few fleeting hours, can be an essential form of escapism, especially in a year like this. For one night, as we visit drive through haunted attractions, trick or treat from a social distance or cozy up at home with a horror flick, maybe our faces can tell a different story than the one already unfolding. So while these looks might work best for cosmetics connoisseurs, go ahead and try your hand at a full beat (that means a flawless face of makeup, for those of you who don't spend hours on beauty YouTube), eat a bunch of Reese's and howl at the moon tonight. It just might help you feel better.	N24News: A New Dataset for Multimodal News Classification	Style
For half the year, a little brown bird on the northernmost islands of the Galapagos uses its wickedly sharp beak to pick at seeds, nectar and insects. But when the climate dries out, it drinks blood. Yes, it is what it sounds like. Galapagos finches have been used since Darwin's time to illustrate evolution in action. Even among them, Geospiza septentrionalis is an outlier, one of the few birds in the world to intentionally draw and drink blood. And the species is only found on Wolf and Darwin islands, two of the most remote and off limits places in the entire archipelago. The vampire finch has a method. First, one bird hops on the back of a resting Nazca booby, pecks at the base of the seabird's wing, and drinks. Blood stains the booby's white feathers. Other finches crowd around to wait their turn, or to watch and learn. Because adult boobies can fly away, the attacks are almost never fatal. The only casualties are chicks that flee from the finches on foot and, unable to find their way back, starve.	N24News: A New Dataset for Multimodal News Classification	Science
Dev Hynes in 2016. Hynes was originally approached only to appear in Luca Guadagnino's new HBO series, "We Are Who We Are." But Guadagnino soon asked Hynes to do the score. How Dev Hynes Went From Being in 'We Are Who We Are' to Scoring It There is a moment at the beginning of Luca Guadagnino's new HBO series, "We Are Who We Are," when one of the main characters, Caitlin, stands poised atop a tower on an American army base in Italy, deciding whether to jump. Her friends have commandeered the training zip line attached to the tower, and, trussed like turkeys, they've already made the leap. As Caitlin approaches the ledge, the surrounding sounds fade away, and a scintillating piano progression emerges from the quiet. There's something hovering beneath the surface in that moment a buildup of potential energy, like a rubber band pulled taut. The melody magnifies this tension, and suddenly, the music intensifies. A heavier synth sound rises and crests: Caitlin steps forward and disappears into the darkness. The musician behind Guadagnino's evocative score is the composer Devonte Hynes, perhaps best known by his most recent alias, Blood Orange, a genre defying solo musical project that fuses R B beats with gauzy synth overlays. When Guadagnino first contacted Hynes, however, it wasn't about the score: He had decided he wanted to write a Blood Orange concert into the show. Hynes was already a fan of the Italian director's work (he had seen "I Am Love," from 2010, twice in one week, and he was similarly smitten by "Call Me by Your Name"), so he quickly agreed and traveled to Bologna, where he and Guadagnino spent a week filming and discussing music. By that point, Guadagnino had already planned out an entire soundtrack. But after watching the show in its entirety, Guadagnino realized that there were some scenes without music like the one at the tower that needed more, he said in a Zoom interview last month. He asked Hynes if he would create "a sort of organic addendum" to the soundtrack. "Dev was the only composer I wanted to create music for the show," Guadagnino said. "I liked the 'eclec ticity' of Dev. I feel seen by him. It's not normal or immediate that people are eager to see the other, but I feel that he has that quality." On a sweltering day last month in Washington Square Park, in Manhattan, Hynes told me that he was inspired by artists who could "freeze moments and explore all of the corners of a situation." Hynes excels at composing songs that hold the listener suspended in time, a quality that makes his music a fitting companion to a show exploring youth in all its bittersweet transience. When we met, I told Hynes that "We Are Who We Are" had made me feel nostalgic for the period of adolescence when you burn so hot and so bright. "Emotions are hyper realized when you're younger; it's like life or death," he remarked. "You're devastated and then you're exhilarated. Heightening those emotions is something I wanted to play with." Over the course of several hours, Hynes spoke about his collaboration with Guadagnino, his unusual scoring process, and his cameo on the show. These are edited excerpts from the conversation. How did Luca first approach you about this project? Were you familiar with his work before he pulled you in? I was a huge, huge fan. And I don't know if this is a spoiler or not, but ... I'm in the last episode, playing myself as Blood Orange. Back in 2016, in real life, I played a live show in Bologna, and Luca essentially wrote that into the series. So at the end of last year, I went to Bologna and did a fake concert, which they filmed. And how did you go from performing to writing the score? I was in Italy for quite a while, about a week, and Luca and I got to talking about music and composers we like. I'm a big fan of the composer John Adams, and Luca uses so much classical music in his movies, whether it's the Verdi pieces in "The Biggest Splash" or the John Adams pieces in "I Am Love." Yeah, it was very natural. Luca is so animated and reacts to the scenes in such a visceral way. Rather than, "At zero, zero point two ...," he would say, "At some point around here, Fraser starts feeling this emotion." And I would just go with it. It was really refreshing for me, because I can write to cues, but this visceral process is closer to how I like to work. Sometimes scoring work can feel very technical. It's kind of like building the frame of a sculpture. But there was so much freedom with this project. Luca uses such long passages with music, so I felt like I had more room to explore themes in my music. How do you go about scoring a scene? I start by watching the scene, and as I watch it, I usually know the landscape I want the score to exist in. What do you mean by landscape? There's a certain world or worlds, I should say that I'm always trying to get to in my music. It's hard to explain. It's a musical place that essentially mixes the things I grew up with, like classical music and popular music. Do you typically watch the scene as you compose the score? I can make music in any capacity: watching films, even reading sometimes. I can just section off parts of my brain. I work in my head a lot, and once I have it, laying it down becomes purely physical. I'll have the scene up in front of me, and then I usually start with piano and improvise while watching the scene. I tend to just lay it out in one go. When you were watching the show and composing simultaneously, did you feel free to play exactly what you wanted to hear in those moments? With this show, that's definitely what I was doing. It was a rare treat. Though honestly, nearly everything I make is selfishly for my own enjoyment. I'm always trying to put a feeling across without naming the feeling. I'm always trying to evoke something a bit more complex. I think the moments when we're feeling purely one emotion are extremely rare; there are usually a lot of things happening, which is something I try to convey in my work. The main character in "We Are Who We Are," Fraser, is going through so much, and it could be easy for someone to strip him of his emotions or think that they aren't justified. But everything he's going through is so significant to him it's his entire world in that moment. So I just played to that.	N24News: A New Dataset for Multimodal News Classification	Television
If there were a competition for tackling decidedly out of the ordinary landscaping projects, David Kelly, a landscape designer, would be on auto entry. Seemingly float a swimming pool with an ipe wood deck above a pond on an estate in Sagaponack, N.Y. ? He's done it. Levitate a small forest of 50 foot tall honey locust trees as a second story buffer between a luxury condominium and the High Line? He did that to the accompaniment of cheers from neighbors of 500 West 21st Street who turned out to watch the trees, imported from upstate New York, hoisted by crane into position in the heart of Chelsea. "It was like a rally for these monster trees to make it in the big city," said Mr. Kelly, himself a Canadian import with roots in Langley, a sports centric city near Vancouver. His sympathies, he said, are with the transplants: "I cried the first day I came to New York, but I adjusted, and so will they." He designed a 30 foot high indoor green wall for the conservatory of a Manhattan apartment. And he came up with an award winning residential project near Capetown, South Africa, by eschewing status quo lawns and gardens and instead incorporating the rugged, drought resistant native vegetation known as fynbos. Mr. Kelly found out after the fact that fynbos is best nurtured not with fertilizer, but with controlled burnings every 10 to 20 years. "It's a little tricky when you've got a house in the middle of what seems to be a forest fire," he said. "I knew nothing about that plant palette when I took on the project, but now I love it. With gardening, you never stop learning." Mr. Kelly, 47, joined Rees Roberts and Partners, a firm specializing in interior and landscape design, nearly two decades ago and prefers that every project be a one off, or close. "When a client asks me to show them a picture of what the finished product will look like, I usually have to tell them I can't, because we've never done it before," he said. "With a landscape, you can't come in and superimpose your ideas on a space. People may think of me as that guy who brings the plants in, but there's way more to it. Landscaping is not an afterthought that you add in later." His latest experiment necessitated hauling 20 tons of soil to the top of 7 Harrison Street as the largely unseen underpinnings for the showstopping wraparound terrace of its 22.5 million duplex apartment. There, the star ingredients are a sunken reflecting pool, a dozen mature honey locust and Kwanzan cherry trees, and a hornbeam hedge that doubles "as an outdoor wall," he said. The result: an urban garden that doesn't seem as if it's in the city at all. To build the terrace and a new glass penthouse addition for the top floor luxury apartment, Steven Harris and DXA Studio, the architects who collaborated with Mr. Kelly on the project, raised the roof of the original building by several feet. The raised floor permitted the creation of a wraparound trench, into which went the 20 tons of soil, a hidden irrigation system and the plantings. The penthouse is surrounded by and flush with the terrace, and the trees and other flora appear to be growing from the earth, just as they would in nature. "In Manhattan, where there are height limitations and square footage is extremely expensive, it's very rare for any developer client to give over any space, particularly for soil and tree root balls," Mr. Kelly said. Transparent 20 foot glass panels are the only separation between the terrace and the interior; indoors and out, the floors are limestone. Although Mr. Kelly was wearing sneakers along with a blue and black ensemble that happened to match his eyeglass frames, he said limestone felt particularly "sensual" under bare feet. Mr. Kelly divided the terrace into outdoor rooms. The lounge area next to the living room faces north toward the city; the shallow reflecting pool is outside the dining room, and at certain times of day it and the sky are reflected on the ceiling. To the south, where the views include the Woolworth Building and One World Trade Center, are the outdoor kitchen and dining area. Serenity and simplicity were Mr. Kelly's goals, and it helped to receive carte blanche from the developer. "Simplicity is very complicated, that's something I learned on this project," said Sean Zalka, a partner with Scott Sabbagh in Matrix Development, the team behind the luxury reboot of 7 Harrison, which was built at the turn of the last century. "It's expensive to look this natural," added the developer, who estimated the terrace's atypical infrastructure and seamless indoor/outdoor habitat added another three or four million dollars to the budget. "But we went the extra mile to deliver a turnkey interior, so it made sense to really go for it and do the exterior in a very unusual way. It frankly doesn't feel like a city terrace. The guiding ethos here was to create alchemy between indoors and out." Mr. Kelly's projects tend to be divided between the urban, where buildings dominate and impose restrictions, and the rural, where the challenge is creating a landscape that doesn't fight with nature. "Trying to imagine a landscape in the city is difficult, and city projects tend to be so radically different than country projects," he said. "City projects are more theatrical. But even if all you have is a 7 by 4 foot terrace, you can add an evergreen, a Japanese maple, a few annuals, a piece of outdoor furniture and you'll have yourself a green backdrop." Not that he does. Mr. Kelly lives in Chelsea at London Terrace Gardens with his husband, Robert Valin, and their dog, Benny, a mix of Cavalier King Charles spaniel and French bulldog. Improbably, they have no outdoor space. "We have one orchid and a terrarium," he said. "But I'm always looking for a townhouse with a garden, or a place upstate; my true love would be a house in Palm Springs." He has done imaginative work at the Adirondacks retreat owned by the actress Sigourney Weaver. "She asked me to design something that looked like Beatrix Potter on acid," he said of the powerful mountain landscape, with its mosses, ferns, boulders and towering trees, that has now been "knitted" with colorful perennial gardens. Not quite as far upstate, he undertook the task of rehabilitating a 120 acre farm near Hudson, N.Y., an ongoing project that began eight years ago.	N24News: A New Dataset for Multimodal News Classification	Real Estate
The United States Olympic and Paralympic Committee is urging that the Summer Olympics in Tokyo be postponed because of the coronavirus pandemic, adding its large and influential voice to a growing chorus of athletes and sports federations objecting to having the Games go on as scheduled in late July and early August. The International Olympic Committee said Sunday it would make a decision on postponing or otherwise altering the Games within four weeks. But that timeline has been met with skepticism and derision, with Canada's Olympic committee saying it would not send its athletes this summer and the Australia committee telling its athletes to plan for an Olympics in 2021. Surveys of athletes are showing that most favor a postponement, because it has become increasingly difficult to train as countries impose broad restrictions on movement and shut down gyms and other facilities. The United States committee, representing the largest delegation of athletes at the Games, said in a statement Monday night from its chair, Susanne Lyons, and its chief executive, Sarah Hirshland, that it had made the decision after reviewing a survey that yielded responses from 1,780 American athletes. With the United States urging a postponement, pressure is likely to increase on the I.O.C. to act soon. Already, athletes, medical experts and others involved in the sporting world are pressing for a quicker end to the uncertainty. For medical experts and governments throughout the world, a firm decision to postpone would allow them to focus on the more immediate worry containing the pandemic rather than the Games themselves. For athletes, many of whom have pushed for a postponement, a decision now would take away the pressure of seeking ways to train in a time of social distancing. U.S.A. Gymnastics on Monday also joined the calls for a postponement, following similar stances by national leaders in swimming and track and field. The three sports typically combine to deliver the most medals for the United States each Summer Olympics. Li Li Leung, the chief executive of U.S.A. Gymnastics, said her federation's decision was based on an anonymous survey of its athletes, in which nearly two thirds of respondents said they favored delaying the Games for at least three months. "It was really important for us to make sure our athletes' voices were heard in this," Leung told reporters during a conference call, adding that the athletes wanted to compete fairly without posing a health risk to others. The I.O.C. and Tokyo need their decision to come in a way that resolves billions of dollars in financial implications. "The bottom line is if the I.O.C. or Tokyo unilaterally decide to cancel or postpone without agreement, they would be in breach of contract and the potential financial repercussions are just enormous," said John Mehrzad, a British sports lawyer who has represented national and international sports federations and athletes in litigation. "As every day goes by and they don't make a decision and other countries pull athletes out and the result of that means they can't go ahead, then both parties will be delighted because it wouldn't be their fault," Mehrzad said. "If people try to sue them, they can blame factors out of control for why it isn't taking place." A firm decision may come soon enough; Richard W. Pound, an I.O.C. member, said Monday that the Games would clearly not start as scheduled. Insisting that no decision has been made, Mark Adams, chief spokesman for the I.O.C., said, "It is the right of every I.O.C. member to interpret the decision of the I.O.C. executive board, which was announced yesterday." Pound, the longest serving member of the I.O.C., is not a part of the executive committee that would make the final decision on how to move forward, or a part of the other groups that have coordinated the Tokyo Games or the Olympic response to the coronavirus threat. Olympic leaders in Canada, Australia and Norway said their athletes would not participate even if the Tokyo Games were held as originally scheduled. The governing body for track and field wrote to Thomas Bach, the I.O.C. president, calling for a delay. And in Japan, where politicians and local organizers had resisted any changes to plans that represent years of work and billions of dollars in investments, leaders began to acknowledge the reality of a delay. Yoshiro Mori, the president of the local organizing committee, described a postponement as "inevitable" and said that organizers were not "stupid enough to ignore" the sentiments being expressed by athletes and a growing number of national Olympic committees. Mori said four weeks was a "short time" to get everything needed in order. "It requires a tremendous amount of time and we have to hurry to go through this," he said. Prime Minister Shinzo Abe, for whom the Tokyo Games are as defining as the Sochi Olympics in 2014 were for President Vladimir Putin of Russia, told parliament on Monday that the country "may have no option but to consider postponing the Games." Abe said he hoped a decision could be made quickly. The general sentiment in Japan appears to support a delay. A recent poll conducted by the Japanese news agency Kyodo revealed almost 70 percent of people did not expect the Olympics to open as billed on July 24. Bach laid out the I.O.C.'s timeline after an emergency meeting of its executive board on Sunday, saying the group would be guided in its decision by medical experts, specifically the World Health Organization. Lawrence Gostin, an expert on health law who has advised the W.H.O. on other pandemics but is not involved in the decisions surrounding the Olympics, said hosting the Games could be "catastrophic" for the world. "You would literally be bringing people from all over the world to Asia and back it would be such an amplifying effect that we would come to deeply regret it," said Gostin, the director of the O'Neill Institute for National and Global Health Law at Georgetown. The institute gives technical and strategic support to the W.H.O. in the United States. Rescheduling an event as gargantuan as the Games essentially a series of more than 30 world championships is hardly an easy task. Shifting requires navigating a thicket of financial obligations that have taken years to construct and will be complicated to unwind and then carry forward. Max Hartung, a German fencer who was in isolation with his girlfriend at home, recently said publicly that he would not participate in the Games even if they were held this summer. "I think the pressure is rising," Hartung said. "I understand it's difficult to postpone and there needs to be careful planning, but me, personally, I would wish for them to take a decision sooner rather than later." Brendan Schwab, the executive director of the World Players Association, an umbrella body for player unions worldwide, said athletes have been simply unable to train and organizers have a responsibility to not make responding to the pandemic more difficult. "It's simply not practical now" to hold the Games safely, he said. While the I.O.C. spoke Sunday of entering a new phase of contingency planning, its work has been underway for some time, Bach acknowledged in an interview with The New York Times last week. A statement by the Australian Olympic Committee hinted toward a yearlong delay. John Coates, the president of the committee, is close to Bach and also leads an I.O.C. group responsible for overseeing the buildup to the 2020 Games. "The A.O.C. says Australian athletes should prepare for a Tokyo Olympic Games in the northern summer of 2021," its statement read.	N24News: A New Dataset for Multimodal News Classification	Sports
LOS ANGELES Blaine Lourd has long helped the movie stars, professional athletes and heiresses in Los Angeles manage their wealth. Over the past few years, he has also noticed millionaires who made their money in technology begin to dot the west side of the city. "What we have not had is our Google moment," Mr. Lourd said, referring to Google's initial public offering in 2004, which produced a horde of new millionaires in Silicon Valley. Now such a moment may soon be upon Los Angeles. Next month, Snap, the parent company of the disappearing message app Snapchat, which is based in the Venice neighborhood, is set to go public and in the process mint a wave of tech millionaires and billionaires in a city better known for its well paid Hollywood stars. "When it comes to tech companies, for the wealth managers and real estate guys, no one has really rung the register like the Snap thing that's about to happen" to Los Angeles, said Mr. Lourd, whose wealth management firm, LourdMurray, is based in Beverly Hills. "My theme is that Snapchat is the moment." Last week, Snap said it was aiming to sell its stock for 14 to 16 a share, putting the company's value at 19.5 billion to 22.2 billion. That would make Snap among the biggest public tech companies by market capitalization to have its headquarters in the Los Angeles area. At that valuation, Snap's two young founders, Evan Spiegel and Bobby Murphy, would walk away with holdings worth more than 3 billion each. Timothy Sehn, Snap's senior vice president for engineering, would own shares valued at as much as 110 million. And dozens of other Snap employees could become overnight millionaires. To capture some of these soon to be wealthy techies, Los Angeles real estate agents, lawyers and wealth managers have bought targeted search and Facebook ads, they said. Others are trying to spread word of their services through their networks of contacts. Tech employees are feeling the effects some said they had been bombarded with LinkedIn messages from companies that find clients for these service providers. "When Snap goes public, I hope people see these towns are hard to beat for proximity to LAX and the clean beach," he said. Snap is trying to help its 1,900 employees prepare for the scrum for their money. One Snap employee, who asked to remain anonymous because the details were confidential, said the company had discussed bringing in academics from Stanford University to explain the impact that the I.P.O. could have on their lives. Google used a similar strategy for its employees when it went public. In the meantime, wealth managers and others are preparing their advice. Howard Rowen, a financial adviser at Bank of America in Los Angeles who manages money for entrepreneurs and tech workers, said techies who made fortunes at a start up might think they would hit the jackpot again. Instead, he said, that often doesn't happen and coders, engineers and others should regard the I.P.O. as a once in a lifetime event. They should also diversify their assets, Mr. Rowen said. "Entrepreneurs have strong emotional ties to their companies and their stock, but things don't always go right," he said. "It's hard to convince them that they need to invest in something other than their own company." Snap has already changed the face of Venice, a once bohemian beachside section of Greater Los Angeles. When Mr. Spiegel and Mr. Murphy moved Snap to the area in 2013, they put the company in a single beach bungalow near the Venice Beach boardwalk. Now Snap's employees have more than tripled from 600 people at the end of 2015, and the company owns and leases several buildings tucked discreetly amid shops and homes. Snap is part of a growing tech scene in Los Angeles. For the past few years, tech workers have flocked to local start ups like Dollar Shave Club, which Unilever acquired for 1 billion; Maker Studios, which Disney bought for 500 million; and Riot Games, which Tencent purchased for an undisclosed amount. Venice, once home to mom and pop shops and dive bars, is now home to 9 juice bottles from Kreation Kafe and a 7 slice of toast with ricotta and jam at Superba Food Bread. Upscale clothing and home goods stores dot the main commercial drag. Property values have risen 13 percent over the past year, according to the property website Trulia, with the average price per square foot for a home at 1,257 higher than San Francisco's Mission District, also a tech enclave, and comparable to Palo Alto in Silicon Valley. Venture capitalists from Silicon Valley firms like Institutional Venture Partners and Lightspeed Venture Partners are regularly spotted with entrepreneurs around Venice. Google and Facebook have moved in, turning industrial lots into campuses in nearby Playa del Rey. "Southern California now has more venture capital and angel investors than it has ever had before," said Mr. Rowen, the financial adviser. "It's not Northern California, but there is a real phenomenon." The Snap public offering portends future wealth for venture investors in Los Angeles as well. "The next three to five years will be an absolute renaissance," said Mark Suster, the founder of Upfront Ventures, a venture capital firm in Santa Monica. Given events like Snap's I.P.O., "we'll see those employees recycle their capital back into the ecosystem," he added. "There will be an explosion of start ups." Noting that Silicon Valley venture investors have long held Los Angeles in low regard, Mr. Suster said more were coming south. "There is a lot of money flowing into the community," he said. Not everyone is happy with the changes. Gentrification has pushed artists and working families out of Venice. Some restaurants have shut down because they can no longer pay soaring rents. In response, some politicians and residents in Venice have pushed for density restrictions, said Emil Schneeman, a real estate agent at Berkshire Hathaway Home Services. How much the wealth from a Snap I.P.O. will trickle out across broader Los Angeles is harder to ascertain. The city has long been a destination for the rich and famous and is flush with cash from the entertainment and banking industries. But it is still an exciting time for the people who can help Snap employees spend and invest. "The real estate guys are pumped because the first thing people usually buy is a house, or a dream home," Mr. Lourd said. "This is a good environment to be working in."	N24News: A New Dataset for Multimodal News Classification	Technology
For about two years, Michael Raymos made the drive from Modesto, Calif., to Sacramento and back for therapy, and for the therapist, who could listen to stories of childhood abuse and gently unwind their hold on the present. Those regular office sessions, at a clinic at the University of California, Davis, created a strong bond, and Mr. Raymos came to rely on them to manage symptoms of post traumatic stress and the emotional weight of a neurodegenerative disorder that struck him in 2012, in the prime of adulthood. But this routine ended abruptly in mid March, when the clinic went almost entirely virtual in response to the Covid 19 outbreak in Northern California. Since then, Mr. Raymos has engaged in twice a month sessions on his computer or phone. "There is a drop of social contact, not being able to always see his expression," said Mr. Raymos, 49. "There's more of an intimacy level when you're one on one and that office door is closed. But there's a comfort level at home. I'll sit there in bed with my dog, Bug, on my lap, and that comfort allows me to talk about things I maybe wouldn't have in the office, because of how painful they are." He added: "And I like not having to make that drive." The coronavirus pandemic has forced medical centers around the world to partially adopt telemedicine, with varying results. Some patients are not comfortable with the technology, or can't afford it; others need services that cannot be provided entirely online, like prenatal care. Psychiatry is a special case. Experts had predicted for years that the field's most intimate treatment psychotherapy, or the talking cure was poised to go largely virtual, for many or most patients, forever altering day to day practice. In this extraordinary year, they are likely to be proved right. In March, federal health officials loosened restrictions on practicing across state lines, and have begun to expand reimbursement. Clinics across the country went virtual, with most consultations done by phone or computer. The number of virtual mental health visits in the sprawling V.A. Health System jumped more than sevenfold, from 7,500 to 52,600, in just the first two months of the U.S. epidemic. "Overnight, everyone began practicing telepsychiatry, with physicians in New York, Texas, California, able to reach their patients, wherever they were," said Dr. John Torous, director of the digital psychiatry division at Beth Israel Deaconess Medical Center, a Harvard affiliate. "You're going to get a boost in access in care, for sure," he said. "And I suspect it's going to saturate the system pretty quickly." The U.C. Davis clinic had a built in advantage in the transition: Its senior psychiatrist, Dr. Peter Yellowlees, in 2018 co wrote the standard textbook on telepsychiatry, "Telepsychiatry and Health Technologies." He also helped write the field's guidelines and has conducted dozens of studies on the practice. He has been a proponent since 1991, when, as a young psychiatrist in Australia, he treated his first patient on telepsychiatry, an Aboriginal woman with depression. At the end, she asked if he had recorded the session; he assured her he had not. "She said, 'Why not?'" Dr. Yellowlees recalled, in an interview. "She was disappointed. She wanted a copy; she said that she'd never been on TV before and wanted to show her community. It taught me about people's attitudes. Patients have always liked being treated on video it's the providers and physicians who were the major obstacles." Many Freudian based therapists have been particularly skeptical, concerned that going virtual might alter or weaken a therapeutic bond built, often painstakingly, through the shared physical space of analysis. Others worry that a rich dimension of body language is lost in video interactions. "In terms of trauma, one of the things many of us track is micro expressions, these flickers of emotional tone, when people are talking," said Dr. Andres Sciolla, a psychiatrist in the U.C. Davis clinic. "I cannot tell you how many times I have noticed a flicker of tears or fear in the gaze of a patient, perceived a shift in feeling, and explored that and found a lot behind that change." If widely used approaches such as cognitive behavior therapy lose something crucial by being virtual, it is not evident from the studies done so far. In one study, for instance, a team led by researchers based at the Baltimore Veterans Affairs Medical Center tracked more than 100 veterans being treated for depression over six months, half of them engaging in traditional, in person therapy, the other half receiving care online. Both groups improved, on standard measures, by the same amount. Another study, led by Leslie Morland of the Department of Veterans Affairs, Pacific Islands Healthcare System, compared in person and virtual talk therapy for 120 veterans with post traumatic stress. It reached a similar finding: improvement across the board, no difference between the groups. "The evidence so far from these equivalency trials, comparing face to face versus over video every trial I've seen shows no difference in clinical outcomes," said John Fortney, director of population health in the University of Washington's psychiatry department. For more than a decade, Dr. Fortney has been trying to get telepsychiatry and telepsychology adopted in rural areas, where people have little or no access to mental health specialists. "About 90 percent of patients report being satisfied with the experience," he said. And with the threat of coronavirus at large, safety has become a paramount concern. "My psychiatrist literally saved my life, about 10 years ago, when I had a couple of suicide attempts," said Margaret, 70, a retired nurse, who, like Mr. Raymos, received in person care at the U.C. Davis clinic and had to go virtual in March. "I know how powerful those office visits can be. But I don't want to go out. I don't want to be exposed to this virus; I like that I can do this from home. My therapist, I feel his personality online; that still comes through. He's listening very carefully. He's really present to me." Not everyone who could benefit from psychiatric care is a candidate for the virtual variety. For people who are deeply delusional, who are scared, paranoid and alone, for instance, a Zoom call in these situations can be an invitation to confusion, or much worse. The rich sensory experience of full human interaction with a gifted therapist that quality that defies measurement and study, in any randomized trial is what many such people need.	N24News: A New Dataset for Multimodal News Classification	Health
Ask Andrea M. Quenette if she thinks that colleges and universities are doing a good job refereeing the debate over free speech, and she'll respond with an emphatic 'no.' "Schools are not doing enough to protect free speech," Ms. Quenette, a communications professor at the University of Kansas, said in an email. "Specifically, they are protecting the speech of some, those whom they fear or those voices which are loudest, but they are not protecting the speech of those whose voices are easier to silence. Generally, these quieter voices are those of faculty and staff who should rightfully fear for their jobs should they use unpopular, but legally protected, words." If anyone has a personal stake in the issue, it is Ms. Quenette, 34, who took a paid leave of absence after students criticized her for uttering a racially insensitive word during class. The word was spoken during a discussion on race and recent protests on campus. Offended students wrote a letter calling for her resignation for use of the word and for seeming to suggest that some minority students who were dropping out were simply academically unfit rather than the victims of discrimination. The letter called her words "terroristic and threatening to the cultivation of a safe learning environment." Although the university cleared Ms. Quenette of violating its nondiscrimination policies, it denied her bid for tenure and said it would not employ her after next May. Joseph Monaco, a university spokesman, said in a statement that the decision was a "personnel" matter unrelated to the racial issues, but he did not elaborate. Ms. Quenette and her husband, Scott, a software engineer, have joined a chorus of voices calling for stronger support for free expression on campuses even as students themselves are often seeking some curbs on speech they deem offensive. According to a poll recently released by the Gallup Organization, 78 percent of 3,072 students from 32 four year private and public colleges believed their campuses should strive to create an open environment where they would be exposed to a range of speech and views. Twenty two percent noted that "colleges should prohibit biased or offensive speech in the furtherance of a positive learning environment." But 69 percent favored limitations on speech when it came to language that was deliberately upsetting to some groups. An October 2015 survey of 800 students nationwide, sponsored by the William F. Buckley, Jr. Program at Yale, reported that 63 percent favored requiring professors to use "trigger warnings" to alert students to subject matter that might be unsettling. By a 51 percent to 36 percent margin, students also supported speech codes to regulate speech for students and faculty. The controversy has brought disruption to many campuses. In February, a student at Gettysburg College, a small liberal arts institution in Pennsylvania, hung posters featuring a photo of a baby and the sentence, "Abortion is the number one killer of black lives in the United States." It ended with the hashtag, Black Lives Matter. Some students demonstrated, saying that the posters singled out African American women in an effort to promote an anti abortion campaign. They also said the posters made misleading use of the "Black Lives Matter" slogan. In April, the school revised its Freedom of Expression policy, re emphasizing the school's commitment to free speech even when the speech may be offensive. In late May, students at DePaul University in Chicago stormed the stage while the conservative blogger Milo Yiannopoulos who had been invited on campus was speaking. The fracases have left colleges struggling to figure out how to help students and faculty members balance respectful discussions about race and diversity with open conversations on difficult topics. They are asking: How can campuses best navigate inclusiveness and debate while being mindful of students who feel marginalized, disrespected and overlooked? "These are complicated issues, balancing a commitment to academic freedom with these demands for censorship and the greater awareness of the negative impacts on people of hearing speech that makes them uncomfortable for whatever reason," said Geoffrey R. Stone, a professor of law at the University of Chicago, noting that the First Amendment applied only to students and faculty members at public institutions, not private ones. At private institutions, he said, the issue is one of academic freedom as a matter of policy. In November, the University of Kansas held a meeting on race that drew more than 1,000 people. But during the event, a group of students took over the stage, saying that the forum was organized in an effort to silence voices rather than to listen to them. "There is a fine line, and I don't necessarily know where that fine line is," said Harrison Baker, 21, a senior and a member of the Student Senate who attended the event. In May, the City University of New York created both a Task Force on Campus Climate and a Working Group on Freedom of Expression. More recently, Columbia University in New York announced the creation with the John S. and James L. Knight Foundation of the 60 million Knight First Amendment Institute at the university to promote free expression. "Schools need to have statements that clearly express the importance of free speech on campus," said Erwin Chemerinsky, dean of the law school at the University of California, Irvine. "Universities have to be about open inquiry and ideas. But campuses need to say, 'We're a community and we want everyone to be comfortable.'" In the early 1990s, more than 350 schools adopted hate speech codes, he said. But about a half dozen were struck down as unconstitutional, and most schools had not written new statements addressing these questions. In late 2014, Professor Stone and other faculty members created the University of Chicago's Statement on Freedom of Expression, which was released January 2015. "The University's fundamental commitment is to the principle that debate or deliberation may not be suppressed because the ideas put forth are thought by some or even by most members of the University community to be offensive, unwise, immoral, or wrongheaded," they wrote, in part. "It is for the individual members of the University community, not for the University as an institution, to make those judgments for themselves, and to act on those judgments not by seeking to suppress speech, but by openly and vigorously contesting the ideas that they oppose." Thirteen schools including Princeton, Columbia and Purdue have adopted some versions of the Chicago Statement, according to the Foundation for Individual Rights in Education. At Franklin Marshall College in Lancaster, Pa., a version of the statement was adopted by the faculty in February but was later vetoed by the board of trustees, which said it had legal concerns over the "uninhibited but still respectful exchange of ideas." "Right now, the faculty has academic freedom, but there is nothing that comprehensively guarantees students free expression," said Matthew Hoffman, an associate professor of history at Franklin Marshall who initiated the motion to get the Chicago Statement into the faculty handbook.	N24News: A New Dataset for Multimodal News Classification	Education
Michael Hersch's latest work, "I hope we get a chance to visit soon," uses texts from emails he exchanged with a friend who died of cancer. "Bleak" is the predominant adjective in writing about Michael Hersch's music. "Dark," "somber" and "anguished" are also omnipresent. Little wonder, given that his subjects have included the Sept. 11 terrorist attacks, Dante's "Inferno," the Holocaust and conditions found in a 1960s psychiatric ward. But the quality the violinist Patricia Kopatchinskaja most associates with Mr. Hersch's music? Necessity. "The despair in the music makes it a necessary experience, to play and to listen to," she said in a phone interview recently. "There is nothing you can compare it to." Ms. Kopatchinskaja is the music director of this year's Ojai Music Festival in California, which runs from June 7 to 10 and gives pride of place to Mr. Hersch's work, including a new piece of music theater, "I hope we get a chance to visit soon." Ms. Kopatchinskaja, who has commissioned several works from him, could have asked for another for violin, but said she preferred to give him free rein. For Mr. Hersch, 46, that earthquake is cancer. The disease has haunted both his life and his work. In his 30s, he had a brush with the disease and underwent radiation and surgery. His friend Mary O'Reilly, a historian, was suffering from it at the same time; she died in 2009, at 45. In response to her death, he wrote the monodrama "On the Threshold of Winter," which rendered the terror and indignities of terminal illness so viscerally that at its premiere in Brooklyn in 2014, it left the audience shellshocked and the soloist, the soprano Ah Young Hong, in tears. Mr. Hersch is not the first composer to repeatedly deal with death. But he treats it not with sentimentality or exaggeration, but with uncompromising lucidity; hence its, well, bleakness. While there is great beauty in the chiaroscuro interplay between his expressionistic dissonances and Renaissance style harmonies, his works never build toward resolution or transfiguration. A listener is unlikely to experience catharsis or find consolation. Ms. Kopatchinskaja likened Mr. Hersch's music to a wound. Listening to it, she said, "you face this dark side, this shadow and blood. It's so incredibly direct, it goes into your bones." That visceral impact can be uncanny, with powerful cluster chords spewing toxic resonance trails, and the occasional hopeful motif replicating like a faulty cell, its harmonic health uncertain. He was determined to return to the subject of "On the Threshold of Winter," and the commission from Ojai and several other organizations offered him the chance to write a companion piece. Where the earlier work drew on the poetry that the Romanian writer Marin Sorescu (1936 96) wrote when he was dying of liver cancer, the new work uses Ms. O'Reilly's own words, from her email correspondence with Mr. Hersch. Then, just as he was getting to work on "I hope we get a chance to visit soon," Mr. Hersch's wife, Karen Klaiber Hersch, a classicist at Temple University, was diagnosed with breast cancer. That meant that life and art mixed in dizzying ways during the composition process. During a recent interview at the American Academy in Rome, where he and his wife met as Rome Prize fellows in 2000, he pointed to a heavily marked up printout of Ms. O'Reilly's emails. "Everything I'm reading here is happening at the exact same time in my household," Mr. Hersch said. "When I'm setting a text, it's literally the same thing that I'm hearing yelled up to me from downstairs." (His wife completed treatment as Mr. Hersch finished the score, and she is now cancer free.) The conversational tone of the emails creates its own form of pathos. (The libretto also uses poetry by the astronomer and writer Rebecca Elson, who died of non Hodgkins lymphoma in 1999, at 39.) While Sorescu's language, in "On the Threshold of Winter," was rich in metaphor, Ms. O'Reilly expressed her fears, hopes and frustrations with quotidian directness. "One more round getting pumped with poisons," goes one passage set by Mr. Hersch. "I'm getting used to the rhythm now. Life sure has changed." Mr. Hersch is sensitive to the fact that his music is publicizing words originally meant for his eyes only. "Composers are used to getting permission to use text," he said. "But as much as I would like, I am unable to ask Mary her feelings about the inclusion of our correspondence in this work. I feel strongly she would support this. But that is an assumption I struggle with." Ms. Hong, who will sing in the new work alongside the soprano Kiera Duffy, said the directness of the text was daunting. "We sing poetry all the time and we never say, 'Well, if only I knew Emily Dickinson well enough,'" she said in a phone interview. "These words are different, they are so straightforward. I told Michael I'm scared that I'm going to use the wrong tone, the wrong dialect." Mr. Hersch's vocal writing presents its own challenges. In "On the Threshold of Winter," Ms. Hong learned to trust its requirements for a very clean, focused sound with minimal vibrato, creating lines simultaneously incisive and vulnerable. She said she sometimes felt a delayed "enlightenment" after a performance of Mr. Hersch's music. "Long after the piece is over, I could be walking down the street and see strangers who are upset, or arguing, or people having a bad day," she said. "And you feel so much for them because of the experience you had with his music." It is a feeling that can verge on the spiritual. But Mr. Hersch said, "I'm not religious. The difficulty for me is that Mary is not still 'out there.'" While he added that there were aspects of setting her emails to music that were "joy inducing," because they pulled him back into a shared conversation, he said "it's also disorienting because the conversation never changes." Instead, he has been caught in a loop of current and remembered diseases that has blurred the boundaries between work and life. "Everything is all mixed up," he said. "It's like a wave and you're a child caught in an undercurrent. You're trying to get out of it and you keep being pulled back."	N24News: A New Dataset for Multimodal News Classification	Music
The next time you want to hug a dog, consider this: You could be making the pooch miserable, an expert says. To the average dog lover, the animals' floppy ears and pudgy paws are simply cute. But there is actual science behind their design: They are cursorial animals, which means that they have adapted to run as their first line of defense, said Stanley Coren, a psychology professor emeritus at the University of British Columbia and a dog training expert. So when a human, however well meaning or needy, moves in for a full body embrace, it immobilizes the dog and increases the animal's stress level, he wrote in a Psychology Today blog post this month. Dr. Coren's recommendation? "Save your hugs for your two footed family members and lovers. It is clearly better from the dog's point of view if you express your fondness for your pet with a pat, a kind word and maybe a treat." Dr. Coren looked at 250 images on Google and Flickr that show people hugging dogs. About 81 percent of the photos showed dogs giving off at least one sign of discomfort, stress or anxiety, he said. The rest of the photographs showed dogs that appeared comfortable with their hugs or exhibiting neutral or ambiguous responses. Since dogs and humans cannot talk to each other not in the traditional way, at least Dr. Coren offered pointers on the canine body language to look out for, gleaned from his own observations. Bared teeth is one key signal of anxiety, Dr. Coren wrote. Turning its head away from whatever is worrisome, sometimes closing its eyes, at least partly. Dogs will often show what is called a "half moon eye" or "whale eye," where the white portion of the eyes at the corner or the rim is visible, he said. Licking, yawning or raising a paw. The dog may also lower its ears or slick them back against the side of its head. Other Experts on the Canine Clinch Corey Cohen, a companion animal behavior therapist at A New Leash on Life in Pennsylvania, was unequivocal. "My dogs love being hugged," he said. Mr. Cohen said he believed dogs might look anxious in the hugging photos because they didn't like having their pictures taken, or because a person was trying to pose them or get their attention. But Mr. Cohen, who also does canine massages, said he thought dogs could be comfortable with a hug when there was familiarity and trust. How does he know his dog loves to cuddle? He said he could feel tension being released in certain muscle areas of the animal: The breathing slowed down and the gaze softened. In some dogs, he said, the edges of their mouths tilt up, like a smile. "I can definitely tell," Mr. Cohen said. "Their facial expression changes: 'Oh, give me more!' " The trust bond also leads him to dismiss a common notion that people should not stare at dogs that doing so is considered confrontational. "The truth is, if you have a decent relationship with your dog, it releases oxytocin," he said, referring to the so called love hormone. "I don't think there is any other creature on earth that will do this." But Erica Lieberman, a dog trainer and behavior consultant with Pawsibilities Pets in New York City, said that in general, dogs should not be hugged just to be on the safe side. For example, people who adopt a rescue dog may not know the animal's socialization history. It could have painful association with, say, a child giving it crushing or unintentionally painful hugs. Ms. Lieberman said dogs understand facial expressions and learn that hugging makes people happy. Therefore they may be putting up with something they do not really like. "So I like the message," she said, referring to the no hugs credo. "I believe people should err on the side of caution." She said people should always look for "cutoff signals." In addition to those Dr. Coren noted, Ms. Lieberman said dogs might "shake off" in displeasure after a hug, similar to what they do after a bath to rid themselves of excess water.	N24News: A New Dataset for Multimodal News Classification	Science
Tesla Motors reported a larger first quarter loss on Wednesday, but it was still smaller than analysts forecast and the company appeared to be on track for important production milestones. Tesla, a maker of high end electric cars based in Palo Alto, Calif., said its net losses tripled in the first quarter compared with the previous year, to 154 million. On an adjusted basis, the company lost 45 million, or 36 cents a share, less than the nearly 50 cents analysts had expected. The company also said it expected to hit its target of selling a record 55,000 vehicles this year. Tesla said it delivered just over 10,000 cars during the first quarter and expected to deliver between 10,000 and 11,000 in the second. The anticipated, and twice delayed, Model X sport utility vehicle will play a vital role in reaching that sales goal. The automaker's chief executive, Elon Musk, said on Wednesday that deliveries of the electric S.U.V. would start toward the end of the third quarter.	N24News: A New Dataset for Multimodal News Classification	Automobiles
Walk around bustling Lower Manhattan this week, and you might come upon prompts to slow down and reflect: "Have you seen the horizon lately?" "Listen to the sound of the Earth turning." You can find the phrases on vacant storefronts and transit hubs. Nearby labels identify the author, the artist Yoko Ono. Labels also identify a name you're less likely to know the organization presenting Ms. Ono's work in this public context. It's called the Lower Manhattan Cultural Council, but that doesn't suggest the breadth of what it does for art in New York. These days, the council is probably best recognized for the River to River Festival, a summer series of free performances and art exhibitions that returns June 18 29. Ms. Ono's texts are the inaugural entry in the Reflection Project, a new festival initiative that's also one of the first ideas proposed by Lili Chopra, the council's new executive director of artistic programs. "I see it as urban acupuncture," said Ms. Chopra, who joined the council last April. "This is what we need in New York right now, but it's also how artists are working." Ms. Chopra sees those two kinds of need the needs of artists, the needs of the city as complementary. And that's a clue to how she approaches her job and why she now works for the council. Growing up in Paris, Ms. Chopra, 44, was raised with French assumptions about the role of artists in society and the importance of supporting them. Her mother ran a foundation to support playwrights, and Ms. Chopra acquired a sense of vocation early on. "I didn't want to be an artist myself," she said. "I wanted to be at the service of artists." As a teenager, Ms. Chopra was already interning with theaters and festivals, finding her way into arts management. After studying journalism, she attended an exchange program at New York University, expecting to stay for six months. That was 20 years ago. Working for Dance Theater Workshop, among other organizations, she learned how most artists in New York exist: on the margin, always struggling, in need of assistance from people like her. "It was a festival," she said, "that started with the question to artists: What do you need, and where, and why? And then build everything around the project, not a cookie cutter approach." After 12 years at the French Institute, she wanted to help New York artists in a more direct way. "How can we do a better job at creating a more sustainable system for independent artists?" she said. "That's what motivated me to join LMCC." "I feel we have lost some ground since I first came to New York," she continued. "It's become way harder to create work. Everybody spends more time raising funds. More and more artists are leaving the city. I understand how exceptional the French context is. Anything compared to that is a disaster. But I also know that sustainability is possible. LMCC is uniquely positioned to help." To understand what Ms. Chopra means, you have to know a little history. The council was founded in 1973 by Flory Barnett, a local fund raiser, to bring some culture to the area, and it's changed with the neighborhood. After it lost its World Trade Center home in the Sept. 11 attacks, it worked on attracting people back to the Financial District with art. River to River , started by the council and several other organizations in 2002, began as that kind of effort. But after the council took full control in 2011, it shifted emphasis away from revitalization and toward artists and their ability to transform spaces like piers, parks and historical landmarks. The festival has become prestigious, but for decades the council also has run other, less conspicuous programs. Every year, for example, it distributes more than 1.5 million in grants to artists and community organizations not just in Lower Manhattan, but all across the borough. And what do New York artists need as much as money? Space to work in, of course. To that end, the council has long operated several residency programs, proving free studios in temporarily donated spaces. One residency program focuses on dance. The Extended Life program created by the council's widely loved previous president, Sam Miller, who died last year gives choreographers studio space and funding to take works made for theaters and re conceive them for the unconventional sites of River to River. This year, the program has added a Lifeline track, providing a stipend and space without expectation of product. This Lifeline track even more than the Reflection Project and the festival focus on slowing down is an expression of Ms. Chopra's values and how they intersect with the council's mission. Extending lifelines to New York artists has been her aim all along. In September, the council will open a renovated arts center on Governors Island: more room for studios, more exhibition space, more permanency and more visibility. That visibility is necessary "to gain support," said Diego Segalini, the council's executive director of finance and administration. "We have to raise millions of dollars year after year." Mr. Segalini, who joined the organization in 2007, shares leadership responsibilities with Ms. Chopra. The two work in hand in hand, he said, though he concentrates on the money side the funding that comes, in rough thirds, from the government (city and state), from foundations and from corporate and individual donors. "Neither of us is alone at the top of the pyramid," he said. Which is good, because the whole organization is under many pressures. Ms. Chopra discussed concerns of equity and access who, for instance, is on the juries and panels that award grants. She and Danielle King, the director of cultural programs, acknowledged the tensions involved in selecting choreographers for Extended Life: the need to give a few artists difference making support versus the danger of giving the same few artists larger and larger pieces of the pie. For all these reasons, it matters who is in charge. "What they do and how they do it is completely dependent on their interests," said Sarah Michelson , an acclaimed choreographer who, as an Extended Life artist, is presenting her new "june2019/ " on June 24 and 26. For months, Ms. Michelson has been rehearsing at an undisclosed council provided location, making a lot of noise. "I appreciate the space I have in the deepest possible way," Ms. Michelson said, "but what's important about Lili is that she's not afraid to ask hard questions about what artists provide New York City and what New York City provides artists." "I feel I can be in partnership with her," she added. "That is so rare." Artists need space and money, but not only that. "If you have the right ideas, you're going to get space, grants, audience," said the artist Kamau Ware. "It's a teach a person to fish situation." Mr. Ware, the founder of the Black Gotham Experience, had already started giving walking tours about the early history of black communities in New York City (like those he'll give for River to River on June 25) when he got his first residency grant from the council. But it was the council's idea to find him a retail space in the South Street Seaport. "They saw where my idea could go," he said, "and everything came together for me."	N24News: A New Dataset for Multimodal News Classification	Dance
Some public health researchers are seeing hints that the coronavirus pandemic might help solve a longstanding puzzle: What causes premature birth? Studies in Ireland and Denmark this summer showed that preterm births decreased in the spring during lockdowns to stop the spread of the virus in those countries. Anecdotally, doctors around the world reported similar drops. They speculated that reduced stress on mothers, cleaner air or better hygiene might have contributed. A large study from the Netherlands, published on Tuesday in The Lancet Public Health, has yielded even stronger evidence of an association between the lockdowns and a smaller number of early births. The authors used data from a national newborn screening program. As in the United States, nearly all babies in the Netherlands have a spot of blood collected a few days after birth and tested for certain diseases. Information including the babies' gestational ages at how many weeks of the mother's term they were born is collected at the same time. The Dutch researchers examined newborn blood screening data from 2010 to 2020, which included more than 1.5 million infants. Over 56,000 of those babies were born after the Netherlands started locking down in response to the pandemic. With their large data set, the researchers compared early births in windows one to four months before and after the lockdown. Looking at the same windows in earlier years let them account for any other trends, such as seasonal changes in premature birth. No matter which windows they used, the researchers saw that premature births had dropped after March 9, when the government in the Netherlands began warning the public to take more hygiene measures and to stay home if they had symptoms or possible exposures to the virus. Within the next week, schools and workplaces began to close down. "We could see that this impact was real," said Dr. Jasper Been, a neonatologist at Erasmus Medical Center in Rotterdam and the study's lead author. The reduction was from 15 to 23 percent, he said. Dr. Roy Philip, a neonatologist at University Maternity Hospital Limerick in Ireland and author of the earlier study finding fewer preterm births this spring in the country, said he was "truly delighted" to read the new paper. He said it suggested that the lockdown did, in fact, cause the drop in early births. Unlike the Irish and Danish studies, the new Dutch study showed a decrease across all ages of premature babies not only the earliest ones. But as is often the case after such an investigation, Dr. Been said, "You have more questions than you started out with." One of those unanswered questions is about stillbirths. In the best case scenario, the preemies that were missing from hospitals this spring were born as healthy full term infants. But it's possible that some of those missing preemies died, instead. Stillbirths "might actually be the dark side of this," Dr. Been said. Researchers couldn't measure stillbirths in the Dutch data set, because only live infants undergo newborn screening. If most of the missing preemies were actually stillborn, Dr. Been said, there would have to have been a huge increase in stillbirths maybe three times the usual number, conservatively. No one has reported such a change so far. At one hospital in London, a study showed an increase in stillbirths after the start of the pandemic (not the lockdown). This increase might have come from hidden coronavirus infections, the authors wrote, or from women's reluctance to seek medical care during the pandemic. Studies in Nepal and India showed that mothers were less likely to give birth in hospitals in the spring, and that stillbirths increased in those countries. Further complicating the picture, Covid 19 itself may raise the odds of premature birth. Like the Science Times page on Facebook. Sign up for the Science Times newsletter. To find out how pandemic lockdowns affected preterm birth across different countries, the Dutch researchers have joined an international consortium of nearly 40 nations sharing data. Lockdowns might have been good for the health of mothers and babies in some places and not others, Dr. Been said, adding, "In general, we see that this whole pandemic seems to increase inequalities a lot." The Dutch study even hinted that the drop in preterm births was limited to wealthier neighborhoods, although the result wasn't statistically significant. "Boy, did this affect people really differently," said Jennifer Culhane, a senior research scientist in obstetrics and gynecology at Yale School of Medicine. Dr. Culhane said the new study confirmed what she had been hearing from colleagues in the United States about lower preterm birthrates this spring. "Anecdotally, this is what we're all hearing and feeling," she said. In the absence of strong evidence in the United States, she and her colleagues have partnered with an insurance company to begin a large scale study of how lockdowns affected premature births in this country. She speculates that the lockdown's effects might have depended on economic circumstances. For mothers who had the resources to work from home, "This could have a been a stress reducing moment," she said. For essential workers or those experiencing economic hardships, it might have been a different story. "We see gross inequities in this country," Dr. Culhane said. "My guess is that women that had no reprieve from rat racy type things had, actually, an enhanced burden of stress."	N24News: A New Dataset for Multimodal News Classification	Health
It is small. It is round. It was once a planet, but is now cast off as too diminutive. In March, a NASA spacecraft will arrive there to begin the first close up examination of a dwarf planet. It is instead Ceres, 600 miles wide, the largest of the asteroids between Mars and Jupiter. "We're going to reveal the fascinating details of a giant world of rock and ice," said Marc Rayman, the chief engineer for NASA's Dawn spacecraft. "It's not like we're just going out to visit a chunk of rock the size of one of those mountains," he said, pointing to the San Gabriel Mountains outside the windows at NASA's Jet Propulsion Laboratory in Pasadena, Calif. "Ceres has 38 percent of the area of the continental United States. It's actually the largest body between the sun and Pluto that a spacecraft has not yet visited." A year ago, the Herschel Space Observatory discovered water vapor rising off two spots on Ceres, possibly a sign of ice volcanism. "Ceres may have subsurface ponds or lakes or even oceans of water," Dr. Rayman said. These missions, years in the works, are expected to let loose a flood of data that will help paint clearer pictures of Ceres and Pluto and uncover clues on the origins of our solar system. They will also rekindle the debate over what constitutes a planet. The encounter phase of the New Horizons mission officially began Thursday, 180 days before the spacecraft's closest approach July 14. New Horizons, launched in 2006 on a three billion mile trip to Pluto, came out of hibernation in December and is still 135 million miles away, closing in at a speed of more than 30,000 miles per hour. It will start photographing Pluto on Sunday, and by May, those photographs will be sharper than the sharpest taken by the Hubble Space Telescope. "From there on in, it gets dramatically better, week by week," said S. Alan Stern, the principal investigator for New Horizons. At closest approach, 7,800 miles above the surface, the images will have a resolution of about 70 meters per pixel. If New Horizons were passing over Manhattan instead of Pluto, "we could count the ponds in Central Park," Dr. Stern said. Dr. Stern is not shy about calling the current definition stupid, saying the "I" in "I.A.U." actually stands for "irrelevant." "They got it really wrong," Dr. Stern said. Marc W. Buie, a planetary scientist at the Southwest Research Institute in Boulder, Colo., and a member of the New Horizons team, agrees with Dr. Stern but wishes the issue would go away. Years ago, people would be fascinated to hear the scientific puzzles about Pluto. Now, conversations usually start with "Is Pluto a planet?" "It's a very annoying, distracting issue," Dr. Buie said. "You have to get past this wall of this nonscientific issue before you get to the good things." There are plenty of good things for scientists to figure out. Why did Pluto, which had had a consistent reddish hue since Clyde Tombaugh spotted it in 1930, suddenly turn redder from 2000 to 2002? It has stayed the redder color since then. Why, as Pluto moves away from the sun, has the atmosphere not frozen and fallen to the ground as many scientists thought it might? How many moons circle Pluto? Could it have rings like Saturn? For decades, astronomers knew of only one moon, Charon, but Hubble has spied four more: Hydra, Nix, Styx and Kerberos. Even the simple question of Pluto's size does not have a precise answer yet because the atmosphere bends light. The exact size is crucial to working out the dynamics of the atmosphere. Eris, farther out and colder, does not have an atmosphere, and its size was measured when a star passed behind it in 2010 1,445 miles wide, give or take four miles. Dr. Buie said that estimates for Pluto's diameter range from 1,429 miles to 1,454 miles. "It's all going to be fantastic," Dr. Buie said. "I'm interested in seeing every single result, every measurement, every byte of information that's going to come out of that spacecraft." When Ceres was discovered, in 1801, it was added to the roster of planets. Within six years, three more objects were spotted in the region Pallas, Juno and Vesta bringing the number of planets to 11. (In the outer solar system, Neptune and Pluto had not yet been discovered.) But as astronomers found more and more asteroids, they thought it was ridiculous for every little rock between Mars and Jupiter to be called a planet. The rocks became asteroids, not planets. Ceres lingered for decades on some drawings of the solar system, but it was eventually forgotten, even by most astronomers. The common notion of planet is "a big thing orbiting the sun." When Pluto was discovered, it was thought to be larger than Earth, but turned out to be just 1/450th the mass of Earth smaller than our moon. The International Astronomical Union attempted to codify the "big" aspect by stating that a full fledged planet "has cleared the neighborhood around its orbit," while a dwarf planet needs only to be large enough that its gravity has pulled it into a roundish shape, what physicists call hydrostatic equilibrium. Even many scientists who like the notion underlying the "cleared the neighborhood" clause essentially that a planet is the gravitationally dominant object in its orbit said that the I.A.U. did not explain itself very well. "It's trying to be right, but it's written terribly," said Michael E. Brown, the California Institute of Technology astronomer who found Eris, setting off the events culminating in Pluto's demotion. Dr. Brown is not shy about expressing his opinions, either. His 2010 book is titled "How I Killed Pluto, and Why It Had It Coming." Conversely, Dr. Stern and Christopher T. Russell, a planetary scientist at U.C.L.A. who is the principal investigator for the Dawn mission, focus more on the intrinsic properties rather than gravitational interactions with other bodies. Once a body is large enough to become round, heavier elements like iron sink to the core. Vesta, which Dawn studied before heading to Ceres, has some planetlike features, although it is more potato than sphere in shape. "If all of the scientific community starts referring to Vesta and Ceres and Pluto as planets, then eventually everyone will come along," Dr. Russell said. "We're going to let the bodies speak for themselves." A simple change advocated by many Pluto fans would be to eliminate the "cleared the neighborhood" requirement. That would add not only Pluto and Ceres, but also two other icy worlds discovered beyond Neptune by Dr. Brown Haumea and Makemake that are large enough to be roundish. Dr. Stern goes further. If a planet is defined by its physical properties, not its dynamical ones, then anything round but not a star, is a planet regardless of where it is. "Some of them orbit other planets," he said. "Get over it." In a widely mocked video clip that circulated last week, Isaac Mizrahi, the fashion designer, and Shawn Killinger, a host on the QVC shopping channel, discuss the colorful patterns of a blouse "It almost kind of looks like what the Earth does when you're a bazillion miles from the planet moon," Ms. Killinger says, then reverses to say that the moon is not a planet and they end up squabbling over the astronomical definitions of moon, planet, sun and star. Under Dr. Stern's definition, Mr. Mizrahi would win the argument. "I am happy to defend him," Dr. Stern said via email Sunday. "I see no logical reason why large moons that are in hydrostatic equilibrium should not be considered planets too, and I call them that." Dr. Stern's classification system distinguishes moons as "secondary planets," while "primary planets" directly orbit around the sun pushing the number of planets in the solar system to more than 20. But even some New Horizons scientists who agree Pluto should be a planet disagree with Dr. Stern. "No, I don't count the moon as a planet," said Catherine Olkin, the deputy project scientist. "I guess, where do we stop?" There is no indication that the I.A.U. will revisit the planet question when it meets in Honolulu in August. Astronomers there could propose a new definition, but Thierry Montmerle, the general secretary of the organization, said, "The vast majority of the international planetary community has clearly accepted this definition." Indeed, passions seem to be cooling over all. Dr. Brown said he rarely heard Pluto complaints these days, but about a decade ago, he regularly received vulgar phone calls. "They were generally calling me names that were sufficiently rude that I can't say them," Dr. Brown said, "and some of them were sufficiently rude that I didn't know what it meant, and I had to ask my grad students, and they often wouldn't tell me, because they were too busy rolling on the floor laughing." Related: My Very Educated Readers, Please Write Us a New Planet Mnemonic	N24News: A New Dataset for Multimodal News Classification	Science
With an eye toward catching a California sunset, we arranged a dinner reservation on the early side one evening last spring. Our table overlooked a vineyard, three acres of pinot noir. Dinner began with a silky cauliflower soup garnished with roasted cauliflower florets and summer truffle. The restaurant, Valley Kitchen, had recently released its first estate vintage, and we ordered two glasses of the pinot to go with the main risotto with purple asparagus and trumpet mushrooms. As my wife and I munched and sipped, our eyes took in the view beyond the vineyard, phalanx upon phalanx of high rounded hills fading from green to gray in the softening light. So this was Carmel Valley. Or rather, Carmel Valley Ranch, a 500 acre resort whose recently completed 20 million revitalization added wine education classes, a well being workshop with horses, 30 new indoor outdoor suites, and a redesign of the resort's restaurant, whose chef, Tim Wood, devised our dinner. The changes at Carmel Valley Ranch are among a number of developments bringing attention, and new visitors, to this lesser known side of Monterey County. Many people equate the name Carmel with Carmel by the Sea, a tourist magnet whose downtown shopping district channels a 16th century European village. But Carmel by the Sea has a country cousin a vast expanse of grassland, forest and chaparral covered hills a few miles in from the coast. Carmel Valley was settled 2,000 years ago by the Esselen and Costanoan Rumsen tribes. The Spanish built a mission here in 1771, then parceled off enormous ranches to private owners by way of land grants. Today, Carmel Valley is still home to many cattle ranches, some encompassing thousands of acres. Grapevines, likewise, have been growing here since the 1800s. In 1983, Carmel Valley was designated an American Viticultural Area, but with only 300 acres under cultivation, its production is minuscule relative to the 45,000 acres of the Napa Valley, about 160 miles north. Still, the number of tasting rooms in Carmel Valley Village a hamlet whose focal point is a small cluster of shops and restaurants has been multiplying exponentially. In 2000, there were five tasting rooms on Carmel Valley Road, the main thoroughfare; today, there are 25. That many of these wineries get their fruit from nearby growing regions like Arroyo Seco makes their wines no less delectable. Increasingly, locals say, wine aficionados from Southern California are opting for Carmel Valley rather than Sonoma or Napa. The appeal of a shorter drive is clear, but there's also a more laid back vibe, and the fact that visitors can simply walk from one tasting room to another. But Carmel Valley will likely never accommodate the crowds that flock to the other regions. Development is sharply curtailed by local laws limiting the amount of water that can be taken from the Carmel River. So while the valley's hotels and resorts have something of a captive audience, they still have to compete. Those at the higher end in particular have been upping the ante. Bernardus Lodge and Spa, which opened in 1999, is finishing a multimillion dollar expansion. Bernardus redesigned all of its guest rooms and added 14 suites and villas; the villas accommodate up to eight guests and cost from 950 to 2,500 a night. It added new treatment rooms to its spa and created a "curated wellness component," including yoga, hypnotherapy and guided meditation. It also redesigned its highly regarded restaurant, Lucia, whose longtime chef, Cal Stamenov, honed his skills alongside luminaries like Alain Ducasse and Pierre Gagnaire.	N24News: A New Dataset for Multimodal News Classification	Travel
The pharmaceutical giant GSK, which has held first place in the Access to Medicine Index ever since its introduction in 2008, was ranked first again this week. The index measures how well the world's top 20 pharma companies do at getting their drugs and vaccines and often their scientific expertise to the world's poorest countries. The list was created by Wim Leerveld, a Dutch former pharmaceutical executive, and grew with early support from the Bill Melinda Gates Foundation and the Dutch and British governments. At first, many drug companies ignored its requests for information. Now, virtually all cooperate. Some have created global health divisions and even compete to do well on the list.	N24News: A New Dataset for Multimodal News Classification	Health
The annual television upfront presentations for advertisers begin Monday, in which the broadcast networks will introduce new shows along with two newish entertainment presidents (Glenn Geller at CBS, who got his job last year; and ABC's Channing Dungey, who took over in February). Here's a rundown of each network's previous season, and what will be promoted this week. WHAT'S WORKING Business as usual here: CBS was the most watched network for the 13th time in the last 14 years by as wide a margin as nearly three million viewers and finished on top for the 18 to 49 year old demographic as well, which is important to advertisers. "The Big Bang Theory," in its ninth season, was once again the No. 1 comedy on TV, and "NCIS" was the most viewed drama for the seventh consecutive year. Other perennials like "Blue Bloods," "Criminal Minds" and "Survivor" still perform well. WHAT'S NOT Though the network continues to ride its thoroughbreds, it has been a few years since it has introduced a meaningful hit. "CSI: Cyber," the last spinoff from that franchise, was canceled after two sluggish seasons. The comedy "Angel From Hell" was canceled and other comedic efforts fizzled, beyond a solid first season from "Life in Pieces." And though "Supergirl" started off strong, its viewership has declined and now the show will be shuffled over to CBS's cousin network, the CW. WHAT TO LOOK FOR THIS WEEK CBS will introduce new comedies with two stars (Kevin James in "Kevin Can Wait" and Matt LeBlanc in "Man With a Plan") and a few reboots: "MacGyver," based on the 1980s show, and "Training Day," based on the 2001 movie. The network will also promote its "Star Trek" revival, which is being devised for its stand alone app, CBS All Access. WHAT'S WORKING "Empire" continues to deliver. Though it slowed a bit in its second season, it will finish as the No. 1 show among adults under 50. The six episode run of "The X Files" turned out to be surprisingly muscular. It brought in meaningful ratings, and Fox executives are hopeful that there will be plenty more episodes going forward. Fox also managed to climb out of the basement among the big four networks and will finish in third place in the 18 to 49 demographic. WHAT'S NOT Two big comedy debuts "The Grinder" and "Grandfathered" received nice reviews but were canceled after poor ratings. "Minority Report" was likewise let go after one year. And even if "Scream Queens" is popular among a younger audience and will get a second season, it did not make any lasting impression on the ratings, particularly considering the lengthy and expensive marketing blitz it received. Netflix buys a visual effects company in a move to support its global ambitions. 15 minimum wage for federal contractors will take effect Jan. 30. WHAT TO LOOK FOR THIS WEEK With "American Idol" shutting down, Fox is going to have a lot of hours to fill, and it plans on doing it with reboot mania. Projects include reboots for "24," "Prison Break," "Lethal Weapon" and "The Exorcist." Fox will also have another show, "Star," from Lee Daniels, the creator of "Empire." And there will be one surefire ratings boon that will be talked up at its presentation: Fox will broadcast the Super Bowl in February. WHAT'S WORKING ABC's lineup of comedies with diverse casts like "black ish" and "Fresh Off the Boat" continues to give the network an identity. Thursday night remains strong, thanks to Shonda Rhimes, even if "How to Get Away With Murder" and "Scandal" showed signs of wear and tear this year. "Quantico" had a solid debut and qualifies as the network's standout first year show. WHAT'S NOT ABC said goodbye to Paul Lee, its entertainment president, in February. The network experienced the biggest losses in viewers and in the 18 to 49 demographic among the networks (percentage drops of 14 percent and 18 percent). It canceled several new shows like "Wicked City" (the first network show to be axed this season), "The Muppets" (one of the season's biggest flops) and the veteran series "Castle" and "Nashville." WHAT TO LOOK FOR THIS WEEK ABC will introduce Ms. Dungey, the first black network president. Ms. Dungey's new lineup will include the Kiefer Sutherland drama "Designated Survivor," about a low level United States cabinet member who takes over the presidency after a large scale attack. ABC will also pick up a period drama from Ms. Rhimes, "Still Star Crossed," about the Montagues and the Capulets after the deaths of Romeo and Juliet. WHAT'S WORKING For the first time in a few years, quite a bit. In what was an otherwise anemic year for rookie network shows, "Blindspot" was the clear winner among the first year class. Dick Wolf's Chicago based franchise continues to prosper, and "Little Big Shots" was the breakout reality hit of the year. "The Voice" remains a very strong performer and "The Wiz Live!" was a win for the network's annual live musical series. Over all, if CBS had not had the Super Bowl, NBC would have finished the year in first place in the 18 to 49 demographic. WHAT'S NOT The Neil Patrick Harris variety show, "Best Time Ever," was an expensive flop. Though the network has shown progress with the critically praised "Superstore" and "The Carmichael Show," the comedy cupboard is otherwise empty. The Eva Longoria show "Telenovela" did not work, nor did a reboot, "Heroes: Reborn." WHAT TO LOOK FOR THIS WEEK This year's upfront presentation will include all of NBCUniversal's properties, not just the broadcast network's. But NBC is trying to bring its comedy rolls back to life with "The Good Place," a show from the "Parks and Recreation" co creator Michael Schur starring Ted Danson, and "Great News," produced by Tina Fey. The network has high hopes for "Timeless," a time travel thriller, and the costly drama "Emerald City." "The Celebrity Apprentice" will return without Donald J. Trump: Arnold Schwarzenegger is the new host. Mr. Wolf's "Chicago Justice" will represent his fifth show in NBC's lineup.	N24News: A New Dataset for Multimodal News Classification	Media
LOTS of New Year's resolutions are being made and no doubt ignored at this time of year. But there's one that's probably not even on many lists and should be: Act more ethically. Most people, if pressed, would acknowledge that they could use an ethical tuneup. Maybe last year they fudged some numbers at work. Dented a car and failed to leave a note. Remained silent when a friend made a racist joke. The problem, research shows, is that how we think we're going to act when faced with a moral decision and how we really do act are often vastly different. Here's just one of many examples from an experiment at Northeastern University: Subjects were told they should flip a coin to see who should do certain tasks. One task is long and laborious; the other is short and fun. The participant flips the coin in private (though secretly watched by video cameras), said David DeSteno, a professor of psychology at Northeastern who conducted the experiment. Only 10 percent of them did it honestly. The others didn't flip at all, or kept flipping until the coin came up the way they wanted. Trying to become more ethical or teaching people how to would seem doomed then. But that's not true. It's just that how we teach ethics has to catch up with what we know about how the human mind works. One area clearly in need of attention is business ethics, especially given the transgressions in the financial world in recent years. Some of the nation's top researchers think so too. Next week, a group of them most based at American universities will officially introduce a new website, EthicalSystems.org. The site is the first to pull together extensive research and resources on the subject of business ethics with the aim of making the vast trove available to schools, government regulators and businesses especially their compliance officers. "It used to be business ethics grew out of philosophy, with a focus on the right thing to do," said Jonathan Haidt, a professor of ethical leadership at New York University's Leonard N. Stern School of Business. "In the last 10 years there's been an explosion of research in behavioral economics" and the underlying reasons people act the way they do. Some of the research was informed by the scandals at Enron and WorldCom unfolding at the time, as well as the global financial crises. Those events, in part, "inspired a small group of researchers to develop a more psychologically realistic approach to business ethics," said Professor Haidt, who spearheaded the website. This approach which applies to ethics in general, not just business ethics incorporates what we now know about how people really act when faced with a moral dilemma and what tools can be used to nudge them toward doing the right thing. First we need to be more aware of the ways we fool ourselves. We have to learn how to avoid subconsciously turning our backs when faced with a moral dilemma. And then we must be taught how to challenge people appropriately in those situations. "When people predict how they're going to act in a given situation, the 'should' self dominates we should be fair, we should be generous, we should assert our values," said Ann E. Tenbrunsel, a professor of business ethics at the University of Notre Dame who is involved in the EthicalSystems website. "But when the time for action comes, the 'want' self dominates" I don't want to look like a fool, I don't want to be punished. "Our survival instinct is to want to be liked and to be included," said Brooke Deterline, chief executive of Courageous Leadership, a consulting firm that offers workshops and programs on dealing with ethical situations. "We don't willfully do bad things, but when we're under threat our initial instinct is to downplay or ignore problematic situations." Most people know the feeling: Something happens that we know is wrong and we mean to speak up or make it right. But we can't quite figure out how to do it, and the moment passes. And then we justify that it was O.K. that we acted the way we did. So how do we change this? Using social and cognitive behavioral psychology as well as neuroscience, Ms. Deterline said, the first step is to become aware of our natural inclinations. "Think back: When are you vulnerable to not speaking up and not saying what needs to be said?" she said. Is it when authority is present? When it might alienate you from friends? When it might cause subordinates to think less of you? "We all have automatic thoughts when we feel anxious: 'I'm going to get fired, I'm going to look like an idiot,' " she said. The point is not to listen to those thoughts, but to be aware of them and override them. And to do that, we need to practice. Like pilots who use flight simulators, people need to work on situations that cause them anxiety before they occur. In her programs, Ms. Deterline has role playing employees initiate potentially challenging conversations. "When most of us feel uncomfortable, we shut up," she said. "But we need to use discomfort to know that that is my signal to be courageous and a cue for action rather than inaction." The focus on why people do and don't act ethically is not, of course, limited to the business world. After all, it takes good citizens to make good employees. Philip G. Zimbardo, a professor emeritus of psychology at Stanford University, is a pioneer in the study of social power for good and for evil and started a program in 2007 called the Heroic Imagination Project. His interest in ethics dates far back; in 1971 he created the notorious Stanford Prison Experiment, where college student "guards" demeaned and humiliated student "prisoners." The experiment had to be stopped early because it became so abusive. After studying moral degradation for decades, Professor Zimbardo started wondering about the 10 to 20 percent of people in every situation who resisted. Who were these people he called heroes, and could anyone be taught to be one? Through the Heroic Imagination Project for which Ms. Deterline once worked middle and high school and community college students learn about group dynamics, like the bystander effect, in which the more people who are on a scene, the less likely it is for anyone to help. Using video clips and real life situations, teachers explain how students can resist such behavior, and help them explore why they have acted or failed to act in specific situations. While students are taught not to be "dumb heroes" and rush into danger, Professor Zimbardo said, "we teach them that knowledge obligates you to do something to act heroically." His nonprofit program has made many of its resources available free and is in the final stages of receiving funding to train a group of teachers in Flint, Mich., starting in the spring. Graduate students at the University of Michigan will assist in the program and, it is hoped, develop longitudinal findings on its effectiveness, he said. Kristen Renwick Monroe, a professor of political science at the University of California, Irvine, has long studied why some people act righteously and others fail to. She has found in her research that "the rescuers say, 'What else could I do?' " she said. "The bystander says, 'I was just one person? What could I do?' " "We have to think, 'Who am I and how do my actions create who I am?' " Professor Monroe added. She recalled interviewing a Dutch woman who stood by and watched while Jews were thrown into a truck and taken away during World War II. But the woman later saved more than a dozen others. Professor Monroe remembers what the woman told her: "We all have memories when we should have done something, and it gets in the way for the rest of your life."	N24News: A New Dataset for Multimodal News Classification	Your Money
This modern three bedroom house sits on a secluded 17 acre plot near the entrance of La Campana Penuelas Biosphere Reserve, a Unesco recognized site near the Pacific coast of Chile. Built on a hillside in the Chilean Coastal Mountain Range with sustainability in mind, the property is about 45 miles northwest of the capital city of Santiago, and 25 miles east of the port city of Valparaiso. A private road leading to the property traverses forest and opens onto a clearing with mountain and valley views. The 2,725 square foot house is constructed from reinforced concrete and steel, and clad in Tepa, a native wood. Several staircases and walkways lead to the house's stacked wood and glass modules, conforming to the geography of the site and providing space for gardens and natural water features one of which, a 720 square foot rectangular pool, is bio filtered for swimming. The owner, Anthony Behm Vidal, built the house in 2014 with the Santiago based firm GITC arquitectura. In an email, he said it was designed for "maximum privacy, living together with nature." Rodrigo Belmar Exposito, the lead architect on the project along with Felipe Vera Buschmann, noted the care with which the house was constructed from devising a system for delivering the construction materials with minimal impact to the land to curing the wood naturally without manufactured power. "The owner wanted the materials to get the energy of the place, too," he said. "We had very high tech construction, and on the other side, we had things that were more spiritual. It was a beautiful experience, energy and poetry at work." The ground floor features an open layout with two story ceilings and a sunken living room that provides separation from the dining area and kitchen. The Fagor brand appliances include an oven, an induction cooktop and an integrated gas hob. Sliding glass walls in the living room open to the Japanese style garden and several wood decks around the house. Skylights and large windows ensure views from all sides. Mr. Belmar said the window design maximizes light and breezes, while areas of the interior receive indirect sunlight, providing relief from heat during the day. Two of the second floor bedrooms, one of which has an en suite bathroom, face east. The master bedroom, also with an en suite bath, opens onto a north facing balcony and mountain views. A mezzanine sitting area overlooks the ground floor common areas, and a catwalk leads to an elevated, glassed loft set up for stargazing. The house runs on sustainable water and electrical schemes, including rain and wastewater recovery, and on/off grid energy systems. A separate terraced complex houses a sauna, Jacuzzi and hot tub, and two bathrooms. The property also includes a one bedroom guesthouse, a covered parking area for four cars and organic orchards with 750 avocado trees and other fruit trees with income producing potential. Situated in an area known for its natural resources, agriculture and the protected biosphere, the town of Olmue, with about 14,000 residents, is a 10 minute drive. It's an area for "people who want to live in a more quiet environment, a healthy lifestyle where you can provide everything yourself on your own," said Patricio Saavedra of Chile Sotheby's International Realty, who listed the property. The coastal city of Valparaiso, about an hour west by car, is Chile's third largest metropolitan area. Santiago, about 90 minutes southeast, has more than 6 million residents and the nearest international airport. Chile is experiencing a tourism boom, helped by a stable economy and infrastructure projects including upgraded rapid transport systems. Valparaiso a Unesco designated city that draws comparisons to San Francisco thanks to its steep hills and colorful houses is transforming, too, from upgrades in restaurants and hotels to conversions of commercial buildings into residential. Baltazar Sanchez Lecaros, an agent with Borquez Associates, a Christie's International Real Estate Affiliate, said that while Valparaiso is on the rise, the growing mindfulness of its historic buildings makes new development a challenge. Outside the cities, he said, "The luxury market is strong, but it is small because we are a small country." A 19 percent value added tax (VAT) on new homes imposed in 2016 and aimed at "habitual sellers" resulted in a 35 percent drop in national home sales, but since then the market has rebounded, reports globalpropertyguide.com, an online source for foreign investors. In 2018, the Chilean Chamber of Construction reported a 5.5 percent increase in new home sales across the country, with a 6.3 percent rise in the Santiago area. The general residential home price index saw a gain of 5.2 percent, down slightly from a 6.2 percent gain in 2017. Prices for houses rose 8.5 percent, while prices for apartments increased 2.5 percent. In the Santiago metro area, a three bedroom, 5,704 square foot house listed with Christie's International Real Estate is currently asking 3.4 million, while a five bedroom, 5,209 square foot penthouse apartment overlooking the sea just outside the city of Valparaiso is listed for 1.92 million. Local agents say Chileans represent most buyers of second homes, though international agencies such as Christie's and Sotheby's field requests from European and American potential buyers. Mr. Sanchez said while many Chileans are buying around Santiago, "you can find clients from other countries buying in the south, in Patagonia or in the area of Santa Cruz." Those properties, he said, are commonly wineries, while in the north, closer to Valparaiso and Santiago, buyers seek beach houses in Zapallar and Cachagua. Julio Alonso, a commercial law specialist and the executive director of Wines of Chile, said, "What is really going to be a distinctive element when choosing Chile is that you can have your property in an immaculate, pristine environment, just hours from a big city, at a very fair price." Purchasing in Chile is "extremely easy because Chile treats foreign investors equal to Chileans," said Mauricio Banchieri, the former Chilean trade commissioner to New York and now a Santiago based entrepreneur. "Foreigners have the same rights we do and the same treatment as Chileans in this market." Real estate prices are listed in Chilean pesos, but tied to the Unidad de Fomento (UF), a monetary unit that is interchangeable with pesos and adjusts with inflation. There are no restrictions for nonresidents to obtain mortgages through Chilean banks, said Luis Alberto Aninat, a senior partner at Aninat Schwencke Cia, a firm specializing in real estate. But such borrowers, he said, are required to comply with local regulations and obtain a taxpayer number, as well as demonstrate the ability to pay. For those reasons, most foreigners pay in cash, agents said. Buyers with mortgages through a Chilean bank currently can benefit from a historically low interest rate between 2 and 2.2 percent. "I am refinancing everything I can and reinvesting as much as I can," said Mr. Banchieri.	N24News: A New Dataset for Multimodal News Classification	Real Estate
The South by Southwest Film Festival has chosen one of this spring's most anticipated movies for its opening night: Jordan Peele's new horror thriller, "Us." The director's follow up to his Oscar winning 2017 hit "Get Out" follows a family (headed by the "Black Panther" veterans Lupita Nyong'o and Winston Duke) terrorized by what seem to be evil doppelgangers of themselves. The film's trailer, which debuted Christmas Day, has been discussed and analyzed by fans on social media for clues to the plot.	N24News: A New Dataset for Multimodal News Classification	Movies
Dong Tao, an economist at Credit Suisse, said on Friday that Beijing was showing a stronger determination to reform the financial system. "This is the beginning of China's rate liberalization," he said in an e mail. "Removing the lending rate floor is less meaningful than removing the deposit rate ceiling, but I think the latter will come too in the coming months." China's president, Xi Jinping, and Prime Minister Li Keqiang are pushing bold reforms, even as the economy shows signs of weakening. Economists have been increasingly concerned that in recent years banks in China have done a poor job allocating capital and evaluating risk. Because the government sets caps on the rates paid to depositors and sets minimum and maximum lending rates, Chinese banks benefit from big interest rate spreads far larger than most Western banks. Analysts say this system has also encouraged lax lending standards and may have fed asset bubbles. A few weeks ago, the government created a credit squeeze that made it difficult for banks to conduct short term borrowing. The government said its decision to pull back credit from the overnight lending market was meant to force banks and financial institutions to improve lending standards and better guard against risk. Beijing's new leadership team, which took office in March, has also promised to make the national currency, the renminbi, more freely convertible and to open up the nation's capital account, and liberalizing interest rates is believed to be a necessary step before making those changes. Whether the move on Friday would immediately lower borrowing costs is unclear, since most banks already lend at higher rates than the floor set by the central bank, experts say. But over time the move could help establish more flexible lending and borrowing rates and create a more efficient banking system. "It means banks could charge rates freely according to their own risk assessments," said Wang Tao, an economist at UBS who is based in Hong Kong.	N24News: A New Dataset for Multimodal News Classification	Global Business
Tommy Lister, a 6 foot 5 inch actor nicknamed Tiny who played the hulking neighborhood bully Deebo in the "Friday" films, has died at his home in Marina del Rey, Calif. He was 62. Los Angeles County sheriff's deputies visited Mr. Lister's home on Thursday to do a welfare check, urged by friends and business associates who had grown concerned after not hearing from him. Mr. Lister was found dead inside the home, the Sheriff's Department said. The department said that Mr. Lister's death was being investigated and that a cause would be determined by the county medical examiner coroner's office, but added that the actor's death "appears to be of natural causes." Cindy Cowan, Mr. Lister's friend and manager, said in an interview on Friday that by Wednesday night, none of his friends had heard from him for several days. After one of them knocked on his door and got no answer, the person contacted the authorities. "I think we are all shocked," she said.	N24News: A New Dataset for Multimodal News Classification	Movies
Each week, the Open Thread newsletter will offer a look from across The New York Times at the forces that shape the dress codes we share, with Vanessa Friedman as your personal shopper. The latest newsletter appears here. To receive it in your inbox, register here. Happy day after International Women's Day. I have to say, I don't think I have ever gotten so many emails touting special products or events. Even Laduree, the macaron specialist, created a signature pastry. You can understand why, in the MeToo and Time's Up world. One of the odder effects of the movement, however, has been its impact on the catwalks over the last month: It effectively sent designers down a wormhole to the 1980s, the decade when glass ceiling breaking really became expressed via clothes. I am talking about those shoulder pads, of course. They were the single biggest trend of the fashion season. Plus the unabashed bling and glitz of the era, now being revived by the Trump administration. As someone who remembers the 1980s, I have mixed feelings about this, which I am going to explore in an upcoming column. So I'd be very interested in your thoughts on the matter, if you could share them in an email. Otherwise, what else should you expect to see in stores come August, when all this finally hits? 1) A lot of ponchos. It was the most ubiquitous outerwear garment. If you are someone (like me) who tends to use a shoulder bag, ponchos can make you look like Quasimodo. But the symbolism a portable protective tent makes sense. 2) Shirtdresses. Again, everywhere from Junya Watanabe to Alexander McQueen. Easy, both to wear and to like. Retailers were psyched. 3) Argyle. At Louis Vuitton, Nicolas Ghesquiere even showed an argyle sweater with sequined pants for evening. At Fendi the pattern was beaded into a cape. Not sure why, but maybe Brexit got everyone thinking about Scottish knitwear and what they might be losing? 4) Sock booties, especially spangled and shiny. I think there was a pair at every accessory presentation in Milan. Probably attributable to the '80s thing. And with that, I think we will say goodbye to fashion month and move on to other image making subjects. For those who haven't yet had your fill of the shows, check out reviews of the last gasps of Paris, plus our top 10 moments of the month (In related, sad, news: Jun Takahashi, the designer behind Undercover, one of the best shows all season, is apparently taking a break from the women's wear circus to focus on men's.) In the meantime, on to more global matters with this week's Q A. Have a good weekend! Every week on Open Thread, Vanessa will answer a reader's fashion related question, which you can send to her anytime via email or Twitter. Questions are edited and condensed. Q: I noticed in the picture of President Trump holding his crib sheet during his listening session on gun control that his shirt cuff was monogrammed with "45." What are the conventions with monograms and men's shirts, and what is your opinion of this innovation? Martha, Minneapolis A: I know I am slightly late to this issue. You weren't the only one who noticed, and it was a big Twitter moment while I was in Paris in the netherworld of fashion shows. It seems to me this is the monogram equivalent of the novelty T shirt, though more about vanity than, say, Canadian Prime Minister Justin Trudeau's novelty socks, which are pretty obviously chosen for their strategic appeal to various constituencies. However, I did seize the opportunity to canvass some of my fellow show goers about the question, to see if there was precedent for this (always an important thing in government) and to hear what they thought. Robin Givhan, the fashion critic of the Washington Post, said she couldn't remember any President wearing their number on their sleeve, though it was possible George W. Bush had done it, since he was often referred to by number ("43") to distinguish him from his father. I could not find any examples of him wearing 43 monogrammed shirts, though that does not mean he doesn't have them. And Hamish Bowles, the international editor at large for Vogue, said he had just had some shirts made and had gotten into a very deep discussion with his tailor about the etiquette around monogramming. Apparently, Brits have them done on the body of a shirt in line with the third button down, but Germans choose to monogram the turn back of the cuff. Either way, he said, it's always initials he'd never heard of someone monogramming their number, even an athlete, who is often known by that shorthand. But he could see the rationale, given the whole concept is "a status symbol for the stuffed shirt set." VANESSA FRIEDMAN	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
When it comes to cognitive testing, the Goffin's cockatoos at the University of Veterinary Medicine in Vienna are pros. Researchers have tested them on toolmaking, shape matching and other tasks, and found that a cockatoo can learn how to solve a problem from watching another cockatoo do it just once. Now, researchers in Alice M. I. Auersperg's lab, the home of the Austrian cockatoo colony, have created an experimental setup they call an "innovation arena." It's a new way to test the ability of animals to innovate, and might be used for a variety of species, in principle. And they compared the performance of laboratory raised cockatoos and wild caught birds, to see if the lab raised birds had acquired an edge by hanging out with human beings. It might seem like pure human arrogance to think that we make animals smarter, but previous research efforts have found a "captivity effect" in animals, including chimpanzees, that have been in long term human custody. Their cognitive performance was better than that of their wild relatives on human devised tests. Therefore, the humans hypothesized, exposure to human environments and interaction with humans might improve animals' ability to innovate. The hypothesis did not hold up in this experiment. As the researchers reported Tuesday in the journal Scientific Reports, the wild birds were just as smart as the captive birds but a good deal less interested in bothering with the experiment at all. Perhaps the birds did not appreciate that the "innovation arena" was like the set of an avian TV game show: a semicircular area with 20 doors, each with a different task behind it to solve for a food reward. It certainly looks like fun from a human point of view. And perhaps birds that have spent a lot of time around humans and their experiments get the idea that a weird looking apparatus indicates that humans are going to offer food for otherwise nonsensical tasks like moving a lever or pushing a button. Among the 20 tasks revealed by the doors were ones the researchers called the seesaw, the swish, the shovel, the swing, the mill and the twig. Each task required a different solution to earn the treat. The bird might have to push a platform down or a lever sideways. Or it might have to press a knob, nudge a bowl, rotate a wheel or bend a wire. Each time the birds were set in the arena, the tasks were shuffled, hidden behind different doors. Innovation in animals is defined in different ways, but it more or less means coming up with new ways to solve problems. The researchers wanted to test the rate of innovation: how many solutions a bird could come up with in a given amount of time. And they wanted an experimental setup that, in principle, might be adapted to different species. Thus, the arena. The experiment was designed both to show that the arena was workable and to test the captivity effect. The researchers set up a kind of competition between the major league, lab raised team in Vienna and a pickup squad of temporarily captive cockatoos. (The latter had been caught in the wild in Indonesia and kept long enough that they were comfortable around people and the experimental apparatus.) The A team performed in Vienna; the scrubs were in a field station lab in Indonesia. The competitions were often run more or less simultaneously, according to Theresa Rossler, who conducted the experiments in Vienna while Berenika Mioduszewska ran them in Indonesia. As anticipated, the apparatus worked out. The Vienna birds, familiar with experiments and their rewards, dove right in when placed at the starting point. "They very quickly approach the tasks and wander around and try to open the boxes and get out the rewards," Ms. Rossler said. But they didn't always follow the game plan no surprise to a cockatoo researcher. Sometimes the birds, both lab raised and wild, had their own idea of how a problem might be solved. For instance, some "opened the Wire task in several instances by removing the window hinges (which were closer to the reward) instead of unbending the wire," the researchers wrote. Ms. Rossler said, "In many of the experiments they seemed to outsmart us at some point." The big difference between the two groups was in their interest in doing the tests at all. The researchers classified 10 of 11 lab birds as motivated, meaning they began right away to open doors and look for food. Only three of the eight wild birds were motivated. The unmotivated birds "rarely approached the setup or interacted with the tasks," the researchers reported. But the motivated birds both wild caught and lab raised performed at the same level in solving the tasks. Ms. Rossler said that if the wild birds "decide they want to interact with the apparatus, they are just as skillful problem solvers."	N24News: A New Dataset for Multimodal News Classification	Science
DARRA ADAM KHEL, Pakistan This tribal district, located about 85 miles west of Islamabad, is best known for its sprawling weapons bazaar. Walking through it, the sounds of workshop machinery and craftsmen striking hammers become a nearly musical backdrop. A local book lover, Raj Muhammad, hopes it becomes known as the home of the Darra Adam Khel Library. Located near a gun shop that his father built 12 years ago, the library opened in August, and Muhammad considers it a labor of love as well as a message to the area and the wider world. "I put books on the top of the gun market, making them superior to guns," he said. "It's a step for peace." Muhammad, 32, earned a master's in Urdu literature from the University of Peshawar and worked for a Dubai tourism firm before returning to Pakistan to teach. Uninterested in his father's firearms business, he opened the library to give people in the area better access to books and education. Darra Adam Khel was under Taliban control for years until the Pakistani Army cleared it in 2010. Still, it has been regularly targeted by militants, including a suicide bombing in 2012 that killed 16 people, and mosque attacks in 2010 that killed more than 60. With a population of more than 100,000, it is still largely no man's land, where Pakistani law wasn't applicable until the merger of tribal areas in the neighboring Khyber Pakhtunkhwa province last year. Now the military is helping Muhammad build a new library that can accommodate up to 65 people, seeing it as a way to help residents recover from years of traumatic violence. "People are still reeling from the militancy, which has killed hundreds of civilians and soldiers," said a government official serving in the area, who spoke on the condition of anonymity as he is not authorized to speak with the news media. "They are more prone to fear and stress, particularly among children, and now the availability of books is a good option for knowledge and education." Pakistan's literacy rate is 58 percent among adults, and while there are no official figures for how many people read books or use libraries, they are believed to be low. "The Pakistan public library dilemma is sad," said Ameena Saiyid, one of the founders of the Adab Festival Pakistan, an annual literary event in Lahore. The country, she added, "needs a network of public libraries in all cities, so that students and other readers don't have to buy every book they read. A library system would ensure a core market for publishers and would enable them to provide a steady stream of books to readers." Muhammad's library holds more than 2,500 titles on a range of subjects, including history, politics, religion and Urdu fiction, and he plans to add more books in the coming months. Its most popular title is "The Pathans," Sir Olaf Caroe's 1958 history of the Pashtun ethnic group. During a visit last month, Tehmina Durrani's "My Feudal Lord," Pervez Musharraf's "In the Line of Fire" and Michael Wolff's "Fire and Fury" were on view.	N24News: A New Dataset for Multimodal News Classification	Books
Josh Groban and Sara Bareilles, two pop singers who recently made their Broadway debuts, will host this year's Tony Awards. The two performers each grew up as theater kids, but pursued successful careers in music before finding their way back to the stage. Mr. Groban, 37, made his Broadway debut last season in "Natasha, Pierre the Great Comet of 1812," while Ms. Bareilles, 38, made her debut in "Waitress," a musical for which she wrote the songs. Mr. Groban was nominated for a Tony Award last year for his "Great Comet" performance, while Ms. Bareilles was nominated the previous year for the "Waitress" score.	N24News: A New Dataset for Multimodal News Classification	Theater
To my great and continuing surprise, I am an orphan. Another way of saying that would just be that I am no longer remotely young, that I am the mother of grown children, that at my next college reunion there will be some classmates who are already talking retirement. People my age have parents in their 80s and 90s, if they have parents at all. But now, as an aging adult, there are mornings I wake up and think, as the world and the day come into focus, that I no longer have a parent living. This isn't the profoundly sad onrush of recent grief that would come with waking up in the months after losing my father, and then again 13 years later, after losing my mother. I remember that feeling, waking up and leaving the protective blankness of sleep and remembering all over again, and realizing it was another day of grieving (or, if it was the middle of the night, another night of not sleeping). No, this is different, it's a kind of mildly sad bewilderment, maybe related to that bittersweet feeling you get when someone young offers you a seat on the subway: Can this really be who I am in the world? I miss my father's fund of knowledge and the way he knew something about everything, and his professorial tendency to lecture at the dinner table, and his inability to remember that he had told his jokes before, and his good natured acceptance when he started one and every grandchild could provide the punch line. And of course I miss his enthusiastic and unfailingly optimistic belief that his children and grandchildren could do anything, whether or not they showed evidence of any talent. Sometimes my awareness of my orphaned state is tied to a milestone a child's graduation, a holiday ritual, a birthday. In fact, I know that the approach of my birthday is one reason my father is on my mind, both because he isn't around to celebrate, and also because he died the day before my birthday, back in 2001, so I tend to get a little misty eyed and elegiac the week before. I missed him terribly after he died, but as long as my mother was here, I still felt tied closely to the childhood they created for me. And now every day I miss calling my mother (I never took her contact out of the "favorites" list on my phone, though the number no longer works) and I miss walking through the city with her holding my arm, and urging her to order fancy cocktails and hearing her talk about teaching and her students and editing her writing and just checking in with her, about her life and my life, and my children's lives, and the weather, and her latest computer travails. So why does it feel surprising to me, that I am an orphan? I didn't know this when I was young, but the world is full of orphans in their 50s, their 60s, their 70s, and I think that many of them many of us are regularly surprised to remember and acknowledge our status. When I had my own children, I think I did realize that I had turned into a parent, and would be one for life, but I'm not sure that I realized how very definitely I would also remain my parents' child, also for life. So I am turning 60, and I think about being an orphan. Yes, often. I was brought up on Gilbert and Sullivan, and I don't know how young I was when my father first walked me through the iconic orphan often scene in "The Pirates of Penzance." The crusty major general calls on the pirates to take pity on him and release him and his daughters: "Have you ever known what it is to be an orphan?" he asks. And the pirate king responds, "often." (The pirates, all orphans, have a code that prohibits capturing any orphan; they are famous for this softhearted rule and he is taking advantage of it.) And then ensues a rapid dialogue of mutual misunderstanding until the major general and the pirate king sort out the difference between "often, frequently" and "orphan, a person who has lost his parents." And the pirates release the major general and his bevy of adopted daughters; the major general has successfully fooled them, or, as is said later in the show, practiced on their credulous simplicity. When I was a child, I didn't give much thought to whether he or any other adult was really an orphan. In fact, I thought orphan was a rather romantic storybook word, suggestive of children cast out to have adventures in a cruel uncaring world "Oliver Twist," "Jane Eyre," "The Secret Garden," "A Little Princess," "Escape to Witch Mountain" (I grew up before "The BFG" or "Harry Potter"). Or orphans might perhaps be adopted into quirky loving families I was attached to a book called "The Family Nobody Wanted," a 1954 memoir by Helen Doss about adopting a dozen children from different ethnic groups. Like many children, I was also rather fascinated by the idea of orphanages, which I imagined dotted the landscape, housing children whose parents had died tragically. In fact, through their long history, orphanages and foundling homes often took in children with living parents who for reasons of poverty or social disapproval could not care for them. As a pediatrician, I wrote about the evidence of how institutions have not turned out to be healthy places for children to grow up, either physically or psychologically, and they have mostly closed in the United States and western Europe; J.K. Rowling has made it her cause to end orphanage care for children and get them into family placements. But as a child, I read and reread a series by Natalie Savage Carlson about a French girls' institution including such titles as "The Happy Orpheline" and "A Brother for the Orphelines." The first book carries this online summary: "The orphanage is home to 20 happy little girls whose greatest fear is that they will be adopted and have to leave ..." So to me, back then, an orphan was by definition a child, whether ragged and wandering alone through the world or living in an orphanage or triumphantly adopted; the very term raised the question of who was taking care of the child. What could that possibly have to do with adults? I don't particularly need taking care of in fact, part of what I miss is taking care of my mother but I guess I miss that sense of being watched and tracked and cared about, as I watch and track and care about my own children, even as they get older and more independent. Yes, I miss having my parents. Wednesday would have been their 65th anniversary, and I wish they were here to celebrate that happy 1950s marriage. Yes, I know I was lucky to have them as long as I did, and lucky that they were who they were. I'm grateful and I miss them, and I'm surprised that they aren't here, because I'm their child after all (their aging child) and shouldn't they be out there, watching the world, watching me, being my parents?	N24News: A New Dataset for Multimodal News Classification	Well
NASHVILLE On a bluff overlooking the Cumberland River, the odd collection of trolley barns and old hospital buildings here known as Rolling Mill Hill has been in some stage of redevelopment for the last 14 years. The recession nearly halted work on the 34 acre site, which has been promoted as a mixed use community for Nashville's creative class and a revival of a once neglected section of this city of 600,000. Now, activity is humming again at Rolling Mill Hill. The six red brick trolley barns, which trace their history to the Works Progress Administration, have recently been rehabilitated by the Mathews Company, a local developer, into office and retail spaces with high ceilings of exposed wood and bowed steel trusses. The barns' 80,000 square feet will soon be brimming with young professionals. The offices of Emma, an e mail marketing agency; the local entrepreneur center; and a lengthy list of other start up companies have signed leases there and are in the process of moving in. Next to the rehabbed barns, the Ryman Lofts, subsidized rental apartments for artists and musicians, are now rising from the ground and are scheduled to open by late fall. On the site's southern side, former Victorian and Art Deco hospital buildings have been converted to apartments. Nearby are the Metro, a market rate rental building that opened in 2009, and Nance Place, subsidized housing for residents with annual salaries under 28,000 that opened last summer. A switchback road connects the northern tier to the southern portion on a hill. The view from there, the highest point in downtown Nashville, takes in a scrap yard and patches of development, but mostly sprawl on the east side of the river. To the north, downtown's church steeples and modest skyscrapers provide a snapshot of a Southern city in transition, still grappling with industrial era eyesores and more recent suburban sprawl, despite the city's efforts to focus on the downtown core. Rolling Mill Hill, a 34 acre site, has been promoted as a mixed use community for Nashville's creative class and a revival of a once neglected section of the city. There are still about 4.5 acres of undeveloped land on the rolling campus, and there has been talk about luring a hotel and other mixed use projects there. Already, around 50 million of commercial and residential investment, mostly private, has been poured into the project. An additional 14 million in public money has been spent on environmental cleanup, clearing a greenway and installing underground utilities. Most of that work began under Mayor Bill Purcell, who was elected in 1999 and served until 2007. And some 150 million in commercial and residential investment in the site, which is owned by the city's Metropolitan Development and Housing Agency, is expected in coming years "Not many places in the world have more than 30 acres of city land available," said Mr. Purcell, who pushed for the development and facilitated the transfer of the land to the city agency. In the 19th century, the site was used as a processing terminal for wheat, corn and lumber, which would go through roller mills and then be carried by steamboats to towns and factories along the river. For a time, the mills earned Nashville the nickname "Minneapolis of the South," but in the 1920s the city's advantageous freight rates ended and the industry slowly faded from Middle Tennessee. Shortly after, the site became the campus of the city's general hospital, which moved in the late 1990s. Before revitalization began, the only road to the former roller mills was narrow and asphalt, passing a thermal plant that once incinerated trash from hundreds of trucks a day. The plant was decommissioned and razed in 2004. City planners say Rolling Mill Hill's renaissance is changing the way in which residents perceive the once neglected area, just a short walk from the city's publicly financed 585 million convention center that is to open next year. "Downtown has been unfolding for over 40 years," said Phil Ryan, who leads the Metropolitan Development and Housing Agency. "It's now becoming a larger urban place." City planners say Rolling Mill Hill's redevelopment will be similar to that of the Gulch, a neighborhood in what was once a derelict industrial area. Now it is a trendy enclave of gleaming condo towers and boutique shops on the western periphery of downtown. "We're trying to bring together a creative community," Mr. Ryan said, and added, "It will be entrepreneurs interacting with architects and a place where people from all over Tennessee will come for meetings." But Rolling Mill Hill's latest iteration has been bedeviled by delays; completion is now expected in about five years. In 2009, three buildings developed as condominiums the two hospital structures and a newly built one could not make 16 million in payments to a lender and were sold in a foreclosure sale. They are now rentals. And the trolley barns languished for years after Mayor Purcell moved a fleet of city vehicles that were stored there to another site. The properties were owned by Direct Development of Green Bay, Wis., which abandoned its plans in the credit crisis. Even before the recession, Post Properties, a developer in Atlanta, pulled out of the project after the city rejected the company's proposed economic incentives, as did the Trammell Crow Company of Dallas. And Struever Brothers, Eccles Rouse of Baltimore backed away from a commitment to the project after a deal to develop a nearby baseball stadium fell apart. Although the redevelopment has made more progress in recent years, some advocates say they believe that local residents, mostly working class African Americans, are being excluded. The median annual income for a single person in the segments surrounding the redevelopment area is about 15,000, said James Fraser, a professor of urban policy and community development at Vanderbilt University who has studied neighborhoods south of downtown. "It's an effort to make Nashville seem more cosmopolitan, trying to get middle class people to move back in the city," Mr. Fraser said. "But there's something to be said for having a mix of incomes in a neighborhood as it relates to democracy," he said, noting that redevelopment could eventually displace longtime residents. Nonetheless, the site's rebirth is expected to be a boon to local businesses like Crema, an artisan coffee shop across Hermitage Avenue. Rachel Lehman, the owner, said Crema was barely scraping by in the recession but that business had been brisk as of late, which she attributed to the new residents and new workers in the trolley barns. By the time the trolley barns are fully occupied, Ms. Lehman said, the store will be "busting at the seams." "Customers often say, 'Wow, I never knew this part of Nashville before,' " Ms. Lehman said. "But parcel by parcel, it's becoming revived."	N24News: A New Dataset for Multimodal News Classification	Real Estate
Each Saturday, Farhad Manjoo and Mike Isaac, technology reporters at The New York Times, review the week's news, offering analysis and maybe a joke or two about the most important developments in the tech industry. Mike: Hello, Farhad! This week I spent writing a whole lot and not looking at Twitter until late into the evening. It was kind of nice, considering that most of what was being tweeted was the escalation of war in the Middle East. Farhad: I also spent a lot of the week writing. I realized something about myself: Writing is the worst thing in the world and I was an idiot to choose it as a profession. Other than that I'm O.K. So on Thursday, Twitter filed a lawsuit against the Customs and Border Protection agency, among others, which were seeking to unmask an anonymous Twitter account critical of the Trump administration. Twitter's lawsuit argued that the government didn't have a case. And that seemed to prove correct, as less than 24 hours later, the agency withdrew its summons. Talk about backing down. Farhad: This was an odd request by the government. Other than it having no legal merit, did the customs agency think that Twitter would just hand over the info without making a fuss? Didn't they know it would get a lot of attention, thus elevating the Twitter account that very few people are following anyway? Weird politics. Mike: Right. Plus, Twitter has long argued in defense of its users' First Amendment rights, so I don't know why the federal government thought that the tech company would take this lying down. I also found it amazing that Twitter has a fax machine, which it used to receive the initial summons from the government. When was the last time you got a fax? Farhad: Oh, actually, I do all my business by fax. We should also note that our trusty colleague Noam Scheiber, who writes on labor issues, published an extensive article this week on Uber's expert psychological maneuvering to get drivers to work more hours. It's a cool deep dive, and interesting. Fun fact: A source told me that Uber calls its driver incentive platform "carrots." Isn't that fitting? It's cute in a kind of "kid with a god complex playing with his ant farm" sort of way. Farhad: I loved Noam's piece, and I hope he widens this with a look to other employers. There are a number of software companies looking to "gamify" work to use the psychological tricks of video games to surreptitiously push office workers to become more productive. As someone who spends his entire day typing 140 character missives in the hopes of getting a lot of red hearts, I suspect I'm quite vulnerable to this tactic. It's a reasonable effort, I guess? It seems difficult to shield people from fake facts if some desperately want to believe them, whether or not they're actually true. Farhad: I think we should watch this very closely. I'm as worried about the spread of misinformation as anyone. On the other hand I'm also worried about the ways that stopping misinformation can both open the door for censorship and perhaps give people a false sense that what they read on Google or Facebook is automatically "true." For instance: In 2014, John Kerry, then the secretary of state, said that the Obama administration's diplomatic deal had been a success: "We got '100 percent' of chemical weapons out of Syria," he said. PolitiFact, one of the fact checking sites Google is relying on, rated that claim as Mostly True. This week, after the Syrian government gassed its own citizens, PolitiFact had to retract that article. Sometimes even fact checkers get things wrong. Mike: Indeed. Meanwhile, the never ending dispute between Waymo and Uber continues, as Uber claimed in court that it had not specifically used any of Waymo's self driving technology designs in the cars it is currently testing on the road. I have a feeling this case is going to go on for ev er, and I'm already tired of reading legalese. Maybe that's why lawyers get paid so much money to write this stuff. Farhad: I went into the wrong profession. Mike: I wanted to mention something a bit closer to my heart. Walt Mossberg, a veteran and pioneer of the technology journalism world, announced that he plans to retire in June after nearly five decades of writing. I'm a bit biased here because I worked for Walt at AllThingsD and Recode, two tech focused web publications that he co founded after leaving a long career at The Wall Street Journal. He was a great boss and mentor, and very generous with his time, especially with young reporters. But his coming retirement made me think of just how much has changed in the personal computing industry over the past 30 years. Walt's first technology column, which was prescient for its time in 1991, was about how difficult it is for people to use personal computers. Walt was essentially a guide for normal people to understand a brave new world of computing that was upon us. Eventually, the industry had to change to meet the future that he saw coming. Computers were indeed personal objects, as the cost came down and people brought more of them into their homes desktops, laptops, set top boxes and the like. Soon, computers would rest in the palm of our hands in the form of a phone, and now they're basically extensions of our bodies. Hey, since you're a columnist too, what has it been like for you to watch the evolution of personal technology over the years? Farhad: Wait a second, are you calling me old? Farhad: I hate you. Anyway, Walt. Oh man, I'll miss him. To me the most amazing thing about Walt is how early he identified computers as a mainstream phenomenon. In the 1980s and 1990s lots of people were writing about tech, but Walt was among the first to understand that this strange new class of nerds would completely change the world, and that they would do so in a way that would affect ordinary people who did not consider themselves techies. In that way he was no less prescient than Steve Jobs and Bill Gates who, of course, both came to recognize Walt's importance as a proponent of the industry's possibilities. So, my hat's off to Walt. I hope to someday be half as interesting as he was. I hope you are, too. Mike: Thanks, pal! See you next week.	N24News: A New Dataset for Multimodal News Classification	Technology
Many of these collaborations are at properties in New York. The Mark Hotel on Manhattan's Upper East Side has teamed with Bergdorf Goodman: Guests are ferried to and from the Fifth Avenue store in pedicabs and have access to shop before and after hours with Bergdorf's director of shopping. Those staying in a suite receive a 500 gift card and a facial in the store's beauty department. Rooms from 725, suites from 1,200. The Quin in Midtown is also working with Bergdorf's. The phones in each of the hotel's 208 rooms have a direct dial button to the store's personal shopping team, which can set up appointments for a store visit and can order items to be delivered to guests. Terrace suite guests also receive a 300 gift card. Rooms from 499, suites from 2,000. Travelers who stay three or more nights in a suite at the WestHouse in Midtown receive a 500 gift card to the online fashion retailer Net a Porter and can talk with the company's personal shoppers by pushing a button on in room phones. Suites from 999.	N24News: A New Dataset for Multimodal News Classification	Travel
"Where once the anger of heaven has struck, that house is shaken forever," Sophocles wrote in his 2,500 year old play "Antigone." And Noche Flamenca's stirring interpretation of that fatal tale really does shake the house. Make that house of prayer: The dramatic 19th century red sandstone West Park Presbyterian Church is a fab home for this fusion of Greek tragedy and Spanish passion. "Antigona," which had its premiere in July and receives a welcome six week encore this season (starting Dec. 11), contains text (spoken in Spanish, written in English), live music that is both rousing and foreboding played by an onstage band, smart stagecraft and top notch dancing, especially by the flamenco virtuoso Soledad Barrio in the title role. It's a visual feast and effective theater, yes, but more rewardingly it's a powerfully visceral experience. The thunderous stomps of the skilled ensemble strike like heaven's anger, ricocheting around the sanctuary, predicting doom. It makes the pews shiver. (Through Jan. 23, nocheflamenca.com.)	N24News: A New Dataset for Multimodal News Classification	Dance
Last season, the rising tide of Covid 19 lapped at fashion's heels as the style set moved from city to city, show to show. In New York, Chinese designers, stuck at home, missed their collection bow; as Milan began, one Italian had died of the virus. By the end of that week, Armani had decided to hold a show with no audience. In Paris, parties were canceled, masks handed out and ushers stood tall with big vats of hand sanitizer. Then, just after everyone scattered for home, the pandemic began. This season everything has changed. Most of the shows will be digital. Some big names are sitting the whole thing out. Others are doing their own thing, on their own schedule. There's angst in the air. But fashion is not over. It is simply in flux, grappling with big questions about old systems that for years seemed irreplaceable. To explore what that could mean, The Times gathered four people in the thick of it all: Tory Burch, of the namesake brand; Virgil Abloh, of Off White and Louis Vuitton men's wear; Gwyneth Paltrow, of Goop; and Antoine Arnault, of LVMH (the largest luxury group in the world). This conversation has been edited and condensed. Vanessa I've got to ask: Given all the absentees this season, what is the point of a show any more? Virgil Recently we did a men's wear show in Shanghai that borrowed from film and theatrical experience to give a positive message. Instead of a traditional runway show that can be very serious, with models with serious gazes on their face, walking down the runway being hangers for clothing, what I did was make it almost like a Thanksgiving Day parade. The models were street cast, just walking down the streets as if they were conversing with friends, bestowing a feeling that we're not generally awarded in this time. Underneath the practicality of clothes, my studio has an ambition that the world can be a better place. Tory Strangely, before the pandemic, I decided not to show this season. We were opening a store on Mercer Street, and I thought it would be really interesting to go back to where we were when we first launched this company with a store event that lasted the day, and we had everyone stop by. I'm thinking a lot about where I've been, and also about the product simplicity, quality and then showing in a more personal way. Antoine For smaller brands it makes sense to skip a season or two. It's definitely expensive. And when you realize the price it costs, then once you don't do it, you're actually quite relieved. For brands that have the means to produce shows, it's fantastic to have this creative world live. And it is not only a personal decision. There's a whole economy around these shows. That should not be underestimated. Gwyneth When we started doing G Label on Goop, I did feel the fashion system was a bit hard to access possibly a little antiquated in terms of the schedule. And I really responded to the streetwear cadence of drops, the buy now, wear now, building up some excitement and pent up demand around a collection. During the pandemic, we've gotten super scrappy. We've slashed every marketing budget, and we have been able to make an impact. When a business is under a bit of pressure, you're having to get closest to that creative spirit. It's the upside of social media, which doesn't always have much of an upside. Tory I think that every company is different. A lot of the schedule was driven by wholesale, and we're 85 percent direct to consumer. Virgil We're looking at a watershed moment for the next generation to really take their seat. We know the names of Karl Lagerfeld, Margiela, Yves Saint Laurent how they revolutionized the industry by switching from couture to ready to wear. In my generation, we brought streetwear into the fold, and now we see its effect on the luxury market. I think this is a moment where we can redefine what fashion means. Gwyneth There will probably be a separation between the brands that are really well funded and use those shows as an amazing marketing moment and theater, and smaller brands like mine, which will continue to focus on creating a connection with product through a cultural moment. And I think it's good. It forces all brands, big and small, to get more creative about how to reach the customer. Vanessa And about what they make? Is it true that sweatpants now rule the world? Tory Obviously people are dressing more casually, but what's interesting to me is that people are buying across categories. I don't know where they're going, but they're buying things. Whether they're dressing for Instagram or small parties or whatever, they're looking at fashion in a way that's helping them escape. Antoine I can confirm that. In a world where you can't really go out as much, and restaurants are mostly closed, and nightclubs are closed, and events don't happen, people still need to feel the joy of buying something they love or have desired for a long time. The formal aspect of our sales is still very high. Gwyneth We just had a dress launch, and we were nervous about the timing, but I was surprised at how well they did. It's been interesting to see where people's focus has gone from a lot of loungewear and home workout products to cookware to home and now back into fashion. Virgil With social media, I would say that trends are very much alive. Gwyneth I have a 16 year old girl in my house. So yes, trends are very much alive. Though I tend to buy more classic trend free pieces because I've had a few dodgy moments, I think, in my past. Tory Haven't we all! I also love the idea of things that are forever. And I think people are looking at that as well things they can invest in. I go back to people wanting special things. I really stand by that. Vanessa So what does that mean for the glut of stuff problem? Tory One of the things people don't talk about enough is overproducing. We are really careful with that and getting better. When I think about sustainability, I think it's a given that we all need to make this a top priority. It's a bit herculean, what we have to do as an industry. But we have to do it. The customer is totally focused on what a brand stands for particularly younger customers. They deeply care about what brands are doing to make the world a better place. Virgil In the last LV collection I debuted the idea of collapsing all my seasons into one. I think it's important to remove the idea that just because it's last season, it's devalued. Tory Women are thinking differently about the way they shop. I don't think they're thinking, "I want to wear something and not wear it again." I don't think it's modern. So from a season standpoint, we also are looking at it differently. It's more about deliveries and wearing things when you want to wear them. Ten years ago, people would change their spring closet to their fall closet. That's obsolete. Antoine But there's also a market reality that we have to understand. I'm not sure if we decide to have only one season for all our brands. That would really change the business. Vanessa Certainly it feels as if consumers are increasingly asking questions of brands like yours, about this as well as the other extremely pressing issue of the moment: the social justice movement. This group is very white, which is a reflection of the faults and the reality of the industry. LVMH just announced a new designer at Fendi women's wear, Kim Jones, who is incredibly talented but is another white man. Antoine, did you think about the issue of diversity in that choice? Antoine To be very honest, on this particular nomination, no. We decide these things way in advance. This topic of diversity, this topic of inclusion, has been at the forefront of our priorities, but it's not by taking a quick action, nominating a new Black designer, that anything will be solved. We've published our ethnic data in the United States, and when you look at the results, it's actually pretty good in terms of representation of different races. In France, you're not allowed to do that. However, there's a lot of work to be done. Our board has zero nonwhite presence. That will, I very, very much hope, change in the near future. Virgil Fashion is our occupation, but it also projects an image you see when you drive down Houston Street or drive to the airport, looking at advertisements. We have the ability to effect change. It needs to be tackled at, like, 12 different points the education level but also the way we turn our lens toward value and who's contributing. Antoine One of the few positive outcomes of this pandemic is that we're going to work much more with local communities. Before, when we did a show in L.A., we brought everyone from Paris 60 or 70 models, the hair, the makeup, everybody. And when you open any magazine, you see that it's always the same three photographers, the same hair and makeup. From now on, we decided, for most of these brands, events or shootings, to work with local talent. Which will get us out of this little mafia of always working with the same people. I think that's going to end with this pandemic. Virgil The epicenter is now the fringe. And I would say that the fringe is now the future creativity coming from nontraditional places. Africa can be the new Berlin, or the new Paris. That's where we're going to see the gains in the industry.	N24News: A New Dataset for Multimodal News Classification	Style
Iran's oil minister, Mohammad Aliabadi, left, and Abdullah al Badri, secretary general of OPEC, at a press conference after the OPEC meeting in Vienna. HOUSTON A meeting of the Organization of the Petroleum Exporting Countries ended on Wednesday in disarray, with ministers failing to reach a consensus to raise oil production levels. That left existing quotas in place, despite rising world prices and pressure from major oil consuming countries to increase output. In the short term, the stalemate, which is a rare public disagreement within the cartel, is unlikely to have more than symbolic importance. OPEC members are already pumping above their quota levels, and Saudi Arabia, the only OPEC country with the ability to increase production significantly, has promised to continue raising its output to satisfy world demand. Oil traders were largely unruffled, with the price of the American benchmark crude rising less than 2 percent to settle at 100.74 a barrel. But the discord highlights the widening split between Saudi Arabia and Iran, which are vying for influence in a Middle East that is being rapidly reshaped by populist uprisings throughout the region. The public disagreement also underscores that the 12 OPEC member countries are increasingly making their own decisions about production levels rather than bowing to the collective judgment of the group. "This longstanding Iranian Saudi competition is now being played out in OPEC," said David L. Goldwyn, until recently the State Department's coordinator for international energy affairs. "Unfortunately for Iran, and fortunately for the rest of us, it's Saudi Arabia that has the spare capacity to give. So Iran can grab the headlines, but Saudi Arabia will follow its own judgment." At the meeting, Saudi Arabia, which has historically wielded the greatest clout within the group, argued for a change in production quotas that had been set nearly three years ago. But six other countries with quotas, led by Iran, the current leader of OPEC, refused to agree, arguing that the world's markets were already flush with oil and that high prices were merely the fault of speculators. "It was one of the worst meetings we've ever had," the Saudi oil minister, Ali al Naimi, told reporters after the gathering. He promised that his country and all the Persian Gulf members with spare production capacity, including Kuwait, the United Arab Emirates and Qatar, would assure that the world is well supplied with oil. It was the first time in two decades that OPEC delegates could not arrive at a public agreement at a formal meeting. With oil exports from Libya and Yemen essentially frozen because of the violent conflicts there, OPEC has faced growing pressure to increase its production to make up the difference. On Wednesday, the Obama administration expressed disappointment with OPEC's inaction. "We believe that we are in a situation where supply does not meet demand," a White House spokesman, Jay Carney, said. He said President Obama would consider releasing oil from the nation's strategic reserves if necessary, although gasoline prices have eased a bit in the last month. As a group, OPEC members are currently pumping about 1.5 million barrels a day above their quota levels anyway, and Saudi Arabia has been increasing output during the last several weeks by an estimated 200,000 barrels a day. Even Iran has been exceeding its allotment by about 50,000 barrels a day for more than a year to raise money to counter economic sanctions. Fadel Gheit, an oil analyst and managing director of Oppenheimer Company, said that OPEC's failure to adjust quotas made little difference. "Everybody in OPEC is cheating and everyone knows that," he said. "Don't listen to what they say, but watch what they do." In a short statement after OPEC ministers met behind closed doors in Vienna on Wednesday, the organization said, "No formal decision was reached on a production agreement. However, the organization abides by its longstanding commitment to order and stability in the international oil market." The cartel's decision comes at a time when international oil markets are tightening, with stockpiles declining in much of the world despite sluggish economies in the United States and Europe. The Energy Department estimated this week that world oil consumption would grow by 1.7 million barrels a day in 2011 compared with last year, mostly because of increasing use of oil for electricity generation in China, Japan and the Middle East. More worrisome to oil experts are the threats to supplies. The armed conflict in Libya has taken more than 1.3 million barrels a day off the world market, and the turmoil in Yemen and Syria have subtracted as much as 300,000 barrels a day. Unrest in a major producer like Algeria or Saudi Arabia would send oil prices soaring, energy experts say. The breakdown of order in Yemen is viewed as a danger for neighboring Saudi oil facilities if terrorists can freely use Yemen as a base in the future. Yemen could also be used as a base for pirates to threaten the nearby Bab el Mandeb shipping lane, through which passes an estimated 3.7 million barrels a day of oil. Relations between Iran and Saudi Arabia, never particularly warm, are tense these days over the sectarian turmoil in Bahrain. Saudi Arabia sent more than 1,000 troops into Bahrain in March to help put down predominantly Shiite protests against the Sunni monarchy. Saudi Arabia blames Iran for inciting the protests, and Iran has harshly criticized Saudi Arabia and Bahrain for repressive policies. With oil prices rising by more than 35 percent in the past year, a debate has emerged inside OPEC about what to do about them. Saudi Arabia has led members that want to help the economic recovery with moderate prices, while Iran and Venezuela have resisted. "We don't see that it is necessary to increase production," said Venezuela's oil minister, Rafael Ramirez. "We believe the market is in balance."	N24News: A New Dataset for Multimodal News Classification	Global Business
LA CHAUX DE FONDS, Switzerland Anyone wondering why La Chaux de Fonds is an Unesco World Heritage site, why Karl Marx described this Swiss town near the French border in "Das Kapital" or why it is credited with establishing Switzerland as a center of watchmaking has only to go to the outdoor terrace of the Espacite office tower in the city center and look down. There, about 200 feet below, is the reason: The town was built on a grid of wide streets, and its stucco townhouses, terraced up the side of a hill, have garden spaces in front. It was designed for the glory of time. After a serious fire in 1794, the town fathers hired a local engineer, Charles Henri Junod, to rebuild it in a way that favored the primary industry: watchmaking. In this town in the Jura Mountains, about 3,300 feet above sea level, snow is a way of life; "there are two seasons, last winter and this winter" is a favorite local saying. The wide streets allowed horse drawn carriages with angled wooden plows to clear snow, and the townhouses were designed with stoops of white Jura limestone so front doors would be accessible allowing the exchange of watch parts to proceed smoothly, no matter how much snow fell. The open space in front of each home ensured that as much natural light as possible could enter the workshops throughout the year. Today the town, which its 40,000 residents call La Tchaux (pronounced "tcho"), also boasts other impressive architecture: Enough Art Nouveau buildings to warrant a special tour on the subject, and an impressive neo Baroque theater dating from 1837. The Salle de Musique, which opened in 1955, was clad in costly pierre jaune d'Hauterive, a regional stone with a distinctive yellowish cast, which the local watch industry financed. "They wanted everything to be world class," Ms. Taylor said. Charles Edouard Jeanneret, better known as Le Corbusier, also made his mark here. His father made dials while the budding architect went to school to learn how to engrave watches. Struck by his design prowess, a professor had him work on some of the houses that now pepper the hillside of La Chaux de Fonds. In 1912, the 25 year old Le Corbusier completed his first independent project, La Maison Blanche, for his parents. It is up the hill from another lovely mansion where Breitling was based in the late 1800s, and past the one occupied by Girard Perregaux in the early 1900s. (Both buildings still are used to make watch components, but for different companies.) Another showcase of the industry is the Musee International d'Horlogerie, owned and operated by the town. It houses about 4,500 items, what Nathalie Marielloni, an assistant curator, said was the world's largest collection of objects devoted to the measurement of time including a movement made by Daniel JeanRichard, the blacksmith's son who began working on watches in the early 1680s and is considered the father of watchmaking in the region. As La Chaux de Fonds's watch business grew, and so did some of the robotics, computing and medical equipment companies developed over the years by the skilled workers, there also developed a need for more space space that the 22 square mile town did not have in the city center. Many of those companies now line what locals call "the industrial zone," an area along the three mile road that leads to the neighboring town of Le Locle. There, along with cows grazing in open fields and a chocolate packaging and distribution center, are the offices and factories of many big names in watches: Cartier, Patek Philippe, TAG Heuer, Breitling, Jaquet Droz. Greubel Forsey, the brand of the independent watchmakers Robert Greubel and Stephen Forsey, paid homage to the bucolic setting in 2009 by using a traditional 17th century farmhouse with its deeply slanted roof all the better for capturing rainwater and snow as the entrance to their ultramodern, all glass, grass topped headquarters. The concentration has drawn other watch brands, too. Mido, for one, moved from Biel, Switzerland, to Le Locle in 1997. Le Locle is much smaller than its neighbor, only about nine square miles, and has roughly 10,000 residents. It also is a watchmaking town, sharing a bit of history and the Unesco citation with La Chaux de Fonds: After a fire in 1833, Charles Henri Junod was called upon again to rebuild a small part of Le Locle, adding the same kind of street grid system as in La Chaux de Fonds. It also has a watch museum, the Musee d'Horlogerie du Locle, located in an 18th century chateau once home to a watchmaking family. The collection includes two automatons, the whimsical mechanical figures popular in the mid 1700s, made by Pierre Jaquet Droz; more work by that 18th century La Chaux de Fonds watchmaker is in the art museum of Neuchatel, Switzerland. A delegation of Swiss watchmakers were shocked by the modern, under one roof production of some American watch companies exhibiting at the 1876 World's Fair in Philadelphia. As a result, the Zenith brand, founded in 1865 in Le Locle by Georges Favre Jacot, opened a factory in the town. Other watchmakers followed suit and "by the 1900s, the region was producing half the world's watches and watch components," said Stephanie Bavaresco of the Neuchatelois Montagnes tourism office. Zenith now opens its doors every Friday, from 9 a.m. to noon. The tour, arranged by appointment, starts in the original factory building, where a wall contains Mr. Favre Jacot's ashes. (The company now has 18 buildings.) It includes a stop in the attic where, during the rise of inexpensive quartz watches in the 1970s, an employee named Charles Vermot defied orders to destroy the machines used to make the company's famous El Primero caliber movements. A decade later, when mechanical watches were regaining favor, his action meant the company could easily resume production of the movements. And it did: For the 1984 Rolex Daytona, its own models and those of several other major watch makers. The growth of what now is one of Kering's primary watch brands underscores the fact that today almost every family in the two towns has someone employed in the watch industry. As Claudine Buehler, a local guide, described: "My grandfather was a watchmaker, my mother was a bookkeeper for a dial making association, my father was a bookkeeper for a hands factory and my father in law is the owner of a mainspring factory where my husband worked." It's the kind of link between industry and community that has helped these towns stand the test of time.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
I Was the First Woman of Color in Space. Here's What Katherine Johnson Means to Me. Two years after I joined NASA in 1987, I was preparing for a trip to Brazil to help the United States Information Service celebrate the 20th anniversary of the Apollo 11 moon landing. The souvenir posters I would give out referred to the "first American men on the moon." I suggested it would be more appropriate if they read "first humans on the moon." A male astronaut sneered at the idea and said that it had been "men who landed on the moon." "But it was women who helped put them there!" I pushed back. I was referring to the countless generations of women who have done so much to support human achievements but have gone unrecognized. Even though I was soon to become the first woman of color who went to space, at that time I did not know of the mathematician Katherine Johnson, who died on Monday at the age of 101, or of the crucial calculations she made for the Mercury, Gemini and Apollo missions. It would have put such a fierce smile on my face had I known about Katherine Johnson, her colleagues Mary Jackson and Dorothy Vaughan and the other women mathematicians at NASA when I was growing up on the South Side of Chicago in the 1960s. I always assumed that I would go into space, even though the United States had no astronauts who were women or of color at the time. I could see on TV that the mission control rooms were filled with white men. Even at 8, 9 or 10 years old, I was sure that the picture misrepresented the capabilities women and I possessed. Though I majored in African and African American studies as well as chemical engineering at Stanford, when I joined the NASA astronaut corps I only knew vaguely of some African American women at NASA and in aviation. I knew of African American men and white women who were science and exploration legends. Yet I was unfamiliar with Bessie Coleman, who became the first black woman in the world to get a pilot's license in 1921; or Willa Brown, an African American and the first U.S. woman to get both a pilot's and a mechanic's license and who lobbied the government to integrate the Army Air Corps. That helped lead to the establishment of the Tuskegee Airmen, a number of whom she trained. It fortified me to get to know and work with Christine Darden, Patricia Cowings and other women scientists, engineers and mathematicians of all ethnicities who worked at NASA centers throughout the nation. I am so pleased the book and movie "Hidden Figures" allowed the world to meet and celebrate Katherine Johnson and her colleagues. Katherine Johnson was a revelation. An inspiration. But she was not a "one off" to be put on a shelf and admired for her singular genius. She was representative of the deep well of talent and potential that is so often buried by lack of opportunity, access, exposure and expectation for women and particularly women of color in science and technical fields. She was a beacon who heralded the contributions made by women that were hidden and stymied by the deep institutional and societal bias that accredits achievements to white men, deemed by society to be the unique holders of genius. Johnson today is a balm for the discomfort that arises when you stand up in a crowd a crowd that doubts your capabilities due only to your gender or race and press a point, disagree with a widely held premise or challenge the sugar coating of facts meant to make the powerful feel better while disregarding the less powerful, who need the truth revealed. The changes require the dismantling of a gantlet: of persistent bias, obstacles and actions that block women's entry or push them out. It is a gantlet that has gone unacknowledged even decades after Katherine Johnson's accomplishments at NASA. Organizations value women for their work when it aligns with the organization's traditional perspectives; but they fall back on exclusionary behavior when new, diverse perspectives are generated or required. Women have continued to advance within NASA Peggy Whitson is the American astronaut who has spent the most time in space. In October, a pair of female astronauts, Christina Koch and Jessica Meir, walked in space together. Even great organizations may be blind to persistent intersectional bias that treats African American women so differently. As I testified before the House space and science committee in May, there have been just six African American women astronauts; three of them have flown in space. It is confounding that of 338 NASA astronauts, two of these African American women, of stellar accomplishments and tenures of over 10 years each, are the only American astronauts who have been denied or pulled from a spaceflight assignment without any official explanation. While I did not meet Katherine Johnson, when I channel her, I am jazzed. Katherine Johnson is the shining example. Through her I see the possibilities when the full scope of human experience, talent and perspectives are engaged to address the challenges and opportunities to improve life on Earth for all and push the limits of our knowledge. Dr. Mae Jemison, an engineer and physician, was the first woman of color in space.	N24News: A New Dataset for Multimodal News Classification	Opinion
The Electric Recording Co. in London cuts albums the way they were made in the 1950s and '60s literally. LONDON Tucked in a trendy co working complex in West London, just past the food court and the payment processing start up, is perhaps the most technologically backward looking record company in the world. The Electric Recording Co., which has been releasing music since 2012, specializes in meticulous recreations of classical and jazz albums from the 1950s and '60s. Its catalog includes reissues of landmark recordings by Wilhelm Furtwangler, John Coltrane and Thelonious Monk, as well as lesser known artists favored by collectors, like the violinist Johanna Martzy. But what really sets Electric Recording apart is its method a philosophy of production more akin to the making of small batch gourmet chocolate than most shrink wrapped vinyl. Its albums, assembled by hand and released in editions of 300 or fewer at a cost of 400 to 600 for each LP are made with restored vintage equipment down to glowing vacuum tube amplifiers, and mono tape systems that have not been used in more than half a century. The goal is to ensure a faithful restoration of what the label's founder, Pete Hutchison, sees as a lost golden age of record making. Even its record jackets, printed one by one on letterpress machines, show a fanatical devotion to age old craft. "It started as wanting to recreate the original but not make it a sort of pastiche," Hutchison said in a recent interview. "And in order not to create a pastiche, we had to do everything as they had done it." Electric Recording's attention to detail, and Hutchison's delicate engineering style in mastering old records, have given the label a revered status among collectors yet also drawn subtle ridicule among rivals who view its approach as needlessly expensive and too precious by half. "Audiophiles listen with their ears, not with their hearts," Hutchison said. He added: "That's not our game, really." Here are more fascinating tales you can't help but read all the way to the end. None The Fight of This Old Boxer's Life Was With His Own Family. A battle among Marvin Stein's family over his fortune broke out, and he suddenly found himself powerless to fight for himself. Taylor Swift's 'All Too Well' and the Weaponization of Memory. The new version of the bitter breakup song luxuriates in its details and its supersize length, correcting a power imbalance in the relationship it describes. The Crypto Capital of the World. Ukraine has an ambitious plan to both mainstream the nation's thriving trade in crypto and to rebrand the entire country. "The game is trying to do something that is anti generic, if you like," he said. "What we're doing with these old records is essentially taking the technology from the time and remaking it as it was done then, rather than compromising it." To a large degree, the vinyl resurgence of the last decade has been fueled by reissues. But no reissue label has gone to the same extremes as Electric Recording. In 2009, Hutchison bought the two hulking, gunmetal gray machines he uses to master records a Lyrec tape deck and lathe, with Ortofon amplifiers, both from 1965 and spent more than 150,000 restoring them over three years. He has invested thousands more on improvements like replacing their copper wiring with mined silver, which Hutchison said gives the audio signal a greater level of purity. The machines allow Hutchison to exclude any trace of technology that has crept into the recording process since a time when the Beatles were in moptops. That means not only anything digital or computerized, but also transistors, a mainstay of audio circuitry for decades; instead, the machines' amplifiers are powered by vacuum tubes (or valves, as British engineers call them). He demonstrated his technique during a recent mastering session for "Mal/2," a 1957 album by the jazz pianist Mal Waldron that features an appearance by Coltrane. He tested several mastering levels for the song "One by One" which has lots of staccato trumpet notes, played by Idrees Sulieman before settling on one that preserved the excitement of the original tape but avoided what Hutchison called a "honk" when the horns reached a climax. "What you want to hear is the clarity, the harmonics, the textures," he said. "What you don't want is to put it on and feel like you've got to turn it down." These judgments are often subjective. But to test Hutchison's approach, I visited the New Jersey home of Michael Fremer, a contributing editor at Stereophile and a longtime champion of vinyl. We listened to a handful of Electric Recording releases, comparing them to pressings of the same material by other companies, on Fremer's state of the art test system (the speakers alone cost 100,000). "It's magical what they're doing, recreating these old records," Fremer said as he swapped out more Electric Recording discs. Hutchison is a surprising candidate to carry the torch for sepia toned classical fidelity. In the 1990s, he was a player in the British techno scene with his label Peacefrog; the label's success in the early 2000s with the minimalist folk of Jose Gonzalez helped finance the obsession that became Electric Recording. Hutchison's conversion happened after he inherited the classical records owned by his father, who died in 1998. A longtime collector of rock and jazz, Hutchison was entranced by the sound of the decades old originals, and found newer reissues unsatisfying. He learned that Peacefrog's distributor, EMI, owned the rights to many of his new favorites. Was it possible to recreate things exactly as they had been done the first time around? After restoring the machines, Electric Recording put its first three albums on sale in late 2012 Martzy's solo Bach sets, originally issued in the mid 1950s. Hutchison decided that true fidelity applied to packaging as well as recording. Letterpress printing drove up his manufacturing costs, and some of the label's projects have seemed to push the boundaries of absurdity. In making "Mozart a Paris," for example, a near perfect simulacrum of a deluxe 1956 box set, Hutchison spent months scouring London's haberdashers to find the right strand of silk for a decorative cord. The seven disc set is Electric Recording's most expensive title, at about 3,400 and one of the few in its catalog that has not sold out. Hutchison defends such efforts as part of the label's devotion to authenticity. But it comes at a cost. Its manufacturing methods, and the quality control attention paid to each record, bring no economies of scale. So Electric Recording would gain no reduction in expenses if it made more, thus negating the question Hutchison is most frequently asked: Why not press more records and sell them more cheaply? "We probably make the most expensive records in the world," Hutchison said, "and make the least profit." Electric Recording's prices have drawn head scratching through the cliquey world of high end vinyl producers. Chad Kassem, whose company Acoustic Sounds, in Salina, Kan., is one of the world's biggest vinyl empires, said he admired Hutchison's work. "I tip my hat to any company that goes the extra mile to make things as best as possible," Kassem said. But he said he was proud of Acoustic Sounds's work, which like Electric Recording cuts its masters from original tapes and goes to great lengths to capture original design details and sells most of its records for about 35. I asked Kassem what is the difference between a 35 reissue and a 500 one. He paused for a moment, then said: "Four hundred sixty five dollars." Yet the market has embraced Electric Recording. Even amid the coronavirus pandemic, Hutchison said, its records have been selling as fast as ever, although the company has had some production hiccups. The only manufacturer of a fabric that Hutchison chose for a Mozart set in the works, by the pianist Lili Kraus, has been locked down in Italy. The next frontier for Electric Recording is rock. Hutchison recently got permission to reissue "Forever Changes," the classic 1967 psychedelic album by the California band Love, and said that the original tape had a more unvarnished sound than most fans had heard. He expects that to be released in July, and "Mal/2" is due in August. But Hutchison seemed most proud of the label's work on classical records that seemed to come from a distant era. He pulled out a 10 inch mini album of Bach by the French pianist Yvonne Lefebure, originally released in 1955. Electric Recording painstakingly recreated its dowel spine, its cotton sleeve, its leather cover embossed in gold leaf. "It's a nice artifact," Hutchison said, looking at it lovingly. "It's a great record as well."	N24News: A New Dataset for Multimodal News Classification	Music
Is it Parisians who are most looking forward to the reopening of the more than century old Hotel Lutetia, on Paris' Left Bank? Or is it the property's loyal overnight guests? It's hard to know for sure. "The Lutetia it isn't like other luxury hotels in Paris that locals don't go to unless they have to," said Apollonia Poilane, the head baker and chief executive of the celebrated Paris bakery Poilane , which opened around the block from the property in 1932. "The Lutetia is our place, and we've missed not having it here." Following a renovation that has kept the hotel closed for more than four years the first closure in its history the Lutetia is expected to again open its doors this month, nearly 108 years after its debut on the bitterly cold evening of Dec. 28, 1910. Paris is no doubt full of high end hotels, but the Lutetia, located in the bohemian St. Germain des Pres neighborhood, stands out for being the rare one on the city's Left Bank. Its history is also distinctive. The Boucicaut family, who founded Paris' first department store, Le Bon Marche, in 1852, wanted to give their customers and suppliers the option of staying in stylish and modern lodgings near the store. Since none existed, they decided that they would build one. The architects Henri Tauzin and Louis Hippolyte Boileau, marquee names in Paris at the time, were hired for the project and chose to build on the remains of an abbey and its gardens that neighbored Le Bon Marche. The glass and riveted steel that they used for the construction, along with concrete, were innovative for the time period, and their completed building, in typical early 20th century decorative arts style, had a cream facade with stone balconies; its windows and balusters were adorned with angles, trellises and grapes. All the rooms had hot water, telephones for calling reception and air conditioning, amenities that were then considered forward thinking, and in addition to being luxurious, the Lutetia was lauded for being a fine example of Art Nouveau architecture. A high profile crowd a mix of personalities from the worlds of literature, art, fashion and politics flocked to the hotel from the beginning. The French writer and Nobel Prize winner Andre Gide ate lunch there almost daily in the 1920s, and French president Charles de Gaulle and his wife, Yvonne, chose it for their wedding night, on April 7, 1921. James Joyce and Albert Camus were also among the regulars, and Picasso and Matisse lived at the property in the 1930s. When the Taittinger family, of the famed Champagne brand, bought the Lutetia in the 1950s, it became a hangout for musicians and artists, including the French singer and songwriter Serge Gainsbourg and the sculptor Cesar . During this period, St. Germain des Pres was in the midst of a jazz craze, and the Lutetia hosted frequent jazz performances in its bar Josephine Baker crooned for patrons as did the French singers Boris Vian and Juliette Greco. More recent guests have included the actor Brad Pitt, the filmmaker David Lynch and the French actress Catherine Deneuve. The opera director Jean Paul Scarpitta, formerly of the Montpellier Opera, was a presence at the Lutetia's bar for a few decades before the property closed, sometimes with his actor friends Isabella Rossellini and Gerard Depardieu. "The hotel was the meeting point for all of St. Germain des Pres," he recalled. "It had a quiet elegance and was as comfortable as being home." But over time, the elegance became worn, and it was time to bring the hotel into the 21st century, according to Georgi Akirov, the chairman of The Set, the three property hotel brand that bought the Lutetia from Starwood Capital Group in 2010 (Starwood bought the hotel from the Taittingers in 2005). "The hotel was open for over 100 years and hadn't had an inside out renovation," he said. "We wanted to preserve its history but make it suitable for the modern traveler." His company hired the notable French architect Jean Michele Wilmotte, a longtime patron of the Lutetia. Mr. Wilmotte said that he sought to create an aesthetic that was sophisticated and contemporary, yet respectful of the hotel's past. "The property was in bad condition, and I wanted to give it a new look with an airier and fresher feel," he said. Adding lighting throughout the public spaces, such as the mirrored lights in the new bar, called Bar Josephine, and the Murano glass chandeliers in the lobby, brings in even more brightness, and so, too, does the furniture, all of it custom built in an early 20th century style . The pieces are mostly pale gray and beige, but the wooden blue panels with touches of red and green add pops of color. Other new features at the Lutetia include a 7,500 square foot spa, a 55 foot long indoor pool and seven signature suites. One, inspired by the writers of St. Germain des Pres, has a long oak wooden desk and is full of books by literary figures like Ernest Hemingway, and another has a rooftop terrace with 360 degree views of Paris. A storied hotel that undergoes a renovation can stay true, at least in part, to its past: Mr. Wilmotte took care to see that many of the Lutetia's original and most appealing elements remained. The hotel's cream facade, stained glass windows and the frescoed ceiling in Bar Josephine, a former breakfast room, were all restored the last was a job that took 17,000 hours, Mr. Wilmotte said. And some pieces from the hotel's noteworthy art collection (there are 280 in all) are again on display in the public areas and in the rooms; the works include paintings by the French born American artist Arman and sculptures by Philippe Hiquily, from France, and Vassilakis Takis, from Greece.	N24News: A New Dataset for Multimodal News Classification	Travel
To walk or drive around Canarsie, a quiet suburblike peninsula on Brooklyn's south shore, you might not immediately guess at the recent struggles its residents have endured. The streets are relatively clean, the rows of one and two family homes often well maintained, the living room carpet size lawns conscientiously mowed. But Canarsie, a middle class neighborhood that is home to many city and health care workers, has weathered two waves of misfortune in six years. A year ago this month, still struggling to regain its footing from the blows of the mortgage crisis, it was flooded in some areas by Hurricane Sandy. In the course of a day, Canarsie suddenly had underwater basements to go along with its underwater mortgages. "The water came up from Jamaica Bay, came over the Canarsie Pier, and rushed right down the streets and into the houses," said Neal Duncan, the president of the United Canarsie South Civic Association, whose basement on 93rd Street filled to a depth of 41 inches. To make matters more challenging, many residents' losses were not covered by insurance. "The mortgage crisis is only getting worse in Canarsie, and it's been exacerbated by Sandy," said Angella Davidson, who manages the foreclosure prevention program of the nonprofit Neighborhood Housing Services of East Flatbush. "People who already were struggling to pay their mortgage are now falling further behind, because they're using money that should be earmarked for their mortgage to replace boilers and Sheetrock. And Sandy has forced people who were not in foreclosure to face potential foreclosure." As of June, more than 10 percent of one to four unit properties were in foreclosure in the 11236 ZIP code, the bulk of which is in Canarsie, according to data from the Federal Reserve Bank of New York. Still, nonprofit groups like Neighborhood Housing have helped keep some in their homes, often by renegotiating loan terms. What Canarsie has going for it as it tries to recover, brokers say, is an established reputation. "It's not a poor neighborhood, and it's not a forgotten neighborhood," said Paul Schwartz, an associate broker at Fillmore Real Estate. "Certainly it's not the suburbs, but it's a real solid, well known, well liked New York neighborhood whose residents are beyond loyal." "I love Canarsie because it's so diverse," she said. "I'm African American, but there's a synagogue on the corner, and I've got Jewish neighbors, and there's a pastor down the block. Everyone is very attentive to each other." Two years ago Ms. Jackson and her husband, Kenroy, planned to move because their daughter, who has cerebral palsy, was getting too heavy to carry upstairs. Their neighbors, a fond bunch, talked them out of it. Now, she said, her family must finally move on. And she knows just where she will relocate: Canarsie. "It really feels like a neighborhood in the classic sense," she said, "and my mom and I feel really safe here."	N24News: A New Dataset for Multimodal News Classification	Real Estate
Before he achieved Revolutionary War glory, or became a founding father and an author of the Federalist Papers; before he established a sophisticated financial system, served as the nation's first Treasury secretary or engaged in the type of petty political feud that would lead to his death in a duel at 49; before the 10 bill immortalized his beaked profile; and over two and a half centuries before a Broadway musical about his life would weave itself into the cultural spirit of the early 21st century, Alexander Hamilton was an orphan struggling to survive on the Caribbean island of St. Croix. Though he left as a teenager and never returned Hamilton's tragic West Indian childhood informed his entire life, shaping his views on government, economics, slavery and much more. Today, visitors to St. Croix, the largest of the United States Virgin Islands, are mostly in search of a tropical vacation. Residents speak of Hamilton's West Indian roots with passing affection, as a tidbit of trivia. Visible evidence of his history with the island is minimal; the airport, which once honored him, was renamed in 1996 for the Tuskeegee airman Henry E. Rohlsen, a native son. But beyond the windswept beaches and luxurious resorts lurk the vestiges of a dark, sugar fueled 18th century heyday. As I discovered during a visit last summer, retracing Hamilton's footsteps on the island illuminates both the complex and tarnished history of St. Croix and the ghosts that haunted a deeply ambitious, flawed and brilliant man. Alexander Hamilton was born on Nevis, an island in the British West Indies about 140 miles southeast of St. Croix, in either 1755 or 1757. (Lost documents and his own subterfuge have obscured the true date, but historians generally agree on 1755.) While he was not quite "the bastard brat of a Scotch pedlar" as John Adams once acidly described him the circumstances surrounding his out of wedlock birth were certainly infelicitous. His father, James Hamilton, the dissolute fourth son of a Scottish laird, had washed up on the island of St. Kitts. He met the beautiful and spirited Rachel Faucette Lavien and the two embarked on an ill fated romance. With her mother "captivated by the glitter" of Lavien, the 16 year old Rachel quickly found herself pressed into "a hated marriage" that would cast the rest of her life in misery. The union, unhappy from the start, bore a son before she left the home around 1750. A furious Lavien accused her of adultery and invoked Danish law to have her thrown into a cell at Fort Christiansvaern, the thick wall stronghold that served as both military post and prison for the town of Christiansted. Completed in 1749, Fort Christiansvaern is a national historic site today, an impenetrable yellow structure overlooking the glittering turquoise waters of Gallows Bay. I repressed a shiver as I wandered alone through its labyrinth of whitewashed rooms. Though primarily used as military barracks and storage, the fort also served as the colony's prison for runaway slaves and criminals. In the west wing, I paused inside a cell to examine a small exhibition devoted to Hamilton and his family. Here in this cramped space, Rachel Lavien spent several squalid months, with only a narrow window offering paltry light and air, and a slivered view of the water. In 1765, abandoned by James Hamilton, Rachel moved with their two sons to 34 Company Street where the three scratched out a meager subsistence operating a small dry goods store that sold provisions like rice, flour and salted fish. Though the home has long since disappeared, replaced by the garden of a Catholic church a structure at 23 Company Street, where the family briefly resided in 1767, is also gone the area retains a faded colonial charm with bilingual English Danish street signs and low buildings with pastel columns. As I lingered on the sidewalk, a rooster's crow pierced the heat induced lethargy of midday and cast a melancholy air. In 1768, Rachel succumbed to a vicious fever and died here, leaving her sons essentially orphaned. Eighteen months later, their guardian cousin committed suicide. Penniless and alone, the brothers separated; James became an apprentice to a carpenter and, in an operatic twist, Alexander found himself living in the Christiansted home of a wealthy merchant's family, and working for the import export firm Beekman and Cruger. Alexander Hamilton, the first United States Treasury secretary, was deeply influenced by what he saw and lived through on St. Croix as a youth. "Christiansted was Hamilton's venue," said William Cissel, a St. Croix historian and former park ranger at Fort Christiansvaern. "It was this busy, bustling, vibrant place filled with ships of various nationalities. A great deal of what he later propounded, he absorbed from his time here." On stately King Street, I found the site of Beekman and Cruger's office, where Hamilton, laboring diligently as a young clerk, absorbed the principles of international trade, credit and foreign exchange. A few blocks away, the Customs House sprawled in neoclassical grandeur, a monument to the wealth that once fueled the West Indies. A few yards beyond stretched a dainty wharf shockingly small by modern standards where Hamilton would have inspected cargo for his employers. They imported all of the necessities for a planter's daily life (cider, bricks, lumber, corn and other staples), while exporting just a few products made from sugar cane sugar, rum and molasses; that single crop reliance may have led Hamilton to favor a diversified marketplace. My stroll ended at the Danish West India and Guinea Company Warehouse, a stocky two story building. A staircase extends into the enclosed courtyard, replacing the long platform where slaves were once auctioned. While it's unclear if he was a regular attendee, Hamilton almost certainly witnessed some of these brutal transactions; his boyhood exposure to plantation culture left him with a lifelong antipathy toward slavery. "These were basically killing fields for the people who worked there," said George Tyson, another St. Croix historian. We were on the lush grounds of Estate Cane Garden a former sugar plantation owned today by the financier Richard Jenrette gazing at the 18th century ruins of sugar cane mills and other farm buildings. Though it was barely midmorning, the sun beat down with a merciless heat, lending a particular inhumanity to Mr. Tyson's descriptions of the grueling sugar making process. "Ninety percent of the population was black slave labor," he said. "Hamilton saw himself caught up in those social dynamics. He had no future here because of his background. Perhaps he felt some solidarity with other marginalized people." The luxurious interiors of the estate's Great House, built in 1784, were a stark contrast to the blistering misery of the former cane fields. Perched on a hill overlooking the sea, cooled by the trade winds, the airy high ceiling rooms were filled with the trappings of planter wealth, including a large collection of island mahogany furniture. Though Hamilton never set foot here, similarly showy displays would have ignited his teenage ambition. Hamilton wrote to his friend Edward Stevens in 1769 that he "would willingly risk my life, tho' not my character, to exalt my station," adding, "I wish there was a war." Fortune brought him first a hurricane. In 1772, a fierce storm devastated St. Croix. Hamilton described to his father the "prodigious glare of almost perpetual lightning, the crash of the falling houses, and the ear piercing shrieks of the distressed"; it was a letter of such marked literary skill that it was published by the local newspaper, The Royal Danish American Gazette, where it attracted the attention of several prominent businessmen. They began a subscription fund for his education, and a few months later Hamilton was on a ship bound for Boston. "Men are generally too much attached to their native countries to leave it and dissolve all their connexions, unless they are driven to it by necessity," Hamilton wrote in 1775. By the time he wrote these words, he was a student at King's College in New York and an ardent supporter of the American cause, his ignominious West Indian beginnings so far behind him that they had almost become a source of shame. He had managed to escape his past and he never looked back. IF YOU GO Along the waterfront, Christiansted National Historic Site is a public park encompassing seven of the town's oldest buildings, including the Customs House, the Danish West India and Guinea Company Warehouse, and Fort Christiansvaern ( 3). Though Hamilton's residences at Nos. 23 and 34 Company Street no longer exist, Christiansted's historic quarter evokes his era with neo Classical architecture and wandering wild chickens. The offices of his employer, Beekman and Cruger, stood at 7 8 King Street.	N24News: A New Dataset for Multimodal News Classification	Travel
Is the battle to contain global warming now lost? With the election of Donald Trump, it certainly looked that way to many of the shellshocked diplomats gathered in Morocco earlier this month at the first climate summit following the breakthrough agreement in Paris last year to contain greenhouse gas emissions. During the campaign, the president elect of the world's second largest polluter claimed that climate change is a hoax, threatened to drop the Paris accord, committed to kill the Clean Power Plan at the center of President Obama's emissions reduction strategy, and promised a new dawn for the fossil fuel industry. Don't give up just yet. True, international diplomacy will become more difficult as China and India weigh their own energy policy commitments in the light of the possibility that the United States will walk away from its promises. But President Trump's climate policy or his lack of one could work out in surprising ways. Ted Nordhaus and Jessica Lovering, in a report published on Tuesday by the Breakthrough Institute, pointed out that real progress on reducing carbon in the atmosphere has been driven so far by specific domestic energy, industrial and innovation policies, "not emissions targets and timetables or international agreements intended to legally constrain national emissions." It's certainly possible that a Trump administration will drop the Clean Power Plan and renege on the Paris accord. But as long as it keeps the nation's nuclear power plants online, continues tax incentives for wind and solar energy and stays out of the way of the shale energy revolution, Ms. Lovering and Mr. Nordhaus write, "the U.S. might outperform the commitments that the Obama administration made in Paris." For all his promises to bring back coal jobs in Appalachia, Mr. Trump might be drawn in a different direction by his own objectives of promoting natural gas and achieving energy independence. If he gives those goals high priority, he could well end up pursuing policies that would ultimately lower carbon emissions. Striking a meaningful deal on climate has proved an elusive goal. The first try, in Kyoto, Japan, in 1997, committed advanced nations to reduce emissions between 1990 and 2010. But they actually achieved more in terms of reducing dependency on fossil fuels in the decade before the agreement than in the decade after. Even the most aggressive proposals by the Obama administration probably packed less punch than supporters believe. President Obama's original cap and trade bill, which was blocked in the Senate in 2009, proposed emissions limits that were higher than what emissions have turned out to be. The steep decline was driven not just by the recession and slow recovery, but also by the wholesale move by the power sector over the last decade from coal to less polluting natural gas. As Robert Stavins of Harvard University put it, "The most important factor in terms of carbon emissions in the United States is the price of natural gas." And for all the hand wringing over the future of the Clean Power Plan, its demise might not even make that much of a difference. The shift from coal to gas will continue to happen anyway. A study commissioned last December by the Environmental Defense Fund concluded that most states could comply "by relying exclusively on existing generation, investments already planned within each state and implementation of respective existing state policies." Of course, President Trump could do much more than simply stopping the Clean Power Plan, especially if he had eight years to work with. But why would he do that? Production tax credits for renewables have already been extended by a Republican controlled Congress until 2021. Mr. Trump supports nuclear energy, and could well be persuaded to extend federal subsidies to keep the nation's teetering string of nuclear plants in operation. Part of this has to do with rising shale oil and gas production. But the main driver would be efficiency. The Trump administration only has to maintain the Obama administration's CAFE standards, which require the average fuel economy of cars and light trucks to rise to 49 to 50 miles per gallon by 2025, from 34 today. 1. Time for action is running out. The major agreement struck by diplomats established a clear consensus that all nations need to do much more, immediately, to prevent a catastrophic rise in global temperatures. 2. How much each nation needs to cut remains unresolved. Rich countries are disproportionately responsible for global warming, but some leaders have insisted that it's the poorer nations who need to accelerate their shift away from fossil fuels. 3. The call for disaster aid increased. One of the biggest fights at the summit revolved around whether and how the world's wealthiest nations should compensate poorer nations for the damage caused by rising temperatures. 4. A surprising emissions cutting agreement. Among the other notable deals to come out of the summit was a U.S. China agreement to do more to cut emissions this decade, and China committed for the first time to develop a plan to reduce methane. 5. There was a clear gender and generation gap. Those with the power to make decisions about how much the world warms were mostly old and male. Those who were most fiercely protesting the pace of action were mostly young and female. This is not to say that the world could survive forever an American administration that doesn't believe in climate change and does nothing to contain it. A recent analysis by scientists at the Massachusetts Institute of Technology concluded that the promises made in Paris would reduce the concentration of greenhouse gases in the atmosphere at the end of the century to 710 parts per million from 750. That is still far from the 450 p.p.m. ceiling needed to tip the odds in favor of staying under the temperature threshold scientists consider safe. According to the International Energy Agency, the commitments made in Paris will cap the growth of greenhouse gas emissions between now and 2040 to 13 percent. The 450 p.p.m. target requires them to fall by 43 percent. Getting there will require rich countries like the United States to help finance much of the transition for poor countries. The role of global diplomacy will rise. "It will be a big deal that will affect economic growth and jobs," said David Victor of the School of Global Policy and Strategy at the University of California, San Diego. "We need a strategy to assure countries that their economic competitors are undertaking similar types of policies." For this to work, the United States, as the dominant economic player, must play ball. Simply pursuing energy independence will not go far enough. In four years, the United States might have an administration that is less hostile to the concept of climate change. In any case, the rationale for policies to support low and no carbon energy sources will be even stronger then than it is today. "If a Trump administration lasts only four years, the process could maybe absorb that," said Oliver Geden, head of research at the German Institute for International and Security Affairs. The bomb is ticking, but the world still has some time.	N24News: A New Dataset for Multimodal News Classification	Economy
MANCHESTER, England For two weeks, the players of the Premier League have been taking a knee before games, demonstrating their support for the Black Lives Matter movement to millions of viewers across the world. Their peers in the Bundesliga had done the same. In Spain, Italy, and the United States players have followed suit. The protests have made it plain that the players do not believe soccer is immune to the kind of systemic inequalities that brought millions to the streets. On Monday, a study called into question yet another aspect of soccer that does not appear to be a level playing field. According to research conducted by RunRepeat and published by the Professional Footballers' Association, the union for players in England and Wales, the difference in the way European soccer commentators describe black and white players is stark. Documenting an issue players have long bemoaned, the researchers found that broadcast commentators were not only far more likely to praise white players for their intelligence, leadership qualities and versatility, they were also substantially more likely to criticize black players for what they regarded as the absence of those attributes. Instead, the study found that nonwhite players tend to receive praise for their physical qualities: what Romelu Lukaku, the Inter Milan striker, has referred to as the "pace and power element." Black players were four times more likely than their white counterparts to be discussed in terms of their strength, and seven times more likely to be praised for their speed. Those were not the only differences. White players, according to the study, were more likely to be credited with an admirable work ethic. Black players' performances, even when stellar, were more likely to be attributed to a burst of good form. "Commentators help shape the perception we hold of each player, deepening any racial bias already held by the viewer," said Jason Lee, the P.F.A.'s equalities education executive. "It's important to consider how far reaching those perceptions can be and how they impact footballers even once they finish their playing career. "If a player has aspirations of becoming a coach or manager, is an unfair advantage given to players that commentators regularly refer to as intelligent and industrious, when those views appear to be a result of racial bias?" The P.F.A. study examined more than 2,000 remarks from commentators, concerning 643 players and spread across 80 games in the top divisions of Italy, Spain, England and France from the current season. The study is not the first of its kind. The academics James Rada and Tim Wulfemeyer analyzed racial descriptors in a 2005 paper that looked at televised college sports in the United States. "Portraying African Americans as naturally athletic or endowed with God given athleticism exacerbates the stereotype," they wrote, "by creating the impression of a lazy athlete, one who does not have to work at his craft." The P.F.A. study found that when analyzing in game events like the accuracy of a shot or a pass commentators spread their praise and criticism evenly between white and nonwhite players: there was no bias, it concluded, when assessing factual events. Bias, though, seeped through when discussing the players in more general terms. As Rada and Wulfmeyer found, the "brain versus brawn" stereotype held, even when discussing elite soccer in 2020. White players were praised and black players criticized more frequently for their quality and ability to adapt to different roles, and black players were singled out for their physical strengths, rather than their mental ones. Players have noticed. Manchester City forward Raheem Sterling, among others, has spoken of the need to ensure greater representation of black players in managerial and executive positions. But they also are aware of how they are talked about during broadcasts. "It is never about my skill when I am compared to other strikers," Lukaku said in an interview with The New York Times last year. "My one on one dribbling is good. I can do a step over. I can beat a player. I remember one comment from a journalist that United should not sign Lukaku because he is not an 'intelligent' footballer." Efforts to focus attention on unequal treatment have increased in the weeks since European soccer has returned to the field from its suspension because of the coronavirus. Players in Germany, the United States and elsewhere have paid tribute to George Floyd, the black man killed while in police custody in Minnesota last month, and a group of Premier League captains led an initiative that has seen all players take a knee before matches while wearing shirts with "Black Lives Matter" printed where their names would normally appear. On Monday, the P.F.A., the Premier League and the English Football League announced a new program that they said would increase the number of black, Asian and minority ethnic, or BAME, players transitioning from playing careers into full time coaching roles. According to a recent BBC survey, only six of the 92 managers in England's top four divisions are not white men. "The P.F.A. is proud to support a diverse membership on the pitch," the organization's chief executive, Gordon Taylor said, "and we are determined to ensure this also translates to substantial BAME representation in all other areas of the game."	N24News: A New Dataset for Multimodal News Classification	Sports
The Federal Reserve on Wednesday moved to simplify capital rules, a long expected change that banks have been pushing for and one that sharply divided central bank officials. The Fed has been in the process of overhauling its approach to capital rules for nearly two years. From the outset, the changes sought to combine capital requirements determined by stress tests hypothetical exercises that check on how much money a bank would need on hand to keep lending and manage losses in times of financial stress and a separate set of requirements. The idea was to make capital rules for banks, cobbled together in the aftermath of the financial crisis, less redundant and more straightforward. But banks pushed back on the Fed's initial proposal for the combined standard, which the Fed calls the stress capital buffer asking for an even more streamlined approach. Randal K. Quarles, the central bank's vice chair for supervision and regulation, laid out a set of changes in 2019 that responded to those concerns. His suggestions ramped up the tension in the debate over the Fed's bank regulation under the Trump administration. Mr. Quarles, who was appointed by Mr. Trump, has been tinkering around the edges to make the rules that govern America's largest banks easier to comply with and more predictable. Lael Brainard, the last remaining Fed governor chosen by President Barack Obama, has pushed back on those attempts to make regulation less onerous. She has regularly warned against chipping away at rules meant to prevent the kind of risk taking that exacerbated the financial crisis. U.S. banks have been profitable, and Fed staff and officials have recently flagged that several of the biggest ones are planning on increasing dividends and lowering the amount of capital they hold. "Today's rule gives a green light for large banks to reduce their capital buffers materially, at a time when payouts have already exceeded earnings for several years on average," Ms. Brainard said in a statement released alongside the changes that were announced on Wednesday. Ms. Brainard dissented against the new rule. And she and Mr. Quarles laid out drastically different estimates of what they might mean for bank capital requirements. She suggested that they would let the biggest and most systemic institutions, like Goldman Sachs and JPMorgan Chase, off the hook. Mr. Quarles implied that those banks would face more stringent standards. Ms. Brainard said that, taken together, the changes could reduce what the Fed calls common equity tier one capital things like common stock and cash at the eight largest U.S. banks by 40 billion, or 5 percent, as of current data. Ford and Rivian no longer plan to work jointly on electric vehicles. Elizabeth Holmes took the stand in her trial. Follow along with our reporters. Ken Griffin, head of Citadel, bid highest for a copy of the Constitution. But both Fed staff and Mr. Quarles emphasized a different data point: capital over the course of several years, from weak business conditions to strong ones. The rule will cause an increase "as measured through the cycle" in common equity capital of about 46 billion at the eight largest U.S. banks, Mr. Quarles said. "Banks also keep certain voluntary buffers above our required minimums, and those buffers will vary somewhat from time to time nothing in the S.C.B. rule adopted today gives banks an incentive to reduce those buffers," he said. Fed staff members came up with Mr. Quarles's number, though they noted that the effect over those years ranged from a reduction of 6 billion in 2019 to an increase of 84 billion. The discrepancy in the estimates owes partly to the time frame being analyzed several years versus just 2019 but also partly to assumptions. The staff make no effort to guess what banks would do with the capital buffers they hang onto voluntarily under the new rules. Ms. Brainard's estimates assume that with more certainty, banks will reduce that optional layer of capital, using it for things like dividends. Not all of the tweaks Mr. Quarles suggested last year in response to bank complaints were adopted, but at least one made it into the final version: the new stress capital buffer drops a leverage requirement.	N24News: A New Dataset for Multimodal News Classification	Economy
An inappropriate touch. An insulting dismissal. A sexual ultimatum. A suggestion that a job is not fit for a woman. Droves of women have shared their own experiences with workplace sexual harassment on social media this week, spurred by claims against Bill O'Reilly, the Fox News host. The revelation that five women received settlements totaling 13 million after accusing him of sexual harassment or inappropriate behavior has prompted more than 20 companies to pull advertising from his show, while others have called for his dismissal. The outpouring came six months after thousands of women posted accounts of being groped or assaulted in the wake of Donald J. Trump's boasts on tape that he had forced himself on women. In each case, social media offered an outlet for women who said they had either been too afraid or too ashamed to describe their experiences publicly, or to report them in their workplaces for fear of retaliation. As reports circulated about the O'Reilly case, a hashtag, droporeilly, was born, and it soon morphed into a meeting place for women to describe the professional mistreatment they said they had endured.	N24News: A New Dataset for Multimodal News Classification	Media
THE BLIND BOYS OF ALABAMA CHRISTMAS SHOW at City Winery (Nov. 29, 8 p.m.). Technically it's still November, but a set's worth of Christmas music from the inimitable Blind Boys of Alabama is about as festive as it gets especially for blues and gospel fans. The vocal quartet is down to one original member, Jimmy Carter, which is particularly remarkable given that the group first sang together in the mid 1940s. Their sound remains rich and timeless which suits the holiday hymns and classics for which they won a Grammy in 2003 with "Go Tell It on the Mountain." 212 608 0555, citywinery.com BOB DYLAN at the Beacon Theater (Nov. 23 24, 26 27, 29 30 and Dec. 1, 8 p.m.). The 77 year old impresario of American song is offering a week's worth of shows as part of what for the past 30 years some journalists have termed his Never Ending Tour a label Dylan himself flatly rejects. Dylan's external gruffness masks a man whose performances remain as heartfelt as they were more than 50 years ago, when he was just another guy with a guitar bumming around Greenwich Village. The shows on Friday and Dec. 1 are sold out, but tickets are available through resellers. 212 465 6000, beacontheatre.com PUSHA T at Irving Plaza (Nov. 25 26, 7 p.m.). Eight years ago, a showstopping verse on Kanye West's "Runaway" helped mainstream pop fans see what hip hop nerds had already known for almost a decade namely, that Pusha T was among the genre's most incisive lyricists. Today he's the one gunning for a Grammy with his latest album, "Daytona," and stoking the flame of an ongoing beef with Drake (expect more than a little smack talk during his New York sets). Both shows are sold out, but tickets are available through the resale market. 212 777 6817, irvingplaza.com TRAVIS SCOTT at Madison Square Garden (Nov. 27 28, 7:30 p.m.). This Houston based producer and M.C. is known for being one of the most energetic and spontaneous performers in rap. (His shows inspire mosh pits and stage dives.) His latest album, "Astroworld," knocked Drake's "Scorpion" out of its five week hold on No. 1 when it arrived in August. Yet Drake's verse on "Sicko Mode" has helped it become a hit, fueling memes, sports celebrations and the song's rise to No. 2 on the Billboard Hot 100. 212 465 6741, msg.com THOM YORKE at Kings Theater (Nov. 26 27, 8 p.m.). Perhaps only Radiohead's frontman could swing two nights of experimental electronic music at this massive theater in Flatbush, Brooklyn, but at least it's a more intimate space than the seminal British alt rock band's usual arenas. He'll be joined by Nigel Godrich, a Radiohead producer and Yorke's Atoms for Peace bandmate, as well as the audiovisual artist Tarik Barri. Yorke is currently working on a solo album with Godrich, which is due out next year, so at these dates he might preview new music or perform selections from his first feature length soundtrack for the 2018 horror film "Suspiria." Both shows are sold out, but tickets are available through resellers. 718 856 5464, kingstheatre.com NATALIE WEINER MARY HALVORSON AND JOE MORRIS at the Jazz Gallery (Nov. 28, 7:30 and 9:30 p.m.). Halvorson and Morris are two guitarists whose sound you can recognize immediately. Both give off the feeling that their instrument is a rough and dangerous thing, a kind of electric reactor, though they play quite differently: Halvorson in a corkscrewing tangle, Morris in sharply percussive flecks and bites. This show marks the release of their new album, "Traversing Orbits," on the Rogue Art label (it's available only on CD). 646 494 3625, jazzgallery.nyc FRANK KIMBROUGH at Jazz Standard (Nov. 27 28, 7:30 and 9:30 p.m.). There's been a spate of activity around Thelonious Monk's legacy over the past two years; it's impossible to keep track of everything. But one impressive project that bears accounting is Kimbrough's new album, a six disc collection on which he and his band cover every piece in Monk's songbook. Kimbrough's treatments amount to a devoted and respectful homage, though they're laden with moments of subtle reinvention. The record, "Monk's Dreams," is out on Friday. He appears here with the members of his quartet: Scott Robinson on saxophones and reeds, Rufus Reid on bass and Billy Drummond on drums. 212 576 2232, jazzstandard.com JASON MORAN AND THE BANDWAGON at the Village Vanguard (through Nov. 25, 8:30 and 10:30 p.m.). Moran, a pre eminent pianist, has been playing Thanksgiving week at the Vanguard with his trio, the Bandwagon, for the past six years. These musicians have been together for three times that long, and even when playing some of their most well worn material, they manage to embody a blend of comfort and restless ingenuity. Recently Moran has been exploring the work and legacy of James Reese Europe, an influential composer and bandleader in the early years of jazz whose military band, known as the Harlem Hellfighters, became a cause celebre in Europe and at home. Here the Bandwagon will play Moran's postmodern reconstructions of Europe's music. 212 255 4037, villagevanguard.com ANGELICA SANCHEZ at the Stone (Nov. 27 Dec. 1, 8:30 p.m.). Sanchez's aggressiveness as an improviser and an experimentalist is matched by the sensitivity and composure of her touch at the piano. She is in residence this coming week at the Stone, where she performs in a different scenario each night. On Tuesday and Wednesday she appears in two different trios: Sam Newsome on saxophone and Andrew Cyrille on drums the first night; Andrew Bishop on saxophone and Tom Rainey on drums the second. On Thursday she pairs up with the drummer Pheeroan Aklaff. She's with the guitarist Omar Tamez and the drummer Ramon Lopez on Nov. 30, then she leads a 17 person big band to close out the run on Dec. 1. thestonenyc.com JOHN SCOFIELD QUARTET at the Blue Note (Nov. 27 Dec. 2, 8 and 10:30 p.m.). With an acrid, lightly distorted sound and a habit of subtly stirring psychedelia and country rock into his dexterous improvising, Scofield has been one of jazz's leading guitarists since the 1970s. His most recent album, "Combo 66," is a triumphant romp; he appears here in the quartet from that record, featuring Gerald Clayton on piano and organ, Vicente Archer on bass and Bill Stewart on drums. 212 475 8592, bluenote.net SARA SERPA at National Sawdust (Nov. 28, 7 p.m.). A singer whose coolly drifting vocals never quite feel disembodied or out of reach, Serpa has recently been working more directly with political and historical topics. Here she debuts "Intimate Strangers," a project undertaken with the Nigerian writer Emmanuel Iduma. The piece uses a combination of musical abstraction and lyrical content to interrogate themes of migration, displacement, citizenship and belonging. Iduma and Serpa, who hails from Portugal, will appear here with two other vocalists, Sofia Rei and Aubrey Johnson, as well as Matt Mitchell on piano and Qasim Naqvi on the modular synthesizer. 646 779 8455, nationalsawdust.org TERRY WALDO SEXTET at Dizzy's Club Coca Cola (Nov. 26, 7:30 and 9:30 p.m.). Though the day of Scott Joplin's birth is not known for certain, the most generally agreed upon date is Nov. 24, 1868, meaning that Saturday would be the ragtime pioneer's 150th birthday. In commemoration, the virtuoso pianist Terry Waldo who plays traditional repertoire with a kind of playful reverence will lead a sextet through some of Joplin's music. The ensemble includes the trumpeter Mike Davis, the clarinetist and saxophonist Evan Arntzen, the trombonist Jim Fryer, the banjoist and guitarist Jerron Paxton, the bassist Brian Nalepka and the drummer Jay Lepley. The vocalist Tamar Korn and the pianist Joshua Rifkin will join in on certain tunes. 212 258 9595, jazz.org/dizzys GIOVANNI RUSSONELLO ICEAGE at Music Hall of Williamsburg (Nov. 25, 8 p.m.) and Elsewhere (Nov. 27, 8 p.m.). If you missed Nick Cave at Barclays Center a few weeks back even if you didn't check out one of his heirs apparent, who are playing in Brooklyn not just once, but twice. On their fourth album "Beyondless," released in May, these fresh faced but already veteran Danes deliver a sound that is as full of longing as it is of swagger. When you're feeling somewhat lovelorn yet romantic, wandering the city in search of a bit of dangerous fun, your mood will be well served if you have songs like "Catch It" and the title track on your mental jukebox. musichallofwilliamsburg.com elsewherebrooklyn.com DANIELLE DOWLING	N24News: A New Dataset for Multimodal News Classification	Music
Jeanine Pirro is off Fox News prime time and President Trump is not thrilled about it. Fox News removed Ms. Pirro's program, "Justice With Judge Jeanine," from its usual 9 p.m. time slot on Saturday, one week after the network took the rare step of publicly rebuking the host for an on air monologue that questioned a Muslim lawmaker's loyalty to the United States. Ms. Pirro has been formally suspended by the network because of her remarks, according to a person told of the decision who requested anonymity to describe sensitive discussions. In a statement, Fox News declined to address the host's status. "We are not commenting on internal scheduling matters," the network said. In what amounted to a presidential pep talk, Mr. Trump seemed to directly address his favorite television station, which has faced criticism in recent days over comments by Ms. Pirro and another star host, the pundit Tucker Carlson. "Fox must stay strong and fight back with vigor," Mr. Trump wrote. "Stop working soooo hard on being politically correct, which will only bring you down, and continue to fight for our Country. The losers all want what you have, don't give it to them." The president prodded Fox News to adopt the always attack ethos of his mentor, the late lawyer Roy Cohn. "Be strong prosper, be weak die!" Mr. Trump wrote. "Stay true to the people that got you there. Keep fighting for Tucker, and fight hard for JudgeJeanine." The president has been friendly for years with Ms. Pirro, whose ex husband, Al Pirro, served as Mr. Trump's Westchester County power broker in the 1990s before going to prison for conspiracy and tax evasion. Ms. Pirro, whose television career had stagnated, has watched her ratings rise as she became one of Mr. Trump's most fervent on air defenders. Ford and Rivian no longer plan to work jointly on electric vehicles. Elizabeth Holmes took the stand in her trial. Follow along with our reporters. Ken Griffin, head of Citadel, bid highest for a copy of the Constitution. But even Fox News, which has mostly stood by star personalities in past scandals, flinched last week after Ms. Pirro's on air remarks about Representative Ilhan Omar, Democrat of Minnesota, a Muslim who wears a hijab. "Is her adherence to this Islamic doctrine indicative of her adherence to Shariah law, which in itself is antithetical to the United States Constitution?" Ms. Pirro asked on her March 9 program. Among those calling her comments prejudiced was a Muslim producer at Ms. Pirro's own network. Several advertisers said they would no longer sponsor her show. The network said Ms. Pirro's remarks "do not reflect those of the network and we have addressed the matter with her directly," though officials there have not elaborated on that discussion or what internal punishment, if any, was meted out. Mr. Carlson has also faced scrutiny for offensive comments he made on a shock jock radio program about a decade ago, which were recently published by the left wing advocacy group Media Matters for America. Appearing on the "Bubba the Love Sponge" show, Mr. Carlson described Iraqis as "semiliterate primitive monkeys" and mused that "arranging a marriage between a 16 year old and a 27 year old is not the same as pulling a stranger off the street and raping her." Fox News has not issued its own statement on the Carlson matter. Mr. Carlson did not miss any of his regular network appearances this past week. On air, he thanked officials at Fox News for backing him, and portrayed himself as a target of a liberal "mob" intent on silencing conservative voices. On Sunday, Mr. Trump seemed to channel Mr. Carlson's words. "The Radical Left Democrats, working closely with their beloved partner, the Fake News Media, is using every trick in the book to SILENCE a majority of our Country," the president wrote on Twitter. "They have all out campaigns against FoxNews hosts who are doing too well." Mr. Trump also took aim at the NBC comedy show "Saturday Night Live," complaining again about its satirical portrayal of him. Not for the first time, the president mused about using the power of the federal government to crack down on television programs that make fun of him the kind of threat usually wielded by autocrats in countries where there is no independent media. "Should Federal Election Commission and/or FCC look into this?" Mr. Trump wrote. "There must be Collusion with the Democrats, and, of course, Russia!"	N24News: A New Dataset for Multimodal News Classification	Media
Read our updates and analysis from the Golden Globes ceremony. Carol Burnett sometimes daydreams of being young again and reliving her unparalleled career, she said at Sunday night's Golden Globes, but then she stops short. "I realize how incredibly fortunate I was to be there at the right time, because what we did then couldn't be done today," she said. Burnett, 85, considered the "queen of comedy," was accepting the inaugural Carol Burnett Award, an accolade that focuses on life achievement in television. And she took the moment to reflect on the opportunities that were available to her when she began a variety show called "The Carol Burnett Show" in 1967, which ran for "11 joy filled years," as she put it, and earned 25 Emmys. Burnett won five Golden Globes for the program, which drew about 30 million viewers a week. In her acceptance speech on Sunday, Burnett, who has been in the industry for seven decades, said she fell in love with movies as a young girl and then with television as a teenager. "What fascinated me was the way the stars on the screen could make people laugh or cry or sometimes both," she said. "And I wished and I hoped that maybe, just maybe, some day, I could have the chance to do the same thing. Well, those childhood dreams came true."	N24News: A New Dataset for Multimodal News Classification	Movies
EAST HAMPTON, N.Y. When the leaves return to the trees outside David Rattray's office window at The East Hampton Star, it means only one thing: "The beginning of the mayhem." And on Thursday morning, with the leaves an adolescent green, Mr. Rattray, The Star's editor, gathered his staff in the paper's central newsroom to hash out their coverage plans for this summer's version of it, which would start in earnest over Memorial Day weekend. The Star newsroom is a tight space, with walls that have cracks from the day a couple of years ago when engineers showed up close to the paper's deadline to tilt the cedar clad house back onto a proper vertical, a vital fix for a building Mr. Rattray's family built in 1900. As Mr. Rattray ran through the story lineup for the next issue, the paper's editor at large, Irene Silverman, who has worked there since 1968, tracked a daddy longlegs' meandering path across her desk. First, there was the "Memorial Day Mayhem post mortem," when the town government's crackdown on wild partying in the township would be put to the test for the first time. Then there was a Hamptons style battle royal playing out before zoning officials: Action on a new tennis court at the old Gardiner Estate was threatening to kill the om at the neighbor's meditation house. But what really caught Mr. Rattray's ear was word of 18 French fries at Duryea's, a beloved old lobster shack in Montauk that had just received a St. Barts style makeover from its new owner, the billionaire investor Marc Rowan. "I think there's an editorial about 18 fries about why, and for whom," Mr. Rattray said. Some member of the Rattray clan has been running this meeting for 81 years since the family bought the paper from the Boughtons, who bought it from its founder, George Burling, in 1890 for 100. The paper is still extra wide, like the original, and it has resisted the money saving appeal of shrinking down. But while in 1890 The Star served as a place to announce a local lad's marriage "to the best girl in the country," it now covers fights over housing for immigrants; the school curriculum; and the tensions among the superwealthy, the somewhat wealthy and the not at all wealthy who work for them. And somewhere along the way it picked up a logo under its masthead: "Shines for All." An alternative might be, "It Endures." Through the advent of the movie house, the radio, the television, glossy new magazines and now the Internet, The Star has continued to stand. And that's a 131 year testament to the central role that family owned, small town newspapers can still play even though, like its big city brethren, it faces its worst, and possibly last, threat from the web. The Star, a paid weekly, is luckier than most in its class. Many big real estate brokers still view its great big print spreads as a good way to market their huge Hamptons properties. And Craigslist does not have enough of a presence here to kill off The Star's classified listings. Advertising has given The Star enough resources to start a new four times yearly glossy magazine, East, and enough juice to maintain the paper's mission, which is to "ask hard questions, not be afraid to make public officials angry," Mr. Rattray said. Netflix buys a visual effects company in a move to support its global ambitions. 15 minimum wage for federal contractors will take effect Jan. 30. But new competitors like Curbed.com, owned by Vox Media, and Patch, not to mention Facebook, have exerted pressure. Circulation is down to a maximum of 12,000 from 16,000, though many tens of thousands more read it online. "Our gross is about half of what it was at its peak" in 2006, Mr. Rattray told me as we sat in the garden behind the Star headquarters on Thursday, with the first of the holiday traffic trickling by on Main Street. With a shrinking advertising base, Mr. Rattray, a fit 53, has had to pare his staff and take on some of the more menial duties himself: helping with obituaries, letters to the editor (which are published in full, in keeping with a longstanding Star policy), and even the community and government calendars. He still has to find time to write the editorials, the latest of which favored the town's moves against the "excesses of the summer bar and party scene" the primary generator of mayhem. The scene has been stoked by what longtime residents see as an invasion of club promoters and developers with sensibilities that can seem more Manhattan than Montauk, a hamlet with a proud blue collar fishing tradition. There were already signs of a public backlash after the town's strict enforcement of state and local codes pushed one popular and, in some quarters, infamous club, Cyril's Fish House, to shut down, and another, The Surf Lodge, to at least temporarily halt its concert lineup of big acts. But Mr. Rattray went ahead with his editorial anyway. "Without a tough minded but fair family owned newspaper, the forces kind of arrayed against this place, the South Fork, would win," Mr. Rattray said. "Maybe that's arrogant to think, but it's how I was raised." It's also how Mr. Rattray is raising his three children the oldest is 15 who he hopes will succeed him. But most young people interested in media careers seem drawn not to newspapers but to where the growth and opportunity are: modern start ups with their use of Instagram and Facebook and their new ways of working more closely with advertisers and making them part of the editorial content. I got to see that firsthand when I visited the young crew running Whalebone Media, who in about a year have built their own honest to goodness media company. With the stylishly beachy sensibility of its surfer millennial founders, Whalebone publishes a free glossy lifestyle magazine with a circulation of 20,000, and it tells prospective advertisers that it drew more than two million views through social media in its first several months of operation. Whalebone's offices are sleek and new, with big windows facing Montauk Harbor. Its publisher, Eddie Berrang, and managing director, Bronson Lamb, began the company in conjunction with their friend Jesse James Joeckel's Montauk based clothing brand, Whalebone. Mr. Joeckel founded the Whalebone Creative label in 2010 after designing T shirts and logos for local surf shops. They went door to door to get enough sponsorship to publish the first issue of Whalebone magazine. Their first major advertiser: Soul Cycle, which had taken over the old single screen Montauk movie theater where the ticket taker also worked the popcorn machine. When I referred to Whalebone as a publication, Mr. Berrang, 34, corrected me. "The word 'publication,' it's an antiquated term," he said. "It's just a dying medium." Whalebone has a robust web presence that will soon include a new retail site. The whole experience relies on what the company calls "submersive media": The Whalebone crew designs sponsors' ads to run seamlessly, and openly, in the editorial content, such that a gorgeous spread of old Montauk fishing photos in the latest issue of the magazine is prominently "presented by Chris Coleman with Saunders" real estate. Their young readers are unfazed by that sort of integration, they say.	N24News: A New Dataset for Multimodal News Classification	Media
SAN FRANCISCO Uber on Monday settled a long running legal battle with drivers in California and Massachusetts who wanted the ride hailing company to recognize them as employees, agreeing to pay the drivers 20 million but not changing their status as independent contractors. As part of the settlement, Uber said, it will also change the way it removes drivers from the service by making the process more transparent. It published a policy that describes how it deactivates drivers and said it would institute an appeals mechanism, as well as classes to teach drivers how to improve ride quality. The settlement defuses a potentially thorny issue as Uber prepares to go public. Uber, which confidentially filed for an initial public offering in December, is expected to be one of the largest tech offerings in recent years and could be valued at as much as 120 billion. In a move intended to appease drivers and acknowledge their role in building the company, Uber plans to offer them the chance to buy shares at its I.P.O.	N24News: A New Dataset for Multimodal News Classification	Technology
Each of these escalation points appear designed to bait Mr. Trump into reinforcing the false narrative that there are only two choices when it comes to Iran: war, or a return to the flawed 2015 nuclear deal. If Iran could make war seem imminent, so the thought goes, it might indirectly force Mr. Trump into relieving sanctions (assuring the regime's survival), perhaps even without entering direct negotiations. To his credit, President Trump recognized those traps for what they were and exercised strategic patience. Indeed, Mr. Trump could have responded to each provocation with a proportional military response. After a day of flag waving, the national mood might well have shifted against Mr. Trump, forcing him to offer sanctions relief prematurely without achieving any long term national security objectives. This may indeed have been what Qassim Suleimani thought he would achieve following the killing of an American contractor and an attack on the United States embassy in Iraq. Instead, Mr. Trump surprised Iran by striking its top terror strategist, and then surprised it once again by responding to Iran's ballistic missile retaliation with a return to strategic patience. Mr. Trump emerges from the past few weeks in a stronger position. The maximum pressure campaign remains fully intact with political space to increase the sanctions pressure even further. Iran faces a backlash at home and abroad after its downing of a Ukrainian passenger jet. Mr. Trump's critics who warned that his policies would spark a third world war now seem to have gotten ahead of themselves. Many wrongly believe the United States has already reached full "maximum pressure" on Iran. In truth, several critical pressure points remain untapped. The administration this month rolled out fresh sanctions targeting Iran's construction, mining and manufacturing sectors, along with the first step in a crackdown on violators of American sanctions on Iranian metals and petrochemicals. Sanctions targeting Iranian state shipping lines are set to take effect in June and could be expedited for more immediate impact. Another potential target: Iran's financial sector in its entirety. In 2018, Senator Ted Cruz of Texas, and Representative Mike Gallagher of Wisconsin, proposed legislation imposing sanctions on Iran's financial sector, which the United States recently determined to be a "primary jurisdiction of money laundering concern." The effect could be destabilizing, immediately cutting off all non sanctioned banks inside Iran from international commerce, forcing their disconnection from the global financial messaging system known as SWIFT and rendering all remaining foreign exchange reserves held outside Iran inaccessible for any purpose.	N24News: A New Dataset for Multimodal News Classification	Opinion
"We proactively suspended self driving operations in all cities immediately following the tragic incident last week. We continue to help investigators in any way we can, and we'll keep a dialogue open with the governor's office to address any concerns they have," said Matt Kallman, an Uber spokesman. The rebuke from the governor is a reversal from what has been an open arms policy by the state, heralding its lack of regulation as an asset to lure autonomous vehicle testing and tech jobs. Waymo, the self driving car company spun out from Google, and General Motors owned Cruise are also testing cars in the state. Mr. Ducey said he was troubled by a video released from the Tempe Police Department that seemed to show that neither the Uber safety driver nor the autonomous vehicle detected the presence of a pedestrian in the road in the moments before the crash. The police said the car never slowed down before striking 49 year old Elaine Herzberg, who was pushing a bicycle across the road. The National Transportation Safety Board, which is investigating the crash with the local police, has not yet ruled whether the company was at fault. The governor's decision comes after The New York Times reported that Uber's autonomous vehicles had struggled to meet company targets for reliability in the months leading up to crash.	N24News: A New Dataset for Multimodal News Classification	Technology
The resulting antivenom contains many nonhuman antibodies irrelevant to venom, some of which can create harmful immune responses. Moreover, it is expensive. A vial of antivenom costs about 2,000, and treatment of one bite can require 25 vials or more. And in the end, the antivenom produced is not always effective in boosting the immune system of a snakebite victim. Some scientists think genomic technologies could be used to synthesize antivenom, and eventually treat victims more cheaply and effectively. They want to study the venom genes themselves, including their organization, variability and evolution. Doing this requires mapping the snake's genome. In Nature Genetics on Monday, one team of researchers released their map of the genome of Naja naja, the Indian cobra. They found 12,346 genes expressed in the venom glands, what they call the "venom ome" of the animal. Of these, they found 139 toxin genes, the ones that perform the biological reactions specific to toxins. Then they designated 19 of these genes as "venom ome specific," expressed only in the venom gland, and that are responsible for a wide range of symptoms in humans, including heart function problems, paralysis, nausea, blurred vision, internal bleeding and death. With this catalog of genes specific to venom production, they hope scientists can now begin to use recombinant protein technologies to generate antivenom effective against the venom of the Indian cobra and closely related species. As more snake genomes are completed, scientists may be able to combine species specific toxins and create broad spectrum antivenoms that could work against bites from multiple species. The study's senior author, Somasekar Seshagiri, a former staff scientist at Genentech and now president of SciGenom Research Foundation, a nonprofit research center in India, said that sequencing a snake's genome can be done in less than a year for under 100,000.	N24News: A New Dataset for Multimodal News Classification	Science
"Yep, good news, it's safe for the president to return home mostly because everyone at the White House already has the virus," Jimmy Fallon said on Monday. Welcome to Best of Late Night, a rundown of the previous night's highlights that lets you sleep and lets us get paid to watch comedy. We're all stuck at home at the moment, so here are the 50 best movies on Netflix right now. Late night hosts had a lot to work with on Monday, touching on Trump's Covid 19 diagnosis and his return to the White House after spending the weekend being treated at the Walter Reed National Military Medical Center. "Yep, good news, it's safe for the president to return home mostly because everyone at the White House already has the virus," Jimmy Fallon joked in his monologue. "The Trump administration is now the hot zone. Coming this fall from Aaron Sorkin: 'The Infest Wing.'" STEPHEN COLBERT "And now at least 30 people in Trump's circle have tested positive for Covid 19. You realize that means there's been more infections at the White House over the last day than in New Zealand, Vietnam, Taiwan, Thailand and Australia combined. The White House Rose Garden is like the wet market of America right now." TREVOR NOAH "I mean, can we just assume everyone in the White House has coronavirus at this point? It's like 'Game of Thrones,' except we'd be happy if it ended with Bran in charge." SETH MEYERS "Everyone from Trump's campaign manager to Trump's press secretary to Trump's friends have been infected with coronavirus now. It's almost like the writers of 2020 didn't know how to wrap the story up so they were just like, 'Uh, then they all get coronavirus, the end.'" TREVOR NOAH "When she heard he was coming home, Melania immediately checked herself into Walter Reed." JIMMY FALLON "Now look, I know some people are saying this was karma catching up to Trump, but guys, a massive outbreak at the White House is not karma, it's consequences, all right? It's not karma to get hit by lightning when you're standing on the roof of a skyscraper holding a metal rod while there's lightning. The universe didn't do that expletive to you you did that expletive to yourself." TREVOR NOAH "Now, while the doctors were presenting a rosy picture, they also revealed that Trump has been put on two drugs: remdesivir and dexamethasone. I'm not a doctor, but I'm pretty sure it's not a good sign when you get prescribed the high score in a Scrabble game." STEPHEN COLBERT "According to The Washington Post, Trump told advisers on Sunday he was getting bored of being in the hospital and was tiring of watching coverage of his hospitalization. Oh, you were bored? Well, that must be nice. Meanwhile, the rest of us stop, drop and roll every time a CNN alert pops up on our phones." SETH MEYERS "Remember: He might get better from Covid but he will never get better as a person." SETH MEYERS "The president tried to prove how healthy he was this weekend by releasing this photo of him 'at work.' Now, some have pointed out that the piece of paper seems to be blank. But to defend the president, that doesn't mean he's not working, because a blank piece of paper is his Covid response plan." STEPHEN COLBERT "It seems like a photo op, but they've really just been handing Trump blank pages to sign for the past four years." JIMMY FALLON "Yes, basically Trump staged these photos just to make it seem like he was busy at work. So what we have here is a rare case of pics and it didn't happen." TREVOR NOAH "So not only are we paying for your top of the line medical care, but you're also missing work? I mean, did you even sign that blank piece of paper like we asked you?" SETH MEYERS "I mean, these people don't even know how to fake work: 'We should put out a photo showing he's hard at work.' 'Good idea what would that be?' 'I don't know it's crazy, but maybe signing a blank piece of paper. Does the president do that?'" SETH MEYERS "Now, people were mocking this online, which made Trump furious at his staff. He was like, 'You guys told me these were military contracts written in invisible ink!'" JAMES CORDEN The "Daily Show" correspondent Jaboukie Young White made sure no one missed the news that the first lady, Melania Trump, "hates Christmas."	N24News: A New Dataset for Multimodal News Classification	Television
The opening night scene at Sid Gold's Request Room, a new piano bar on West 26th Street in Chelsea, was reminiscent of the 1950s, with well dressed men in colorful sport coats and women in vintage sheath dresses sipping cocktails around a baby grand. The music, however, was not. Instead of Sinatra, the pianist and co owner Joe McGinty played the Smiths's "There is a Light That Never Goes Out." This is not your uncle's piano bar. And that is precisely the point of Sid Gold's, a new and unusual spin on the city's lively cabaret scene and a place that is more Morrissey and Marr than Kander and Ebb. It fulfills a longtime dream for Mr. McGinty, 55, a songwriter and musician who has recorded and performed with bands like the Psychedelic Furs, Nada Surf and the Ramones. While he was banging out pop classics and current hits at his popular piano karaoke nights at various bars over the last two decades, Mr. McGinty harbored a quirky fantasy. He dreamed of opening a place of his own, where friends and strangers could gather around his keyboard, belting out their favorite contemporary songs. "Anybody I knew who was in the bar or restaurant business, I would ask them 'Hey, do you want to start a piano bar?' and no one really took the bait or seemed that interested," said Mr. McGinty, a soft spoken and avuncular man who seems an unlikely ringleader for a live karaoke circus. Then, a couple of years ago while Mr. McGinty was playing his regular Tuesday night piano karaoke gig at the Manhattan Inn in Greenpoint, a bar owner named Paul Devitt walked in, sang the Carpenters' "Superstar" and was impressed by Mr. McGinty's playing. And he, too, was looking to start a piano bar. Mr. McGinty had the same idea since the mid 1990s. Over the years, he has played piano karaoke everywhere from the former Fez on Lafayette Street, to Motor City on the Lower East Side and the Lucky Cat in Williamsburg. He has also had his share of famous impromptu performers, including Sia, before she became a star. "It was a slow night and she was there by herself," he recalled of a night in 2005 at the Lucky Cat. "I didn't know who she was. And then at the end of the night, she got up and did this incredible version of 'Close to You.' " Mr. McGinty prides himself on his vast musical library and has the music for around 300 songs on photocopied sheets, along with a big binder of lyrics. He also has sheet music and chords loaded onto his iPad. But he knows the karaoke favorites by heart. "The all time most popular one is 'Don't Stop Believing' by Journey, and 'Killing Me Softly' is probably in the top five," he said, adding there are some crowd favorites he could do without. "I should give 'Total Eclipse of the Heart' a break. Sometimes it's fun, and other times it's like, 'Oh, not again.' " On the opening night of Sid Gold's, which took place last month, the range of songs was broad and singers generally avoided the obvious choices. Selections ran the pop gamut and included Elton John ("Pinball Wizard"), Lionel Richie ("Hello") and even Britney Spears ("Baby One More Time"). Later that evening, a couple of Broadway players stopped by and, in keeping with Mr. McGinty's modus operandi, left their show tunes at the office. Michael Cerveris, who is starring in the Tony winning musical "Fun Home," belted out a soulful version of David Bowie's "Life on Mars." Shannon Conley, who has been an understudy for Yitzhak in "Hedwig and the Angry Inch," sang a wildly intense version of "Head Like a Hole" by Nine Inch Nails.	N24News: A New Dataset for Multimodal News Classification	Style
"The curators of the exhibition hope that viewers will consider why the artists produced it and what they may be saying about the social conditions of globalization and the complex nature of the world we share," the Guggenheim said in a statement posted on its website on Thursday. The three month show, "Art and China After 1989," opens Oct. 6 in the New York City museum and will feature about 150 pieces of experimental art. Many works are deliberately shocking, including the signature piece, "Theater of the World," which features live insects and reptiles scurrying under an overhead lamp. But so far the backlash has centered on the video by the artists Sun Yuan and Peng Yu, the husband and wife creators of often stirring and unsettling work. (In 2000, their transfused blood was injected into the corpse of conjoined babies in the performance piece "Body Link.") "Shame on the 'artists' for using animals in their pitch for sensationalism," one reader wrote in the comments of a New York Times article this week about the Guggenheim show. "Shame on you Guggenheim for prompting heinous animal cruelty under the guise of 'art.'" In an interview last year, Mr. Sun and Ms. Peng defended "Dogs That Cannot Touch Each Other" and dismissed claims of animal cruelty.	N24News: A New Dataset for Multimodal News Classification	Art & Design

Subsets and Splits

No community queries yet

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