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The Suffolk Theater on Main Street is one element of a renewal fueled in part by historic designation; a world class aquarium is another attraction. The commercial area of Riverhead sits at the spot where the North and South Forks of Long Island divide, which is why it is sometimes called the Gateway to the East End. For some visitors passing through, it is best known as the home of Tanger Outlets, a giant discount mall, and of a string of big box stores that stretch east beyond it on Old Country Road. Others may also know its Main Street, a once run down area now in the midst of a revival driven in part by a world class aquarium and a refurbished Art Deco theater. What many don't know is that the census designated place called Riverhead the 15 acre hamlet as distinct from the surrounding town stretches north to the Long Island Sound. It has everything from multiacre farms and estates to clusters of manufactured homes, an evolved form of what were once called trailer parks, most of which cater to people 55 and older. Janet Bidwell, an agent with Douglas Elliman and a longtime North Fork resident, concurs. "We're seeing a lot of first time home buyers and investors," she said. Matt Marshak, a first timer, believes he got a bargain last October when he paid 285,000 for a three bedroom colonial with a two car garage and a pool on nearly a third of an acre near the downtown. "It's an absolutely incredible home," said Mr. Marshak, a jazz guitarist. "Visitors are blown away by what I paid." His mortgage payment, he said, is less than the rent that he and his wife, Dionne, paid for their former home in East Meadow. They had driven through Riverhead a year or two earlier, he said, and felt drawn to it. "Sometimes in life you see that you can be a part of something," he said. "Other areas have already arrived. This one is on its way." As a multiracial couple, he said, he and his wife liked the area's diversity. Still, because they knew of the "stigma" attached to Riverhead, they visited several times before committing. "We would drive around and talk to people on the block," he said. "We were really impressed." They also had concerns about the schools that their daughter, Madison, now 3, would attend. "Once we talked to people who used the school system," he said, "we found they couldn't be more satisfied." And being close to the Long Island Expressway, their home is convenient for his wife's 45 minute commute to Jericho, and for his wide ranging travels as a musician. "As soon as we settled in," he added, "we realized how much the community has to offer, and we think it can be even greater than it is." He has already discovered Indian Island County Park, a fishing spot on the Peconic, and restaurants including Farm Country Kitchen, which overlooks the river, and the Riverhead Project, housed in a former bank. Richard Wines, chairman of the Town of Riverhead's Landmarks Preservation Committee, said it had been instrumental in the resurrection of the downtown, helping it gain local historic status in 2006 and getting it onto the National Register of Historic Places last year. The designation allows tax credits that spur redevelopment. "People are starting to colonize," he said.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Uber Wants to Sell You Train Tickets. And Be Your Bus Service, Too. DENVER When Julia Ellis arrives at a train station in a Denver suburb to go to work , she opens her Uber app. Next to the ride hailing options, she taps a train icon marked "Transit." The click buys her a ticket for Denver's public transit system, the Regional Transportation District. Ms. Ellis said she had used Uber to get her train tickets since the company rolled out the feature this spring. She also often takes an Uber ride to the station because a medical condition limits her driving. "You make two clicks and you're there," Ms. Ellis, 54, said of how Uber and Denver's train system had changed her commute. Ms. Ellis is part of a widening experiment for Uber. As the company seeks new growth, it has teamed up with cities and transit agencies in the United States, Canada, Britain and Australia to provide tickets, to transport people with disabilities or sometimes to substitute for a town's public transportation system entirely. Since 2015, Uber has inked more than 20 transit deals. The push is now being championed by Dara Khosrowshahi , its chief executive, to turn the company into the "Amazon of transportation." In that vision, Uber would become a one stop shop for car, bike, scooter, bus and train trips. Doing so would help Uber draw more riders, especially as the company faces questions from Wall Street about whether it can make money and revive its once red hot growth rate. On Thursday, Uber is scheduled to report its latest earnings, including an estimated quarterly loss of nearly 5 billion and declining revenue growth. "When you're taking your phone out of your pocket and deciding where to go, we want to be the first place that you go to," said David Reich, an Uber director who heads the team that the company formed last year to focus on public transportation. Uber has pitched itself as being able to provide cheaper and more flexible transportation, especially in locations where public transit is scant. But mixing ride hailing with their own services has left some city officials uneasy. Cities also worry that Uber and Lyft could increase congestion. A recent study commissioned by the companies found they were contributing to congestion, though they are outstripped by personal vehicle use. "There are real questions about forming partnerships that may end up pushing riders away from public transportation," said Adie Tomer, a metropolitan policy fellow at the Brookings Institution, who studies infrastructure use. "It's a dangerous game for transit agencies to make agreements with ride hailing companies." In a filing in April, Uber stoked competitive fears by saying it aimed to replace public transportation altogether. The sentence was replaced in a later filing with a promise that Uber would integrate public transit into its app "as an additional low cost option." Lyft has also moved into public transit. It began offering free rides to a train station in a Denver suburb in 2016. Now it has 50 transit deals in the United States, including a partnership with the Los Angeles Metro in which Lyft car pool riders can earn free credits to take public transit. "We see ourselves as supportive of the transit industry and want to see the transit ridership grow and increase around the country," said Lilly Shoup, Lyft's senior director of policy and partnerships. Uber's public transit partnerships vary by place. But with most of the agreements, cities tap the company's network of drivers to provide rides in areas that do not have reliable bus routes. Cities often subsidize the rides so that passengers pay what amounts to a bus fare rather than a typical Uber fee. Uber generally earns a subsidy from the transit agency, a fare from the rider or both. In Denver, the partnership is centered on ticketing rather than car rides. Through Uber's app, people get a new way to buy tickets and obtain train and bus schedule information. Uber doesn't make money selling the tickets, but it benefits when ticket buyers, like Ms. Ellis, stay in the app to book a ride from the train station to their destination. One of Uber's earliest partnerships was in 2015 with Dallas Area Rapid Transit. That year, DART agreed to temporarily display Uber rides as an option in its app during St. Patrick's Day festivities. The promotion, intended to give boozy celebrators more choices for getting home safely, became so popular that DART eventually integrated Uber into its app permanently. DART now subsidizes shared Uber rides within a few miles of several public train stations. The agency estimated that it spent 15 per rider when it ran bus routes in those areas; now it saves money by paying Uber less than 5 a person. Dallas transit officials were initially cautious about the partnership, they said. "For a while they ignored us. Then they cannibalized us. Now they want to work with us," Todd Plesko, DART's vice president of service planning and scheduling, said of Uber and Lyft. "It's the kind of market for trips they never did before." Uber was also hesitant to share data about riders and routes, citing privacy concerns. Mr. Plesko said Uber had mentioned the hunt for Osama bin Laden as an example of how individuals could be identified from their data. (Uber said no one had used a Bin Laden reference.) But Dallas ultimately decided to work with Uber. Integrating Uber rides into DART's app could help stem the flow of riders who abandoned public transportation for private ride hailing services, Mr. Plesko said. "If we're going to survive as an agency, we have to be willing to innovate and take risks," he said. One place that has used Uber as an alternative to public transportation is Innisfil, Ontario. In 2017, a consultant told Innisfil, a town of more than 37,000, that it would cost about 35 Canadian dollars, or about 26, per ride in subsidies to start a bus route that covered only 5 percent of its geography and provided 16,000 rides a year. Along with costs like buses and bus shelters, the total cost would be 561,000 Canadian dollars, or 422,600 , city officials said. They said that seemed too expensive and would not provide enough coverage. Uber offered Innisfil cheaper rides that could go many places rather than follow a set route. The company now provides car pool rides to residents in place of a bus system. Innisfil pays Uber about 9 Canadian dollars, or 7, per rider. "Large municipalities sometimes see ride sharing as their enemy because it's taking away from their ridership," said Lynn Dollin, Innisfil's mayor. "We've taken a different approach and embraced it." The new transit system became so popular that Innisfil went over its budget in what it paid Uber, she said. In April, the town increased the rate it charges people by 1 Canadian dollar for an Uber ride to between 4 to 6 Canadian dollars. It also capped the number of rides that residents could take each month. Denver's Regional Transportation District agreed to work with Uber this year because "the No. 1 intriguing thing was opening up this market," said David Genova, the agency's chief executive. Ride hailing apps are ubiquitous, he said, giving R.T.D. an opportunity to easily put its offerings in front of tourists who might be looking for an Uber. He added that he was wary of how long Uber and Lyft might be around because of their shaky finances. "Uber is not fiscally sustainable; Lyft is not fiscally sustainable," Mr. Genova said. But ticketing integration is low risk, he said, and bringing mobile ticketing to Denver was a top priority. R.T.D. has sold more than 3,500 train and bus tickets through Uber, a tiny fraction of the agency's 322,000 daily rides. But Mr. Genova said he was optimistic, with the number of tickets sold through Uber increasing about 29 percent a week from the beginning of June through the end of July. "Everybody wants to know: How did we do this?" he said. "I wouldn't call it envy, but my colleagues around the country are very, very interested in this."	N24News: A New Dataset for Multimodal News Classification	Technology
"Intrigo: Dear Agnes," now out on digital and on demand, features not strangers with homicidal schemes, but long lost friends. Henny (Gemma Chan) reunites with Agnes (Carla Juri) after the funeral of the latter's husband. Trapped in an unhappy marriage with a rich man, Henny expresses open envy at Agnes's freedom. Henny realizes she can eliminate her husband, Peter, if she can persuade Agnes to kill him. In exchange, she'll pay Agnes the money she needs to keep her house. Henny's rationale is that she suspects Peter of infidelity, and Agnes gives voice to a question sure to occur to viewers: Why not just leave him? Henny doesn't want to give him the satisfaction, she says. Through flashbacks, the film traces the falling out that led to the women's current iciness. Their own connections, revealed bit by bit, make their plan even more ludicrous. A plot turn helps clarify why Henny reaches out to Agnes, but their motives remain muddled. Rated R for murderous, adulterous behavior. Running time: 1 hour 40 minutes. Rent or buy on Amazon, iTunes other streaming platforms and pay TV operators.	N24News: A New Dataset for Multimodal News Classification	Movies
Just weeks after ESPN laid off about 100 journalists and on air commentators, the "Worldwide Leader in Sports" unveiled a new programming slate on Tuesday filled with big personalities but short on the kind of highlight shows that for many years were the foundation of the network. The revamped lineup underscores just how much the changing media landscape has unsettled even the world's most powerful sports company. Once the undisputed king of sports programming, ESPN must now contend with companies like Google, Amazon, Facebook and Twitter, which not only offer statistics and highlights at the click of a button but are also increasingly offering the games themselves. And in a world where viewers can catch a must see play on Facebook or stream an entire football game on Twitter, who needs a traditional highlight show like "SportsCenter" that focuses on highlights and updates like player injuries and roster moves? "We at ESPN are optimists," John Skipper, ESPN's president, said on Tuesday at the network's annual presentation to advertisers. "Of course, the current environment forces us to be realists as well as optimists." So ESPN is shaking things up. The theme was a bet on the power of the network's personalities. ESPN formally announced several new shows including a three hour morning block with the longtime ESPN host Mike Greenberg, and one that will feature the commentators Bomani Jones and Pablo Torre. In an apparent effort to draw viewers to "SportsCenter," its crown jewel since 1979, ESPN has retooled the show, tying time slots to specific anchors, including Kenny Mayne, one of the network's best known personalities. The show will not air at all from 7 a.m. until 6 p.m. on ESPN's main channel. 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. What Will the Giants Do With Daniel Jones? The team must evaluate the quarterback ahead of a contract decision. Playoff Simulator: Explore every team's path to the postseason, updated live. The network has also signed new deals with other ESPN veterans, including Sage Steele and Hannah Storm, who will have a new role that includes hosting prime time specials. Ms. Steele will host a three hour morning version of "SportsCenter" on ESPN2. In an effort to meet viewers on their various devices, the network announced SportsCenter Right Now, short news updates online and twice hourly on ESPN during the day. During the presentation, Mr. Skipper highlighted ESPN's inclusion in television packages offered by the likes of Sling TV and Hulu. ESPN's efforts to adapt to the digital age are indicative of broader challenges facing cable television. Cord cutting has accelerated sharply in the last quarter, with traditional cable and satellite providers losing 732,000 subscribers compared with a loss of 102,000 in the same period a year ago, according to research by Michael Nathanson, an analyst at MoffettNathanson. Lower priced "skinny" online packages of channels have not made up the slack. National television advertising fell 1 percent in the last quarter, the most in nearly two years. The shifting media landscape has been particularly hard on ESPN. The network has dropped subscribers in the last several years even as sports programming rights have become more expensive. ESPN, for instance, recently paid 12 billion for a nine year deal with the N.B.A. Disney, ESPN's parent company, has staked some hope on an ESPN branded subscription streaming service that it plans to introduce by the end of the year. But at least initially, the service will mostly stream sporting events for which ESPN owns the programming rights but does not televise, like certain tennis matches, cricket matches and various college sports. Robert A. Iger, Disney's chief executive, told analysts on an earnings call last week that the ESPN service would allow people to tailor subscriptions based on their interest "a given sport or a given team or a given region in a given period of time." He also said that ESPN had been working to improve its mobile apps, which he said have recently attracted a relatively healthy monthly audience of 23 million unique users. Wall Street, however, has looked mostly askance at Disney's plans for ESPN. During the conference call, analysts bombarded Mr. Iger with questions about the network. The company's share price is down 7 percent since the last week in April, mirroring an industrywide decline that was driven by fears of cord cutting and weak ad sales. At the presentation on Tuesday, ESPN acknowledged its troubles, but did not let them detract from the over the top ritual of television's yearly pitch to advertisers. As they nibbled on breakfast sandwiches and avocado toast, the network paraded stars across the stage at a Broadway theater in Midtown Manhattan. Serena Williams sat for a short interview with Mr. Greenberg to promote his morning studio show that will start next year. Paul Pierce, the former N.B.A. star, appeared ("I'm still pulling for the Celtics," he said), as did many of the network's biggest names, including Scott Van Pelt, Suzy Kolber, Jon Gruden and Mr. Mayne. Absent, of course, was the talent the network laid off last month, including the former N.F.L. players Trent Dilfer and Danny Kanell, the former baseball general manager Jim Bowden, and the longtime N.F.L. reporter Ed Werder. Mr. Skipper was not available to talk to reporters after the presentation. But while the network threw out the occasional statistic Mr. Skipper said ESPN's prime time audience was up 15 percent in the first quarter and digital products reached more than 100 million people the program lacked the torrent of sliced and diced numbers that often invade such presentations.	N24News: A New Dataset for Multimodal News Classification	Media
Re "China and U.S. Can Have Cooperative Competition" (Op Ed, Nov. 25): Fu Ying, a former vice foreign minister of China, suggests the need for an equal and candid conversation. She is right. Both sides should be honest about what is going on. The Chinese Communist Party is committing a genocide. The United States is the world's best and loudest advocate for human rights, and our founding principles have shaped the world's understanding of liberty and democracy. Communist China is trying to expand borders beyond its territorial control in a quest for world dominance. The United States will stand against those who encroach on others' sovereign territory. China regularly steals American research and technology, and tech companies like TikTok and Huawei are required by Chinese law to turn over data to the Chinese Communist Party. Every time the party speaks, it tells one sided stories and half truths, and Ms. Fu's article is no different. Questions surrounding the Covid 19 vaccine and its rollout. If Covid 19 isn't going away, how do we live with it? Katherine Eban writes that a clear eyed view is required to organize long term against an endemic virus. Why should we vaccinate kids against Covid 19? The president of the American Academy of Pediatrics explains how vaccinating kids will protect them (and everyone else). Jessica Grose spoke with experts to find out what an off ramp to masking in schools might look like. Who are the unvaccinated? Zeynep Tufekci writes that many preconceptions about unvaccinated people may be wrong, and that could be a good thing. We can no longer pretend that Communist China is an ally with good intentions, merely a partner with customs and a political system that we don't fully understand. Communist China is a totalitarian regime bent on world domination, and as long as its officials refuse to tell the truth or respect human rights, they will be treated as such. Rick Scott Washington The writer, a Republican, is a U.S. senator from Florida. Re "Why Scrub for Show if the Virus Can Waft Freely?" (news article, Nov. 20): Here's a follow up question: Since we now know that virus droplets are the main cause of coronavirus transmission, and these droplets are particularly dangerous in areas with poor ventilation, why isn't more effort being made to help schools upgrade their heating, ventilation and air conditioning (HVAC) systems? Earlier this year, the Government Accountability Office estimated that 41 percent of school districts need to update or replace HVAC systems in at least half their school buildings; that's about 36,000 schools. Even before Covid, more than 14 million school days were missed every year because of asthma, a chronic condition worsened by poor indoor air quality. It's easier to find funding for cleaning products than for structural improvements, which is why many schools focus on disinfecting. Yet we must consider the health risks from over cleaning and using more chemicals in poorly ventilated areas, especially in low income communities that are already most affected by the coronavirus. Congress needs to pass the Heroes Act, which includes 5 billion to support K 12 school facilities, to help schools reopen safely. Scrubbing surfaces makes us feel safer, but clean desks won't matter if schools don't have clean air. Rochelle Davis Chicago The writer is president and chief executive of the Healthy Schools Campaign. Republicans, Pick Up Your Marbles and Go Home Re "Who Won? Many G.O.P. Governors Still Would Rather Not Say" (news article, Nov. 19): Gillum Ferguson, a spokesman for Gov. Bill Lee of Tennessee, was quoted as saying that "if the roles were reversed, Democrats would surely mount their own legal challenges." Well, the roles were reversed in 2016, and rather than spew outrageous, baseless lies about the election or mount frivolous lawsuits, Democrats accepted the process and the country's ideals, sucked up the defeat and unhappily moved on. It is high time for Republicans to do the same.	N24News: A New Dataset for Multimodal News Classification	Opinion
The cast of a chamber version of Wagner's "Das Rheingold" staged in a parking lot at the Deutsche Oper in Berlin. BERLIN The Rhinemaidens lament their lost gold on asphalt. Tristan savors doomed love in a stately 17th century garden. A motley crew of playboys and deposed royalty are set adrift in an industrial harbor. This is what opera in Germany looks like in the midst of a pandemic. The coronavirus outbreak has disrupted live performance around the world. And of all art forms, opera is particularly ill suited to limitations on large gatherings, by dint of its size, complexity and cost. But nearly three months after the virus scuttled the remainder of its season, the Deutsche Oper here became the first company to perform grand opera while complying with hygiene and distancing regulations. In a nod to the canceled start of its much anticipated new "Ring" directed by Stefan Herheim, the company mounted an alternative "Das Rheingold" in an unexpected outdoor location last month. You've heard of Shakespeare in the Park. How about Wagner in the Parking Lot? In an opera rich city starved of the art form for months, interest was predictably high, and the company said the performances, each with about 200 seats for five euros (less than 6), sold out online in minutes. The Deutsche Oper used Jonathan Dove's 1990 reduction of the score for 22 musicians and 12 singers, which shaves about 40 minutes off the two and a half hour running time. Many of the singers scheduled to sing in Mr. Herheim's production still appeared, and Donald Runnicles, the company's music director, remained on hand to conduct the diminished musical forces with a muscular conviction and dramatic flair that made this chamber version sound remarkably full. As a preamble to the "Ring," "Rheingold" is fast paced and witty, something of a punchy political cartoon. The director, Neil Barry Moss, did a clever job of working around both virus regulations the singers needed to maintain five feet of distance from one another and the peculiarities of a makeshift outdoor stage made up of little more than a few rows of stadium seating. The orchestra (which was amplified) played from behind the singers (who were not), below an overhang that protected them from the threat of rain. The parking lot, surrounded on all sides by the opera house and its administrative buildings, had remarkably good acoustics. The singers entered and exited through a central aisle between the rows of plastic chairs on which the physically distanced audience sat. There was a special thrill in having the cast breeze past at regular intervals. (The audience was required to wear masks except during the performance). In his metatheatrical production, Mr. Moss cast Wotan the god who uses stolen gold to pay for his new castle, Valhalla in the role of a stage director, and the bass baritone Derek Welton played him as a high strung creative type overseeing rehearsals. Loge, the fire god (the tenor Thomas Blondelle), zoomed around with large Starbucks cups, personalized with the names of the gods, as Wotan's put upon personal assistant. Other touches were equally cheeky and effective: Assorted props represented the gold; a bound copy of the score stood in for the ring; and, in a climactic reveal, Valhalla was the opera house itself. While the Deutsche Oper did its best to adapt Wagner to these extraordinary circumstances, the Hanover State Opera, in northern Germany, inaugurated a virus friendly summer program with a work that was ideally suited to the new restrictions: Frank Martin's "Le Vin Herbe." First performed in 1942, "Le Vin Herbe" is a haunting, difficult to characterize work inspired by the Tristan myth. Martin called it a secular oratorio, but there's a long tradition of staging it as an opera. Scored for seven strings, piano and 12 singers (six men and six women) who chant a libretto that offers little in the way of conventional dramatic development, it can feel like a rebuttal to the lush Romanticism of Wagner's "Tristan und Isolde." Martin's austere musical language, hovering on the threshold of tonality, is hypnotic. The performances, beginning June 19, took place in the Baroque "Gartentheater" of the magnificent Herrenhauser Gardens, which belonged to the kings of Hanover. There was special significance in the fact that this was the site of the first opera performance in Germany after the end of World War II in Europe: "Cavalleria Rusticana" and "Pagliacci," on July 11, 1945. The stately setting was an unexpectedly apt complement to the music and Wolfgang Nagele's simple, mournful production. The sides of the deep stage were flanked by golden statues and hedges. Flocks of bird soared overhead. Even in the midst of a persistent drizzle, most of the roughly 200 spectators remained to the bitter end. Water was also central, though intentionally so, in the Stuttgart State Opera's production of Paul Abraham's 1931 jazz operetta "Die Blume von Hawaii," staged at that southern German city's harbor. Performed over the first weekend of July, "Hawaii" was the first of two harbor productions created under unusual constraints: They couldn't exceed 70 minutes, five cast members or 10 days of rehearsal. (The second was Leonard Bernstein's "Trouble in Tahiti.") Arriving at the harbor, the audience put on wireless headphones and sat on wooden shipping pallets. A couple of hundred feet below, in the middle of the waterway built along the Neckar River, the singers and musicians occupied separate rafts while bringing to life this widely forgotten Weimar era work, with its infectiously tuneful score and firecracker lyrics. Sebastian Schwab's reduction for an eclectic variety of instruments including banjo, violin, saxophone, vibraphone and, briefly, steel guitar was skillful, even if the opulence of Abraham's original orchestrations was lost. Marco Storman's sparse production jettisoned the convoluted plot in favor of a quick and dirty staging that winked at the work's exoticizing tendencies and its stereotypes about Pacific Islanders. (I was amazed to find that quite a number of people in the audience had donned Hawaiian print shirts for the occasion.) The image that has remained with me after sampling some of Germany's intrepid efforts to make opera in the age of the coronavirus is the closing tableau of "Das Rheingold." The gods prying open the massive door that services the stage of the Deutsche Oper powerfully symbolized the deep wish for this country's and the world's curtains to rise once again. The blaring chords that accompany the gods' entrance to Valhalla had never sounded so joyous.	N24News: A New Dataset for Multimodal News Classification	Music
A New Editor, and a New Take on Brexit, for a Brawny London Tabloid LONDON Just past the entrance to the airy headquarters of The Daily Mail, Britain's pugnacious and politically powerful publication, stands a sculpture of three small spheres with wings. The title is hidden away on a small plaque: "Bullets of Information." Few papers in the run up to the Brexit referendum weaponized the tabloid tools of rumor, innuendo and invective like The Mail, whose lurid, factually murky warnings of immigrant violence and European Union evils helped tip the Leave campaign over the finish line. The paper's pro Brexit agitating is often Exhibit A in liberal Londoners' worries over the effect of "fake news" on the outcome of that 2016 vote. So it was a little strange this month to find The Mail praising Prime Minister Theresa May's "tireless struggle to secure an orderly departure" from Europe, even as hard line Brexiteers objected to her compromise approach. Or to read an editorial warning that exiting the E.U. without a negotiated plan a so called hard Brexit could prove "catastrophic." In October, the paper labeled some pro Brexit members of Parliament "saboteurs" for their refusal to consider Mrs. May's compromise possibly confusing Mail readers, who a mere 18 months earlier received a front page declaring the anti Brexit forces "saboteurs." Mr. Greig is no Middle Englander. An Eton and Oxford graduate from a family that runs in royal circles his grandfather was, for a time, a close confidant of King George VI he edited the society magazine Tatler for nearly a decade. Inheriting Mr. Dacre's wood toned office, he raised the low ceiling and installed artworks by old friends like David Hockney and Lucian Freud. (The Hockney consists of iPhones, embedded in a mirror, that display the artist's latest digital doodles.) Mr. Greig had opposed Brexit from the start. At The Mail on Sunday, a corporate cousin of The Daily Mail that he began editing in 2012, he published editorials that urged readers to stick with the E.U. When he accepted Mr. Dacre's role, some London friends were taken aback. Can a man about town journalist, friends with the likes of the author V. S. Naipaul and Camilla, Duchess of Cornwall, keep his reputation at the center of Brexit tabloid muck? With barely a month to go before the March 29 Brexit deadline, British journalists and politicians not to mention the general public are still struggling to understand what exactly could transpire when, or if, the break from Europe occurs. The uncertainty has trickled down to the tabloids, which remain potent players in the Brexit debate and unabashed in using their pages to further an editorial view more akin to cable news in the United States, where pundits hash out talking points and the political class pays heed. Some papers have shown introspection, with the editor of the pro Brexit Daily Express admitting to a parliamentary committee that his paper's coverage had left him "very uncomfortable" and "created an Islamophobic sentiment." Others are unchanged: On Wednesday, after the Labour Party leader Jeremy Corbyn said he was prepared to support a second referendum, the Rupert Murdoch owned Sun blasted out the headline "BETRAYAL." The Mail's enduring influence here makes its evolution all the more striking. "What's happened to The Daily Mail under Geordie could have long lasting, even historic consequences," said David Yelland, a former editor of The Sun. "Here is the beloved daily newspaper of Middle England, the prime hard Brexit cheerleader suddenly arguing for a common sense compromise." Mr. Greig is reluctant to speak about his editorship, and he declined to comment for this article. But the attitude that generated notorious Mail headlines like "Enemies of the People" a Dacre era front page denouncing three obscure British judges, complete with names and head shots has started to fade. Whether Mr. Greig's changes are a betrayal or a betterment or make good business sense is a matter of lively debate. With about 1.2 million daily print subscribers, The Mail remains a predominant force in British culture and the halls of Westminster. (The Mail's website is also among the most popular news sites in the world, though British politics make up a fraction of its celebrity heavy content.) 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. Greig has won praise from Remainers like Alan Rusbridger, the former Guardian editor, who wrote in a recent column that The Mail "has stopped behaving like a punch drunk old bruiser lurching around in search of a brawl." Brexit partisans, though, say The Mail has turned its back on readers. "Not a softening a reversal," Stephen K. Bannon, the former Breitbart News impresario, who has championed right wing movements across Europe, said when asked about the changes at the paper. Mr. Greig's allies, mindful that Mr. Dacre still lurks at The Mail as an executive, take pains to say his changes are merely in tone that The Mail still supports Brexit, only a more pragmatic, let's think this through kind of Brexit. And Mr. Dacre whose fondness for a certain four letter word for a female body part led colleagues to refer to his meetings as "the vagina monologues" has not gone quietly. In a column ahead of his departure, he wrote: "Support for Brexit is in the DNA of both The Daily Mail and, more pertinently, its readers. Any move to reverse this would be editorial and commercial suicide." The Mail is still a scold, particularly about the foibles of celebrities and royals, and its retrograde views on sex and romance are mostly unchanged. A Valentine's Day guide this year urged lonely women to avoid turning off male suitors by shedding "gloomy" titles from bookshelves and ridding their homes of cactuses, which were deemed "unwelcoming." But Ms. Fenton, a professor at the University of London who studies Britain's media market, said in an interview that the broader London tabloid scene was not that different, despite concerns over misinformation after Brexit. "You can still pick up a paper any day of the week and get an anti immigration story," she said. Like others here, Ms. Fenton said her biggest concern was that the Brexit coverage might not help Britons grasp how it would affect their lives. "There is very little public understanding, and the media has got to take responsibility for that," she said. "The majority of reporting is conflictual still" who's up and who's down in Parliament, for instance. "It's not about the real consequences." The Mail has the second highest circulation of any British paper, trailing only the down market Sun and far outpacing liberal favorites like The Guardian, whose editorial page is sharply against Brexit. One sign of the paper's shift came in mid February, when a top adviser to Mrs. May was overheard in Brussels suggesting that the prime minister could extend the Brexit deadline. The Daily Express which has the slogan "We're Backing Britain" on its front page ran the story on its front page, declaring, "Secret Brexit Plot Exposed in Hotel Bar." The same day's Mail placed the news on Page 10, with the relatively subdued headline "May's Brexit Chief in Bar Blunder." On the cover, instead, was a celebratory piece about the success of the paper's anti litter campaign, the Great British Spring Clean. As the three year anniversary of the Brexit vote looms, with no clear resolution in sight, it's also possible that average British readers simply want to think about something else. Over tea in the dining hall at Portcullis House, the parliamentary office building, Ian Dunt, the editor of Politics.co.uk, lamented that the marathon machinations of Brexit had left readers numb. Compared with President Trump's tenure, Brexit "is much more boring," he said, dryly. And given falling circulation numbers and the mass digital migration of news, Mr. Dunt questioned if the revised tone at The Mail, or any other paper, would do much to change minds. He may have a point. Around the corner from The Mail's headquarters on Kensington High Street, a newsstand vendor, a man in late middle age, was asked if he had noticed anything different about the paper's Brexit coverage. "Oh, I wouldn't know," he replied, with an apologetic smile. "I just do the crossword."	N24News: A New Dataset for Multimodal News Classification	Media
If a novel about "first world problems," as Nora's daughter calls them, already has you rolling your eyes, remember that Quindlen, who won a Pulitzer Prize for commentary while a New York Times columnist, is one of our most astute chroniclers of modern life. This novel may be too quiet for some, too populated with rich whiners for others, but it has an almost documentary feel, a verisimilitude that's awfully hard to achieve. There's no moment that feels contrived or false, except perhaps to non New Yorkers who may find it impossible to believe that anyone would consider 350 a month for a parking space a bargain too good to pass up. The story is told from Nora's point of view. Much like Quindlen, she's a sensitive and introspective observer of people and what makes them tick. She's also keenly aware that the residents of her tightknit block are white and the nannies, housekeepers and handymen who work for them are not. This factors into the story when her handyman, Ricky, inadvertently blocks access to the parking lot and a neighbor with well established anger management issues takes a 3 iron to his van, shattering the handyman's leg when he intervenes. Charlie witnesses the incident; Nora happens upon it, returning from a jog. And when Charlie sides with the neighbor, a crack develops in the neighborhood's facade, affecting everyone, but none more than the Nolans. Charlie isn't, by any stretch, a terrible husband. He isn't having an affair with a much younger woman and he's not engaged in financial shenanigans. When the twins were younger, he was an attentive father. But he can't shake the feeling that Nora settled for him when they married, and he's frustrated by his inability to be somebody in the business world. Perhaps only in New York would a man's climb up the ladder be permanently halted when he's thought to be too decent: "Over the years his colleagues had waited for the shark to emerge from behind the nice guy, the wolf in sheep's clothing to make an appearance, the open faced mask to drop. Nora suspected that when they realized it was not a mask at all, they had begun to value Charlie less."	N24News: A New Dataset for Multimodal News Classification	Books
WASHINGTON There are widening divisions among officials of the Federal Reserve over the value of its efforts to reduce unemployment, but the authors of its bond buying policy remain firmly in control, according to an official account of the January meeting of the Fed's policy making committee. An increasingly outspoken minority of Fed officials are concerned that monthly purchases of about 85 billion in Treasury securities and mortgage backed securities are doing more harm than good. They argue the effort may need to end even before the nation's unemployment rate drops, because it is encouraging excessive risk taking and could make it harder to control inflation. But the Federal Open Market Committee reiterated its determination in January to hold course until there was "substantial improvement" in the outlook for job growth, and several officials cautioned at the meeting that the greater risk to the economy was in stopping too soon, according to the account, which was published after a standard three week delay. Those officials "noted examples of past instances in which policy makers had prematurely removed accommodation, with adverse effects on economic growth, employment and price stability," it said. "They also stressed the importance of communicating the committee's commitment to maintaining a highly accommodative stance of policy as long as warranted by economic conditions." Ian Shepherdson, chief economist at Pantheon Macroeconomic Advisors, said investors should not be misled by the amount of space in the Fed's account concerned about its current policies, because the Fed's chairman, Ben S. Bernanke, and his supporters, continue to regard the asset purchases as a necessary and effective strategy to foster job growth. "We view Mr. Bernanke as being firmly in charge of the committee, and very dovish indeed," Mr. Shepherdson wrote in a note to clients. He said he expected the Fed's asset purchases to continue at the current pace for the rest of the year. While officials pushing for an earlier end to asset purchases do not have nearly enough votes on the 12 member committee to force a change in policy, they could reduce the impact of the Fed's efforts by convincing investors that purchases are even slightly more likely to end sooner. Historically, it is often true that outspoken opposition has produced a moderation in Fed policy, because the committee prefers to operate by consensus. But Mr. Bernanke in recent years has demonstrated that he can and will maintain majority support in the face of persistent dissent. His hand is strengthened by the fact that some Fed officials want to do still more to stimulate the economy. Narayana Kocherlakota, president of the Federal Reserve Bank of Minneapolis, has said that the Fed should hold short term interest rates near zero at least until the unemployment rate falls below 5.5 percent. The Fed has said that it intends to hold rates near zero at least until unemployment falls below 6.5 percent. The rate in January was 7.9 percent. The Fed could also be fortified in its current policies if Congress continues to cut spending. Another round of across the board cuts is scheduled to take effect March 1. The Congressional Budget Office estimates the cuts would reduce growth by 0.6 percentage points this year, and employment by about 750,000 jobs. There is little internal support for increasing the pace of securities purchases, but the account says that some officials raised the possibility of maintaining a portion of the Fed's investment portfolio for a longer period as the economy recovers. The theory, which also underpins the Fed's plan to suppress interest rates for several more years, is that the Fed cannot do much more now, but it can compensate by maintaining its efforts for longer than it otherwise would. Holding onto the assets longer would maintain downward pressure on interest rates. The account said the committee planned a review of the asset purchase policy at its next scheduled meeting on March 19 and 20. The meeting account shows Fed officials generally expected a slow improvement in economic conditions this year, and were not overly concerned that the economy had not expanded, or expanded only modestly, in the final months of 2012. But they do not expect the economy to expand fast enough to significantly reduce unemployment. The account also indicated that "a number" of officials are concerned that the economy is suffering permanent damage, partly because people unemployed for long periods are losing their skills, which could impede growth for years to come. The Fed's vice chairwoman, Janet L. Yellen, said in a speech this month that inflation remained low and steady, while unemployment remained stubbornly high. As a result, she said, "it is entirely appropriate for progress in attaining maximum employment to take center stage in determining the committee's policy stance." But some Fed officials have expressed growing unease that, even if inflation remained under control, asset purchases might disrupt financial markets. One concern is that low interest rates will encourage excessive risk taking, inflating new asset bubbles that will inevitably pop. The Fed's purchases also may disrupt the normal operations of financial markets by constraining the supply of safe assets. A Fed governor, Jeremy C. Stein, said this month that he saw "a fairly significant pattern of reaching for yield behavior emerging in corporate credit," referring to a rise in the sale of new junk bonds, or high risk corporate debt. Mr. Stein said he did not see any reason for an immediate change in Fed policy, but Esther L. George, president of the Federal Reserve Bank of Kansas City, cited similar concerns in opposing the current policy at the January meeting.	N24News: A New Dataset for Multimodal News Classification	Economy
Credit...Lam Yik Fei for The New York Times They Look Like the Emperors' Clocks. But Are They Real? BEIJING To stroll through the Hall for Ancestral Worship deep within the Forbidden City is to appreciate the fascination that ornate mechanical timepieces held for successive emperors of China. Many were brought to the Ming and Qing courts as precious gifts by European ambassadors from the 17th century to the 19th. Others were later manufactured in local workshops in Beijing, Suzhou and especially, Guangzhou, in southern China. The hall in the Forbidden City, now a museum, has 1,600 of them, but few ever appeared on the auction market until recently. "They are blindingly rare in real life," said Simon Bull, a clock specialist in Taunton, England. In recent years, though, experts say a growing number of reproduction clocks have hit the market, posing as the real thing. The counterfeits were drawn, they say, by the prices paid for real clocks, such as the 3.8 million fetched by a Qing dynasty table clock sold at auction by the socialite Patricia Kluge in 2010. "The moment you start seeing them two, three, four, five times a year, and the same model that was the big warning," said Mr. Bull, who was featured as an expert on BBC's "Antiques Roadshow" on television. "Rather than being more than a century old, the clocks were approximately five years old, and they were manufactured in Beijing by a company that sells virtually identical clocks as modern reproductions for about 20,000 a piece," the buyer's lawyer, Ted Poretz, wrote in the lawsuit filed in federal court. The complicated case highlights the difficulty of adjudicating what is real and what is fake in this market for such elaborate and ostensibly centuries old timepieces. In the court papers and an interview, Mr. Poretz said he had been able to identify the maker of the clocks as Li Qiusheng, the owner of the Tianjin Edwin Clock Company in Tianjin, a port city southeast of Beijing. He said the clocks appear to have been brought to market in the United States by Mr. Li's son, Edwin, a California dealer who sells clocks under the name EM Time Company. Li Qiusheng, reached by telephone, disputed the suggestion that he produced fakes. He said the clocks were genuine, dating to the 1920s, though he acknowledged that old clocks often need repairs that require using modern parts. "When the clock doesn't work, you need to replace the components," he said. "If a wheel gear is broken, for example, you need to replace it with a new one." A lawyer for his son, Edwin, Steve Sherman, noted that neither Li had been named by the buyer as a defendant in the suit. He said the son had no financial interest in the clocks and had only acted as an intermediary for his father. He "was basically acting as an interpreter," Mr. Sherman said. Mr. Li said that he had once operated a workshop, but later only collected and sold the ancient clocks from a space on the fifth floor of an office building in Tianjin. He is well known in a district not far away that is filled with antique shops, including several selling old clocks and new replicas. Shopkeepers there offered differing accounts as to whether Mr. Li had manufactured reproductions, simply collected them or was in the business of repairing period clocks, as he said. A clock and watch expert from Canada who visited Mr. Li's Tianjin company in 2014 said he had the impression that it manufactured reproductions, though he did not see any automaton models of the sort described in the lawsuit. "It was a light industrial workshop," said Ron Good, the collector, who has a special interest in Chinese horology. Clars Auction Gallery of Oakland, Calif., which sold the clocks, described the federal lawsuit against it as baseless and said it had relied on the consignor's assurances of authenticity. In addition, it said the purchaser, Ye Olde Time Keepers Inc. of New York City, was a "sophisticated, trade" purchaser who had used its own expert to validate the authenticity of the clocks before paying. "The buyer thus relied not on statements by Clars," the company said, "but rather on its own diligence conducted with the assistance of its elite, international industry connections, and resulting in a 'green light,' as communicated by the buyer to Clars prior to its making payment for the clocks." After that statement, Clars made a new filing on Thursday asking to introduce the Lis into the case and saying they had concealed the clocks' "apparent status as modern reproductions, rather than antiques." The musical clocks are each about two and a half feet tall, are wound with a key and have delicate bronze colored metal leaves that lift to reveal revolving figures depicting the Eight Immortals, mythological figures revered in Taoism and secular Chinese culture and often depicted in paintings and sculptures. Twisting glass tubes simulate falling water. Mr. Li said that one alteration to the clocks involved the figurines, which were originally made of ivory. Since the United States banned the import of ivory, he replaced those with plastic replicas. He said he had received about 480,000 for the two but was not aware of how the auction house represented them. Mr. Poretz denied that his client had had a specialist study the clocks before paying, but said he did have an expert look at them later. The expert found that the clocks did not show the sort of wear usually seen in items that old. Instead, the clocks had been constructed with modern brass, and with screws and other materials not available until later in the 20th century, at the earliest, his report said. "It is clear that they are effectively brand new," Richard Higgins, the Shrewsbury, England, expert hired by the purchaser, wrote. The court papers say that, after the purchaser had questioned whether the clocks were actually reproductions, Clars provided a certificate of authenticity from the China Horologe Association. But, the papers say, the document was for a different, single clock and that the association, a trade organization, "is not in the business of providing authentications for antique Chinese clocks." A woman at the association in Beijing confirmed that it did not provide certificates of authenticity. Experts from the association were not available this week to comment. China has a long and esteemed role in the evolution of timekeeping. These mechanical clocks were introduced in about 1601, when a Jesuit missionary, Matteo Ricci, gave two timepieces to the Emperor Wanli. Mr. Bull, who is not involved in the legal case, said intricate, musical automaton clocks fell abruptly out of fashion in China after the early decades of the 19th century and few, if any, were being produced as the 20th century dawned. Another expert, Matthew Hopkinson, who is based in London, said that before the recent surge, he typically saw one clock of this type appear on the market in a year. Now, he said, he often sees as many as three. "Suddenly these clocks were fetching 10 times the amount they were previously," Mr. Hopkinson said. "When prices go up, the counterfeiters move in and start making reproduction ones." He urged vigilance to protect the market for legitimate antique timepieces. "There are still good clocks coming onto the market," he said. "You have to be careful vetting them."	N24News: A New Dataset for Multimodal News Classification	Art & Design
WASHINGTON Senator Mitch McConnell, long one of the tobacco industry's loyal allies, said on Thursday that he would sponsor legislation to raise the minimum age to 21 for the purchase of tobacco and e cigarettes. Mr. McConnell, the Republican Senate majority leader whose home state, Kentucky, is the nation's second largest tobacco producer, said he was motivated by the increasing rate of vaping among teenagers and young adults. Public health agencies have cracked down on e cigarette companies and distributors in an effort to curb access to the products. "For some time, I've been hearing from the parents who are seeing an unprecedented spike in vaping among their teenage children," Mr. McConnell said at a news conference Thursday in Louisville, Ky. "In addition, we all know people who started smoking at a young age and who struggled to quit as adults." Mr. McConnell, who is seeking re election to a seventh term, said he believed the proposal would have bipartisan support. He did not release specifics, but said he planned to introduce a bill in May. Proposals called "Tobacco 21" that would raise the minimum age required to buy cigarettes to 21 from 18 have been gaining more support in recent years. Tobacco and vaping companies have gotten on board, too, partly in an apparent effort to distance themselves from accusations that they have deliberately marketed their products to youth to hook a new generation. Altria, Juul and R. J. Reynolds Tobacco Company all have said they back raising the minimum age. "We commend Senator McConnell for announcing this legislation as we strongly support raising the purchasing age for all tobacco products, including vapor products, to 21," said Kevin Burns, chief executive of Juul. "Tobacco 21 laws fight one of the largest contributors to this problem sharing by legal age peers and they have been shown to dramatically reduce youth usage rates." Altria and R. J. Reynolds also praised the senator and noted that they had also supported state Tobacco 21 efforts. David Sutton, an Altria spokesman, said that so far this year eight states had passed such legislation, which brings the number of states with Tobacco 21 laws to 14 as well as the District of Columbia; two of the measures await signing. Public health advocates were more cautious, reserving judgment until they see the details of the plans. "While we strongly support raising the tobacco age to 21," said Matthew L. Myers, president of the Campaign for Tobacco Free Kids, "it is critical that Congress enact strong Tobacco 21 legislation that is free of special interest provisions that benefit the industry." Some provisions that Altria, Juul, R. J. Reynolds and the Vapor Technology Association, a trade group, have sought to include in state proposals treat the industry more favorably on other issues. A few measures would prevent local governments from banning flavors or otherwise regulating e cigarettes and tobacco products. Others would make enforcement difficult, or penalize youths for buying them, rather than fining stores for selling the products to those under the age limit. In the House, lawmakers have sponsored two T21 proposals. Earlier this month, Representative Robert Aderholt, Republican of Alabama, introduced the Stopping Consumption of Tobacco by Teens Act. The bill's acronym is a tribute to Dr. Scott Gottlieb, who stepped down as commissioner of the Food and Drug Administration this month and was known for his efforts to try to reduce youth vaping. Brian Rell, Mr. Aderholt's chief of staff, said Juul opposed his bill because it included a requirement that someone over age 21 must sign for delivery of the product. The Campaign for Tobacco Free Kids has also raised concerns about aspects of the legislation. It and some other public health organizations prefer a proposal introduced this week by Representatives Frank Pallone, Democrat of New Jersey and chairman of the Energy and Commerce Committee, and Donna Shalala, a Florida Democrat and former secretary of the Department of Health and Human Services. The bill would not only raise the minimum age to buy the products, but it would also order the F.D.A. to speed up work on other measures, including putting graphic health warnings on cigarette packages. Senator McConnell's bill is a question mark for many tobacco industry watchers. Eric Lindblom, a former F.D.A. tobacco official who is now at the O'Neill Institute at Georgetown Law, wondered how committed Mr. McConnell was to protecting the tobacco control law passed in 2009. Mr. Lindblom suggested that Congress could pass a free standing bill that would raise the minimum age for purchase of tobacco products to 21. Or, he said, Mr. McConnell could start a new debate over provisions of the landmark act and add measures that would undo important restrictions. "Raising the age to 21 by itself is terrific," Mr. Lindblom said. "If that's all the act said, it would be terrific. There's no reason for the bill to say anything more than that."	N24News: A New Dataset for Multimodal News Classification	Health
Watching the recent resurgence of white supremacism in America, I have come to think that much of what I was taught about our history is wrong. For example, Reconstruction did not collapse because of its inherent faults, as my high school teachers said. Rather, it was destroyed by more than a decade of white terrorist attacks on black sheriffs, mayors, teachers and ministers across the South. Most of all, it ended because of widespread, unpunished violence against thousands of black Americans to discourage them from voting. An example closer to military history is that of the first African American fighter pilot. He was not a member of the celebrated Tuskegee Airmen of World War II, as most people assume, but a Georgian named who flew for the French decades earlier, during World War I. Bullard's absorbing story, which reads like a picaresque novel, is related in ALL BLOOD RUNS RED: The Legendary Life of Boxer, Pilot, Soldier, Spy (Hanover Square, 27.99), by Phil Keith and Tom Clavin, each the author of several books of history. Born into the oppressive Jim Crow world of Columbus, Ga., in 1895, Bullard as a boy heard that the black man was treated more fairly in France, and developed a determination to move there. After his laborer father was nearly lynched, the young man fled, and eventually stowed away on a freighter that deposited him in Scotland. He made his way to Liverpool, where he became a boxer. That occupation got him to Paris, where he happily took up residence at 18. A few months later, when World War I began, he enlisted in the French Foreign Legion. He fought at the Somme and Verdun, and was awarded the Croix de Guerre. Wounded so severely that he was deemed unable to return to the trenches, he transferred to a French aviation unit. He soon was the first black American fighter pilot. After the war he became a nightclub owner in Paris a great business for someone who was both charming and pugnacious. Among his employees was Langston Hughes. One of his performers was Dooley Wilson, who would go on to sing "As Time Goes By" in "Casablanca." His patrons included Pablo Picasso, F. Scott Fitzgerald, Ernest Hemingway, Cole Porter, Charlie Chaplin, Fatty Arbuckle and the Prince of Wales (the future Edward VIII, most famous for his abdication in 1936). Before World War II broke out, German intelligence officers frequented Bullard's club, enabling him to eavesdrop and pass on what he heard to French counterintelligence officers. Bullard's life went downhill from there. In 1939 he was gutshot by a Corsican thug. He worked briefly for the prewar opposition to the Germans and then rejoined the French Army in 1940. Wounded again, he walked and bicycled to Southern France and made his way to America. He made news in September 1949 when never one to overlook an insult he was spit on by a racist crowd while entering a Paul Robeson concert near Peekskill, N.Y. He spit back and was beaten by the police. He helped Louis Armstrong with a European tour. He eventually found work as an elevator operator in Rockefeller Center. In April 1960 he was publicly recognized, and embraced, by the French president Charles de Gaulle. It's a whale of a tale, told clearly and quickly. I read the entire book in almost one sitting. Fans of the television series "A French Village," the saga of one town during World War II, will be pleased to learn that several new books carry the story of resistance during that war deeper. Wieviorka's survey dwells on numbers and bureaucratic infighting among the Allied intelligence organizations. He examines and compares records in France, Belgium, the Netherlands, Norway, Denmark and Italy to try to ascertain what happened and why. With a subject like this, where the stories are almost always saturated with romanticism, and tend to look at events in just one country, Wieviorka's transnational accounting provides a useful antidote. He scrutinizes issues like how logistics tended to shape tactics: If Allied aircraft dropped canisters of submachine guns, that tended to drive resistance units toward guerrilla warfare; if the planes provided explosives, that pushed them instead toward sabotaging bridges, railways and factories. 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. At the outset of the war, he finds, many military officers in the conquered nations moved toward resistance, but they tended to fizzle out. The Communists were almost the opposite: They operated more effectively than military leaders because they had a command structure and commitment and, unlike government officials, knew how to operate in the shadows. Ronald C. Rosbottom's SUDDEN COURAGE: Youth in France Confront the Germans, 1940 1945 (Custom House, 27.99) falls between an academic work and a narrative history, succeeding at neither. But it still offers some good stories. His account of a young resistance leader named Jacques Lusseyran is particularly moving. Lusseyran was a teenager whose unusual characteristics a prodigious memory, a moral clarity and a knack for strategy made him ideal to run a clandestine organization. He also was blind. He wound up in Buchenwald but survived and went on after the war to teach French literature. Perhaps the most important point made by Rosbottom, a professor at Amherst College, is that the significance of the resistance lay not in acts of sabotage or attacks on German soldiers, which generally were ineffective, but rather in their very existence, which stood as a constant rebuke to the French citizens who collaborated with their occupiers: The resistance movements of Europe were a persistent reminder that the current situation was wrong. "The act of resisting is as important as the results of that action, if not more so," Rosbottom concludes. Resistance very late in the game also helped many people save face, as the historian Jean Edward Smith, who died earlier this year, notes in THE LIBERATION OF PARIS: How Eisenhower, de Gaulle, and Von Choltitz Saved the City of Light (Simon Schuster, 27). In August 1944, as the Germans prepared to abandon Paris, the city's citizens erected hundreds of barriers across its boulevards. These hasty structures were militarily insignificant, but they had a symbolic value, making Parisians feel they had contributed to their liberation. So were George Washington's. In WASHINGTON'S REVOLUTIONARY WAR GENERALS (University of Oklahoma, 39.95), Stephen R. Taaffe reviews the performances of the 73 Americans who served as brigadier generals and major generals under Washington during the War of Independence. He examines not just the second tier of generals, like Nathanael Greene, Henry Knox and Daniel Morgan, but even some third tier types who are not much discussed, like John Glover, John Stark and John Sullivan. In doing so he offers some novel judgments that run contrary to conventional historical wisdom. He sides against Washington and with Charles Lee over Lee's controversial handling of the beginning of the Battle of Monmouth in New Jersey, in June 1778. He thinks Washington was unfair to Horatio Gates, and even a bit paranoid about him. And he argues that Sullivan's punitive expedition against the Iroquois in 1779 made good military sense. Looking at the group as a whole, Taaffe, a historian at Stephen F. Austin State University in Texas, concludes that the most successful generals tended to be the younger ones. "These generals often avoided major battles with the enemy, used the militia effectively and molded their tactics to the local geography in ways that were alien to British military practices," Taaffe writes. The older ones, by comparison, tended to try to impose a European model on American circumstances, a conceptual error their British foes were also prone to make. Taaffe presents Washington as a man who had a lot to learn, but who did just that. He is especially impressed by the general's ability to discern military talent in untried men. Picking the right person for the right job is one of the most important duties of senior commanders, and it probably was the greatest skill of Gen. George Marshall. As Army chief of staff during World War II, he devoted much of his energy to this task, which is harder than it appears, because it means developing a deep understanding of each job as well as close observation of character. Imagine if, instead of picking the affable but ruthless Eisenhower to deal with our British ally, he had dispatched the blustery, hot blooded George Patton, who had seniority over Ike. There's a saying among American historians that the more you learn about George Washington, the more you appreciate him. The same is true, I think, of Marshall, the only person to serve as both secretary of state and secretary of defense. He was also the architect of the plan that revived the economies of post World War II Europe, and the top American general of that war. "No one person comes close to matching Marshall's ubiquitous yet selfless presence throughout the history of the last century," David L. Roll writes in a new biography, GEORGE MARSHALL: Defender of the Republic (Caliber, 34). I've read several biographies of Marshall, but I think Roll's may be the best of the bunch. Some historians write about combat well, others are stronger on politics and policy, but Roll, the author of a book about the presidential aide Harry Hopkins, handles both areas deftly. Why isn't Marshall better remembered today? A big part of the reason was his low key manner. He spoke up only when he found it essential to do so. Marshall's funeral directive was characteristic: "Do it quietly." Roll admires Marshall, but does not neglect his flaws and mistakes. He criticizes his handling of the Army in the days before the Pearl Harbor attack, as well as his willingness to support racial segregation in the Army, and his tardiness in looking for ways to rescue Jews during the war. Roll also does a good job of checking up on other historians, and to his credit, he names those who have gone astray William Manchester, Lynne Olson and Doris Kearns Goodwin. One theme that courses through this big book is how hard it can be to be a public servant in the United States. Near the end of Marshall's long and distinguished career, Senator William Jenner of Indiana saw fit to call him "a living lie ... an errand boy, a front man, a stooge or a conspirator."	N24News: A New Dataset for Multimodal News Classification	Books
Simon Schuster, the publishing powerhouse behind best selling authors like Stephen King, Ursula K. Le Guin and Judy Blume, is up for sale. Its owner, ViacomCBS, announced Wednesday that, after a "strategic review," the book publisher was no longer essential to its business and that it would seek a buyer. "We will look to complete a transaction that maximizes its value once the market stabilizes," Robert M. Bakish, the chief executive, wrote in a memo to employees, most of whom learned of the sale only on Wednesday. ViacomCBS, the newly combined business controlled by Shari Redstone, is betting its future on streaming and sports content. Owning a major book publisher does not fit into those plans. A sale of Simon Schuster, one of the five largest book publishers in the country, would shake up the publishing industry, which has become a winner take all business dominated by huge companies and brand name authors. A wave of consolidations has swept the book business in the last decade. In that series of moves, Penguin and Random House merged, Hachette Book Group acquired Perseus Books and News Corporation bought the romance publisher Harlequin. Founded as a publisher of crossword puzzle books in 1924 by Richard L. Simon and M. Lincoln Schuster, Simon Schuster expanded into a major house with 50 imprints, including Charles Scribner's Sons, the publisher of 20th century heavyweights like Ernest Hemingway, F. Scott Fitzgerald and Thomas Wolfe. The company now has 1,350 employees and publishes roughly 2,000 books a year. Notable Simon Schuster authors include Annie Proulx, Bob Woodward, Walter Isaacson and Hillary Clinton. In a note to employees on Wednesday, the Simon Schuster president and chief executive, Carolyn Reidy, sought to reassure the staff that the company was not in jeopardy. "Whatever the outcome, this process does not change what we know to be true of Simon Schuster: we are a great publishing house and one of the world's best known publishing brands, with an incredible legacy and bright future," she wrote. The company is going up for sale at an uncertain moment for publishers, who have struggled with lethargic sales and anxiety over the future of Barnes Noble, the once dominant chain that was bought last year by the hedge fund Elliott Advisors. "It hasn't been a strong growth industry in a long time, and what little growth there has been recently seems to be arrested," said Thad McIlroy, a publishing industry analyst. 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. Simon Schuster also has several perennial best sellers on its list, including Joseph Heller's "Catch 22," Margaret Mitchell's "Gone With the Wind" and Dale Carnegie's "How to Win Friends and Influence People." Still, with the rise of Amazon and e books, the business has suffered. In 1989, one of its best years, the publisher generated 1.3 billion in sales. Last year, sales were 814 million. The company's profits have also declined, hitting 143 million in 2019, a 6.5 percent drop from the previous year. Legacy media businesses can sell anywhere from five times to 10 times annual profits. ViacomCBS is looking for 750 million in cost cuts after the December merger of Viacom and CBS. Viacom, the longtime owner of Paramount Pictures and cable networks like MTV and Comedy Central, absorbed the CBS broadcast network and Simon Schuster as part of the deal. The newly supersized company has taken a hit in the markets after a weak earnings performance for the three months that ended in December, and the combined business is now worth less than either business before the merger. The potential sale of Simon Schuster is part of a great unwinding taking place across the media industry as conglomerates cleave off or close down ancillary businesses. The spate of acquisitions in recent years AT T bought Time Warner and the Walt Disney Company absorbed the majority of 21st Century Fox has largely been a defensive measure against Big Tech and a bet on digital video as the future of entertainment. Books won't play a significant role in the coming skirmish, in Mr. Bakish's view. Simon Schuster is "not a core asset of the company, it is not video based, it doesn't have significant connectivity to our broader business," he said at an investor conference Wednesday morning. He went on to praise Simon Schuster, even as he hung a For Sale sign on its door. "There's no question that it's a marquee asset," Mr. Bakish said. "I've had multiple, unsolicited inbound calls."	N24News: A New Dataset for Multimodal News Classification	Media
Every episode of "Watchmen" dances along the precipice of catastrophic failure, like a circus performer who has waved away the safety net, despite the abundant junctures where he could go splat. The safety net being waved away here is Alan Moore and Dave Gibbons's canonical graphic novel, which Damon Lindelof and his writers have accepted as history but rejected as scripture. Until now, the extent to the show's audacity has been to imagine events before and after the time frame of the book, using the Tulsa massacre of 1921 as the jumping off point for a modern story about the legacy of racism and violent white supremacy. Scenes from Moore and Gibbons's book have been recreated, often in the context of the "American Hero Story" show within a show, but rarely revised. Tonight's astonishing episode directly engages with the most foundational element of the book: the identity of Hooded Justice, the first "masked adventurer" and perhaps the most eternally mysterious. While there's speculation in the book that Hooded Justice was a circus strongman named Rolf Muller, his true identity is never actually confirmed, which gives the show all the latitude it needs to claim one for itself. A scene from "American Hero Story" becomes an ingenious ruse for the twists to come, sticking Hooded Justice in an interrogation room with two detectives determined to expose and humiliate him. They want to know about the get up executioner thing or "sex stuff?" and they threaten him with evidence of his gay dalliances with Captain Metropolis, a.k.a. Nelson Gardner. The detectives get a glimpse of this white, green eyed, black haired mystery man, but it's the last thing they'll ever see. (The narration afterward, "I should probably be worried that I just murdered two federal agents, but all I can think about is that Nelson Gardner is cheating on me," is a nice jab at TV phoniness.) From that synthetic docudrama, "Watchmen" pivots into a character study similar to Looking Glass's story last week, only more focused on the themes the show has wanted to emphasize from the beginning. After overdosing on the memory pills her grandfather left for her a drug called Nostalgia, which is admittedly more concise than Narrative Device Angela Abar learns a back story she might not have believed from the horse's mouth. What Abar eventually discovers is that her grandfather, Will Reeves, is Hooded Justice, which would seem like a heretical rewriting of Moore and Gibbons's source material if it weren't so convincingly and powerfully wrought. Inspired by his hero Bass Reeves, the black deputy who in that silent movie from Episode 1 asked people to "trust in the law," Will is shown joining a nearly all white police force in New York but becoming quickly disabused of his faith in the law as it applies to black people. As a newspaper headline signals the march of the Nazis on the other side of the Atlantic, Will catches Fred ( Glenn Fleshler ), a sinister grocery store owner, brazenly torching a Jewish deli in front of him. Will tries to put Fred through booking, but it soon becomes clear that the police force is festooned with white supremacists, who flash a conspicuous sign right in front of him. (The sign bears enough of a resemblance to the "O.K." hand gesture, which in some circles doubles as a white supremacist symbol, that the reference seems intentional although the gesture always allows for plausible deniability.) Will realizes he can't work toward racial justice behind the badge, so he chooses to work behind the mask and around the law, prompted by a mock execution by lynching from his fellow officers. Without changing the book one bit, the improvised costume makes dramatic sense while dovetailing naturally into the first official instance when Hooded Justice saves the day by intervening in an alleyway mugging. When Will stumbles onto a racist conspiracy called Cyclops, in which people are coaxed into violence through film flicker hypnosis, his cause seems like a righteous one, but all versions of "Watchmen" are allergic to the untroubled superhero. Hooded Justice's admission into the Minutemen lends it legitimacy and earns him an advocate and, less plausibly, a sexual partner in Captain Metropolis, the blond Adonis who recruits him. But the Minutemen aren't the most racially progressive bunch, and as in the book, they're doomed to be seized by infighting and scandal. "This sort of thing isn't the Minutemen's cup of tea," Metropolis tells him. "You're going to have to solve black unrest on your own." That's where this episode of "Watchmen" gets even more interesting. It all goes back to the "joke" Laurie Blake shares on her phone call to Dr. Manhattan, the one about the three heroes who make appeals to God at the Pearly Gates, but all wind up going to hell. At the time, the joke seemed like another way for the show to slip in some exposition about the "Watchmen" universe, but it underscores the impossibility of achieving justice without serious consequences. Sometimes the moral failings of these costumed adventurers are obvious, but in Will's case, the missteps are personal, like the dissolution of his family, and perhaps natural in the course of his activities. People are imperfect, masked vigilantes more so. We're left with the revelation that this wheelchair bound centenarian did not string up Crawford with his hands but rather used the mesmeric techniques of a white supremacist group to his own ends. Yet the question remains: Was he right to do it? Are we absolutely certain Judd Crawford is in league with the types of racist cops who nearly lynched Will back when he first joined the force? Those are sensitive questions for "Watchmen" to answer later no doubt with a vigor that feels just short of reckless. None Lady Trieu's connections to both Will and the Nostalgia drug tie together a couple of loose threads and explain why she is waiting for Abar when she wakes up after a supposedly lethal dose. I would happily watch a spinoff series on just the drug itself and the memory addicts it created. None "The uniform that a man wears changes him. Make sure yours changes you for the better." Takeaways from commencement speeches are rarely this prescient and useful. None The device by which the past literally enters the frame is so elegantly wrought here, especially when Will's mother is shown playing the piano theme that haunts his entire life. None The scene in which the Minutemen's photo op turns into a marketing opportunity "from our good friends at National Bank" is good shorthand for revealing Metropolis's empty ideals. But it also doubles as commentary on the commercial appeals of superhero team ups in our Marvel dominated age.	N24News: A New Dataset for Multimodal News Classification	Television
The four time Tony winner Harvey Fierstein has always had a way with intrepid romantics. Beau, his character in Martin Sherman's new play, "Gently Down the Stream," is more on the cautious side. Having come of age as a gay man in a world where that was taboo, he has spent a lifetime trying to find love with men taught not to express it. But for Rufus, a young lawyer played by the Tony winner Gabriel Ebert ("Matilda the Musical"), the same inhibitions do not apply. Intergenerational romance ensues. The tantalizing sweetness of the play, directed by Sean Mathias ("No Man's Land") and opening Wednesday, April 5, at the Public Theater, is in the biographies of the artists. Mr. Sherman's Broadway debut, in 1979, was the pink triangle Holocaust drama "Bent." Mr. Fierstein's, a couple of years later, was "Torch Song Trilogy." Both became classics of the gay canon and a whole lot has changed since then. (publictheater.org)	N24News: A New Dataset for Multimodal News Classification	Theater
When Douglas L. Inman began his career as a coastal scientist in the 1950s, little was known about the coastal region where water, land and air come together, which geologists call the nearshore. It was obvious that beaches differed from place to place, but geologists struggled to do much more than classify them according to their shapes. Little was known about the direct relationships among waves, currents and the movement of coastal sediments like sand. Dr. Inman, who died at 95 on Feb. 11 in the La Jolla area of San Diego, helped change all that. At the Scripps Institution of Oceanography in La Jolla and its parent institution, the University of California, San Diego, he led research that opened the eyes of science to the processes that shape the beach. His death was confirmed by the university. Among other things, early in his career Dr. Inman integrated studies of coastal change with the theory of plate tectonics the idea, new at the time, that the Earth's crust comprises a number of moving plates. He was a leading theorist of the idea that coasts comprise "littoral cells" that every stretch of coast had a source of sand, something to move it and a sink where this sediment ends up. (In California, the sources are typically rivers that carry sediment to the coast, the transport mechanisms are currents that carry sediment along it, and the sinks are the deep submarine canyons that cut almost to shore through the region's narrow continental shelf.) Dr. Inman trained generations of coastal scientists who, building on his insights, created a large and influential body of coastal research and themselves trained still other scientists, who refer to themselves as Dr. Inman's descendants.	N24News: A New Dataset for Multimodal News Classification	Science
When Dan Pacek bought a house in Leonia, N.J., in 2002, the seller boasted that the borough, just over a mile from the George Washington Bridge, had "more oboists per capita" than anywhere else. Mr. Pacek, 57, an architectural designer and vice president of Leonia Arts, a nonprofit group that promotes the borough's creative community, sized up that claim as soon as he met the neighbors: "There were three oboists between my house and the corner," he said. Snug and hilly, Leonia sprouted a vibrant artists' colony in the early 20th century, as painters and illustrators set up studios in barns and attics. Performers and academics like the actor Alan Alda and the physicist Enrico Fermi followed, drawn by the pretty surroundings within easy reach of Manhattan theaters and Columbia University. Two years ago, the couple paid 645,000 for a three bedroom, Craftsman style house built in 1906 that just needed the addition of central air. Ms. Zoloto now practices without riling the neighbors, which was a problem at their old apartment in the Riverdale neighborhood of the Bronx. And as the mother of a first grader, she appreciates Leonia's supportive atmosphere. "For someone in the arts with a wacky schedule," she said, "there's always somebody to watch your kids." Moreover, the nine mile drive to Lincoln Center which Ms. Zoloto and her clarinet frequently make at off hours usually takes less than 40 minutes, though she always gives herself a cushion. Leonians who rely on the George Washington Bridge and narrow Fort Lee Road, which leads to it, know to factor in enough time. Traffic is a given in and around the town, which in 2018 tried banning outside motorists from using its side streets as a shortcut to the bridge. Joanne Terrell, a lawyer, and Allen Terrell, a contemporary artist and curatorial consultant, came from a place with real congestion: Los Angeles. After Ms. Terrell accepted a job in Midtown Manhattan in 2016, the couple, now both 48, made a wish list: highly rated schools for their two daughters, a commute of under an hour for Ms. Terrell, walkability and ethnic diversity. Mile and half square Leonia, which has ample bus service and sizable Asian and Hispanic populations, checked those boxes for the Terrells, who are Korean American. Their century old, five bedroom, center hall colonial cost 815,000 and offered a bonus: a second floor in the detached garage, ideal for Mr. Terrell's work space. When he wants to escape the studio, he heads to the county park on Leonia's western border and paddles his kayak in Overpeck Creek, just as he did in the Pacific. "That kind of sealed the deal," he said of his new town. Interstate 95 and Route 46 create a loop around Leonia, and therein lies a problem: Tie ups send some motorists off the highway in search of local access to the world's busiest crossing . 170 PROSPECT STREET A five bedroom, four and a half bathroom house, built in the 1880s on 0.34 acres, listed for 848,000. 201 768 9300 The borough's solution closing off dozens of side streets to nonresident vehicles during peak commuting hours sparked legal challenges. For now, signs declaring the restriction are covered in black plastic, and the matter remains in the courts. But Mayor Judah Zeigler reports progress: The navigation apps responsible for directing motorists through town have removed the shortcuts. Noting that 12,000 vehicles might enter Leonia on the worst commuting day triple the usual number Mr. Zeigler said the borough's intention was not to ban outside vehicles entirely, but to keep them on major arteries like Fort Lee Road. Bridge traffic notwithstanding, Leonia is charming and unhurried. Downtown, centered on a five block stretch of Broad Avenue, has cafes, a chock a block hardware store, a Korean grocery, a dozen hair and nail businesses, and a cow sculpture grazing near the squat post office. 161 OAKDENE AVENUE A four bedroom, two bathroom house, built in 1920 on 0.23 acres, listed for 645,900. 201 833 9300 Houses are eclectic in style and date mostly to the early 1900s, with condominiums and apartments scattered about. Up in what locals call " the hills ," on a former golf course, is a neighborhood of 1980s homes on generous lots. While its immediate neighbors allow high density residential development including towers to the east in Fort Lee and boxy duplexes to the south in Palisades Park Leonia guards its small town ambience. "We are protective of our zoning," Mr. Zeigler said. "Other communities have built up and developed nearly every inch of available space. We haven't." The borough, however, is considering high density apartments as part of a plan to redevelop Willow Tree Road, a remote office corridor next to Overpeck County Park. Mr. Zeigler said the redevelopment would help ease homeowners' property tax burden. 130 RELDYES AVENUE A four bedroom, one bathroom house, built in 1955 on 0.15 acres, listed for 550,000. 201 482 8848 An older single family house needing work might be found in the 300,000s, but generally prices start in the mid 400,000s, said Rosemarie Bracco, the broker owner of McAlear Cavalier Realtors, in Leonia. Buyers pay more to live in "the hills," where homes start in the low 700,000s, she said. During the 12 months ending March 31, 83 single family houses sold at a median price of 570,000, compared with 528,750 in the same period a year earlier, according to the New Jersey Multiple Listing Service. On April 25, the service showed 27 single family houses priced from 324,995 to 848,000, and two 1 million plus colonials that a builder plans to construct on a large subdivided lot. Listed near the median, at 565,000, was a three bedroom, two bathroom, circa 1925, brick and clapboard colonial on Glenwood Avenue, with property taxes of 11,077. Additionally, Leonia commuters can take a short ride on New Jersey Transit's No. 182 bus to the George Washington Bridge Bus Station, in Washington Heights, and catch the A train there. The bus fare is 3.50 one way or 107 monthly. George Washington led his troops through what is now Leonia on Nov. 20, 1776, in retreat from the British. The name "Leonia" was chosen around 1865 for the train station, in a nod to Washington's second in command, Gen. Charles Lee, the namesake of Fort Lee. For weekly email updates on residential real estate news, sign up here. Follow us on Twitter: nytrealestate.	N24News: A New Dataset for Multimodal News Classification	Real Estate
ATE9 at the Schimmel Center at Pace University (Nov. 10, 7:30 p.m.). Out in Los Angeles, the choreographer Danielle Agami has taken some of the sexy, spastic energy that she brought with her from her native Israel, after years of dancing with the Batsheva Dance Company, and given it Californian cool. For "Calling Glenn," she has collaborated with the percussionist Glenn Kotche of the alt rock band Wilco to create a feverous sonic world that matches her company's captivating precision and intensity. 866 811 4111, schimmelcenter.org CHRISTINE BONANSEA at Danspace Project (Nov. 15 17, 8 p.m.). "Human, All Too Human," Friedrich Nietzsche's late 19th century musings on metaphysics, morality and more, provides the inspiration for Bonansea's work "OnlyHuman." It began as a 40 minute solo and now has been expanded in length, to 60 minutes, and size, featuring the dancer Mei Yamanaka, who is accompanied by nine others in a multimedia world aesthetically reminiscent of the dystopian futuristic film "The Matrix." In that speculative, sci fi frame, Bonansea imagines the transition from human to post human in the digital age. 866 811 4111, danspaceproject.org JAN FABRE at N.Y.U. Skirball Center for the Performing Arts (Nov. 10, 5 p.m.). How do you encompass the stories and myriad characters of Greek tragedies in a single evening of theater? You don't. You need a full day, or so proposes the avant garde Belgian director and choreographer Jan Fabre. His latest epic, "Mount Olympus: To Glorify the Cult of Tragedy," is a 24 hour performance, an "attack on time," as he has called it. During that assault, 27 performers dissect and distort the ancient tales, distilling them into primal instincts or, as described in the press materials, a "Dionysian orgy of madness, murder and music." It is recommended for audiences 18 and older. 212 998 4941, nyuskirball.org 'GRAHAM DECONSTRUCTED: MARTHA'S MEN' at the Martha Graham Studio Theater (Nov. 13 14, 7 p.m.). This season, the Martha Graham Dance Company is highlighting historical and contemporary ideas of femininity in Graham's work. As a complement to that theme, this iteration of the company's casual, intimate showcase series in its home studio focuses on Graham's depiction of men by presenting male solos from classic works like "Cave of the Heart," "Night Journey" and "Errand Into the Maze." A preview of the revival of the 1962 comedic work "Secular Games" will also be performed. As usual, the artistic director Janet Eilber will offer context. 212 229 9200, marthagraham.org JESPER JUST AND KIM GORDON at BAM Fisher (Nov. 15, 7:30 p.m.; through Nov. 17). Maps tell you where you are and help you get to where you want to go, but they're forever shifting, too, shuffling your sense of space. Just, a Danish choreographer and director, takes inspiration from the fantastical fiction writer Jorge Luis Borges to explore that dichotomy in "Interpassivities." The hourlong work, featuring large scale video projections and music by Gordon, formerly of Sonic Youth, and August Rosenbaum, finds dancers swerving through the audience, illustrating the chaos and creativity at play within capricious borders. 718 636 4100, bam.org MARRUGEKU at the Alexander Kasser Theater at Montclair State University in Montclair, N.J. (Nov. 15 16, 7:30 p.m.; through Nov. 18). After a rough hurricane season, the damage wrought by extreme weather events is top of mind. In "Cut the Sky," this Australian dance theater troupe, comprising indigenous and nonindigenous artists, takes a catastrophic weather event as its premise and turns it into an examination of climate change and indigenous rights. Theater and dance meet rock concert in this environmental cautionary tale. 973 655 5112, peakperfs.org ROBBINS CENTENNIAL at New York City Center, Studio 5 (Nov. 12 and Nov. 26, 6:30 p.m.). The celebrations of the 100th anniversary of Jerome Robbins's birth continue with an intimate series in City Center's upstairs studio. Adrian Danchig Waring, a New York City Ballet principal dancer, serves as the event's master of ceremonies, introducing excerpts from works that Robbins created for City Ballet when it was in residence at the center in its early years. Monday's performance is sold out, but there will be a standby line at the box office. 212 581 1212, nycitycenter.org BILL SHANNON at New York Live Arts (Nov. 14 17, 7:30 p.m.). In "Touch Update," which will have its New York premiere on Wednesday, Shannon uses video projections on oversize masks to create an eerie depiction of human interaction, serving his theme of digital versus interpersonal relationships. The work also continues his exploration of another ongoing focus, which is the physicality and social stigmas attached to disabled bodies. His own choreographic style involves an impressively inventive use of crutches. On Nov. 17, Shannon will also lead a workshop and, later, give a lecture on this unique style. 212 924 0077, newyorklivearts.org SUNDAYS ON BROADWAY at WeisAcres (Nov. 11, 6 p.m.; Sundays through Dec. 16). This popular series in intimate environs at the heart of SoHo features veterans of and newcomers to the city's experimental dance scene. This week, Vicky Shick curates an evening that includes the visual and movement artist Laura Bartczak with a super 8 film about landscapes and bodyscapes; the choreographer Emily Climer, who describes her work, "Phantoms Ghost Phantoms," as a dreamscape; and "Take 3," by the dancer Diane Madden and the filmmaker Matthew Burdis, which was shown first in this space, and then at a medieval tower in Italy. Now it returns, bearing the imprint of its travels. cathyweiss.org TWYLA THARP DANCE at the Joyce Theater (Nov. 14, 7:30 p.m.; Nov. 15 16, 8 p.m.; through Dec. 9). Tharp takes inspiration from just about anything fit for a stage from ballet to the circus to baton twirling so she can sometimes feel like a stylistic maximalist. But early in her career, she caught the minimalism bug sweeping through the arts at the time. This nearly four week engagement, called "Minimalism and Me," focuses on works she created between 1965 and 1971. Among them are the now classic "Tank Dive," "The History of Up and Down" and "Eight Jelly Rolls," a richly layered romp to music by the ragtime master Jelly Roll Morton. 212 242 0800, joyce.org	N24News: A New Dataset for Multimodal News Classification	Dance
VAIL, Colo. Often the greatest excitement at an all star dance gala comes from reading the list of illustrious participants. The programs, too commonly a numbing pileup of tired showpieces and frustrating excerpts, disappoint. But the International Evenings of Dance at the Vail International Dance Festival here on Friday and Saturday night were not that kind of gala. The International Evenings format predates the tenure of Damian Woetzel as artistic director. At the first such evening, in 1993, he participated as a guest star from New York City Ballet. But since he took the reins, 10 years ago, he has remade the format, as he has the festival as a whole, to match his taste and vision. The lineup was certainly dazzling: stars from City Ballet and American Ballet Theater but also some of the world's greatest exponents of other forms, from modern (Matthew Rushing) to tango (Gabriel Misse) to kuchipudi (Shantala Shivalingappa) to Memphis jookin (Lil Buck). Yet what made the programs special was Mr. Woetzel's way of balancing the surefire and crowd pleasing with novelty and risk. Mr. Woetzel combines his stars in new partnerships. He puts them in roles they haven't tried before, even in styles and genres outside of their usual compass. He revives rare works. He gives up and coming dancers important chances. In a tribute video shown during the Up Close program on Wednesday an informal and illuminating mix of talk, rehearsal and performance that is another distinctive feature of Mr. Woetzel's direction an impressive array of prominent dancers and choreographers thanked him for making their careers. And so amid the 30 pieces of the two evenings (only one repeated on both nights), you could luxuriate in City Ballet's Tiler Peck and Jared Angle giving their superlative rendition, practiced yet never rote, of the divertissement pas de deux from Balanchine's "A Midsummer Night's Dream." But you could also see Ms. Peck and Robert Fairchild (the festival's most beloved couple) stretching themselves in the classic modern dance of Jose Limon's "Mazurkas": not rhythmically perfect, a bit too sunny, yet thrillingly expansive, with Ms. Peck applying the ravishing accelerations and decelerations evident in the Balanchine to a Balanchinean density of steps in the Limon. Some debuts looked like debuts, their newness evident in wobbles and jitters. Ballet Theater's Devon Teuscher, trying her hand at the pas de deux from Balanchine's "The Nutcracker" (ably partnered by Chase Finlay) was radiant but rushed. Her Ballet Theater colleague Isabella Bolyston, debuting in Jerome Robbins's "Afternoon of a Faun," had not yet found the acting side of the role her encounter with Eric Underwood, from the Royal Ballet, had little electricity yet in Christopher Wheeldon's "This Bitter Earth" (smoothly guided through tricky partnering by Calvin Royal III), she revealed new sides of herself, a contemporary maturity. A similar growth was evident in Lauren Lovette as she strongly took on the title character of "Giselle" in excerpts from Act II, not something she gets to venture at City Ballet, where she has recently been promoted to principal rank. (Her partner, Herman Cornejo, was predictably astonishing.) Watching Carla Korbes, recently retired from Pacific Northwest Ballet, in Balanchine's "Chaconne" was a highly sensual pleasure, but seeing her disappear for the first time into the tube costume of Martha Graham's "Lamentation," silencing the audience with a convincing embodiment of grief, was a pleasure of a more surprising, mind stretching variety. Mr. Woetzel's method is to let dancers exhibit their range. It was remarkable, having witnessed the Royal Ballet's Lauren Cuthbertson completely at home in the ultracontemporary torques and twitches of Wayne McGregor's "Chroma" on Friday, to see her frolic on Saturday in the marital bliss of the great love pas de deux from Frederick Ashton's "The Dream." The programs did not fully escape the drawbacks of gala style events: the limitations of excerpts, the tedium of familiar pieces, the flimsiness of some new ones, great dancers underserved by their own choreography (Mr. Cornejo, Mr. Misse, and others). Yet these flaws were more than balanced by the novelties. Balanchine's "Divertimento Brillante," rarely performed since its 1967 premiere, proved to be accurately titled, a brilliant little gem brilliantly danced by Ms. Peck and Joseph Gordon. Perhaps the most delightful feature of the programs, as of the festival, is the feeling of a happy, large dance family. The extraordinary tap dancer Michelle Dorrance, new to the festival this year, choreographed a little piece d'occasion for herself, Melissa Toogood, Lil Buck and Mr. Fairchild that was good fun. Mr. Fairchild kept up with Ms. Dorrance's hoofing and Lil Buck mirrored her in his own breathtaking fashion. The most charming piece was another one off, featuring the unusual vocalist Kate Davis, Ms. Dorrance and the peerless vaudevillian Bill Irwin. With great humor, Mr. Irwin feigned reluctance to share the stage and a soft shoe with the much younger Ms. Dorrance, only to reveal how much the three artists shared. At one point, he called for a tank of oxygen. But at the Vail festival, it isn't the high altitude that's most dizzying. It's the high level of dance.	N24News: A New Dataset for Multimodal News Classification	Dance
"This is a national concern that patients are worried that the hospitals, health care systems, physician offices could be more dangerous than grocery stores, hardware stores and other essential businesses," said Dr. Balcezak, although he emphasized there was no evidence that the risks were any higher in hospitals. In some cases, patients may be opting for virtual visits or some other alternative, said Dr. Stephen Klasko, the chief executive of Jefferson Health, who has seen the declines in visits across all of the system's hospitals. But in other cases, patients are forgoing needed care, he said. "The real key here is virtual triage," Dr. Klasko said, where someone who feels dizzy or has chest pain can find out if a trip to the emergency room is warranted. Hospitals are taking numerous steps to ensure patients remain safe from infection, said Dr. William Jaquis, an emergency room doctor who is the president of the American College of Emergency Physicians. Emergency rooms are not only less crowded, he said, but they have taken a number of steps to screen patients for potential infection and to make sure both patients and providers wear masks. Patients who may be infected are treated in separate areas. Congress has responded to the hospitals' loss of patients and resulting revenue by providing as much as 175 billion in funds to hospitals and other providers, but much of the money has gone to the largest, most profitable institutions, compared with medical centers in rural communities or those that serve low income patients. While emergency room visits for minor ailments like stomach pains, earaches and sprained ankles have been far fewer this year, agency officials pointed to a more disconcerting drop in the number of people who arrived with chest pain, including those experiencing heart attacks. There were also declines in children requiring emergency help for conditions like asthma. "Health messages that reinforce the importance of immediately seeking care for symptoms of serious conditions, such as myocardial infarction, are needed," the C.D.C. officials said. They added that people should be encouraged to reduce their potential exposure to infection by using telemedicine and other methods of triage to determine whether they need to go to the hospital. But the officials also said the drop in emergency room visits could affect people's ability to get care when they have no other alternative sources. People who use the emergency room "as a safety net because they lack access to primary care and telemedicine," they said, might be disproportionately affected if they avoid seeking care because of concerns about the infection risk."	N24News: A New Dataset for Multimodal News Classification	Health
A CNN host called President Trump a "man baby" and a piece of excrement. (He used a more profane term, and later apologized.) A guest on "Fox Friends" proposed that some Muslims in the United Kingdom be placed in internment camps, prompting an on air disavowal from the hosts. A Breitbart News writer argued on Twitter that "there would be no deadly attacks in the U.K. if Muslims didn't live there," generating angry replies. And Mr. Trump himself, in his first public comment about the attack in London on Saturday night, disseminated unconfirmed information from an unofficial source: The Drudge Report. In the 24 hours after the deadly van and knife attack, the cycle of partisan broadsides and ideological combat that seems to dominate the media universe these days kicked into high gear. News organizations turned against each other, with anchors on Fox News calling on CNN to punish its host Reza Aslan for his profane remarks about Mr. Trump in a Twitter post. The president's retweet of a Drudge headline "fears of new terror attack," it read, even as the nature of the assault remained unclear prompted a rebuke of sorts from NBC Nightly News, whose Twitter account pointedly noted that its journalists would not relay the president's retweet, "as the info is unconfirmed." That led to accusations of liberal bias, with the "Fox Friends" co host Abby Huntsman asking, "Can we not just come together?" It was the kind of chain reaction that is increasingly commonplace in a deeply polarized political environment, where news organizations attract tribal followings, and where major events like the London attack can stoke fears and inflame emotions from Mr. Trump on down. Mr. Aslan responded with his angry posts after the president, in the immediate wake of the attack on Saturday, wrote on Twitter that his proposed travel ban was needed to prevent terrorism. Mr. Aslan, an Iranian American writer and religion scholar who hosts a weekly show about faith and society for CNN, also described Mr. Trump as "an embarrassment to humankind." That prompted expressions of outrage from right wing news outlets like Breitbart News and the hosts of "Fox Friends" on Sunday morning, who lamented his comment. CNN was already mired in an uproar over the comedian Kathy Griffin, a co host of the network's New Year's Eve coverage, who posted a photograph in which she held a fake severed head meant to look like the president's; CNN severed ties with Ms. Griffin last week. "I should have used better language to express my shock and frustration at the president's lack of decorum and sympathy," Mr. Aslan wrote in a statement on Sunday. "I apologize for my choice of words." (A spokeswoman for CNN added: "That kind of discourse is never appropriate.") Retail earnings and Black Friday: the week in business. Elizabeth Holmes will resume her testimony in her fraud trial. The backlash against Mr. Trump's tweets, however, went beyond Mr. Aslan. Critics pointed to the president's criticism of London's mayor, Sadiq Khan, noting that Mr. Trump had taken a quote from the mayor out of context to suggest that he was unconcerned about terrorism. There was also some disbelief in online comments that the president, who has access to up to the minute national intelligence, chose to send a speculative item from The Drudge Report to his 31.5 million Twitter followers on an issue of international import. The Drudge Report, which is hugely popular with conservatives, counts Mr. Trump among its devotees: Drudge Report is just one of 45 Twitter accounts that he follows. On "Fox Friends," a reliably Trump friendly morning show, there was little concern over the president's tweets, but some criticism of Mr. Aslan's remark, which the hosts described as evidence of an explicit bias against Mr. Trump in some quarters of the news media. It was not long until the "Fox Friends" crew was coping with its own troubles. One of the show's guest commentators, Katie Hopkins of The Daily Mail, raised the prospect of rounding up Muslims on the terrror watch list in the United Kingdom and placing them in internment camps as a way of preventing future attacks. Another guest Nigel Farage, the British political figure and "Brexit" advocate who is now a Fox News contributor also mentioned the idea of internment. Later in the broadcast, the "Fox Friends" anchors paused for a formal denunciation of the statements, lest viewers be left with the impression that Fox was endorsing the idea. "On behalf of the network, I think all of us here find that idea reprehensible here at Fox News Channel, just to be clear," a co host, Clayton Morris, told viewers.	N24News: A New Dataset for Multimodal News Classification	Media
The town of Monroe has for a long time been intertwined with Newtown, its Fairfield County neighbor to the north the way towns that share a border often are. Residents of each have regularly crossed town lines without giving it much thought, heading to church, dropping off children at day care, or rushing to make tee time. The nature of the relationship abruptly intensified in mid December, on the day a young man forced his way into the Sandy Hook Elementary School in Newtown and shot to death 20 children and 6 school employees. The voids left by the shootings also gaped in Monroe, where everybody seemed to know somebody in Newtown who had been affected. For Steve Vavrek, Monroe's first selectman, the ordeal amplified the towns' connection as never before. "We found out how close we are," said Mr. Vavrek, who has lived in Monroe for 26 years. "My wife works for Monroe Pediatrics, and they lost five children that day." Monroe responded by offering up an empty school building to serve temporarily for the surviving Sandy Hook children. The building comes rent free Newtown must simply cover the utilities and other interior costs.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Tommy Zhang, left, is a Pokemon Go trainer. Self anointed experts, who charge hourly fees, have cropped up as the game's popularity soars. For those "who want to fit in" with the Pokemon Go craze "but don't have time," one Craigslist go getter is willing to "catch all these Pokemon for you." For 20 an hour and up, another Craigslist pro will "level up" your Pokemon account, hatch "eggs" and even "walk your dog if needed." Shortly after Pokemon Go was released and became a global sensation, a micro industry of self anointed Pokemon Sherpas has blossomed. They advertise services on Craigslist, in posts that sometimes disappear soon after they're published. Many opportunists looking to sell their services seem to boil down to a millennial cliche: overeducated, underemployed and eager to cash in on their 1990s childhood nostalgia. "The service I'm trying to offer is, well, simple: sit in Central Park for a user and catch all the Pokemons that I come by," said Tommy Zhang, 26, a tech entrepreneur in Manhattan who collected Pokemon cards and stickers as a child. A "level 24 trainer," he posted a Craigslist ad, "Professional Pokemon Trainer for Hire," to earn a few bucks after his start up ran out of funds. Being a Pokemon pro was not necessarily a life's goal for Alastair Doggett, 25, a British expatriate, when he received a master's degree in mathematics from N.Y.U. But after spending a few days in Central Park on the hunt for himself and friends, he gleaned a new way to make rent. "The idea manifested when my housemate was moaning he didn't have enough time to make considerable progress in the game, what with being at work all day and returning home late," Mr. Doggett said. "Being unemployed and having considerably more time on my hands than he, I said I would happily help him out." (Mr. Doggett, who charges 10 an hour, has had five clients.) Mobility is a big plus in Pokemon Go, with high value targets scattered at landmarks around the city. So Steven Astudillo, 20, a part time Uber driver who lives in the Bronx, moonlights as a Pokemon chauffeur, since players are not supposed to drive and stare at smartphones at the same time. "One, that would be illegal," Mr. Astudillo said. "Two, that would be dangerous. Three, they just don't like walking around. They like to cheat by using a car or bus." Mopeds work, too. Matt Clark, a graphic designer in Brooklyn, has rechristened his old Puch Maxi Sport the Pokeped, ferrying players around the city for 25 an hour. "I've learned that advertising on Craigslist will, without fail, give rise to encounters with some pretty bizarre characters," said Mr. Clark, 26. "On Friday I had an individual try to barter two pounds of homemade beef jerky for an hour trip." Granted, hiring someone to play your video game may seem no more entertaining than paying someone to flip your Scrabble tiles. But players sometimes need help to "level up," said Jordan Clark, a 24 year old in Brooklyn who started a business with his roommate Lewis Gutierrez. A pro can whisk them past the early levels, so they can chase more rarefied creatures and do battle in so called gyms. "We're leveling the playing field for people who don't have the time but are interested to play competitively, or at least hang in their neighborhood," Mr. Clark said. Indeed, the social aspect of Pokemon Go is a big draw. Reddit chat threads are brimming with banter from players who crow about conquests and share insight on where to find high value targets. Craigslist is also filled with personals that have Pokemon Go themes, many of them NC 17 in nature ("Naked Pokemon m4w," say, or "Pokemon and Chill"), as well as offers for Pokemon themed dates. ("If the phrase 'pokemon role play' intrigues you, and your a woman who might enjoy the company of a 28 year old, fit, white, ddf guy, then shoot me an email," wrote one man.) One woman hired Jordan Clark to get her up to speed before a hot Pokemon date. "She was low level and was looking to level up quick so that she would be able to adequately hang," said Mr. Clark, who was a wine purveyor before becoming a Pokemon expert. For many of these Poke pros, it's hard to say where business goes from here, if anywhere. One trainer, Ivy St. Ive, who was profiled in Gothamist, quickly retired after friends informed her that she was at risk of being banned from the game for violating its terms of service, which state that players agree to never use another user's account. Mr. Zhang, the tech entrepreneur, has yet to find a paying customer, though he has received several responses, including one that read, "Get a life." But he has no regrets. Growing up, he said, "We craved for Pokemon in every single way: cards, Game Boys, stickers, TV shows on Kids' WB." "But keep in mind, we were children at that age, and parents had the control to tell us to stop," he added. "Now we have the freedom to play this game to our hearts' desire."	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Kobe Bryant, who made the leap directly from high school to a glittering 20 year career with the Los Angeles Lakers that established him as one of basketball's all time greats, was among nine people killed in a helicopter crash on Sunday north of Los Angeles. Bryant was 41. The crash also killed Gianna Bryant, 13, the second oldest of Kobe Bryant's four daughters with his wife, Vanessa. They were traveling from the family's base in Orange County, Calif., to Thousand Oaks, 30 miles northwest of Los Angeles. A budding star herself, Gianna was scheduled to play an afternoon game with her travel team, coached by her father, at Kobe Bryant's Mamba Sports Academy. Over the next 20 seasons, Bryant earned 18 All Star selections, a regular season Most Valuable Player Award in 2008 and two N.B.A. finals M.V.P. awards to go with his five championship rings and two Olympic gold medals. Amid all of that, a sexual assault allegation against him in 2003 would change how many people saw Bryant, though he remained hugely popular among N.B.A. fans and especially Angelenos, for whom he increasingly became synonymous with the Lakers the only team, despite a trade demand in 2007, that Bryant ever played for. Only a few high schoolers had gone straight to the N.B.A. at that point and Bryant would be the first guard to do so. But West left the workout early, declaring that he had seen enough. "He's better than anybody on our team right now," West famously told fellow Lakers staffers of Bryant's performance. As West envisioned, Bryant indeed helped restore the Lakers to glory albeit with no shortage of turmoil along the way. He did so first alongside the Hall of Fame center Shaquille O'Neal for three consecutive drama filled N.B.A. championships in the 1999 2000, 2000 01 and 2001 02 seasons, then as the team's unquestioned fulcrum for two more titles in 2008 09 and 2009 10. With a drive to rival Jordan's and an ability to tune out critics who at times assailed his ball dominance and shot selection, Bryant was the central and enduring figure in one of the most gripping soap operas in modern professional team sports. By the time he walked away from the N.B.A. in April 2016, after an unforgettable 60 point farewell game against the Utah Jazz, Bryant had built an unmatched legacy that persuaded the Lakers to retire both jersey numbers he wore over two 10 season stretches: No. 8 and No. 24. In perhaps the ultimate Bryant flourish, that 60 point game on the final day of the 2015 16 regular season in which he hoisted 50 shots upstaged the defending champion Golden State Warriors, who had defeated the Memphis Grizzlies on the same night to secure the best single season record in league history (73 9). Bryant is widely expected to be inducted into the Naismith Memorial Basketball Hall of Fame in late August, the first time he is eligible. He led the league in scoring twice and finished his career with 33,643 points in the regular season, which put him at No. 3 among N.B.A. scoring leaders, behind only Kareem Abdul Jabbar (38,387) and Karl Malone (36,928) until the Lakers' LeBron James passed Bryant on Saturday night in Philadelphia. Bryant tweeted his congratulations to James on Saturday night, some 15 hours before the crash, writing: "Continuing to move the game forward KingJames. Much respect my brother." But Bryant could not be harnessed. After some notable playoff failures, Bryant broke through as a champion in his fourth season, forming a devastating partnership with O'Neal under the coaching tutelage of Phil Jackson. "Kobe didn't care about night life or anything else," Del Harris, who coached Bryant for his first two N.B.A. seasons and the start of his third, told The New York Times in December 2017. "He only had one interest. His only focus was to be the best that he could be. And in his mind that meant challenging Michael Jordan." "People can argue," Harris continued, "how close he actually came, but there's no question that he fulfilled pretty much all of his dreams." Bryant scored 81 points against the Toronto Raptors in January 2006 to register the second highest scoring output in league history, behind Wilt Chamberlain's 100 point game in 1962. But Bryant's reputation was more complicated than all his accolades would suggest. He was charged with felony sexual assault in 2003 stemming from an incident at a Colorado hotel in which Bryant was accused of raping a 19 year old woman who worked at the property as a front desk clerk. Prosecutors eventually dropped the case when the woman told them she was unwilling to testify. Bryant later issued an apology, saying he understood that the woman, unlike himself, did not view their encounter as consensual. A lawsuit the woman brought against Bryant was later settled out of court. In the closing stages of Bryant's career, well beyond the days of "Showboat," Bryant began giving himself nicknames, such as "Black Mamba" and, later, "Vino." The frequent helicopter rides he took to games at Staples Center in downtown Los Angeles to avoid traffic and maximize time at home only added to his mystique.	N24News: A New Dataset for Multimodal News Classification	Sports
The Metropolitan Museum of Art reopened in August with "Making the Met, 1870 2020," an exhibition that traces the institution's 150 years of history. Sanford Biggers, Felix Feneon and the Metropolitan Museum of Art's history of itself are some of the exhibitions that remain open to the public. Museums Are Still Open in New York. Here's What's on View (for Now). While New York faces another indoor dining ban because of an increase in coronavirus cases, Gov. Andrew M. Cuomo has made no suggestion that museums will shut imminently here, as they have closed in San Francisco, Chicago and other cities. For now and no one knows how long now might last New Yorkers are free to enjoy the city's collections of cultural treasures. Still in place are protocols that the city's museums, which began reopening in August, put in place to mitigate risk for visitors and staff. In addition to mask and social distancing requirements, museums have capped capacity at 25 percent, implemented timed ticketing to avoid congestion and devised new ways to direct indoor foot traffic. Amenities like food service, water fountains, coat checks and audio tours have also been largely suspended. For this holiday season, here's a guide to museum exhibitions that are set to close by February. Be sure to check museum websites and local public health guidelines before planning a trip, and consider the possible risks. If you'd prefer outdoor options, you can always visit exhibitions in Socrates Sculpture Park, Madison Square Park and Brooklyn Botanic Garden. FELIX FENEON: THE ANARCHIST AND THE AVANT GARDE FROM SIGNAC TO MATISSE AND BEYOND at the Museum of Modern Art (through Jan. 2). There are some figures in art history whose influence outstrips their personal notoriety. Felix Feneon, who Roberta Smith called "one of the busiest, most fascinating players in Parisian cultural circles in the decades around the turn of the 20th century" in her review for The New York Times, was one such figure until this show at MoMA. MAKING THE MET, 1870 2020 at the Metropolitan Museum of Art (through Jan. 3). This exhibition of more than 250 objects organized by their date of acquisition offers visitors the opportunity to walk through the museum's 150 years of history. "This unusual organizing principle lets you map the growth of the Met from room to room, even as it creates strange, riveting juxtapositions across time," Jason Farago wrote in his Times review. For art starved patrons, the chance to see so many treasures from the Met's unparalleled collections, side by side, is another draw. But charting the development of the museum's holdings is only a part of the exhibition's importance. It's also an articulation, Farago added, of the institution's "ambitions and blind spots," both of which found themselves under scrutiny during the political and economic upheavals of this year. PETER SAUL: CRIME AND PUNISHMENT at the New Museum (through Jan. 3). Holland Cotter issued a complimentary warning toward the beginning of his Times review of the American painter's retrospective: "Whatever your ethnic, sexual or political persuasion, there is something here to give you ethical pause, to bring out an inner censor you didn't know was there." Saul's work doesn't dodge difficult issues, nor does it always engage with them in ways that are palatable to contemporary sensibilities. But there is a method to his taboo terrorizing, Cotter explained. Politically and personally, Saul has valiantly pushed back against the pressure to downplay and sanitize our "national maladies" for over half a century. "Through a long career he has used offensiveness as a form of resistance." (Jordan Casteel's first solo museum exhibition in New York is also open here through Jan. 3.) AFTER THE PLASTER FOUNDATION, OR, 'WHERE CAN WE LIVE?', BRUCE DAVIDSON: OUTSIDER ON THE INSIDE and ULRIKE MULLER AND AMY ZION: THE CONFERENCE OF THE ANIMALS at the Queens Museum (through Jan. 17). In different ways, these three shows reflect the Queens Museum's ongoing concern with the political, economic and artistic dimensions of community. The first is a large group exhibition that focuses on how social forces affect our ability to make and maintain a home. The others are less obviously political but still touch on collective themes. SANFORD BIGGERS: CODESWITCH at the Bronx Museum of the Arts (through Jan. 24). The New York based artist has been working with quilts for over a decade, but this show is the first survey of his textile based works. Comprising more than 50 pieces, it takes its inspiration from the (possibly apocryphal) idea that quilts were used to transmit coded information along the Underground Railroad. Its title is also a reference to the idea that linguistic codes are adopted and discarded, depending on the social context of communication. In both cases, it's the plasticity of meaning and the capacity of quilts to transmit lived histories that fascinates Biggers. "They're portals, in a sense," he told Siddhartha Mitter in an interview. "I consider them between painting, drawing and sculpture, and a repository of memory the memory of the body." (Jose Parla's first solo museum show in New York is also open here through Jan. 10.) Not only does it devote its attention to Mexican artists who, perhaps Diego Rivera aside, tend to be sorely neglected, it also communicates the profound influence that painters like Jose Clemente Orozco and David Alfaro Siqueiros had on more well known American figures, including Jackson Pollock and Philip Guston. That debt, Cotter argues, has too often been forgotten in the United States. "Judging by the story told here," he writes, "we should be actively inviting our southern neighbor northward to enrich our cultural soil." Aside from supplying an important corrective to art history here, the show also introduces American audiences to important Mexican painters Luis Arenal, Jesus Escobedo and Mardonio Magana among them. (A show of recent work by Cauleen Smith is also open here through Jan. 31.) COUNTRYSIDE, THE FUTURE at the Solomon R. Guggenheim Museum (through Feb. 15). The thesis of this exhibition, that cities are perhaps a thing of the past, seemed a bit far fetched and heavy handed when the show was unveiled in February. Months later, reopening after many people fled cities because of the pandemic, it seems much more plausible. Organized by the Dutch architect and theorist Rem Koolhaas, with the help of a team of collaborators, the show argues that "the cosmopolitanism and dynamism of the countryside" has been overlooked by architects, intellectuals and politicians. Koolhaas mines "the design history of nonurban areas through assemblages of historical propaganda and contemporary advertisements; torrents of agricultural statistics; and showcases of robotic tractors and crop seeding drones" to make his case that sparsely populated areas have superseded urban centers as the world's engines of innovation.	N24News: A New Dataset for Multimodal News Classification	Art & Design
A New Way for Therapists to Get Inside Heads: Virtual Reality SAN FRANCISCO Dawn Jewell recently treated a patient haunted by a car crash. The patient had developed acute anxiety over the cross streets where the crash occurred, unable to drive a route that carried so many painful memories. So Dr. Jewell, a psychologist in Colorado, treated the patient through a technique called exposure therapy, providing emotional guidance as they revisited the intersection together. But they did not physically return to the site. They revisited it through virtual reality. Dr. Jewell is among a handful of psychologists testing a new service from a Silicon Valley start up called Limbix that offers exposure therapy through Daydream View, the Google headset that works in tandem with a smartphone. "It provides exposure in a way that patients feel safe," she said. "We can go to a location together, and the patient can tell me what they're feeling and what they're thinking." The service is also designed to provide treatment in other ways, like taking patients to the top of a virtual skyscraper so they can face a fear of heights or to a virtual bar so they can address an alcohol addiction. Backed by the venture capital firm Sequoia Capital, Limbix is less than a year old. The creators of its new service, including its chief executive and co founder, Benjamin Lewis, worked in the seminal virtual reality efforts at Google and Facebook. The hardware and software they are working with is still very young, but Limbix builds on more than two decades of research and clinical trials involving virtual reality and exposure therapy. At a time when much hyped headsets like the Daydream and Facebook's Oculus are still struggling to find a wide audience in the world of gaming let alone other markets psychology is an area where technology and medical experts believe this technology can be a benefit. Traditionally, psychologists have treated such conditions by helping patients imagine they are facing a fear, mentally creating a situation where they can address their anxieties. Virtual reality takes this a step further. "We feel pretty confident that exposure therapy using V.R. can supplement what a patient's imagination alone can do," said Skip Rizzo, a clinical psychologist at the University of Southern California who has explored such technology over the past 20 years. Barbara Rothbaum helped pioneer the practice at the Emory University School of Medicine in Atlanta, and her work spawned a company called Virtually Better, which has long offered virtual reality exposure therapy tools to some doctors and hospitals through an older breed of headset. According to one clinical trial she helped build, virtual reality was just as effective as trips to airports in treating the fear of flying, with 90 percent of patients eventually conquering their anxieties. Such technology has also been effective in treating post traumatic stress disorder among veterans. Unlike treatments built solely on imagination, Dr. Rothbaum said, virtual reality can force patients to face their past traumas. Now, headsets like Google's Daydream, which works in tandem with common smartphones, and Facebook's Oculus, the self contained 400 headset that sparked the recent resurgence in virtual reality technologies, could potentially bring this kind of therapy to a much wider audience. Virtually Better built its technology for virtual reality hardware that sold for several thousands of dollars. Today, Limbix and other companies, including a Spanish start up called Psious, can offer services that are far less expensive. This week, Limbix is beginning to offer its tools to psychologists and other therapists outside its initial test. The service is free for now, with the company planning to sell more advanced tools at some point. The Limbix mobile app for virtual reality therapy. The service is free for now, and the company plans to sell more advanced tools in the future. After testing the Limbix offering, Dr. Jewell said it allowed patients to face their anxieties in more controlled ways than they otherwise could. At the same time, such a tool can truly give patients the feeling that they are being transported to a different locations at least in some cases. Standing atop a virtual skyscraper, for instance, can cause anxiety even in those who are relatively comfortable with heights. Experts warn that a service like the one offered by Limbix requires the guiding hand of trained psychologists while still in development. Limbix combines technical and medical expertise. One key employee, Scott Satkin, is a robotics and artificial intelligence researcher who worked on the Daydream project at Google. Limbix also works with its own psychologist, Sean Sullivan, who continues to run a therapy practice in San Francisco. Dr. Sullivan is using the new service to treat patients, including a young man who recently developed a fear of flying, something that causes anxiety simply when he talks about it. Using the service alongside Dr. Sullivan, the young man, who asked that his name be withheld for privacy reasons spent several sessions visiting a virtual airport and, eventually, flying on a virtual plane. In some ways, the young man said, the service is still less than perfect. Like the Street View scenes Dr. Jewell uses in treating her patients, some of this virtual reality is static, built from still images. But like the rest of the virtual reality market, these tools are still evolving toward more realistic scenes. And even in its current form, the service can be convincing. The young man recently took a flight across the country here in the real world.	N24News: A New Dataset for Multimodal News Classification	Technology
Obese Americans are more likely to become dangerously ill if they are infected with the new coronavirus. Now public health officials are warning that a much broader segment of the population also may be at risk: even moderately excess weight may increase the odds of severe disease. The warning, reported by the Centers for Disease Control and Prevention this week, may have serious implications for Americans. While about 40 percent of U.S. adults are obese, another 32 percent are simply overweight, among the highest rates of obesity and overweight in the world. By the new calculus, nearly three quarters of Americans may be at increased risk of severe Covid 19 if infected with the coronavirus. "It's important to make sure the public and individuals are aware of this potential risk," said Dr. Brook Belay, a medical officer at the C.D.C. "The message is to strive to make healthy changes on a daily basis, through healthy food choices, choices about physical activity, and getting sufficient sleep." Other medical conditions for which there is limited or mixed evidence of increased Covid 19 severity include asthma, cerebrovascular disease and cystic fibrosis, the C.D.C. said. Medical conditions clearly shown to increase the risk of Covid 19 include cancer, chronic kidney disease, heart disease and sickle cell disease, among others. Overweight and obesity are defined by a person's body mass index, a ratio of an individual's weight and height. People with a B.M.I. between 18.5 and 24.9 are considered to be of healthy weight; the overweight zone ranges from a B.M.I. of 25 through 29, and obesity starts at a B.M.I. of 30. Someone who is 5 feet 9 inches and weighs 125 to 168 pounds is in the healthy range, for example; above that, the individual is overweight, and at 203 pounds or higher, is obese. "This greatly expands the risk to a pretty big chunk of the U.S. population," Barry M. Popkin, a professor of nutrition at the University of North Carolina at Chapel Hill, said of the C.D.C.'s new advice. In a recent review of 75 studies published in August, Dr. Popkin found that obese people were twice as likely to be hospitalized with Covid 19, compared with those who were overweight or of healthy weight, and nearly twice as likely to wind up in intensive care. Dr. Popkin and his colleagues were unable to pinpoint the risk of being merely overweight, because so few studies have examined that variable. Who should get a booster shot? It depends, Dr. Scott Gottlieb says. Doctors observed early on in the pandemic that excess weight appeared to pose an extra risk to patients. But since obesity is often accompanied by other medical problems, it took some time for researchers to learn whether excess fat, in and of itself, was the culprit. Many studies now indicate that it may be, at least in some patients. Adipose tissue the fat accumulated by the body is itself biologically active, causing metabolic changes and abnormalities. Adipose promotes a state of chronic low grade inflammation in the body, even without an infection. In addition, abdominal obesity which is more common in men may cause compression of the diaphragm, lungs and chest cavity, restricting breathing and making it more difficult to clear pneumonia and other respiratory infections. The C.D.C. based its warning on a small number of studies that successfully differentiated between overweight and obesity, including a paper on risk factors for severe Covid 19 among patients in the United Kingdom and a report analyzing the outcomes of more than 500 patients hospitalized in March and April at Downstate Health Sciences University in Brooklyn. Among those patients, 43 percent were obese, 30 percent overweight and 27 percent of healthy weight. After adjusting for age, diabetes and other such factors, the researchers found that patients who were overweight or obese were at increased risk for requiring mechanical assistance with breathing and were more likely to die. The paper was published in July in the International Journal of Obesity. Surprisingly, the risk of being overweight was even greater than that linked to obesity. Overweight patients were 40 percent more likely to die than healthy weight patients, while obese patients were at 30 percent greater risk, compared with the healthy weight patients. The findings clearly demonstrated an increased risk of severe Covid 19 in anyone with a B.M.I. of 25 or above, according to the authors of the study, Dr. Mohamed Rami Nakeshbandi, an assistant professor of infectious diseases at SUNY Downstate Health Science University, and Rohan Maini, a medical student. But while obesity increased the risk of death for men, it did not do so for women, they noted. (Other studies have also reported this disparity.) The British study examined lifestyle risk factors among 387,109 men and women, 760 of whom had Covid 19. People with the virus who were overweight were roughly 30 percent more likely to be hospitalized than those of healthy weight; those who were obese were about twice as likely, compared with healthy weight individuals. Like the Science Times page on Facebook. Sign up for the Science Times newsletter. The study, published in July in the journal Brain, Behavior and Immunity, also looked at factors like smoking, alcohol consumption and levels of physical activity, and concluded that moderate exercise reduced the odds that an infected person would be hospitalized. "Socially distanced physical activity may be a good intervention," said Mark Hamer, a professor of sports and exercise medicine at University College London and an author of the paper, said in an email. "It gives immune protection, and also helps with weight loss." Physical activity, which has been extensively studied, can reduce the risk of developing chronic conditions linked to excess weight, like diabetes and high blood pressure. But it won't entirely eliminate the risk of impaired immune function and heightened inflammation, Dr. Popkin cautioned.	N24News: A New Dataset for Multimodal News Classification	Health
Dennis J. Concilla, a partner in the securities law practice at Carlile Patchen Murphy, who was involved in the creation of the broker protocol. When a financial adviser leaves a firm, clients often get caught in the middle of what amounts to a messy divorce. A squabble now playing out in the wealth management industry suggests that many of those splits could get messier. Financial advisers act as shepherds for their clients, guiding them to sound investments. As the individual relationships grow, trust builds. If an adviser moves from one firm to another, clients typically follow. For years, wealth management firms agreed not to stand in the way of such broker recruitment, putting client needs ahead of their own. But now, some firms are balking at letting clients go, and are threatening legal action to make them stay put. At the root of the fight is money, billions of dollars in client fees that wealth management firms reap every year. The dispute started last year when Morgan Stanley, followed by UBS and Citibank, withdrew from the broker protocol, an agreement that established rules for broker recruitment. The protocol allowed brokers to move between firms and to take their clients with them. The protocol was started in 2004 with four wealth management firms: Merrill Lynch, Morgan Stanley, Smith Barney and UBS. It is now endorsed by nearly 1,700 firms. But with two of the largest wealth managers pulling out Morgan Stanley has some 15,000 advisers; UBS has more than 6,800 an industry agreement most clients have never heard of could have a major effect on them. The firms that have abandoned the agreement could plant seeds of doubt by withholding information from clients and making it hard for them to find out where their advisers have gone. "Firms leaving the broker protocol is very, very bad for clients," said Phil Shaffer, the founder and chief executive of Halite Partners, an investment advisory firm, who left Morgan Stanley last year after 24 years. "As one who has tried to build my career on 'client first,' I believe that needs to be shouted from the mountaintops." Mr. Shaffer said that firms that took legal action against a departing adviser were "trying to limit the clients' freedom of choice." Big firms say that investors still have a choice. "If the best adviser wants to be some place, the clients will make the best decision for themselves," said Brian P. Hull, head of the client advisory group at UBS wealth management for the Americas. "You just have to be thoughtful about how you do it. That option still exists." But that option is becoming a little harder to pursue. In the 1980s and '90s, when an adviser left a wealth management firm usually to go to a so called wirehouse, or national brokerage firm the firm the adviser was leaving would file an injunction in hopes of buying time to persuade clients to stay. Such moves would generally happen in the end, but not without costing the adviser's new firm money in legal fees. The battles hurt clients, who were caught in between. The dot com crash in the early 2000s was a catalyst for change. Client accounts became mired in court fights, and panicked investors were unable to gain access to their cash, prompting regulatory scrutiny. A few years later, the four big firms created the broker protocol. "The idea was to find a better way not to sue each other every Friday," said Dennis J. Concilla, a partner in the securities law practice at Carlile Patchen Murphy, who was involved in creating the protocol and now operates the Broker Protocol, a website that lists the agreement's participants. "In the beginning, we thought this was going to be a club for the big guys," he said. "We thought no one would join. Boy, were we wrong." Before the protocol, big brokerage firms had a lock on advisers because of their advantages in technology, marketing and investment products. That is not the case anymore. Technology now allows investment advisers to become registered on their own and to serve clients at a high level without joining a wirehouse. Advisers can also join a growing number of smaller financial services firms like Dynasty Financial Partners, Focus Financial Partners, HighTower Advisors and United Capital that give them more control over their business and provide them a trading platform. The independence has made some big firms uneasy, Mr. Concilla said. "This is the first time firms have pulled out," he said. "All these big firms were arrogant enough to think they were going to be the net winner. Why else would you join? They figured they'd get more brokers than they'd lose, and it'd be an excellent recruiting tool, and they'd save a lot money on legal fees." The big firms defend their decision to abandon the protocol. They say they have invested heavily in technology to support their advisers and are acting in clients' best interest. "To understand why we withdrew from the protocol, you'd have to go back to June 2016 when we decided to change our operating model and focus on the advisers who are here and the clients who are here, versus recruiting," Mr. Hull of UBS said. "We wanted to focus on making this a better place. We didn't even think of the protocol up until Oct. 30 when one of our main competitors withdrew from it." That competitor was Morgan Stanley. A spokesman for the firm declined to comment for this article. Big firms have said that financial advisers built their businesses through the firms' reputations and were leaving with proprietary information. That notion troubles Brian Hamburger, a lawyer who helps advisers move firms and set up their own businesses. "There is a bona fide business reason firms want to shut that door," Mr. Hamburger said. "They want to put up impediments for people departing with what they call their trade secrets." Mr. Hamburger questioned the argument that large wealth management firms were protecting client information: "How can something be free one day," he said, "and the next day, you claim it's a closely guarded trade secret?" Despite the battle over recruitment, some people in the industry do not see the trend reversing. "What will now happen is, an individual adviser is going to have a difficult and different experience leaving the wirehouse," said Elliot Weissbluth, founder and chief executive of HighTower, which recruits advisers from larger firms. "Does it significantly change if we consider an opportunity or not? Not really. There's a playbook for this." For investors who get stuck in a fight between a wealth management firm and a departing adviser, the best advice is to remember that it is still their money and their choice about who manages it. "The broker protocol made it easy for the client to make that choice," said Timothy C. Scheve, chief executive of Janney Montgomery Scott, a regional wealth management firm that adheres to the protocol. "Now, with some firms out of protocol, it makes it harder for advisers to connect with their client. The adviser can only send out a wedding style invitation to the client if they can remember their address because they can't take that information with them."	N24News: A New Dataset for Multimodal News Classification	Your Money
Living with a pet dog in childhood may be linked to a reduced risk of schizophrenia in adulthood. Researchers studied adult patients at Sheppard Pratt Health System in Baltimore, 396 with schizophrenia and 381 with bipolar disorder. They compared them with 594 healthy controls. The participants reported whether they had had a dog or a cat in the household when they were children and, if so, the first and most recent time they had contact with the animal. The findings appeared this month in PLOS One. More than half of the subjects had dogs, and about a third had cats before their 13th birthdays. After adjusting for other characteristics, the scientists found that exposure to a dog at any time in childhood was associated with a 24 percent reduced risk for schizophrenia. Those exposed to dogs at birth were 55 percent less likely to have schizophrenia than people who had not been exposed at all. There was no significant effect of exposure to cats, and no effect of either animal on the risk for bipolar disorder. "We don't know the mechanism," said the lead author, Dr. Robert H. Yolken, a professor of pediatrics at Johns Hopkins University in Baltimore, though he noted that the microbiome, or collection of gut bacteria, of people with schizophrenia is different from that of controls. "One possibility is that having a dog in the house causes a different microbiome and changes the likelihood of developing a psychiatric disorder," he said.	N24News: A New Dataset for Multimodal News Classification	Well
WASHINGTON The International Monetary Fund said Thursday that the Federal Reserve should wait until next year before raising its benchmark interest rate, citing the stubborn persistence of sluggish inflation. In an annual review of the United States economy, the I.M.F. said growth had been slower than it expected, and it cut its 2015 forecast to 2.5 percent, from 3.1 percent. While growth is likely to strengthen in the coming months, the I.M.F. said the Fed risked moving too quickly if it started raising rates this year. "We are saying that the economy would be better off with a rate hike in early 2016," Christine Lagarde, the fund's managing director, said at a news conference Thursday. The I.M.F.'s cautionary message comes as Fed leaders continue to indicate that they would like to start raising rates this year. The Fed's chairwoman, Janet L. Yellen, said last month that she anticipated raising rates as long as growth remained on track.	N24News: A New Dataset for Multimodal News Classification	Economy
Teresita Fernandez at her studio in Brooklyn. She has become an activist outside the studio in an effort to help other Latinx artists and curators. The beautiful and experiential installations of Teresita Fernandez allude to landscapes historical, geological, internal, all in a heady mix. Her "Island Universe," for example, a stunning wall sized mosaic composed of smokey chunks of charcoal at the Ford Foundation in New York, renders the seven continents as a horizontal daisy chain of land masses. It suggests the ancient footpath of humankind, a time long before nations and borders. "The history of land formation is also the history of migration," said Ms. Fernandez, 51, at her studio in Brooklyn, where the Miami born, MacArthur award winning artist has been based since 1998. Her work and career are now being celebrated in her first comprehensive survey exhibition at the Perez Art Museum Miami. "Island Universe" was inspired by R. Buckminster Fuller's "Dymaxion Map" that peeled the globe like an orange, she explained, and sought to undo our cultural biases based on north and south. "All this up/down, privilege/third world, modernity/primitivism is based on these cardinal directions," said Ms. Fernandez, who stripped such assumptions from her representation of the world. She is interested in how viewers inevitably try to locate where they're from within this disorienting landscape. "People are very seduced by their own image and the exercise of looking for themselves," said Ms. Fernandez, who uses that as a strategy to hold viewers' attention as they may contemplate what kind of landscape they're experiencing. In recent years, she has frequently incorporated radiant gold on panels evoking nighttime horizons a direct reference, she said, to the extraction of gold by Spanish conquistadors who ravaged the land of indigenous people in the Americas. "Teresita's beginning to zero in on facets that relate very specifically to landscape in terms of colonial history," said Franklin Sirmans, director of the Perez, which organized the exhibition with the Phoenix Art Museum, where it will travel before going to the New Orleans Museum of Art. "That's part of the evolution of Teresita Fernandez as an artist. Those things were always there, but they were hidden and shrouded in some ways." The artist has never wanted to limit the interpretation of her deeply researched and layered work. But in recent years she has been more forthcoming about its personal and political content, including prompts in the titles such as "Charred Landscape (America)" (2017). "Neutrality is no longer an option," she said in a lecture shortly after the 2016 presidential election. In New Orleans, she recently completed a 60 foot mosaic of glazed ceramic tiles for the museum's sculpture garden titled "Vinales (Mayombe Mississippi)," part of a series begun in 2015 after her first visit to Cuba, her parents' homeland. The lush, swirling greens and browns of the piece reference the rural valley of Vinales, with its system of caves where indigenous people had lived, and where runaway slaves from surrounding plantations once took refuge. But Ms. Fernandez's abstract looking image was in fact based on a CT scan of a green malachite rock from Mayombe in Congo, a site of Africans' forced migration and a landscape that reminded her of Vinales. "Here's this place that's Africa, Cuba and New Orleans," she said of the piece she calls a "stacked landscape." "You can actually see your own reflection in the surface and it's like multiple times and places happening simultaneously." For the artist, it is meaningful that her exhibition is going to "three relevant cities that have majority Latinx populations," she said, particularly to Miami, which was formative to her visual sense of the world. Her parents immigrated there from Havana as teenagers. "They arrived to a Jim Crow South," said Ms. Fernandez, noting that the city was a very different place then from what the art world now associates with Art Basel Miami. Her parents were told to go back to where they came from; she remembers being told to speak English. "A lot of what we're watching on the news, it's not new," she said. Early in her career, she resisted discussion of personal narrative, wary her work would be reduced to ethnic cliches. The artist Nari Ward, who is also bicultural and has known Ms. Fernandez since 1996, understands the fear of being pigeonholed by identity. "As you're coming up through the ranks, you're trying to fight for what your vision is," said Mr. Ward (he and Ms. Fernandez are both represented by the Lehmann Maupin gallery). "As an older artist with a reservoir of confidence and resources, Teresita's thinking about what is the legacy she wants to claim." Becoming an activist outside the studio was not an obvious fit for Ms. Fernandez. But frustrated by what she termed the "invisibility" of Latinx artists and curators at a high level in the art world, she spent a year organizing the U.S. Latinx Arts Futures Symposium in 2016. The event, hosted and funded by the Ford Foundation, brought together 200 artists, museum directors, scholars, curators and funders to talk about the lack of Latinx representation. (While Latinx people are fastest growing ethnic group in the United States, they hold only 3 percent of museum leadership.)	N24News: A New Dataset for Multimodal News Classification	Art & Design
Daniel Levins, a dancer sometimes known professionally as Daniel Levans, who gained notice as a teenager in Eliot Feld's acclaimed American Ballet Company and as a principal dancer at American Ballet Theater in the 1970s, died on Sept. 15 in Brooklyn. He was 61. His husband, Eugene Gabriel Thomas Walsh, said the cause was a bacterial lung infection. Highly trained in classical ballet by two New York City Ballet alumni, Richard Thomas and Barbara Fallis, as well as by Russian and Italian teachers, Mr. Levins also danced for a season with City Ballet before he turned to acting in films, choreographing for ballet companies and Off Broadway productions, and earning a nationwide reputation as a master teacher. He taught at Mr. Feld's school, Ballet Tech, for 23 years until this past June. Moviegoers saw him in a memorable if small role in "The Turning Point," the 1977 film with Anne Bancroft and Shirley MacLaine as two former ballerinas and old friends who chose different paths, one (Ms. MacLaine) to raise a family, the other to become a star of the ballet world. That film also introduced Mikhail Baryshnikov to the general public. Mr. Levins (credited as Levans) did a comic turn as an arrogant young choreographer for a dance company closely resembling Ballet Theater, barking out a well known George Balanchine dictum to dancers to forget feelings and "just do the steps."	N24News: A New Dataset for Multimodal News Classification	Dance
Politicians in Palm Springs, Calif., view "Forever Marilyn" a giant sculpture of Marilyn Monroe, with her white skirt blown up above her waist as a fun, nostalgic tourist attraction. But local cultural leaders are painting it as sexist and sensationalist, and they are speaking out against the city's plans to move the sculpture to a site next to the Palm Springs Art Museum. From 2012 to 2014, the sculpture, by Seward Johnson, presided over downtown Palm Springs. This month, the City Council voted via a Zoom meeting to bring it back, with financing from a local hotel consortium, and place it on Museum Way, the street leading to the museum. The museum's director, Louis Grachos, has urged the Council members to reconsider, calling the sculpture "sexually charged and disrespectful" and inappropriate for the roughly 80,000 school age children served yearly by the museum. "When you exit the museum, you are going to see the exposed backside of a 26 foot tall Marilyn Monroe, including her underwear," he explained by phone this week. "That's not the message we want to give to our community." The museum's previous three directors (Elizabeth Armstrong, Steve Nash and Janice Lyle), the Modernism Week chairman William Kopelk and the designer Trina Turk are among those who have also spoken out against the sculpture's placement. In a joint op ed published in The Desert Sun after the Council meeting, they warned that the artwork is "blatantly sexist" and "devalues the architectural brand that has been so successful at drawing tourists to Palm Springs."	N24News: A New Dataset for Multimodal News Classification	Art & Design
Every month, streaming services in Australia add a new batch of movies and TV shows to its library. Here are our picks for October. When documentarian Kristen Johnson realized her father, Dick, was in declining mental and physical health, she proposed an idea: What if they prepared for his demise together, by filming a series of simulated deaths? The one of a kind documentary "Dick Johnson Is Dead" combines those strange and sometimes beautiful scenes which also include a funeral and some guesses at what the afterlife might be like with wonderful footage of a lovable old man and his doting daughter, spending their last years together. This is a special film, turning an imminent loss into an occasion for reflection and joy. Based on the popular podcast of the same name, "Song Exploder" invites well known musicians to analyze their own work, breaking songs down track by track and line by line. The four episode first season covers Alicia Keys' "3 Hour Drive," Ty Dolla ign's "L.A.," R.E.M.'s "Losing My Religion," and "Wait for It" from the Broadway hit "Hamilton." In each half hour installment, the host Hrishikesh Hirway talks to the artists about the choices they made, trying to clarify the mystery of creation by asking for a practical explanation of how music gets made. A hit at the Sundance Film Festival earlier this year, the writer director Radha Blank's dramedy "The 40 Year Old Version" also stars Blank as a struggling New York playwright, who reinvents herself as a rapper who rhymes about getting older. Shot in lovely black and white, this movie is witty and wise about the compromises some artists have to make to get their voices heard, and about the creative options available to those willing to risk failure and embarrassment. The TV and movie writer producer Aaron Sorkin the man behind "The West Wing" and "A Few Good Men" returns to the director's chair for the film "The Trial of the Chicago 7," a look back at the legal aftermath of the tumultuous 1968 Democratic National Convention. Sacha Baron Cohen plays the counterculture hero Abbie Hoffman, leading a cast that includes powerhouse actors like Michael Keaton, Frank Langella, Joseph Gordon Levitt, Eddie Redmayne and Mark Rylance. Sorkin's usual fast paced dialogue and his willingness to plunge headlong into controversial material makes him a good match for this still resonant story of dissidents forced to answer in court for acts of civil disobedience. Daphne du Maurier's 1938 Gothic novel "Rebecca" has already been adapted into a movie classic: the atmospheric and creepy 1940 Alfred Hitchcock version, which marked the director's transition to Hollywood. Now another distinctive British filmmaker is tackling du Maurier's book. Ben Wheatley, known for the edgy cult films "Kill List" and "High Rise," directs a stylish new version of "Rebecca" that emphasizes the glamour of the setting: the seaside estate of Manderley, where an emotionally distant aristocrat (played by Armie Hammer) deposits his naive young bride (Lily James), leaving her to cope with his disapproving housekeeper (Kristin Scott Thomas) and the unsettling mystery of what really happened to his late first wife. In the animated adventure "Over the Moon," Cathy Ang is the voice of Fei Fei, a handy teenager who builds a rocket ship and flies to the moon. Once there, she tries to impress the charismatic goddess Chang'e (Phillipa Soo) by embarking on a quest that involves a handful of nutty lunar creatures. Written by the late Audrey Wells and directed by the veteran Disney animator Glen Keane with codirection by another Disney alum, John Kahrs this is a colorful, energetic and emotional movie about a kid and an adult both dealing with personal heartbreak in their own unusual ways. For his latest Netflix mini series, the writer director Scott Frank who previously created the western "Godless" adapts "The Queen's Gambit," a 1983 novel by Walter Tevis, the author of "The Hustler" and "The Man Who Fell to Earth." Anya Taylor Joy plays Beth Harmon, a top rank chess master who pulled herself up from a miserable childhood thanks to her singular skills, but who struggles with addiction and self doubt as an adult. The book is beloved, and Frank and Taylor Joy are talented enough to give it the sensitive and lively TV version it deserves. Also arriving: "New Girl" Seasons 1 7 (October 1), "Oktoberfest: Beer Blood" (October 1), "Emily in Paris" (October 2), "Vampires vs. the Bronx" (October 2), "David Attenborough: A Life on Our Planet" (October 4), "Hubie Halloween" (October 7), "To the Lake" (October 7), "Deaf U" (October 9), "Kipo and the Age of Wonderbeasts" Season 3 (October 12), "A Babysitter's Guide to Monster Hunting" (October 14), "Social Distance" (October 15), "Grand Army" (October 16), "La Revolution" (October 16), "Someone Has to Die" (October 16), "Unsolved Mysteries" Volume 2 (October 19), "My Next Guest Needs No Introduction with David Letterman" Season 3 (October 21), "Cadaver" (October 22), "Barbarians" (October 23), "Sarah Cooper: Everything's Fine" (October 27), "Holiday" (October 28), "Nobody Sleeps in the Woods Tonight" (October 28). Riffing on both grim British police procedurals and dark toned science fiction, the sitcom "Code 404" has Daniel Mays playing a London detective who gets murdered during an undercover operation, and then brought back to life as an experimental cyborg. The charmingly irascible Stephen Graham plays the hero's former partner, who isn't so sure he wants to help his old buddy solve the mystery of his own death. Though craftily plotted and acted with real conviction, this offbeat crime series is brisker and funnier than the typical cops and killers fare. Based on James McBride's 2013 National Book Award winning historical novel, the mini series "The Good Lord Bird" stars Ethan Hawke as the radical abolitionist John Brown, who in 1859 led a violent antislavery demonstration that helped spark the American Civil War. Hawke also cocreated this series, which blends deadpan comedy with white knuckle action aided by a stellar cast that includes Daveed Diggs, Wyatt Russell, Rafael Casal and Joshua Caleb Johnson to make the distant past feel more immediate. In the 1970s and '80s, the West Hollywood nightclub The Comedy Store became a launching pad for stand up comics who would go on to dominate American pop culture for decades, including David Letterman, Jay Leno, Robin Williams, Jim Carrey, Roseanne Barr, Sam Kinison, Jimmie Walker, Jerry Seinfeld and more. The docu series "The Comedy Store" looks back at the club's fascinating history, considering how some of the most memorable comedy routines of all time were nurtured at a place where rivalries, disputes and drugs often made what was going on backstage as exciting at what was happening in the front of the house. Based on Aldous Huxley's seminal 1932 dystopian novel, the slick science fiction series "Brave New World" offers an adults only depiction of a decadent future, where the ruling class pass their idle hours with drugs and orgies. Alden Ehrenreich plays John, an unusually clever lower class "savage," who becomes a novelty to the elites, even as he questions how they live. And while the source material is now nearly 90 years old, this show's illustration of how social revolutions can rapidly take hold is strikingly relevant in 2020. Also arriving: "Harlots" Seasons 1 3 (October 1), "MisUnderstandings of Miscarriage (M.U.M.)" (October 1), "Where's Wally?" Season 1 (October 2), "Bran New Dae" (October 7), "Miranda" Seasons 1 3 (October 7), "Cold Feet" Seasons 1 9 (October 8), "The Flash" Season 6 (October 9), "The Spanish Princess" Season 1 Part 2 (October 11), "Mr. Robot" Seasons 1 3 (October 12), "Mr. Selfridge" Seasons 1 4 (October 14), "Unforgotten" Season 3 (October 19), "Valor" Season 1 (October 22), "Informer 3838" Season 1 (October 27), "The Bay" Season 1 (October 28), "Condor" Season 2 (October 31). Although the innovative production company Blumhouse is best known for hit horror films like "Paranormal Activity" and "Insidious," the new film series dubbed "Welcome to the Blumhouse" has a somewhat broader scope, encompassing the company's long history of supporting different kinds of genre pictures and indie dramas. The series' first two movies, debuting October 6, are "The Lie" (a suspenseful story about parents protecting their possibly murderous child) and "Black Box" (about an amnesiac turning to quack science to piece together his past). One week later brings "Evil Eye" (based on an audio play about an Indian woman who worries that her daughter's fiance is the reincarnation of someone horrible) and "Nocturne" (about a pianist who goes to extremes to outperform her more gifted sister). In Heidi Schreck's Tony nominated Broadway play "What the Constitution Means to Me," she appears onstage as herself embodying both the 15 year old who used to win prize money by giving speeches touting the magnificence of the U.S. Constitution, and the adult whose life experiences have made her turn a more critical eye toward what the document does and doesn't do. Before the show wrapped its run last year, the director Marielle Heller filmed the production, capturing Schreck's funny and provocative examination of how school kids are too often encourage to limit themselves to a one dimensional kind of patriotism.	N24News: A New Dataset for Multimodal News Classification	Television
At the Hammer Museum in Los Angeles, the artist MPA stands between her works "Eye" (2018) and, right, "Sunglasses (Left)" (2018), part of the museum's "Made in L.A." biennial. LOS ANGELES There is no cracking of earth or buckling of concrete, but a small fault line is shaking up the Hammer Museum here. This one, an artistic interpretation made of red resin sticks, is snaking from a museum gallery out to the terrace. "Faultline" (2018) begins underneath a giant sculpture of bright red plastic sunglasses that could symbolize California dreaming only they've been split in half. The artist behind this jarring installation, who goes by MPA, spoke of her artwork figuratively this week, in terms of "social fissures" and "the fracturing of political parties in the United States." But she also spoke of a more literal inspiration, the Pinto Mountain fault that runs through her hometown, Twentynine Palms, where "you can see this apocalyptic fever brewing." As residents know too well, the region has recently suffered from a long stretch of extreme drought, a rash of wildfires, including the biggest on record to date, and some deadly coastal mudslides. That's on top of the ever present seismic danger: "The idea of the big one, the earthquake that could destroy the entire city, is a constant notion here," said Erin Christovale, the Hammer Museum curator who along with Anne Ellegood co organized the biennial, which is designed to promote under recognized artists. Of course there's a rich tradition of environmentally minded art in California, from 19th century landscape photography to 1960s land art to the current wave of artist activists. In the case of these Hammer artists, though, the environment is not always an explicit theme or agenda. Concern for the health of the environment segues into, and sometimes stands for, anxiety about the current political climate. "I think why we're seeing this now has something to do with how the environment is politicized," said Ms. Ellegood. "These artists are not just thinking about natural disasters but about resources, land development, genocide and climate change." Ms. Ellegood said she was especially surprised to see ecological images crop up from artists not known for that work. Flora Wiegmann made a piece called "Reduction Burn," a six channel video of a dance performance that she choreographed. Her title refers to "hazard reduction burns," the planned fires often used to deforest areas on the verge of becoming tinderboxes. The first section of her work establishes the dancers, wearing sleeveless green shirts, as a forest, swaying like trees in the wind. The third evokes a fire spreading (thanks to red accents in the costumes and more dynamic jumping and spinning movements), while the final sections show the fire collapsing into embers. "This process is regenerating for the forest," said Ms. Wiegmann, noting that it allows for "new growth." For the artist the cycle is suggestive of individuals overcoming personal injury or trauma and "all the political and social flare ups happening today," she said. In his gallery at the Hammer, Charles Long has created a small forest's worth of stumplike, treelike or loglike sculptures. His point of departure was fallen tree sightings close to home in Mount Baldy, a mountain village east of Los Angeles. "I started noticing over the last two years a lot of the big old trees in our village were sort of choking out and getting cut down because of the drought and overcrowding," he said. "It happens so much that people don't even remove them, they just chop them up and leave them all over the village." Yet Mr. Long did not recreate the chopped up tree images as much as transform them: the cross sections of trees become the cross sections of penises, which also look like odd smiley faces. Patriarchy is being sliced and diced, and possibly reconceived. Mr. Long described his fossilized looking, crystal studded sculpture of an enormous phallic stump, which takes over an entire wall, as "Father Earth" in a wry but hopeful way. An installation called "Found Fragments," by James Benning, explores the destruction of natural resources by the military, with the centerpiece being a three channel video installation. One screen plays an actual Vietnam War era radio transmission of an Air Force B 52 fighter plane during the Christmas bombing of Hanoi, another shows an elegant pencil drawing of a Native American man in a room where the sun is fading, and a third shows a California forest right after a wildfire video the artist took in 2016 near his cabin in the Sierra Nevada mountains when he was finally allowed to access the area again. Altogether the piece explores different meanings of "scorched earth." The idea of a brutal land grab and scarred landscape also shapes the work of Mercedes Dorame, whose ancestry on her father's side is Gabrielino Tongva Native Americans who settled the Los Angeles Basin over 5,000 years ago. The tribe, which was violently displaced by settlers, has yet to receive federal recognition. At the Hammer, Ms. Dorame is showing photographs documenting her father's work as a cultural resource consultant, advising building developers on the significance and relocation of native artifacts or remains. Interspersed are photographs of assemblages that she likes to make in the Malibu landscape, which look like a cross between the ephemeral twig or stone sculptures that Andy Goldsworthy creates outdoors and native ceremonial sites. One shows a bundle of sage, tied with a ceremonial red yarn, that she placed in an abalone shell. "They are meant to be healing gestures," she said. "They come from an impulse to made amends with the land, with these spaces that were witnesses to terrible things."	N24News: A New Dataset for Multimodal News Classification	Art & Design
When he set out to investigate the inner world of exotic animal breeders, Eric Goode had no idea he would end up making the hit Netflix series "Tiger King: Murder, Mayhem and Madness." Released less than two weeks ago, the series is already a sensation, immersing viewers in the lives and rivalries of vivid subjects like Bhagavan Antle, known as Doc, the bombastic proprietor of an animal preserve and safari tour in Myrtle Beach, S.C., and Carole Baskin, an animal activist and sanctuary owner in Tampa, Fla., whose former husband disappeared in 1997. And then, of course, there's the Tiger King himself, Joseph Maldonado Passage, better known as Joe Exotic, a flamboyant Oklahoma zookeeper, political candidate and aspiring celebrity who was sentenced in January to 22 years in prison for his involvement in a failed plot to kill Baskin and for killing five tiger cubs. Goode, who directed "Tiger King" with Rebecca Chaiklin, said that he had been reasonably confident the series would be successful. "How can you not be fascinated with polygamy, drugs, cults, tigers, potential murder?" Goode said in an interview on Tuesday. "It had all the ingredients that one finds salacious. So we knew that there would be an appetite for it." But he could hardly have suspected that "Tiger King" would arrive during the coronavirus pandemic, during which audiences have had ample time to pore over its jaw dropping plot twists while they shelter in their homes. For some viewers, "Tiger King" has also been an introduction to Goode, 62, a founder of the fabled 1980s era New York nightspot Area who is now an owner of downtown Manhattan establishments like the Bowery Hotel and the Waverly Inn. In an interview, Chaiklin said she first worked for Goode in the mid 1990s as a door girl and manager at the Bowery Bar and Grill. More recently, over a "crazy posh dinner," Goode first told her about the wild kingdoms they would end up traveling together. "He said, imagine 'Breaking Bad,' but instead of dealing meth, they're dealing exotic animals," Chaiklin recalled. Goode, who is also the founder of the Turtle Conservancy, a nonprofit conservation organization, talked about the making of "Tiger King," the cults and conflicts surrounding its subjects and his communications with Joe Exotic since the series debuted. These are edited excerpts from that conversation. You led a few different lives before you made "Tiger King." Is there a thread that ties them all together? I definitely have, on paper, an unorthodox career path. And from childhood onward, I was always fascinated by the outdoors and wildlife. I kept a few turtles and tortoises and maybe a snake in my apartment in New York City, off and on. Maybe sometimes against my better judgment. And I've always been fascinated with people who march to the beat of their own drums. Each one of them, whether it was Doc Antle or Joe Exotic or Carole Baskin, they all created their own little cultish worlds, which are oftentimes very creative and inspiring but also can become quite dark. Some of the subjects in the series, particularly Joe Exotic and Carole Baskin, have received their share of media coverage in the past. What made you feel there was more to be said about them and the realm they inhabited? I originally set out to do a project that was a combination of "Best in Show," "Grizzly Man" and "Blackfish." The core reason for doing this was, how do you create awareness about the suffering and exploitation of exotic animals but in a way where you can engage an audience? It was equally important for me to dig into the pathology of these characters as it was to expose the horrible practices of exploiting these animals. Initially, I was doing a story on all these different subcultures, whether they were reptile people or primate people or bird people or tropical fish people. Then I teamed up with Rebecca Chaiklin and we started to focus on the United States. Ultimately I homed in on Joe and Carole because of that war that was ensuing between the two of them. What is it about big cats that makes some people feel magnetically drawn to them? There's a fascination, overall, with exotic animals. Something that's dangerous and beautiful, all at the same time. That also has a lot do with ego and status: "Look at me, I have a tiger" is similar to "Look at me, I have a big boat." Or "Look at me, I have a Ferrari." There's a lot of machismo embedded in that. In America, there are also definitely parallels between "I have a right to have a machine gun or a semiautomatic" and "I have a right to have a tiger." And they are definitely used as sexual bait in Joe's case, young men, and in Doc's case, young women. Do you think the operations run by some of the people in "Tiger King" were essentially cults? There's a lot of brainwashing that goes on, whether it's intentional or unintentional. People fantasize about working with animals, and then they start doing it, and then they start to believe that they're indispensable and the animal loves them just as much they love the animal. Most of these people that landed in these places were very young when they got there, usually their teens or early 20s. They work seven days a week and get paid virtually nothing, and are never able to visit their families. These places have a lot of power over the people that became indoctrinated. How long did you spend filming the series? It's been five years focused on filming people in the United States, and it ramped up over the last two years, where it really felt like I was on a plane every week because this story was unfolding contemporaneously when Joe Exotic was arrested, indicted and put on trial . There's some data that suggests that viewers get tired after a certain amount of episodes, and the sweet spot is probably between four and six. We just felt it deserved seven episodes in the end. Have you had any recent contact with Joe, and does he know about his latest flush of notoriety? Joe is ecstatic. He'd call from time to time, from jail. He's been transferred to a federal penitentiary in Fort Worth. I lost communication I think he had to go into quarantine because of the virus but up until about three days ago, he was communicating with us. And thoroughly enjoying his 15 minutes of fame. Some viewers of "Tiger King" have criticized the series, saying that it exploits its subjects and holds them up as freaks to be mocked and pointed at. How do you respond to that? We tried very hard to be honest and fair with all of the subjects in the story. Some of them are bigger than life, for sure. They told me what they told me and some of that landed in the series. Of course we wanted to bring out each character's unique qualities. Mario Tabraue the convicted drug trafficker was genuinely pleased with the outcome. He knew that he had a past that people would want to hear about. In Carole Baskin's case, I felt that we had a responsibility to look into, to some degree, her missing husband. And I think if you ask Joe, he wouldn't feel exploited. That's exactly how Joe lived his life. People probably have different feelings about how they were portrayed, but overall I think we were very fair. Do you have your own theory about what happened to Don Lewis? Exhales. I do and I'd rather not share that publicly. I'd prefer to let the Hillsborough County, Fla., Police Department speak to that. And Don Lewis's family. There were so many inconsistencies and too many coincidences that just made one question the disappearance, in a really deep way. I guess the Hillsborough Police Department is now getting tips and leads every day. I didn't set out to solve a murder. I set out to expose the issue with big cat ownership in America and where that exploitation lies. I would just say that. What was it like to be on the scene as the criminal case against Joe Exotic unfolded? I'd filmed a number of times with Joe and Carole, but it wasn't until the summer of 2018 when I was filming Jeff Lowe, the new owner of the zoo, when he told me why Joe had disappeared. It was at that moment that I discovered that the F.B.I. was after Joe and that he had allegedly hired a hit man to try to kill Carole Baskin. Up until that point, things didn't add up as to why Joe left. He was telling us that he had an epiphany and didn't want to keep these animals anymore, he was now aligned with PETA and wanted a new life. Obviously, what was really going on was that he was starting to become aware that he was in real trouble. Did you feel bad for him in any way? I have a certain amount of empathy for Joe. There's parts of Joe that are fascinating and endearing. But on the flip side, I never thought that what Joe was doing was good. It was very clear that he was exploiting his animals, and there was a tremendous amount of suffering and mistreatment of animals. And also exploiting the people who worked for him and that he surrounded himself with. Do you know what your next documentary project might be? Do you have plans to follow up on any of your "Tiger King" subjects? At the moment I'm not contemplating doing more on this at all. Let's see what happens. We're just taking a deep breath. Obviously, we're in this surreal time where it would be very hard to continue filming anything. But no, not at the moment. I happen to be in one of the worst businesses that one can be in at this time, the hotel and restaurant business in New York City. Being that they're all shut, with no date scheduled for an opening, it's an interesting time for me to think about making films. I've always liked filmmaking, and I did it in an ad hoc way, prior to this series. So maybe that'll be a good career move in light of what's happening today.	N24News: A New Dataset for Multimodal News Classification	Television
When he arrived in New York about three years ago from Knoxville, Tenn., the actor Conrad Ricamora crashed briefly with friends in Brooklyn. He then settled into a studio in a high rise rental building in Long Island City. It cost a little more than 2,300 a month. He was content living there, at least for a while. But the location started to wear on him. Mr. Ricamora, 37, is now playing Lun Tha, one of the young lovers in the revival of "The King and I," so work for him means Lincoln Center on the Upper West Side. The subway trip between home and the Lincoln Center stop at West 66th Street, about 20 minutes on a good day, could take 45 minutes when the trains stalled. "That is not crazy bad, but I wanted to be able to walk to work," he said. The subway never made him late. (If it had, three understudies from the ensemble stood ready to take over.) But afterward, he couldn't easily hang out with the cast. The later he stayed out, the longer the wait for the train. His home "had to be comfortable and safe it didn't have to be this amazing 'wow' apartment," Mr. Ricamora said. For a one bedroom rental, his budget was in the low 3,000s. The advice he received from veteran actors was "to be very conservative and not be crazy extravagant," said Mr. Ricamora, who also has a recurring role as Oliver on the ABC television show "How to Get Away With Murder." "Our jobs always have an end date. It is the nature of our occupation that we are going to be unemployed again at some point." Last summer, as his Long Island City lease approached expiration, Mr. Ricamora contacted Michael Chadwick, a salesman at Bond New York, who had helped a friend find a place. "Conrad didn't need all the bells and whistles in a luxury building," said Mr. Chadwick, who thought his budget was reasonable. Still, he warned that "there are always more people looking than apartments available, so if you see one you like, we need to move on it." The two men started a day of apartment hunting on the Upper West Side at a big, bright one bedroom, four steep flights up, for nearly 2,700 a month. Mr. Ricamora liked the layout, with the bathroom near the entrance and an L shaped hallway leading to the living room and the bedroom. The kitchen was small but adequate. The apartment, with exposed brick, a decorative fireplace and a street facing living room window, seemed clean and homey. But it was early in the search. "I don't know the market very well," he said, "so it was good for me to check out more to get an education." Mr. Ricamora and Mr. Chadwick moved on. For 3,200 a month, an apartment in the West 70s was listed as a one bedroom duplex, but was more like a basement studio. Mr. Ricamora was leery of the private entrance, a few crumbling steps down from the sidewalk. "There is something about being up in the air and off the ground in New York City," he said. Nearby, for 3,375 a month, was a large triplex with a loft sleeping area and a working fireplace. The stairs were half flights, but "Conrad thought going up and down three flights of stairs every day could get on his nerves," Mr. Chadwick said. The place also seemed run down. "I could feel a draft coming from outside," Mr. Ricamora said. "For a split second I lived in this apartment that had no insulation, and the windows were terrible and the electricity bill was insane. I had to run a space heater. That's all I could think of." The two men went to see a nicely renovated one bedroom with a good view in an elevator building just down the block. The facilities included a laundry room immaterial to Mr. Ricamora, who planned to send his laundry out. The monthly rent was 3,400. But the layout was a dealbreaker: The bathroom was en suite, off the bedroom. In a previous apartment Mr. Ricamora had dealt with a similar bathroom, reachable by guests only if they traipsed through the bedroom. That alone was reason to pass it by. Besides, "if I was going to go closer to the top of my price range, I really wanted to love it," he said. From the beginning, the first place he had seen was his standard. With each subsequent place, he had asked himself, "Do I like it more?" Each time, the answer had been no. The fact that his favorite rented for less than the others didn't hurt. So that's the one he took. He was perfectly happy to forgo "the perks that came with a more expensive apartment," he said. He and Wilbur arrived last fall. The four flights of stairs were a chore at first. Wilbur, still a pup, was being house trained, and Mr. Ricamora made frequent trips with him downstairs and up. But Wilbur is now on a more adult walking schedule.	N24News: A New Dataset for Multimodal News Classification	Real Estate
She Just Won 3 Gold Medals for Her Swimming. She's Only 73. Daniela Barnea, who is 73, typically swims for up to an hour and a half, seven days a week. At her age, that kind of workout, during which she covers nearly two miles, is noteworthy. Even more so is the fact that Ms. Barnea, who lives in Palo Alto, Calif., is a record breaking swimmer and senior athlete who competes in sanctioned races for her age group in events around the world. At the 2017 United States Masters Swimming Spring Nationals, in Riverside, Calif., she won three gold medals in the women's 70 to 74 year old age group. These included the 100 yard and 200 yard breaststroke finals and the 200 yard individual medley finals. Hundreds of thousands of senior athletes like Ms. Barnea compete regularly in athletic events throughout the world, including the National Senior Games Association, United States Masters Swimming and USA Track Field Masters programs. Races are divided into five year age increments starting at age 35 and ending at 100 to 104. Generally, the athletes range in age from 50 to 100. A recent documentary, "Impossible Dreamers," produced by Eric Goldfarb and Erik Howell through Better World Film Group, follows senior athletes who are amateurs as they train for competition. In addition to Ms. Barnea, the 75 minute film (which can be viewed on Netflix and Amazon) spotlights a 91 year old tennis player, octogenarian racewalkers and septuagenarian sprinters, weight lifters and boxers. Ms. Barnea is among the youngest featured in the movie. Donald Cheek, known as Doc, a resident of Clovis, Calif., is an international gold medal Masters sprinter at 87. Mr. Cheek repeatedly wins in the 85 to 89 division, competing in the 50 , 100 , 200 and 400 meter events. Last October, in the Huntsman World Senior Games in St. George, Utah, he set the games' record for 100 meters at 17.38. Gary Player, the 81 year old retired professional golfer, also appears in the movie, to offer fitness tips in a 20 minute boot camp workout that is included in the documentary. That instruction is geared toward amateur athletes of all ages who yearn to stay active and, perhaps, to compete. Ms. Barnea's latest athletic challenge is the 17th FINA World Masters Championships in Budapest this month. To prepare, she swims double workouts and hits the gym three or four times a week. "I don't want to be another Mark Spitz or Michael Phelps," Ms. Barnea said. "I just want to be first." It's "kind of boring swimming back and forth, back and forth, but when you have a goal, it's not," Ms. Barnea said. "It's like meditation to me. It's very peaceful. There is something very soothing about being surrounded by water." For many older people, though, exercising can be a challenge. That's why the producers of "Impossible Dreamers" decided to give viewers workout tips. "We didn't want viewers to feel inspired by the film and then go back to their regular habits the next day," said Eric Goldfarb, the filmmaker. "We caught up with several of the athletes after the film's production to get their demonstrations on safe exercises for older adults; different movements that are simple, maximizing bodily benefits and fun." The message, Mr. Goldfarb said, is that "no matter where you are in your life, you do what you can" with regard to fitness. "You exercise as much as you can without going beyond what your body is able to do," he said. "The athletes in this film are not superheroes. They are all plagued with injury and real life circumstance that happens to everybody, and they get through it." A few years ago, Ms. Barnea had abdominal surgery and needed to rebuild her swimming regimen slowly. "I could barely swim across the width of pool, but every day I added a few laps, and got stronger and stronger," she said. A rotator cuff injury sustained in a dog walking mishap, when she was pulled abruptly toward a neighbor's cat, still makes her wince and prevents her from competing in the butterfly, one of her signature events. But she keeps on stroking. This year, she will enter an estimated 20 competitions. "You need to trust yourself, trust the hopes and not the fears, and keep going around the obstacles," Ms. Barnea said. Ursula M. Staudinger, a life span psychologist and researcher at the Robert N. Butler Columbia Aging Center at Columbia University, said that exercising in older age is crucial to physical and mental health. "Our bodies are made for being used," she said. "Physical fitness and activity improves brain function. Anyone who is keeping up physical activity both the aerobic part, which is really important, and the strength and balance and flexibility is reducing the risks and buffering the decline that is going on." For Mr. Cheek, the nation's fastest 100 meter sprinter in his age group, there is "a pride and a mental discipline that carries over into your whole lifestyle," he said. Consistent exercise, said Mr. Cheek, who is a part time professor of social psychology at California State University, Fresno, allows you to have "a body that can perform for you any time you want." Mr. Cheek, who grew up in Harlem and earned a Ph.D. from Temple University, has been running track since his days at Cardinal Hayes High School in the Bronx. "The track represents freedom to me," he said. "It is a very clear measurement of what I am. It tells me I have guts, character, that I have what it takes." In the "Impossible Dreamers" boot camp video, these senior athletes provide their best advice on how to keep athletes with less lofty ambitions fit. Mr. Cheek, for example, starts his routine with a variety of relaxed stretches. He and his wife, Patti, are shown lying in bed wearing workout clothes; they lift their legs in the air, curl their toes and spin their ankles in each direction. Mr. Cheek is also shown skipping with his grandchildren; he recommends two minutes of skipping. "This develops a certain rhythm for your body," he said. "Skipping is what children do, and it's fun. It makes you smile." Then Mr. Cheek moves on to high step skipping, with the emphasis on lifting his knees. He also recommends standing in place and moving your feet as fast as you can. "Do it rhythmically, and move your arms as fast as you can," he said. In the documentary, Mr. Player is shown pacing on a treadmill, lifting light weights, doing situps and running rapidly in small steps. "You've got to keep the body moving like a piece of elastic," he says in the film. These exercises help keep him performing well on the golf course. "All you need is 10 minutes on the treadmill every day," he says. For these seasoned athletes, there's seemingly no fear of getting older. "People usually don't want to tell their age, but not me," Ms. Barnea said. "I can't wait to tell them I am moving up to my next age group for competing. I can break new records when I'm the youngest one in the race."	N24News: A New Dataset for Multimodal News Classification	Your Money
On Thursday at 7 p.m., stop by the Collective, the trend merchandized shopping experience on the newly renovated fifth floor of Saks Fifth Avenue's New York flagship. You can pick up a Public School long lace dress ( 895) or a Tanya Taylor embroidered military jacket ( 695) and meet the designers. Ten percent of proceeds from sales through Saturday will be donated to the NewYork Presbyterian Phyllis and David Komansky Center for Children's Health. The jewelry designer Jovana Djuric will have a trunk show on Friday from 4 to 7 p.m. at Sucre NYC. You'll find her signature stacking Horus slice rings ( 125 to 275). At 9 Christopher Street. Also on Friday, Tom Dixon and Dezeen are hosting a block party to celebrate NYCxDESIGN with a number of local businesses on Howard, Crosby and Mercer Streets. At 6 p.m. at 19 Howard Street, Mr. Dixon will reveal his new collection just shown at the Milan furniture fair, which includes a bloblike Melt Surface wall sconce ( 800). From 6 to 7 p.m., there will be a wine hour (choose from free red, white or bubbles) at the Library at 11 Howard. And Canal Street Market will have a kite painting workshop with the Haptic Lab design studio. At 265 Canal Street.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
How do New York Times journalists use technology in their jobs and in their personal lives? Katie Benner, a technology reporter for The Times based in San Francisco, discussed the tech she's using. How do you organize your work flow, and what tools do you use? I do almost everything on my iPhone: communicate, organize my day, find my way around and avoid awkward conversation at parties. Weekdays begin with a look at my calendar, messages, email and the weather, in that order. I listen to our podcast, The Daily, and audiobooks during my morning walk. And I entertain myself with an app called Brilliant and the New York Times Cooking app during my commute. When Tim Cook announces that the next iPhone will be embedded directly into my palm, I'll be bummed out because I've always liked having the use of both my hands. I'm on all the messaging apps text, Slack, Twitter direct messages, Google Hangouts and Facebook Messenger because it's my job to respond to sources as quickly and conveniently for them as possible. When I don't see unread message notifications I feel bereft. This is also why I have the attention span of a toddler. But my primary messaging tool is the encrypted app Signal. I often set conversations to self destruct, which makes it as close to an in person chat as you can get online. Telegram is another popular encrypted app, but it has some quirks, like displaying which of your contacts was online and when. Once, while reporting out a story about Uber, I saw lots of Uber reporters and sources were on Telegram at the same time, or had been within five minutes of one another. I experienced a horrifying cocktail of anxiety and agitation. I try to use it sparingly. Email is pretty much a newsletter graveyard. I also use it to send notes that say things like "call me" and "message me on a far more secure service." I go through spurts with Instagram, Twitter and Snapchat, but then I need to do things like work or have human contact, and I leave them. When I land my dream job cranky college professor in the year 1990 I will embrace a social network free life faster than you can say Foucault's Panopticon. This, of course, happens after Elon Musk gives us the gift of time travel. What could be better about the tools? If you look at my iPhone screen, you'll see Gmail, Google Calendar, Spotify, Google Maps, and Alexa for voice stuff, so I suppose Apple could improve its software. Operating system updates are like a periodic hazing ritual. I've mostly blocked out the switch to iOS 11, but sometimes I remember and the night sweats begin again. You write about start ups, and the successful ones are a signal for where the tech industry is heading. What tech trends do you see emerging? After Dollar Shave Club sold to Unilever for 1 billion, investors got excited about companies that make (hopefully) cool, new brands in old categories like workout gear, makeup, shoes and pantry items and sell their stuff directly to customers. It's not tech as we think of it hardware and software but the tech industry is trying to find ways to impact everyday activities like driving, eating and shopping. Basically it feels like venture capitalists are funding a large R D lab for future Amazon and Walmart acquisitions. I'm not super hopeful about returns here, since these are lower margin businesses than software companies. But some will get out the door fast enough to make money for early investors. The Amazon Echo has also been a killer product, and it has reignited enthusiasm for voice activated tech and for the internet of things, a world where all of our devices send information about us back to the internet to be mined by strangers for purposes we don't know. Can't imagine what could go wrong. You've written extensively about gender discrimination toward women in tech. Do you think the situation is improving? The fact that women and men are willing to talk openly about abuse, harassment and bullying is a huge improvement. People worry that men will now cut women out of business altogether, but they weren't welcoming them into positions of power when everyone was docile and silent, so it's obviously time to try something new. The conversations are uncomfortable, and the discomfort is also an improvement. Few people in power who feel comfortable with the status quo push for systemic changes that level the playing field. Things are far from being solved, but venture firms are scrambling to hire women. They're trying to invest in founders who are not white, male Stanford alumni. Will some of these women be bad investors and will some of these founders fail? Absolutely. And I hope they're treated as kindly as the white guys who are dead weight at their venture funds and who mismanage their companies, but are given third and fourth and fifth chances. The change is always slow and imperfect, but it has to start somewhere. Beyond your job, what tech product are you currently obsessed with using in your daily life? Have I mentioned how much I love my Amazon Echo? I'm sort of lost without it. When I stay in hotels, I find myself asking inanimate objects to tell me the weather and play NPR and add carrots to my shopping list. In addition to its being the greatest kitchen assistant ever, I'm increasingly asking Alexa to tell me my schedule, the weather and the news at the start of my day. I can see a day when my phone is the second device I interact with in the morning. My husband mostly uses it to listen to music. I know this because I can look on the Alexa app while I'm at work and see what he's been playing. Low key surveillance is good for relationships, right? Snap sells camera embedded sunglasses known as Spectacles. Are these a fad or here to stay? Spectacles are already hanging out in history's dustbin, but Snap has been super upfront about the fact that it sees hardware as a big experiment. If you believe you'll have to try and fail a lot to make a killer product, it's not a bad idea to work on fun, lighthearted and relatively cheap products that you can quickly learn from.	N24News: A New Dataset for Multimodal News Classification	Technology
In Australia in recent decades, the bilby, the bettong, or rat kangaroo, the brush tailed possum and other medium sized mammals all disappeared from the Western Desert. It was a mystery: Typically bigger animals vanish first often only after people show up. But ask the people who lived in this desert for 48,000 years what happened and many will tell you: They left. "A lot of Martu people say that if there's no people out in the country, then all the animals become absent. When the people and animals are absent, then the country becomes sick or unwell. There's no balance there," said Curtis Taylor, a filmmaker and young leader of the Martu community. With all the damage done to the planet's environment in recent centuries, it's easy for some to think of humans as the planet's great destroyers. But in a study published Friday in Human Ecology, scientists critique this notion of a human free wilderness. By examining how an Aboriginal Australian community have shaped their land through traditional hunting, they present an example where it's not all bad to have humans around. "We can still see the ways that the Martu look after country," said Stefani Crabtree, an archaeologist, ethnographer and an author of the study. Their story of stewardship, Dr. Crabtree and colleagues say, could be applicable in other environments threatened by degradation. Like the Science Times page on Facebook. Sign up for the Science Times newsletter. The Martu are defined under Australian law as the traditional owners of more than 52,000 square miles of land in the Great and Little Sandy Deserts. They hunt with fire, burning small patches of vegetation and returning after the flames subside to capture goannas and other small prey. But during the 20th century, a mix of official policies and environmental circumstances effectively compelled the Martu to leave their lands. In the 1930s, they started trickling out into nearby missionary settlements and cattle ranches. By the 1960s, after drought and the British and Australian governments started a nuclear testing program, nearly all traditional hunters had left to find their families or were taken from the Western Desert. "It was in that time that you get this wave of extinctions," said Doug Bird, an author of the study and an anthropologist at Penn State University who has been working with the Martu to better understand how they care for their land. It seemed paradoxical to him: How could taking hunters out of the desert harm it? In the 1980s, mining and exploration threatened their homeland, so the Martu returned to reclaim it and resume their hunting traditions. The researchers interviewed the community and observed their foraging strategies and reconstructed food webs in the desert before the Martu left, and after they returned. From these models, they simulated how removing people affected other parts of the desert food chain like kangaroos eating bush tomatoes, or birds eating rodents. "When people started to come back and going hunting again and looking after their country, you could see this resurgence of animals coming back to parts that they had been absent for a long time," Mr. Taylor said. The small hunting fires were vital for sustaining wild species. Without Martu people starting them year round, seasonal lightning fires raged. Invasive predators thrived and mammals needing to travel long distances for food or water got hit hard. Even the goannas they hunted struggled without the Martu. "The thing about fires is that they're creating this patchy mosaic of really diverse vegetation," said Rebecca Bliege Bird, an anthropologist also at Penn State and co author. Chunks of the landscape are always at different stages of recovery, with different vegetation. Spinifex, a grass that otherwise lives for decades and crowds everything else out, is replaced by other plants like bush tomatoes, an important food and water source. And many animals have more places to get food, shelter or protection from predators. After a few years, spinifex returns, and the cycle continues. "In some ways, it's a pretty straightforward relationship," Dr. Doug Bird said. "The more that Martu hunt, the more they burn. The more they burn, the patchier the landscape is. And dingoes and monitor lizards and some other critters, native critters, really like that patchwork." But it isn't as if the Martu returned home, and everything went back to normal. The Martu now consume more western food, some only hunt on weekends and invasive species and extinctions still happen. But the patchwork is coming back. Mr. Taylor, who lives in Perth, says he finds solace hunting in the country, paying respect to the animals and sharing the food with family. "I'll just be here, now, today, and know that the country is healthy because people are burning and looking after it how people have done for millenia." The Martu story isn't small or isolated. It's applicable to about a quarter of Australia, where other Aboriginal Australians practice long held traditions on their lands. It also extends to groups around the world, like American Indians, whose generations of knowledge are starting to be tapped to benefit biodiversity and government agencies trying to manage it.	N24News: A New Dataset for Multimodal News Classification	Science
You Want This Tattoo? Get in Line In a city where high end hairdressers charge upward of 500 an appointment, it was only a matter of time before tattoos ceased to be a bargain. "It's something that's going to last forever," said Jack Powers, a 22 year old operations manager at a logistics company, putting aside the stuff about death and body decomposition. "You got to go to the best of the best." For him, that is Bang Bang, a Lower East Side tattoo parlor, where a sleeve of black and gray Catholic imagery Jesus, Saint Peter, the Virgin Mary from one of the younger artists on staff took six or seven sessions and cost about 20,000. "My own money," Mr. Powers said, to raised eyebrows. It was Rihanna who put the "bang" in Bang Bang. She stumbled upon the shop's owner, Keith McCurdy, 11 years ago, when he was working at a tattoo and piercing shop on West Fourth Street, one of the few remaining blocks in Lower Manhattan that hasn't been transformed by luxury goods boutiques. Rihanna came in for a nipple piercing and walked out with several lines of Sanskrit inked on her hip. Later, Mr. McCurdy went on tour with Katy Perry, who had him tattoo her and the crew in between concerts. He opened his current shop in 201 4, and the next year HarperCollins published "Bang Bang: My Life in Ink," a memoir and coffee table book filled with testimonials from his storied clientele. But Mr. McCurdy's recent success has as much to do with his savvy management decisions as his own artistry. In a notoriously xenophobic and sexist business, he has pulled together a diverse team of tattooers, operating almost like a talent agent albeit one who has a pistol tattooed on his neck (hence his nickname, given to the store) and smokes weed with his artists. "I have to play both sides of the ball," he said on a recent Thursday. Eva Karabudak, 32, who is Turkish and one of the shop's most in demand tattooers, duplicates famous paintings by Van Gogh and Klimt. Oscar Akermo, a wispy 22 year old Swede, does Daliesque portraiture in black and gray ink. Sanghyuk Ko, 37, known professionally as Mr. K, is a former graphic designer from Korea with a specialty in fine line portraiture that looks like what would happen if you successfully applied No. 2 pencil to the skin. Last month, Bang Bang opened a second shop, on Grand Street in SoHo, mere feet from an Alexander Wang store. Mr. McCurdy said the cost of the renovation there was north of 1 million. A look around provides little reason to doubt him. "It's like the Apple store in here," Miley Cyrus said Saturday night, when she showed up with a friend to have her mother's signature inked on her arm and then decided to get a second tattoo on her ankle: slang for part of the female genitalia. For four hours, I was at the next station over, getting a bird tattooed on my arm, at a price that exceeded my last paycheck. (The New York Times does not take freebies.) The fancy digs, celebrity adherents and notorious waits for appointments have earned Mr. McCurdy a fair amount of ire in the industry. "I'm public enemy No. 1," he said. Getting Into the Skin Game In a movie about his life, Mr. McCurdy, 32, might be played by Seth Rogen: also a bearish guy who is both delightful and aggressive, nerdy and cool, stoner ish and Type A an empath who loves a brawl. Although Mr. McCurdy has made millions of dollars with his craft, he has no interest in fancy watches, art or real estate. Instead, he sermonizes about simple pleasures like Popsicles and amusement parks, particularly Disney World, which he visits multiple times a year with his employees and sees as a metaphor for what America (and his business) should be: futuristic, easy, open to all races, ages and religions. "They're the best people in the world at tricking your eye," Mr. McCurdy said of Disney, sitting in the lounge on Grand Street, wearing Y3 sweat shorts and a black 10 Goonies T shirt from Target. Mr. McCurdy's own story is a triumph of American possibility. He grew up in Claymont, Del. His father, Vincent Lacava, was 16 when Keith was born, and his mother, Susan McCurdy, was 17. Ms. McCurdy and Mr. Lacava broke up soon after. He went off to college, and she dropped out of high school and became a stripper. "There was no shame around it," said Mr. McCurdy, who dedicated his book to her. "She was a feminist, and she paid the bills." Eventually, she opened a cleaning business, relying heavily on her son. "One of his chores was to rake the leaves," Ms. McCurdy said. "I remember one day, I walked onto the deck and he had the other kids raking them for him. But he got it done. He was always a delegator." At 15, Mr. McCurdy pressured his mother to let him get a tattoo and they struck a deal. If he made the honor roll he was not a good student he could get one. Soon enough, they drove to a nearby parlor, where Mr. McCurdy got what he describes as "the cheesiest version of the Superman logo you have ever seen." After tabloid coverage, demand for Mr. McCurdy's services grew exponentially. He bounced between Last Rites and East Side Ink, two of New York's best known high end tattoo shops, burnishing his star and alienating his bosses. "People told me I stepped on people to get where I am," Mr. McCurdy said. "I don't think I've stepped on people, but I sometimes pushed them out of my way. Wouldn't everybody?" At East Side Ink he determined that he was the shop's biggest earner and pressed for an ownership stake in the business. "That was never going to happen," said Josh Lord, the owner. At the time, Mr. McCurdy and his wife, Etsuko Tsujimoto, had a young daughter and another one on the way. Soon, he started making arrangements to open his own shop and made offers to a number of people on the staff. Mr. Lord found out about this, and Mr. McCurdy was ultimately fired. Today, Mr. Lord calls Mr. McCurdy "the worst person" who ever worked for him, which seems slightly out of sync with the offense committed. Unfazed, Mr. McCurdy professes a continued desire to steal Mr. Lord's best artist, Cheo Park. "I'd make him more money too," Mr. McCurdy said, adding that it has been a pleasure to "kick their" butts, referring to East Side. In a text message, Mr. Lacava said, "Although Keith and I have different views about what happened with the shop, I wish him continued success." One day, employees strolled up to the store and found that someone had changed the locks and removed everything overnight. His shop gone and his marriage suffering, Mr. McCurdy moved onto an air mattress in Mr. Borew's apartment in Queens and spent several months tattooing clients including Selena Gomez at a small studio he rented in the Crown Heights section of Brooklyn. He and his wife went into counseling with Karen Bridbord, a therapist and executive coach. Soon, Dr. Bridbord was advising Mr. McCurdy on how to restart his business. He found a new store (on Broome Street), borrowed money from friends and opened just as Instagram was taking off. Mr. McCurdy posted selfies with his famous clients and sent direct messages to talented artists around the globe, sponsoring some of their visas. He made hiring women a priority and was clear with his staff that tattoo world misogyny would not be tolerated beneath his roof. "My daughter is 9," he said. "She has a feminist button on her backpack and she doesn't really know what it means, but I want her to have the sense that she can do anything she wants with her life. Sixty five percent of our customers are women. And we have employees and they have rights." Inevitably, there has been some MeTattoo. In 2016, Mr. McCurdy hired JonBoy from West Fourth Tattoo. As the tattooer to Kylie and Kendall Jenner, JonBoy was immediately one of Bang Bang's biggest draws. But he nevertheless had what Mr. McCurdy described as a "rough start." The issue, JonBoy said in an interview, was "the perverted jokes I told, the way I behaved in the presence of females." After four months, Mr. McCurdy and Dr. Bridbord determined that JonBoy had to go. At least for a while. They provided him with the name of a therapist and told him to stay in touch. A year later, he was hired back, on the condition that he remain in treatment. "I see someone every week, and it's been so helpful," he said. And the celebrities kept coming. One is Justin Bieber, who has spent more than 60,000 on Mr. McCurdy's services. He pays a premium to transport his tattooer between coasts and around the world. "Usually it's a last minute thing," Mr. Bieber said by phone last week, as Mr. McCurdy patched him into a call with me and chuckled in the background. "That makes it difficult on Bang, but he always goes out of his way to make me a priority and it's why I love him so much. I'll be like, 'Hey, I'm in Panama. Can you come out?'" (For 10,000 he did. "I've got kids," Mr. McCurdy said. "Tell me he's not awesome.") Another recent client is the model Cara Delevingne, who in their first session passed him a blunt so strong that he could barely keep his eyes open. The hyper detailed lion Mr. McCurdy inked on her index finger that night earned jeers from "serious" tattoo people, who regard micro tattoos with disdain. But who cares? Technically it was perfect. "He takes my wacky ideas and turns them into something feminine and beautiful and sexy," Ms. Delevingne said. And sometimes discreet. Mr. McCurdy agreed to tattoo her current favorite food, bacon, only if she put it on the bottom of one of her feet. In retrospect, she thinks that was a fine decision. "I might become a vegan," she said. Occasionally, Mr. McCurdy's tattooers question whether something gets lost as the prices ascend into the stratosphere and clients from Wall Street plunk down thousands of dollars to ink their arms with depictions of the charging bull in the financial district. "There are great people who can't afford to get tattooed by us," said Balazs Bercsenyi, the 29 year old artist from Hungary who inked me. One night, a man delivering an Amazon package to the store asked if Kristi Walls worked there. "She used to be my tattooer," he said. "But that was when she cost less." But mostly, Mr. Bercsenyi and the other artists are enjoying the premium fees they command. Mr. Akermo recently bought a Royal Oak, the 16,000 octagonal watch from Audemars Piguet. JonBoy and Mr. K are hooked on Gucci. Mr. McCurdy has Amazon stock ("I bought at 700," he said) and got himself a nice new set of teeth. "Two and a half years ago," he said, opening his mouth for all to see. "Dr. Apa. A P A. He plays Nas in his office and drives Ferraris. He's the G ." With the SoHo store up and running, Mr. McCurdy is, inevitably, mulling other brand extensions. Later this year, he is introducing a line of tattoo aftercare products. He'd also like to do a show for Netflix and open a Bang Bang in Los Angeles. "With a pool on the roof," he said. "New York is so boring."	N24News: A New Dataset for Multimodal News Classification	Style
Ryan Seacrest Is Just One Man, He Can Only Do So Much in This Life None George Etheredge for The New York Times Ryan Seacrest, 43, is still adjusting to New York, after moving from Los Angeles last year to host "Live" with Kelly Ripa. In addition to the morning TV show, Mr. Seacrest hosts a nationally syndicated radio show, produces TV series like "Keeping Up with the Kardashians" and "American Idol," and runs his own skin care and clothing line. Here's how he juggles his day. I wake up around 6 o'clock. I quickly get ready. For me, it's a shower and a shave. Then I'll put on a little moisturizer on my face. This is my first time being based in New York so it requires checking the forecast. But generally, I have a uniform: I get into a pair of sweats, a zip up hoodie and a T shirt. Then I put on Uggs. Last year, I started wearing my Uggs in May. I was told that I was wearing them too early. I go downstairs and I have a matcha tea followed by a coffee. I do matcha to set the tone for my body, because it has so many great things in it. Mr. Seacrest with Hernan Santa, right, his trainer. George Etheredge for The New York Times Early on, in my late 20s and early 30s, I felt guilty working out during whatever was considered a business hour. I wouldn't tell people that I went to a workout at noon. As I grew up, the physical aspect has become an essential component to the balance of intense schedule and intense work. When Kelly and I were in the Bahamas for a Live! show, I brought a trainer with me to make sure I could keep the same routine. Most recently I've been boxing with a boxing coach. If anybody ever jumps me, I'm ready. I also use the Peloton bikes before I go to work. And I love to run. I don't like treadmill. It's always fun to run in the park. In the morning I'll consume overnight news and watch a bit of television. Then my commute is about seven minutes to work; I live on the Upper East Side. I take a car every morning so I can read on the way. Mr. Seacrest in his dressing room before the start of "Live with Kelly and Ryan." George Etheredge for The New York Times I've learned, though, that I only have the capacity to engage in so much for certain amount of times. I will only take a phone call interview or other requests after I get through the first half of the day. The afternoon is when I can think about things that are more long term. This did not necessarily come naturally. I trained myself. I used to think that every incoming question needed to be immediately dealt with. I've learned self discipline. Things can be put into a queue. If you want to be the most successful you, people like to hear yes. They like to hear three words, one is "yes," and the other is "got it." You can tell someone "got it!" and usually life is okay. That's my favorite reply to any email, "Got it." Mr. Seacrest interacts with the audience during the commercial break of "Live." George Etheredge for The New York Times I'm mostly vegan. I am also a massive foodie. I'm only working to eat well and drink wine. I have to. Otherwise, I would not enjoy life. During the week, it's impossible, but Fridays and Saturdays, it's fantastic to have a two hour meal, family style, with a fantastic bottle of wine. It was suggested to me I should meditate, but I'm distracted easily. I have attention deficit disorder. In the last couple of years, I've been a huge proponent of putting my phone down. I'll even lock it in a safe when I'm on a trip. I've found simply not having my device on me is a very good thing and the world lives on. Mr. Seacrest on the air for his nationally syndicated radio show. George Etheredge for The New York Times I worked for Dick Clark for a few years before he passed away. I remember watching him as a kid and he looked so casual and seamless, as if he was doing everything in the moment. I asked him about it and he said, "When you're a broadcaster and host, if every person who watches it thinks you make the job look easy and that it's not that big of a deal to do it, then you're doing it well." That has stuck with me. This is a recurring column in which men discuss their self care. The interview has been edited and condensed.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Miri expects people to be nicer than they turn out to be; other people expect Miri, the inconvenient woman, to conveniently disappear. On the rare occasions when someone doesn't already know who she is, Miri improvises unconvincing reasons for her spotty resume or outdated frame of reference: She's been traveling in Burma, she's been on a really long diet. What complicates the situation, and gives "Back to Life" an extra comic kick, is that the duplicity and discomfort come from every direction. Miri, who's clearly a kind and gentle soul, if sarcastically minded, at first takes the suspicion and resistance she encounters which ranges from rude remarks to vile graffiti and a brick through a window as her due. But eventually she cottons to what we already know, or can pretty easily guess: The people she's closest to, including her mother, Caroline (Geraldine James ), her former best friend, Mandy (Christine Bottomley ), and the affable new neighbor, Billy (Adeel Akhtar ), are harboring secrets that start to make her own past transgression look tolerable. "Back to Life" may be premised as a spin on a couple of standard narratives, the "woman starting over in a world with no place for her" and the (usually male) "life after prison" stories. But most of its comedy stems from the effect Miri has on everyone around her, and its primary pleasure comes from its gallery of supporting performances: James as Miri's waspish, selfish, covertly sexting mom and Richard Durden as her gruff, eco warrior dad; Bottomley, echoing the prickly defensiveness of her role in "The End of the ing World"; and the wonderfully warm Akhtar. Haggard, with her distinctive features a cross of Modigliani portrait and midcareer Penny Marshall plays Miri as a bashful but stubborn catalyst for the action, an unavoidable object disrupting 18 years of small town rationalization and avoidance. When it focuses on being a tart, melancholy, frequently dirty treatise on indignity, reconciliation and clashing expectations, "Back to Life" works quite well. ( A typical exchange in which two characters review each other's liabilities: "You killed someone!" "You're married!" ) What doesn't work so well is the mystery plot, increasingly obtrusive as the season progresses, in which a cryptic freelance "investigator" digs into the circumstances of Miri's teenage crime. (It involves a dramatic setting that clearly, but irrelevantly, invokes the murder drama "Broadchurch.") Details of that catastrophic incident are dribbled out to the viewer in a way that's slightly irritating even as it is crucial to the show's structure. The question of what Miri did, and why, is so prominent throughout the season that other threads aren't (or don't need to be) fully developed; when it's answered, you're not exactly sure whether there's more for the show to do.	N24News: A New Dataset for Multimodal News Classification	Television
"I'm never going to take it off," Celine Dion said. Mugging for a reporter's iPhone camera with a voice you might associate with Dalmatian coats and Cruella De Vil , she repeated herself. "I'm never going to take it off," she said, head lowered, tone rising. "It's mine! All mine!" The subject wasn't what she was wearing at the moment a green metallic silk jumpsuit from Isabel Marant and Alexander Wang ankle boots but an outfit by Oscar de la Renta, the one she will have on when the paparazzi go berserk on the Met Gala red carpet on Monday night. It is a creation that would seem as if designed specifically to test the internet's breaking point. Like so many of the specially commissioned rigs worn by celebrity Cinderellas at this annual tournament of fixed smiles, bulldozer fund raising and cross platform brand promotion, the Oscar de la Renta extravaganza is probably destined to return to its makers sometime after the clock strikes midnight. One of the many ways that Anna Wintour, the Vogue editor and the Met Gala's benevolent dictator, cannily rejiggered what was once an opportunity for society people to flaunt their couture finery is that a hefty percentage of its 550 attendees will be wearing clothes they do not own. But wait. Perhaps Ms. Dion may not have to return an outfit that with its references to Old Hollywood glamour, to both Busby Berkeley and Elizabeth Berkley and notionally to the theme of the new Costume Institute exhibition, "Camp: Notes on Fashion" is like the raiment for a show business apotheosis. Perhaps she will retain the ensemble, which resembles what a sainted Vegas showgirl might wear to meet St. Peter at the Pearly Gates. Maybe she will purchase it. "I buy," said a woman whose personal fortune, amassed over four decades in show business, is widely estimated at close to a billion dollars . "I don't beg for a gift. " Anyone who knows Celine Dion can attest to that. Friends of the 51 year old star point out that not only is she a clotheshorse, one whose increasingly adventurous wardrobe antics have inspired countless memes and what New York magazine's The Cut referred to as a "Dionnaissance," she is also a shopper. "She can't say no," said Pepe Munoz, a fashion illustrator and former dancer who is Ms. Dion's principal stylist, sharing the duties with Sydney Lopez. They were seated in a soundproof recording booth inside Studio at the Palms in Las Vegas, high in a tower of the newly renovated Palms resort. Ms. Dion was deeply tanned and had her hair skinned back in a taut ballerina bun. Mr. Munoz, strapping in shorts and a T shirt, looked as though he had come from the gym. "The thing is that he's my best friend, and we dance together, and he did so much for me," Ms. Dion told the NBC staple "Extra" in April, adding that a hug from a handsome six footer was something that, as a widow, she had not had for some time. But, she added firmly, "Pepe is gay." For more on celebrity, beauty, fashion, and big money moves, subscribe to the Style section weekly newsletter. By one of those fluky sequences that have become commonplace in the age of social media, the path to Ms. Dion for the Oscar de la Renta designers Fernando Garcia and Laura Kim led first to Mr. Munoz. "Instagram made Celine Dion happen for us," Mr. Garcia said from the Oscar de la Renta atelier in Manhattan, where he was supervising 52 workers as they frenziedly assembled the Met Gala costume. In short order it developed that she would. "I've designed for actresses before, and it was a little more tedious, but this was seamless," Mr. Garcia said. "I was totally flabbergasted when, after a week, Pepe gave me a 'maybe' and then, within two weeks, a 'yes.'" Mr. Garcia soon sent the singer sketches that drew on his research into camp and discovery of a 1941 film about three show business hopefuls attempting to make it in the Ziegfeld Follies, spectacles that in the 1920s stood as the pinnacle of Broadway success. "I'd never heard of the Ziegfeld girls before," said Mr. Garcia, who is 32. "But the movie, the sets and the costumes are so glamorous and beautiful that we felt it would connect the aesthetic of camp to our house." Flying to Las Vegas for a first meeting with Ms. Dion, Mr. Garcia carried onboard a prototype that was his team's interpretation of what he described as a "mega fringed silver jumpsuit that Judy and a bunch of the girls wear" in "Ziegfeld Girl." "It's very Vegas, and Celine to me is Vegas in the most beautiful way," Mr. Garcia said, adding that when she first saw the dress, with its floor length fringes, Ms. Dion immediately put on the soundtrack to "RuPaul's Drag Race" and began to dance. "I've learned that Celine's style choices have to speak to her. It's not like she's a puppet that's told what to wear." "You're born wanting to express yourself, and clothing is part of that," she said. And it is through her unfettered style choices that she has lately revitalized her fan base. A generation too young to have known her megahits has discovered her anew as a kooky and ubiquitous YouTube presence prancing and posing and vamping across social media wearing couture finery in videos like the brief but addictive one she shot in Paris for Vogue in 2017 a clip that even The Fader suggested expanding into a feature film. Ms. Dion clearly enjoys toying with her new status; poking fun at her position as a freshly minted meme queen while professing not to know the meaning of the term; reveling in an ability to take irony to Susan Sontag levels when she stepped out in a "Titanic" sweatshirt from Vetements; out camping camp by striking poses against the Bangkok skyline in an acid yellow suit from Maison Rabih Kayrouz; attesting in Vogue to that cardinal rule of fashion: Never put comfort first. "The day you start thinking about comfort, you're getting old," Ms. Dion said. "Every piece of clothes brings me closer to creating a character," the performer said that evening in Las Vegas as she sipped tea from a mug and anticipated the moment when she alights from her limousine at the Met Gala ready to do combat with seasoned red carpet warriors like Lady Gaga and Kim Kardashian West. "It was something that used to bother me a bit," she said, referring to the decades it took style insiders to discover her hidden in plain sight. "It's not like I'm going to call and say, 'Can I be on the cover of Vogue?'" Yet why not? "I feel like she's having this extraordinary moment in fashion," Mr. Stewart, the hatter, said by telephone from London. "She's playful with it, and it's rare to see someone enjoying this wonderful exploration of creativity." In fact, some of Ms. Dion's oldest and most cherished recollections involve clothes. "I can remember a dress my mother made me when I was 6," she said. "It was blue and had little white flowers, and I wore it with white gloves and a small purse of white lacquered bamboo." Later Ms. Dion emailed a snapshot of herself in that very dress. "I felt so beautiful in it," she said. "I never wanted to take it off."	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
WASHINGTON During the Clinton presidency, The New Republic billed itself as the in flight magazine of Air Force One. Former President Obama loved The Atlantic. President Trump prefers Barstool Sports, the sophomoric, in your face sports blog beloved by bros of all stripes. The president who noted this week that "Nobody likes me" is always looking for a friendly ear in the media. But unlike Fox News, the frat boy blog turned media empire is known more for its dude content "Man Vs. Wasp Nest Who Ya Got?" reads one recent headline and "Local Smokeshow of the Day" gallery of babe photos than for its political coverage. Barstool's founder, Dave Portnoy, 43, began his first White House sit down last week with an appeal. "Your son's a big fan of our website. Even before this started, I was trying to get a retweet out of him for about six months," he said. He also complained to a sympathetic Mr. Trump that Anthony Fauci, the nation's top infectious disease specialist currently grappling with a raging deadly pandemic, "is on my 'X' list, because every time he talks and says the country should stay inside, my stocks tank." The interview ended with Mr. Portnoy dialing up his father for a surprise FaceTime call with the president. Though Mr. Portnoy stated in his interview that he is "apolitical," he was ahead of the curve on the Trump movement when, in 2015, he announced he would vote for the reality TV star. "I don't care if he's a joke,'' he wrote. "I don't care if he's racist. I don't care if he's sexist. I don't care about any of it. I hope he stays in the race and I hope he wins. Why? Because I love the fact that he is making other politicians squirm." Mr. Trump, in turn, had become familiar with Mr. Portnoy's signature pizza reviews and his appearances on Tucker Carlson, where Mr. Portnoy has expressed uncertainty about Dr. Fauci and decried the overreach of political correctness. Together, both men have a history of ugly remarks on sexual assault and race, and are, to the delight of their respective fanboys, unlikely to ever apologize. One of those mutual fans is Elon Musk, the Tesla magnate and increasingly Trump aligned brozilla, who tweeted at Mr. Portnoy in May: "Please run for office. The politicians unelected bureaucrats who stole our liberty should be tarred, feathered thrown out of town!" In March, one of Mr. Portnoy's colleagues interviewed the Vice President's chief of staff, Marc Short. More recently, White House press aides had been kicking around the idea of a Barstool interview with Mr. Trump a chat on Air Force One was one thought and ultimately settled on last Thursday, the opening day of baseball season, before reaching out to Barstool. (Through a representative, Mr. Portnoy declined to be interviewed for this story.) As millennials continue to cord cut ESPN into irrelevance, Trump aides have correctly identified Barstool Sports and its network of popular podcasts and social media personalities as a way to reach younger voters, a demographic with which this president is underwater. It is both a cultural fit and an untapped resource: A Morning Consult poll this week stated that "Barstool sports fans are younger, more Republican and more politically engaged than the public overall." "He's smart to reach out in that regard, it humanizes you," said Sig Rogich, a former media adviser to President George H.W. Bush. In his time, Mr. Rogich facilitated successful collaborations between Bush I and the National Collegiate Athletic Association and Sports Illustrated. "If Trump can create connectivity with the sporting world, it's a plus for him. There's no downside to it," Mr. Rogich said. Besides, maybe Washington is just the place for a guy like Mr. Portnoy after all. There are so many pink hued Vineyard Vines shorts here in summer that 14th Street often resembles an Alaska salmon run in May. As Jim Webb, the Democrat and former senator, once said about the town's defining work of architecture: "Watching the white phallus that is the Washington Monument piercing the air like a bayonet, you feel uplifted." (Speak for yourself, dude!) There is something about working in the White House, in particular, that inspires Greek life like behavior. Nicholas Syrett, the author of "The Company He Keeps: A History of White College Fraternities," said the similarities stem from "the degree to which it is both insular and all consuming in terms of socializing and work, and the degree to which they would see themselves against either the world or against their critics." With every administration, White House staffers cling to a culture of conformity. The idealistic, progressive bros who rode into town on the waves of Obama's historic victory were treated as young princes of the city, but they became wary of a press corps that wanted every little piece of them. Their modus operandi was to throw house parties, where they could do keg stands in peace. When Jon Favreau, then a young Obama speechwriter, and his buddy Tommy Vietor, then a press aide, played a game of shirtless beer pong at a Georgetown bar, they got burned when photos circulated. Politico huffed that the administration's critics saw the aides as behaving like two "frat boys in the midst of two wars and the Gulf oil spill." Mr. Vietor said the culture of the Obama White House doesn't even compare to what came after it. "I'd argue that the big cultural problem with this White House is hiring white nationalists like Stephen Miller," he said. "Put down the tiki torch and pick up a baseball." For Trump aides, the perils of overexposure are well known. Mr. Miller and other senior officials have been scorned or yelled at in restaurants. Some younger aides choose to go incognito altogether, inventing alternate identities if they meet someone while out like one press wrangler who pretends to be a real estate agent. Others spout the ultimate D.C. safe words: "I work in fund raising." Spend a Saturday night with young Trump staffers and one hears basic things like "Alexa, play Top 40!" Vodka shots are administered in plastic TRUMP PENCE 2016 campaign cups. Nostalgia rules for the days of the first scrappy campaign, when victory seemed impossible and everyone doubted them. A major Trump White House watering hole is Mission Navy Yard, a bar near the baseball stadium where the Nationals play. One low level National Security Council staffer even moonlit as a bartender there. Another spot is "The Lot," across the Potomac, in Arlington, where aides congregate with buckets of White Claw, the boozy seltzer drink. With Ivanka and Melania as the models for women, the understated Tory Burch flats and tight ponytails are out; in are the knee high boots, party dresses and big blowouts. The Trump White House has a Palm Beach look. Aides keep stilettos in desk drawers, should they be called into the Oval. The men may have it worse. The Washington Post reported that, earlier in the first term, Trump bros vaped and engaged in "Icing," in which Smirnoff Ice bottles are hidden and must be chugged when discovered, a game familiar to anyone who spent the early 2000s in a dorm. A 2011 YouTube video of Johnny McEntee, then at University of Connecticut and now a high ranking Trump official, landing amazing football trickshots is the stuff of bro legend in this West Wing.	N24News: A New Dataset for Multimodal News Classification	Style
How do New York Times journalists use technology in their jobs and in their personal lives? Jenna Wortham, a staff writer for The New York Times Magazine and co host of the "Still Processing" podcast, discussed the tech she is using. As the host of a podcast, are there any special tools that you really like? Luckily, my only responsibility for "Still Processing" is to show up and talk. All the alchemy required to turn our babbling into a coherent weekly show is handled by the geniuses at Pineapple Street Media. But I would say that keeping a dedicated notebook and pen on my person at all times, to jot down ideas, theories, reference points and jokes to share with my co host, Wesley Morris, is an essential tool for that job. I'm partial to a Muji recycled paper sketch book and a Sharpie ultrafine marker. I also really like any messaging app that lets me record and send voice notes they're super helpful for bombarding Wesley with complex ideas, and also for sending myself thoughts that are too abstract to write down. You recently wrote a column criticizing Silicon Valley for lacking tools to combat online harassment. As someone with 661,000 Twitter followers, you must face this problem from time to time. What's your advice for readers who want to protect themselves from online bullies? Familiarize yourself with the resources at hand to combat online bullying, and report offenders as often as you need to. Don't hesitate to report and block. There are a few organizations devoted to helping people at risk: The Crash Override Network and Hack Blossom are the two that immediately come to mind, though I'm sure there are more. Have a good support system offline of people who can calm you down after a vicious attack. And read inspirational stories of people you admire who dealt with bullying (my personal icons include the writer and activist Janet Mock; Katherine Johnson, the NASA scientist whose life was featured in "Hidden Figures"; and even Rihanna. Yes, RIHANNA!) and remember that most exceptional humans weren't always widely understood in their lifetime, either. What do you like about Twitter? I like the lazy river aimlessness of it, the way you can get caught up in a current, and an emotion, a feeling, the spirit of a television show. I am in awe at the communal collectivity that exists there, the way we now gather online to celebrate wins, like "Moonlight" at the Oscars, and grieve and share anger over unnecessary deaths like that of Jordan Edwards, and express outrage over policies like the Muslim travel ban. But it's not one day a week, or limited to what a handful of writers thinks is relevant. It's 24/7, whimsical, cutting and sharp. How does Twitter help you do your job? Does it create ideas? Years ago, Twitter used to be a major tip line for story ideas. It was a great way to see what start ups were trending, and glean insights into companies and scoop up the occasional scrap of venture capital gossip. But now it's too much everyone's id is on overdrive and not always in a good way. It oscillates between being a delight and a stress inducer. Recently, someone who goes by Blaqueer gave us a good idea for the podcast, suggesting we talk about our cultural memory of Whitney Houston. We did, and people loved it! If anything, Twitter helps me read about perspectives outside of mainstream media and learn about new authors, artists and ideas that I don't always get exposed to in my regular media diet. Twitter is also responsible for one of the most fulfilling creative collaborations in my life. A year or so ago, I struck up a direct message exchange on Twitter with Kimberly Drew, who runs the Instagram account museummammy. We became close friends and started working together on a book project that is currently called "The Black Futures Project." It concerns itself with cataloging and archiving this particular moment in contemporary blackness in the postdigital era, and was acquired by Christopher Jackson's One World imprint late last year. Beyond your job, what tech product are you currently obsessed with using in your daily life? The app Filmic Pro is high on that list. I'm taking filmmaking classes and I mostly shoot footage on my iPhone, so having a way to film in high definition is fantastic. What are your thoughts on Juicero, the 400 Silicon Valley system for squeezing juice that raised bucketloads of venture money but has faced questions over its effectiveness? It's up there with the greatest Ponzi schemes of our lifetime. Part of me low key respects their hustle. But a bigger part of me is dismayed about what their existence means about the types of ideas and entrepreneurs that get funding in Silicon Valley. That company got around 120 million to sell an internet connected juicer that seems to be no better than a packet of Go Gurt. A recent report from Kathryn Finney's phenomenal organization Digital Undivided found that venture firms lend white men 1.3 million on average, even if their start up fails. Black women get a paltry 36,000 on average. It's infuriating, and it frustrates me to no end.	N24News: A New Dataset for Multimodal News Classification	Technology
In a normal N.F.L. season, a showdown between two undefeated teams in Week 5 would be must see viewing for football fans. But this season is anything but normal, as evidenced by the fact that the Buffalo Bills (4 1) and the Tennessee Titans (4 0) played in Nashville on Tuesday. It is the first time in a decade, and only the third instance in the past 74 years, that a game was played on that day of the week. The decision to schedule a game that is usually an off day for most players was made to accommodate the league's first full blown coronavirus outbreak, which began almost three weeks ago in the Titans' locker room. After postponing the Titans' Week 4 game against the Pittsburgh Steelers to Oct. 25, the league over the weekend also pushed Sunday's Titans Bills game to Tuesday after more players and staff members tested positive for the coronavirus. But a season played outside a so called bubble is subject to the will of an unpredictable virus; the playing of Tuesday's game was predicated on no new positive test results from either team. Gnawing uncertainty is the new normal this season as the N.F.L. tries to finish its 256 game regular season in 17 weeks, and give its broadcast partners who are all preparing to bid on new long term rights contracts in the coming year the content they crave. None Week 11 Predictions: Here are our picks against the spread. N.F.L. Tightens Covid Protocols: As cases rise and Thanksgiving approaches, the league is requiring masks inside team facilities and increasing testing. The Packers' Defense Is Their M.V.P.: Green Bay's oft overlooked defense has kept the team from falling out of the Super Bowl chase. The Long Path to the Super Bowl: With 18 weeks in the regular season and fewer teams earning byes in the playoffs, the Super Bowl is still a long way off. Playoff Simulator: Explore every team's path to the postseason, updated live. Thus far, the league has had the flexibility to move games around, as it did with the Titans Steelers game, because, through five weeks, teams still had unused bye weeks. Even so, positive tests on the Titans and the New England Patriots over the weekend triggered a cascade of changes to the N.F.L. schedule that affected half a dozen other teams. Troy Vincent, the league's executive vice president for football operations, told reporters on Tuesday that rescheduling games would be harder as the season progressed because more teams will have used their bye weeks. He added that team owners and league executives had discussed adding an 18th week to accommodate future rescheduled games. This imperative, where no game is guaranteed to take place until kickoff, turned the Bills Titans matchup into not just must see TV, but an instance of must play scheduling. Health and competitive concerns need to be considered against a precariously balanced N.F.L. calendar. No team has had to deal with as much disruption as the Titans, who have reported two dozen positive cases since late September, when they first shut down team facilities after playing the Minnesota Vikings in Week 3. After returning to league sanctioned in person activities for one day, the team again shuttered its facility Sunday when another staff member tested positive. The Titans have been allowed to practice as a group for fewer than three days this month. Despite the Titans' dominance on Tuesday, the juggling of schedules looks to erode the competitive equity the N.F.L. professed to prefer. During the off season, the league tried to preserve a level playing field for teams in a pandemic that initially hammered some parts of the country and skipped others. The league, for instance, said that no team would be able to practice until every team could. Yet while the Titans were sidelined, their opponents the Steelers and the Bills continued practicing together. The same was true for the Jets, who sent their players home last week for one day after what turned out to be a single false positive test while their coming opponents, the Arizona Cardinals, practiced. Teams welcome extra days to practice and recuperate, but most years, those days are scheduled, not thrust on teams at the last minute. Indeed, the Bills had been in a holding pattern while the N.F.L. assessed the outbreak in Nashville, frustrating players and coaches creatures of routine in the best of times wary of playing on an odd day. The decision prompted Patriots defensive back Jason McCourty to question whether the league was more interested in making sure such a high profile game was played during prime time rather than ensuring the safety of players. For the league and the players' union, McCourty said, "it is not about our best interest, or our health and safety it is about, 'What can we make protocol wise that sounds good, looks good, and how can we go out there and play games?'" Still, the league shows no sign of slowing down. The N.F.L. owners met Tuesday, and will again Wednesday, to discuss safety measures and potential penalties for violations. Commissioner Roger Goodell said the owners were told that the league "cannot grow complacent." The league is considering heavy penalties besides fines for the Titans for violating the league's safety protocols and for inconveniencing other teams. Last week, reports emerged that several of the team's players practiced together outdoors while under orders not to hold in person sessions. The league said last week that teams not in compliance with its rules could be fined, lose draft picks and even forfeit games, if their actions affected other teams. Goodell, though, declined to say whether the Titans would be held accountable for the outbreak. "This is not about discipline this is about keeping our personnel safe," Goodell said.	N24News: A New Dataset for Multimodal News Classification	Sports
Credit...Ryan C. Hermens/Lexington Herald Leader, via Associated Press FAIRVIEW, Ky. Drive down Dr. Martin Luther King Jr. Way in western Kentucky, past Martin Luther King Jr. Elementary School and take a right onto Jefferson Davis Highway, and a gray spike will begin to rise in the air. This obelisk once described as an "immobile thrust of concrete" rising from "poverty grass" by the U.S. poet laureate Robert Penn Warren marks the birth site of the lone president of the Confederacy, Jefferson Davis. Two thirds the size of the Washington Monument, it was completed in 1924 and was once meant to be the crown jewel of a highway through the South that would ferry auto tourists from one Confederate monument to another. Despite Kentucky having stayed in the Union, Davis's birth site is now a 19 acre state park that includes picnic grounds, a museum dedicated to his life and an elevator that runs to the top of the 351 foot obelisk. That museum will soon have a new exhibit. In June, as Confederate monuments were being torn down across the country in the wake of protests over George Floyd's killing and Breonna Taylor's, in Louisville, the Kentucky Historic Properties Advisory Commission voted 11 to 1 to immediately remove a 12 foot marble statue of Davis from the Kentucky Capitol rotunda in Frankfort and send it across the state to the museum at the Davis birth site in Fairview. Around Fairview, a city of under 200, there is no consensus about what should be done with Confederate monuments and the history they represent. For generations, students from the area were brought on field trips to the Davis birth site to have lunch at its picnic grounds and ride the elevator up the obelisk. Shaneika Brooks, 42, a former welder, was one of those schoolchildren. She only realized Davis's commitment to maintaining slavery when she was older and has avoided it ever since. Now she and others worry that moving the Kentucky Capitol monument could reignite old tensions. "We have enough history here with racism," she said in an interview at a park in neighboring Hopkinsville, where she now lives. "Don't bring it here because somebody else doesn't want it and don't want to deal with that problem. We don't want the problems either." Ms. Brooks grew up in Todd County and was on the varsity track and field team, wearing the gray and red colors of the Todd County Central High School Rebels. When she was in high school in the '90s, there was another period of tension over Confederate symbols. In 1995, 19 year old Michael Westerman, who was white, was pursued and fatally shot over the weekend of Martin Luther King Jr. Day by a group of Black teenagers. Westerman had been flying a Confederate flag from his truck; one of the teenagers claimed at trial that he yelled a racial slur at them. Here are more fascinating tales you can't help but read all the way to the end. None Getting Personal With Iman. The supermodel talks about life after David Bowie, their Catskills refuge and the perfume inspired by their love. A Resilient Team for a Broken Nation. With the Taliban in control, what, and whom, is Afghanistan's national soccer team playing for? 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. Westerman was from Todd County, and Ms. Brooks went to high school with the teenagers involved. Two of them were sentenced to life in prison, and the murder was followed by a surge in Ku Klux Klan activity in the area. A memorial for Westerman was held at the Davis obelisk. Though decades have now passed since the murder, Ms. Brooks believes little has changed in Todd County, where her daughters faced discrimination in school. Ms. Brooks says her older daughter confronted verbal harassment from teachers and students, and her younger daughter, who is biracial, was switched from honors classes to special education when the administration learned that her mother was Black. In response Ms. Brooks moved her family to Hopkinsville. (The Todd County school district superintendent, Mark Thomas, denied that such events occurred.) Ms. Brooks sees a straight line between past and present injustices. "The superiority comes from Jefferson Davis and the monument," she said. "To them that's their superhero cape. As long as they have that they feel safe to behave how they behave." Ms. Brooks acknowledges that there have been few local calls against bringing the monument from the Kentucky Capitol here. "There is not a lot of Black people to cause a ruckus, so it is the perfect place to put that monument," she said. The obelisk was originally conceived in 1907 by the so called Orphan Brigade Kentuckians who volunteered to fight for the Confederacy when this border state opted to stay in the Union. They were responding to the construction of a federal birth site park in Kentucky dedicated to another famous native son, Abraham Lincoln. As the veterans died off, the United Daughters of the Confederacy took over the project in 1921 as they supported efforts across the country to downplay the role of slavery in the Confederacy and promote the "Lost Cause," what Karen Cox, a professor of history at the University of North Carolina at Charlotte, calls "a narrative created by white Southerners to deal with defeat by creating an alternative history." The statue of Davis put up in the Kentucky rotunda by the Daughters of the Confederacy in 1936 was part of those efforts that focused as much on justifying Jim Crow as on remembering the past. In the western part of the state, with funds running low, the Fairview obelisk was ultimately completed by the State of Kentucky in 1924. Before the site's unveiling as a public park, the Ku Klux Klan was allowed to burn a large cross atop the obelisk. In the decades that followed, the park became a popular spot for school field trips and events glorifying the Confederacy. Patrick Lewis, 34, grew up going to the park in the '90s on Jefferson Davis Day, which marks Davis's birthday. The event, which has not taken place for the past two years, included a Little Miss Confederacy beauty pageant on the steps of the obelisk, and re enactments of Civil War battles that the Confederacy always won. Participants would join together and sing "Happy Birthday" to Davis. But there were moments even as a child when that pride didn't sit well with him. One such moment came the winter after the Westerman murder, when he asked two boys in his sixth grade class what they had gotten for Christmas and they told him their mothers had sewn them Ku Klux Klan robes. Another moment came on Jefferson Davis Day in 1994, when, during a Civil War re enactment, the Confederate Army took the Union soldiers prisoner and mock executed them one by one. "I realized for some people it was more than just rooting for the home team," Mr. Lewis said. His views continued to change in 2002 when he went to the same Transylvania University in Lexington, Ky., that Jefferson Davis attended. With a campus debate raging about a monument to Davis that was eventually moved to a remote part of the library, he began to question some of the ideas he had grown up with. "It grounded debate, just like Confederate monuments now are doing for the country," he said. But it was reading the founding documents of the Confederacy as a history major that ended any doubt for him about what the Confederacy stood for. "The Confederate project was to create a republic that enshrined slavery and white supremacy in its constitution," he said. Many had a similar moment of realization in 2017 when white nationalists rallied around a statue of Robert E. Lee slated for removal in Charlottesville, Va., and one participant killed a counterprotester. Since then, white Americans have increasingly recognized these monuments' racist past. It also marked the year Mr. Lewis returned to Fairview, after receiving a Ph.D in history, as the leader of a post Charlottesville state project to deal with the more controversial parts of the Jefferson Davis museum. He oversaw the removal of Confederate flags from the gift shop, provided new tour texts for guides and had a portrait of Nathan Bedford Forrest, a Confederate general and the first Grand Wizard of the Ku Klux Klan, moved to the adjacent office. But the most important element was preparing new interpretive panels intended to provide context. Most of the museum focuses on Davis's career before the Civil War as a veteran and U.S. senator and his life after it. But where Mr. Lewis's new panel would explain the history of the Davises as enslavers, there is now only a blank wall. No funds were made available to print the panels. Mr. Lewis now believes the project was only ever meant to give Matt Bevin, then the Republican governor, the appearance of action as the nation reeled from events in Charlottesville. When the statue of Davis, currently being kept at an undisclosed location for its safety, finally arrives, there will be little new context for it. Some visitors to Fairview might wonder why Kentucky has a museum and a State House statue dedicated to Davis at all. The Confederate leader left the state when he was still a toddler and grew up in Mississippi, which he represented in the United States Senate as well as the House before the Civil War. Though Kentucky originally tried to stay neutral in the war, in 1861 Unionist candidates won nine of the state's ten congressional seats and absolute majorities in both houses of the State Legislature. Pro Confederate Kentuckians then created their own rival assembly which voted for secession. "To know that to take down and move the Jefferson Davis to Fairview cost 225,000 and the park itself has an over 200,000 annual budget is a slap in the face," said Zirconia Alleyne, editor in chief of The Kentucky New Era, who is from Hopkinsville and used to cover Jefferson Davis Day at the park. "Do I need to go visit a monument to have context for who someone was? I think we could just read about them. A statue is exalting a figure. I think that does more than tell the history." These questions about the role the state should play in Confederate memory have left politicians across the country struggling to determine what should be done with monuments. In Richmond, Va., city officials are currently collecting solicitations for the Confederate monuments removed from Monument Avenue, including one of Jefferson Davis. Proposals have been received from established institutions as well as individuals who hope to put the statues in their yards. No decisions have yet been made, but according to the Richmond City Council chief of staff, Lawrence R. Anderson, who is leading the process, "the intent in taking down the statues is not to build a Monument Avenue somewhere else." Some experts say the debate around them is more important than the monuments themselves. "A monument is just a thing. It only is important as long as people are willing to remember," said Mabel O. Wilson, a professor at Columbia University who was a member of the architectural team that designed the Memorial to Enslaved African American Laborers at the University of Virginia, which opened in August. She believes engaging people in a discussion can do more to change people's views than simply removing statues. In an attempt to support that dialogue, on Monday the Mellon Foundation announced the 250 million Monument Project to fund the relocation and contextualization of monuments, and to build new monuments commemorating more diverse contributions. Soon more controversial monuments may be moving, but for now most of the discussions remain local. Donavan Pinner, 22, recently returned to the area after graduating from Morehouse College. "It is my wish someone will make a resolution in the State Legislature to cut the budget for Fairview," he said. A preacher since he was 16, Mr. Pinner says he doesn't believe in spending so much energy on the future of monuments. In his sermons he regularly mentions the Black Lives Matter movement and calls for his congregants to take action. "Our focus should be on removing living monuments like Mitch McConnell and people like that from office who continue to do the systematic oppressive work that enables cases like Breonna Taylor's to be silent," he said. Mr. Pinner was never taken to the Jefferson Davis birth site when he was in school according to park officials those trips all but stopped in recent decades because of slashed school budgets, rather than a changed view of Davis yet he admits the monument is hard to forget. The towering Jefferson Davis obelisk continues to be a landmark for him in the flat Kentucky countryside. "You can't avoid it," Mr. Pinner said. "Whenever I come back I know I am close to home when I see it."	N24News: A New Dataset for Multimodal News Classification	Art & Design
Follow our live coverage of the Tony Awards and the winners list. The problem with most jukebox musicals isn't the juke, it's the box. The tunes are fine, but they rarely match the container that someone is trying to jam them into. How could they? Commercial pop and musical theater have different kinds of tales to tell and different tools for telling them. So it's easy to imagine all the ways "Jagged Little Pill" could have gone wrong. Based on material from Alanis Morissette's 1995 megahit album and several of its follow ups, it could have wound up in a bio musical straitjacket or with a story either too light for the songs' furious intelligence or too broad for Broadway. When I saw "Jagged Little Pill" last year at the American Repertory Theater in Cambridge, Mass., I worried that it was falling into the "too broad" category. The script by the "Juno" screenwriter Diablo Cody deliberately aimed to incorporate as many pressing concerns as it could. Rape culture, racism, addiction, adoption, homophobia, global warming, overparenting and underparenting were but a few of the themes dramatized, or at least put (sometimes literally) on placards. Fair enough: We want certain musicals to do serious work. But in the show's first incarnation it was often difficult to discern the central story in a plot so over tangled with issues that it came to seem like a cantata of discontent. The great news for "Jagged Little Pill," and for us, is that its creative team, led by the director Diane Paulus, did more than just fiddle with a show that, though blurry, was already entertaining. The overhauled version that opened on Thursday at the Broadhurst Theater is fully in focus: clear in its priorities, rich in character, sincere without syrup, rousing and real. It easily clears the low bar of jukebox success to stand alongside the dark original musicals that have been sustaining the best hopes of Broadway in recent years. And despite its pre existing songs beautifully arranged for the stage by Tom Kitt it certainly is original. At the center of Cody's story is a wealthy Connecticut family aptly named Healy: They have a lot of healing to do. Mary Jane (Elizabeth Stanley) is a brittle tiger mom suppressing secret trauma; she and her workaholic husband, Steve (Sean Allan Krill), have grown peevishly distant. Son Nick (Derek Klena) is a high school senior bound for Harvard if the myth of his own godliness doesn't derail him; daughter Frankie (Celia Rose Gooding) is a 16 year old firebrand whose sense of alienation as a black adoptee in a blindingly white community is not just personal but political. Also helping is the internal pressure of Mary Jane's worsening addiction to Oxycodone, prescribed for pain from a car accident months before the action. How her secret, which hides another one, intersects with those of her household and community is the big burden of the ambitious story. And yet there's more: A third stand of narrative puts Frankie at the apex of a romantic triangle with Jo (Lauren Patten) a classmate she claims as her girlfriend and Phoenix (Antonio Cipriano), the cute new boy she hooks up with. Yes, that's eight principal characters, and the main problem with "Jagged Little Pill" in Cambridge was that, until too late, too many of them were given nearly equal weight. But thanks to heavy restructuring of the first act, there's now no question that this is Mary Jane's story; we learn of her addiction much sooner and are never allowed to lose sight of her for long. This not only provides a spine for the show's various pointy ribs but allows Stanley, making the most of her meatiest role to date, to show how a fine singing actor can deepen pop into drama. Though the 22 songs all of them with lyrics by Morissette, most of them with music by Morissette and Glen Ballard are as catchy and crunchy as ever, that's no easy job. To allow them to serve the story, Cody is forced to make further metaphors out of material that was highly metaphorical in the first place. This works straightforwardly enough when rebellious Frankie (in "All I Really Want") sings, "My sweater is on backwards and inside out, and you say, 'How appropriate'" even if she's not wearing a sweater. Or when Jo, betrayed in love, sings (in the showstopping "You Oughta Know"), "It's not fair to deny me of the cross I bear that you gave to me." But when the match isn't perfect as when older characters are forced to appropriate the same kind of language to describe problems of an entirely different life stage a slight fog rises between us and their emotions. Luckily, it's a fog the performers (especially Stanley, Patten and the heartbreaking Gallagher) are generally able to disperse with their heat; if I never quite understood what Mary Jane's stupendous Act I closer "Forgiven" meant, I sure knew what she was feeling. Paulus's staging and especially the yearning, fitful choreography by Sidi Larbi Cherkaoui helps too. The show moves swiftly despite its heavy burdens, with Justin Townsend's lighting (and the tireless dancers) doing much of the atmospheric work. The reorganization of scenes and songs, along with strong cuts taken to secondary characters, has not resulted in the bald patches that afflict so many jukebox musicals; "Jagged Little Pill" never feels like a coy concert or a greatest hits medley as it threatened to in Cambridge. Rather, it feels like a summation: of our world's worst ills but also the way song can summon resistance to them. That may make "Jagged Little Pill" the first jukebox musical to truly make sense of its genre. Joyful and redemptive as it is at times, the show's strength comes from the dead seriousness of its one presiding voice, filtered through characters who are more alike than their shame lets them know.	N24News: A New Dataset for Multimodal News Classification	Theater
To help his readers fathom evolution, Charles Darwin asked them to consider their own hands. "What can be more curious," he asked, "than that the hand of a man, formed for grasping, that of a mole for digging, the leg of the horse, the paddle of the porpoise, and the wing of the bat, should all be constructed on the same pattern, and should include similar bones, in the same relative positions?" Darwin had a straightforward explanation: People, moles, horses, porpoises and bats all shared a common ancestor that grew limbs with digits. Its descendants evolved different kinds of limbs adapted for different tasks. But they never lost the anatomical similarities that revealed their kinship. As a Victorian naturalist, Darwin was limited in the similarities he could find. The most sophisticated equipment he could use for the task was a crude microscope. Today, scientists are carrying on his work with new biological tools. They are uncovering deep similarities that have been overlooked until now. On Wednesday, a team of researchers at the University of Chicago reported that our hands share a deep evolutionary connection not only to bat wings or horse hooves, but also to fish fins. The unexpected discovery will help researchers understand how our own ancestors left the water, transforming fins into limbs that they could use to move around on land. To the naked eye, there is not much similarity between a human hand and the fin of, say, a goldfish. A human hand is at the end of an arm. It has bones that develop from cartilage and contain blood vessels. This type of tissue is called endochondral bone. A goldfish grows just a tiny cluster of endochondral bones at the base of its fin. The rest of the fin is taken up by thin rays, which are made of an entirely different tissue called dermal bone. Dermal bone does not start out as cartilage and does not contain blood vessels. These differences have long puzzled scientists. The fossil record shows that we share a common aquatic ancestor with ray finned fish that lived some 430 million years ago. Four limbed creatures with spines known as tetrapods had evolved by 360 million years ago and went on to colonize dry land. For over two decades, Neil H. Shubin, an evolutionary biologist, has investigated this transition in two radically different ways. On the one hand, he has dug up fossils that date back to the transition from sea to land. His discoveries include a 370 million year old fish called Tiktaalik, which had limb like fins. It developed endochondral bones corresponding to those in our arms, beginning at the shoulder with the humerus, then the radius, ulna and wrist bones. But it lacked fingers, and still had a short fringe of fin rays. When he is not digging for fossils, Dr. Shubin runs a lab at the University of Chicago, where he and his colleagues compare how tetrapods mice, for example and fish develop as embryos. Their embryos start out looking very similar, consisting of heads and tails and not much in between. Two pairs of buds then develop on their flanks. In fish, the buds grow into fins. In tetrapods, they become limbs. In recent decades, researchers have uncovered some of the genes that govern this development. In 1996, a team of French researchers studying mice discovered genes that are essential for the development of their legs. When the scientists shut down two genes, called Hoxa 13 and Hoxd 13, the mice developed normal long bones in their legs. But their wrist and ankle bones failed to appear, and they did not grow any digits. This discovery suggested that Hoxa 13 and Hoxd 13 genes tell certain cells in the tetrapod limb bud that they will develop into hands and feet. Dr. Shubin knew that fish have genes related to Hoxa 13 and Hoxd 13. He wondered what those genes were doing, if anything, in developing fins. An experiment on fish might give him and his colleagues a clue. "But we didn't have the means to do it until technology caught up with our aspirations," Dr. Shubin said. In the 1990s, no one yet knew how to shut down genes in fish embryos. But that has changed in recent years, thanks to a new gene editing technology called Crispr. Scientists can use it to readily alter genes in virtually any species. In 2013, a postdoctoral researcher in Dr. Shubin's lab, Tetsuya Nakamura, started using Crispr to manipulate fish embryos. He chose zebrafish to study, because their transparent embryos make it easy to track their development. Dr. Nakamura inserted bits of DNA into the fish versions of the Hoxa 13 and Hoxd 13 genes. The inserted DNA garbled the sequence of the genes, so that the fish could not make proteins from them. Zebrafish with defective copies of both Hox genes grew deformed fins, the scientists found. But to their surprise, the fish failed to make fin rays. In the fish, their experiment showed, the Hox genes were controlling cells that became dermal bone rather than the endochondral bone found in our own limbs. Dr. Shubin got a similar surprise when he saw the results of a parallel experiment run by Andrew R. Gehrke, a graduate student. Mr. Gehrke engineered zebrafish so that he could follow individual cells during the development of embryos. In Mr. Gehrke's altered fish, cells that switched on the Hox genes started to glow. They kept glowing throughout development, until they reached their final location in the fish's body. Mr. Gehrke observed that a cluster of cells started making the Hox proteins early in the development of fish fins. When the fins were fully developed, Mr. Gehrke found that the fin rays were glowing. In a similar experiment on mice, the digits and wrist bones lit up. "Here we're finding that the digits and the fin rays have some sort of equivalence at the level of the cells that make them," Dr. Shubin said. "Honestly, you could have knocked me over with a feather it ran counter to everything that I was expecting after working on this problem for decades." The new study was important because it revealed that the development of fins and limbs follows some of the same rules, said Matthew P. Harris, a geneticist at Harvard Medical School. In both cases, the Hox genes tell a clump of embryonic cells that they need to end up at the far end of an appendage. "The molecular address is the same," said Dr. Harris, who was not involved in the study. In zebrafish, the cells that get that molecular address end up making dermal bone for fin rays. In tetrapods like us, the research indicates, the same cells produce endochondral bone in our hands and feet. The new discovery could help make sense of the intermediate fish with limb like fins that Dr. Shubin and his colleagues have unearthed. These animals still used the molecular addresses their ancestors used. But when their cells reached their addresses, some of them became endochondral bone instead of fin rays. It may have been a simple matter to shift from one kind of tissue to another. "This is a dial that can be tuned," Dr. Shubin said.	N24News: A New Dataset for Multimodal News Classification	Science
LOS ANGELES The small triangular greenroom is typically decorated with artificial vines over a soothing woodland backdrop. Earlier this month it was also crowded with friends, agents, publicists, producers, makeup artists and hair stylists, all hovering around the stand up Esther Povitsky. Cameras, monitors, lights and a rainbow's worth of gaffer tape had been trucked in. Big money was being spent, and the stakes were high. B.J. Novak, Rachel Bloom and Chelsea Peretti were among the comedians in attendance; Macaulay Culkin, a friend of Povitsky's, hopped onstage when she sought audience volunteers for a bit . But it wasn't a huge auditorium or famous club holding four tapings for Povitsky's first hour special, set to debut on Comedy Central early next year. It was Dynasty Typewriter, which seats only 199 and hadn't been open long . "It wouldn't fit me to do a special in front of thousands of people," said Povitsky, who counts "Crazy Ex Girlfriend" and "Last Comic Standing" among her credits. She explained, "I like an intimate show, so I wanted to capture that as best that I could. I'm more of a jeans and sneakers girl, and this is more of a jeans and sneakers venue." In less than two years, Dynasty Typewriter has established itself as a comedy home that celebrates unconventional programming . Now that Meltdown Comics and the Steve Allen Theater have both closed, Dynasty has become the city's hippest young alternative hub. "Our business model emphasizes placing the value on the experience as a whole," said Jamie Flam, 42, who is co artistic director along with Vanessa Ragland, 36. He is a sixth generation Angeleno whose resume includes booking the Hollywood Improv . "We care about both ends of the experience, for the artists as well as for the audience," Ragland said. The comedy hot spot is situated in Westlake, northwest of the downtown bar scene and southeast of the region's comedy epicenter, in West Hollywood. Though the neighborhood runs light on night life, it wasn't always that way. The building at 2511 Wilshire Boulevard, now known as the Hayworth, first opened in the 1920s as the Masque Theater, and has housed a tiki bar and the Vagabond revival movie house. Jenji Kohan, creator of "Orange Is the New Black," bought the site in 2013, and her Tilted Productions offices remain upstairs. Dynasty's Art Deco design oozes classic Hollywood. Jazz wafts from a lobby phonograph. There's no bar, but there's a cotton candy machine, along with a popcorn cart and candy. The stage decor includes candelabras, area rugs and antique furniture from Flam's family. The name itself pays tribute to the Angelus Typewriter company that Flam's great grandfather and great uncle ran downtown. Dynasty lineups include not only stand up, but also sketch, improv, film, music, live podcasts like Dan Harmon's "Harmontown," experimental theater, cabaret, puppetry and all manner of vaudeville style variety acts. There are free monthly talks on overcoming creative roadblocks and holiday parties that let guests roam the entire space green room and podcast studio included. A mariachi band from the La Fonda Mexican restaurant next door has been known to parade through shows. "We want people to leave everything behind when they walk through the doors and enter a timeless place," Flam said. "Even for just an hour or two." Dynasty's timelessness has been aided by good timing. When Flam quit the Improv in early 2017 and began organizing a 100,000 crowdfunding campaign, he didn't know the Steve Allen Theater on Hollywood Boulevard, where Marc Maron had a recurring residency, would close that November. Meltdown Comics, a haven for comedy nerds on Sunset Boulevard, shut down in March 2018, leaving the "Harmontown" podcast and other shows without a home. Both sites had fallen victim to condo development. Reggie Watts, bandleader for "The Late Late Show With James Corden" and a longtime staple of the alternative comedy scene, also cited the 2017 closing of the Cinefamily movie theater, where Watts was a regular. "I was wondering, 'Well, where's the next kind of clubhouse going to be?'" he remembered. Watts performed last month in "Up Up," a monthly talent showcase for Conan O'Brien's Team Coco brand. "This is exactly the kind of place that I want to see more of in L.A., or any city. You always know that you're going to see something great." Comedy veterans like Sarah Silverman, Hannibal Buress, Bob Odenkirk and Margaret Cho have played Dynasty Typewriter. Maron, Eddie Izzard and Hannah Gadsby have booked residencies to try out new material. Adam Sandler's 2018 Netflix special, "100% Fresh," was partly filmed there. (And celebrities including Natalie Portman, John Legend and Chrissy Teigen, and Tyler, the Creator are routinely spotted in Dynasty's red leather seats. Brad Pitt even sampled the popcorn. )	N24News: A New Dataset for Multimodal News Classification	Television
How far out? It's so far out that the discoverers nicknamed it "Farout." All they can see is a pinkish dot of light in the night sky, but that is enough to infer that they are looking at a 300 mile ice ball orbiting more than 11 billion miles from the sun more than three times as far out as Pluto, and the farthest object ever observed within the solar system. I t is the latest revelation in a distant region that was once expected to be empty, and studying its trajectory may help point to an as yet unseen ninth planet circling the sun far beyond Neptune. On Monday, the International Astronomical Union's Minor Planet Center announced the discovery and gave this object the designation 2018 VG18. "Last month, we came across it moving very, very slow," said Scott S. Sheppard of the Carnegie Institution for Science, one of the discoverers of VG18. "Immediately we knew it was an interesting object." Sign up to get reminders for space and astronomy events on your calendar. The sun's gravity decreases with distance. More distant worlds move slowly and take longer to complete an orbit than closer ones. A languid, dim speck of light showed up in images taken on Nov. 10 by the Japanese Subaru 8 meter telescope located atop Mauna Kea in Hawaii. Follow up observations at Las Campanas Observatory in Chile this month confirmed the discovery. Planetary scientists often use the distance from the sun to the Earth defined as an astronomical unit, or 93 million miles as a yardstick for measuring the solar system. Neptune is 30 astronomical units away, or 2.8 billion miles, and Pluto, currently on the outward leg of its orbit, is 34.5 astronomical units, or 3.2 billion miles from the sun. Farout was observed by the Subaru Telescope, on Mauna Kea Observatory in Hawaii, on Nov. 10.In the hour between exposures, the object moved relative to the background stars and galaxies. Pluto was once regarded as the outer edge of the solar system. But starting in 1992, astronomers discovered a multitude of other icy worlds beyond Neptune, a region now known as the Kuiper belt. The Kuiper belt ends at a distance of about 50 astronomical units, and the space beyond that was thought to be largely empty. But astronomers are now discovering objects like VG18 in this region, and they are yet sure how to explain how all of them got there. VG18 is 120 to 130 astronomical units from the sun. It is the first solar system object ever spotted at a distance of more than 100 astronomical units. (Other objects are known to have orbits that swing much farther out than 100 astronomical units, but currently are closer.) Astronomers do not yet have a good sense of VG18's orbit whether it is elliptical and zooms inward near Neptune, or if it is more circular and always stays far away. That information, which may require a few years of additional observations, will tell whether it fits with a prediction of a distant planet larger than Earth but smaller than Neptune. So far, they can report that VG18 has a pinkish hue and, assuming it is moderately dark, guess that is about 300 miles wide. One trip around the sun likely takes at least 1,000 years. If VG18 is indeed that large, it would likely be massive enough for gravity to pull it into a round shape and fulfill the definition of a "dwarf planet," the same category that includes the asteroid Ceres and the former planet Pluto. Dr. Sheppard and his colleagues, as well as other astronomers, are surveying the sky for the hypothesized giant planet, often called Planet Nine. So far their searches have turned up only intriguing clues. In October, Dr. Sheppard and his colleagues reported the discovery of a world that was distant, albeit not as distant as VG18. They nicknamed it Goblin, because Halloween was approaching, and its orbit provided further evidence that Planet Nine may indeed exist. VG18 lies close to the limit of what current telescopes can detect. But it likely is not the last discovery, to be made in those nether regions Dr. Sheppard said: "If it's further out, we'll name it Way, Way Out or something."	N24News: A New Dataset for Multimodal News Classification	Science
HONG KONG The Alibaba Group, the Chinese online shopping giant, has become so big that it is looking for growth by forging into new territory: the offline world. Alibaba has snapped up stakes in grocers and in an electronics chain over the last three years, a perhaps counterintuitive series of moves for a company that helps consumers in China buy products with their smartphones. In part, the push is driven by the eventual maturation of its online business. For now, however, online shopping still rules the roost. Alibaba on Thursday reported a one third rise in profit for the three months that ended in December, on revenue that rose by more than half. The revenue growth rate was its slowest in a year but still came in better than expected. Investors are betting that Alibaba's run will continue. The company's stock more than doubled last year, installing it firmly in the technology world's major league. Alibaba's market capitalization now exceeds half a trillion dollars, making it smaller than Alphabet and Amazon but comparable to Facebook and China's other internet colossus, Tencent Holdings. Still, a pullback in growth is inevitable for a company with Alibaba's reach. The company will have a harder time finding Chinese consumers who aren't already online. Smartphone sales are flattening out. Although economic growth still looks strong at least if the Chinese government's figures are to be believed Alibaba will have to work harder to rake in more revenue from its online marketplaces. Its other businesses outside retail, like online video and cloud computing, still lose money, and its overseas expansion hasn't yet paid off. The company has lifted its recent results by offering more and better services to the vendors on its platforms. But it is also eyeing the 84 percent of physical goods sales that still take place offline in China. Alibaba has been pouring cash into experiments in what its founder, Jack Ma, calls "new retail": a kind of teched up re envisioning of how people shop in store. In particular, it hopes to gather more detailed user data, which could help it offer more personalized services and ads to its customers online and off. In that respect, the company has a head start on Amazon, which paid more than 13 billion for Whole Foods last year. In 2015, Alibaba struck a deal to buy a stake in Suning, an electronics retailer. It took control of Intime Retail, which runs department stores and malls, early last year. In November, it bought a 2.9 billion slice of Sun Art, one of China's largest grocery operators. "Some of Alibaba's 'new retail' initiatives have shown quite promising signs of initial success," said Jialong Shi, an analyst with Nomura, singling out Hema. Still, he said, "these initiatives may require a few more years of incubation before we can see profits." Another challenge: Tencent, Alibaba's biggest rival, is getting into fresh food and traditional retail, too. Tencent is the world's largest video game company. It also runs WeChat, China's most popular messaging and social media app. But Tencent is also charging into the old fashioned shopping business. In December, it bought a stake in Yonghui Superstores, a large supermarket chain. It is weighing an investment in the China operations of Carrefour, the grocer and retailer headquartered in France. It is also leading the purchase of a 5.4 billion stake in Dalian Wanda Commercial Properties, a mall operator and part of the troubled Dalian Wanda conglomerate. For now at least, analysts do not expect Alibaba and Tencent to end up owning rival alliances of stores. Tencent primarily seems to want to create more opportunities for people to use its mobile payment service, WeChat Pay. It is also hunting for new clients for its cloud computing business. "It's very hard for me to imagine that Tencent would fully own and operate a supermarket on its own," Mr. Shi of Nomura said. For both Alibaba and Tencent, though, creating more points of contact with their customers helps them amass more user data. This is one reason the companies are investing heavily in artificial intelligence, which helps them make sense of the boatloads of user information they are hauling in every minute. "They not only have the largest data sets, but they have data sets tied to customers that they can identify," Kirk Boodry, an analyst with New Street Research, said. "The potential for A.I. led monetization growth, we think, is still at a very early stage." Also on Thursday, Alibaba said it would acquire a one third stake in the parent company of Alipay, one of China's two main online payment services. The two sides agreed in 2014 to give Alibaba the right to acquire the stake. The two companies used to be one until Mr. Ma took the Alipay operations out and formed a separate company.	N24News: A New Dataset for Multimodal News Classification	Technology
TOKYO World finance officials called on the United States and Europe to quickly resolve their debt problems, saying on Saturday that more decisive action was needed to restore confidence in the faltering global economy. In a communique at the end of a three day meeting here in Tokyo, the members of the International Monetary Fund warned that global growth was slowing as the persistent debt crises in developed countries dragged down growth in emerging markets. The statement said quick action was needed to "break negative feedback loops and restore the global economy to a path of strong, sustainable and balanced growth." "There was no objection to the recommendation that we gave to the membership, which was a c t," said the I.M.F. head, Christine Lagarde, spelling out the word for dramatic emphasis. The annual meetings here of the I.M.F. and the World Bank were focused on the harm to the world economy from the sovereign debt crisis in Europe, and the prospect of automatic budget cuts and tax increases in the United States at the end of the year as American political leaders remain deadlocked over how to reduce deficits.	N24News: A New Dataset for Multimodal News Classification	Global Business
Valentino Garavani, second from right, held a lunch on Thursday in honor of Sofia Coppola, center, at his country retreat, Chateau de Wideville. CRESPIERES, France There is something almost cinematic about Chateau de Wideville, the 17th century residence outside Paris that is the country retreat of Valentino Garavani and his business partner, Giancarlo Giammetti, with its verdant lawns (mowed in perfect strips in contrasting directions to create a two tone effect), storied past and squad of black suited golf cart drivers. So it made sense that the two owners would host a post couture week lunch there for Sofia Coppola, in honor of her recent best director prize at Cannes. The three got to know one another last year while working on a production of "La Traviata" at the Teatro dell'Opera Di Roma. (Ms. Coppola directed; Mr. Garavani did the costumes.) During their time together Ms. Coppola had mentioned she would love to see the Wideville gardens there are 12, including a lilac pool. Mr. Garavani told her to come when the roses were in bloom, she mentioned she would be in Paris in July (her musician husband, Thomas Mars, is French, and they used to live in the city), and a plan was born. Though it went from a quiet visit to a lunch for 53 before you could say "goujonnette de volaille, sucrine, tomate cerise" (fillets of chicken breast, baby lettuce, cherry tomatoes). Alongside Ms. Coppola's parents, Francis Ford Coppola and Eleanor Coppola, and friends from New York who had joined the director in Europe for a getaway, the guests included a smattering of fashion people as well as the actress Brie Larson; her fiance, the musician Alex Greenwald; the decorator Jacques Grange; and Marisa Berenson. Though lunch was to have been served on one of the lawns surrounded by a border of pink blooms, a morning thunderstorm cast a cloud over the idea, so they moved the party into a "sort of family room" in an outbuilding, replacing what Mr. Giammetti said were "huge armchairs and televisions and things" with round tables covered in blue and white cloth to match the china. At Mr. Garavani's seat, hiding under the tablecloth, was a pug. "I am the only one who will feed him from the table," the designer confided, "so he always comes to me." This turned out to be something of a shared passion. Not long ago, Mr. Garavani published a book called "At the Emperor's Table," full of recipes and table settings from his various homes around the world, and as it happens Ms. Coppola is doing a how to book on entertaining with her friend Laurent Buttazzoni, an architect and interior designer who was also at the lunch. In the book she asks him questions about how to have dinner parties and he answers. Rizzoli will be the publisher. "My dream is to have my own china room," Ms. Coppola said. Later there was dessert: fruit tarts and lemon meringue and cheesecake and creme brulee. "Valentino says we can indulge because there's no sugar in anything," said Julie de Libran, creative director of Sonia Rykiel, to the shoe designer Fabrizio Viti. Everyone planned to walk it off in the gardens later anyway.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
The Covid 19 pandemic has divided Americans into two camps. To no one's surprise, lockdown politics have joined the legion of issues that pit Democrats against Republicans. Objecting to the lack of attention that has been paid to what he considers the relatively light impact of the coronavirus on nonurban largely white areas of the country, Horowitz writes: "We now know that geography played a large role. 54 percent of all U.S. deaths were in the 100 counties in or within 100 miles of NYC." Covid 19 deaths more than 90,000 so far are "concentrated among the elderly," Horowitz continues, and the "virus lopsidedly targets people with particular underlying conditions, such as heart disease and diabetes." The death rate, Horowitz claims, "doesn't even climb above 1% until you reach over 70, with a steep and dangerous growth of risk over 75 and 80." To deal with a threat Horowitz sees as focused on "specific" groups, he writes, We destroyed our entire country and sacked the Constitution all for a very narrow and specific problem that required a precise and balanced approach. From the other end of the ideological spectrum, Laura McGann, editorial director of Vox.com, wrote, in an article posted on April 22, We do know that gatherings spread the virus. Again and again, when groups get together, attendees get sick. Some have died. And we don't know the extent to which they've spread it to others, though we know it's a terribly contagious virus. Don't "be fooled by Fox News, Donald Trump, or the same type of groups that produced the Tea Party a decade ago," McGann warned. The partisan fight over the lockdown has shown us, once again, how differently the choices government leaders make look to different constituencies of our society. Whether you emphasize the imperative to save lives or the consequences of economic devastation, with more than 36 million unemployed as of May 14, determines what you think the proper response to the outbreak should be, to a degree that is astonishing even in our deeply polarized society. The accompanying chart, based on data posted on May 7 by Pew Research, reveals the depth of the growing division between Republicans and Democrats as 80 percent of U.S. counties were under some form of lockdown order, and a quarter of the economy had ground to a halt, by April, under guidelines issued by the Trump administration. All of which brings to mind President Trump's assessment of his own ability to understand the health issues surrounding the pandemic: "I like this stuff. I really get it," he declared during a tour of the Centers for Disease Control and Prevention in Atlanta on March 6. "People are surprised that I understand it. Every one of these doctors said 'How do you know so much about this?'" The McCright and Dunlap papers were written years before the current pandemic, but their analysis is directly relevant to the present. McCright emailed in response to my queries: If you are a conservative, a key tenet of your ideology is that unregulated markets naturally produce good; they are the most efficient way that humans have ever seen for distributing goods, services, wealth, etc. Any attempts to regulate, intervene upon, steer, etc. an economic market will make it necessarily less efficient. A government driven by some sense of altruism 'dogooderism' by 'bleeding hearts' will only muck up the functioning of an efficient market. do not hold nearly as much belief in the power of unregulated markets to necessarily produce good without substantial negative side effects. As such, liberals are more supportive of governmental intervention to protect public health, environmental quality, the poor, etc. In other words, liberals accept some degree of economic regulation, and perhaps slower growth, reduced profits, etc., if it means improving public health, environmental quality, etc. I asked: Do liberals and conservatives value life in different ways? McCright replied, "Liberals and conservatives certainly value different things and 'life' gets caught up in these different things in different ways." conservatives value economic growth; markets with little or no governmental intervention; little to no constraints on 'individual liberty' and private property rights; etc. Liberals value educational opportunities; support for the vulnerable; environmental protection; checks on economic power; the extension of rights to previously oppressed groups; etc. In a separate email, Dunlap wrote that there was a clear link between "climate change denial and the mixed reaction to Covid19." Dunlap argued that "with the rise of 'right wing' populism," conservatives and Republicans have developed a strong hostility toward expertise in general, as obvious in the Trump Administration. Both of these strands build upon a tradition of anti intellectualism in the U.S., but have taken it to far greater lengths than ever before. We see this in the current dismissal of scientific evidence and expertise in dealing with Covid 19, and more recent outright attacks on the experts because experts do not play along with the charade that the coronavirus does not represent a serious threat. The "white male effect," in turn, interacts with differing responses of men and women to the pandemic. Peter Ditto, a psychologist at the University of California Irvine, wrote me that there is good evidence of sex differences in responses to the coronavirus; women are more likely to report favoring and practicing social distance measures than are men. This, in turn, fits with "the general sense that liberals are the more 'feminine' of the two parties," Ditto argues, which results in the following pattern: While liberals adopt their nurturant role, bemoaning the climbing infection and death rates and are willing to accept economic carnage in favor of minimizing the loss of human life, conservatives are more likely to, in effect, tell the American people to "walk it off," increasingly staking out the position that some loss of life must be endured for the greater economic good. In addition, in Ditto's view, there is a fundamental tension arising "from how the two sides view the value and integrity of scientists." Conservatives, Ditto wrote, are more likely to question conclusions of scientists because they are more likely to question their motives seeing them as typical liberal pansies who just can't accept the reality that people die. At the extreme, hard right conservative thinking manifests in conspiracy theories painting Fauci, the CDC and the WHO as malevolent agents whose hidden agendas having nothing to do with saving American lives. In analyses of partisan divergence in response to the pandemic, two different outcomes emerge. An extensive 2017 examination of research on threats, "The politics of fear: Is there an ideological asymmetry in existential motivation?," by John Jost, Chadly Stern, Nicholas O. Rule and Joanna Sterling, of N.Y.U., the University of Illinois, the University of Toronto and Princeton, found, for example, that: Exposure to objectively threatening circumstances, such as terrorist attacks, was associated with a "conservative shift" at individual and aggregate levels of analysis. Psychological reactions to fear and threat thus convey a small to moderate political advantage for conservative leaders, parties, policies, and ideas. So far, however, the threat posed by the pandemic has not produced a shift to the right. The current level of support for Joe Biden as fragile as it may prove to be remains relatively constant. In fact, polling in states like North Carolina, Montana and Colorado, Nathaniel Rakich of 538 writes, suggests that there might yet be "a Democratic wave of truly epic proportions," although Rakich is quick to caution that "it's hard to know at this point if these polls are outliers or early indicators of an overwhelming Democratic electoral environment." Recent work shows that voters tend to move in either a conservative or liberal direction depending on the specific source of the threat. A 2018 paper, "Can Threat Increase Support for Liberalism? " by Fade Eadeh, of Carnegie Mellon, and Katharine K. Chang, of the National Institute of Mental Health, reported that some threats push voters to the right, while others push the electorate to the left. Threats to health are among those that push the electorate to the left. The authors argue that a health care threat of the kind the country now faces, along with threats of pollution and corporate corruption, produce "increased support for components of liberalism." The critical factor determining whether voters respond to threat by turning left or right, according to Eadeh and Chang, is the partisan "ownership" of the issue and which side "is best seen as 'fixing' that threat." In the United States, they write: conservative parties (i.e., Republicans) are perceived as more effective dealing with terrorism, whereas liberal parties (Democrats) are perceived as better at handling health care and environmental issues. The opposition among conservative Republicans to the lockdown designed to protect American from contact with the coronavirus presents an interesting corollary to the moral foundations theory developed by Jonathan Haidt of N.Y.U. and Jesse Graham of the University of Utah. In essence, the theory posits that conservatives are more preoccupied with notions of purity and disgust than liberals. In an email, Ditto has deftly summarized the work of Haidt et al: From the perspective of moral foundations theory, conservatives' greater concern for purity and fear of contamination would suggest that they would respond more vigorously to a virus than would liberals. This was indeed the case with the Ebola crisis during the Obama Administration when conservative voices often expressed extreme concern about and even fear of Ebola spreading in the United States, while roundly criticizing President Obama's more measured reaction. Haidt, Graham and colleagues have deployed a "scale" to measure preoccupation with disgust. The battery includes 27 questions, for example, "how true about you is: 'I might be willing to try eating monkey meat, under some circumstances' or 'I never let any part of my body touch the toilet seat in public restrooms,' " Other questions ask respondents to rank "How disgusting would you find the following experiences," including "while you are walking through a tunnel under a railroad track, you smell urine" or "You discover that a friend of yours changes underwear only once a week." The Graham Haidt study suggests that conservatives would show a higher level of fear of the pandemic and a readiness to comply with restrictions on interpersonal contact. A group of four California based scholars is exploring why this is not the case. In an intriguing ongoing study, Colin Holbrook, a professor of cognitive science at the University of California Merced, and Daniel M. T. Fessler, Theodore Samore and Adam Sparks, all of the anthropology department at U.C.L.A., find a sharp split in the behavior of conservative Democrats and conservative Republicans. Holbrook wrote by email that he and his colleagues assessed disgust sensitivity and found conservatism in our present sample predicted greater disgust proneness. The emotion of disgust functions to curtail disease transmission, suggesting that conservatives should, all else equal, be likely to take greater disease precautions. They then "measured precautionary behaviors, such as hand washing, mask wearing, social distancing, seeking cleaning supplies, etc." and found that conservatism, measured in a number of distinct ways, positively and highly significantly predicts precautionary behaviors among the Democrats in our sample, but not among the Republicans. Holbrook wrote that this apparent contradiction grows out of the responsiveness of the conservative Republicans to authority messaging, from the president as well as other conservative political and media figures. There are theoretical reasons to expect that, had conservative authority figures encouraged them to do so, conservative Republicans would be as likely perhaps even more likely as conservative Democrats to engage in precautionary behaviors. Put another way, loyalty to Trump and others on the right was more powerful than the strong inclination among these Republican voters to take steps to insulate themselves from the threat of the coronavirus. Jesse Graham, in an email, wrote that "when people ask me the question 'if conservatives are more concerned with purity, why are red states being so slow to act against a viral contagion?'" he replies: I don't think these political differences are due to any underlying values differences between liberals and conservatives. I think it's due to the almost immediate politicization of the threat, with Trump and Fox News downplaying the seriousness of Covid 19, and 'left leaning' reality based sources issuing the more dire warnings. In other words, the pandemic has become another example of Trump's mastery over his most loyal subjects, his ability to manipulate them into violating their own instincts. It is this power over a substantial bloc of the electorate that has put him in the White House and continues to make him so dangerous.	N24News: A New Dataset for Multimodal News Classification	Opinion
The women of Hollywood have every reason to view the Golden Globes as a smashing success. Their Time's Up campaign to combat sexual harassment wholly defined and stole the show, eclipsing such trivial matters as who exactly won which award. Instead, the big stories of the night were the women's rousing speeches, snarky digs, activist arm candy and swishy all black garb, which, not that it was supposed to matter, made for an especially glam red carpet. Sure, the men kept largely mum about Time's Up once they got onstage, despite professing solidarity on the red carpet and backstage, bedecked in Time's Up lapel pins and black shirts. Several male winners said they felt they should just listen, though why they didn't acknowledge as much from the stage remains an open question. Best case scenario: They genuinely believed silence was golden. Worst: It didn't cross their minds or they didn't care. Likeliest (allowing benefit of the doubt): They were scared. Moving forward, there are questions. How can women keep up the momentum, and will they? And, how can the Oscars possibly top this? The Bagger's guesses: The momentum will be hard to maintain, but not impossible. And the Oscars, which Jimmy Kimmel is set to host again, will probably fall short, now that the bar has been set high. At Golden Globes after parties, several women involved in Time's Up said that while their activist work would carry on strong, they didn't know (or perhaps weren't willing to say) what may be in store for the Oscars. There is no doubt that the punch they packed at the Globes benefited from timing, and the elements of freshness and surprise. The Globes are always giddier than the Oscars, not least because they take place early in the new year, when people campaigning for and covering awards have yet to be fully fried by the "Groundhog Day" esque slog of the campaigns. The spotlight was especially intense at this year's Globes because it was Hollywood's first high profile awards ceremony since accusations of sexual harassment against Harvey Weinstein, among many other powerful men, came to light. The Globes also took place less than a week after hundreds of powerful women in entertainment unveiled the Time's Up initiative, which includes a 15 million legal defense fund for victims of misconduct, among other components. Time's Up's timing was, so to speak, golden, as would be expected from women with a firm grasp on the art and power of marketing. News that women would be wearing only black gowns to the Globes and eschewing talk of fashion and brands to highlight gender disparities only whet the media's appetite. (That said, the Bagger heard ample mention of labels on the red carpet, as she was sandwiched alongside a correspondent from InStyle.) The same novel excitement will probably extend to the Screen Actors Guild Awards on Jan. 21, when, thanks to a plan hatched by two women overseeing the show, the host (Kristen Bell), along with the awards presenters, will all be with possibly a few exceptions women. The Oscars, have a hard act to follow, and not just because they're a way more snoozy event that doesn't allow attendees to drink at their seats. The academy and the show's broadcaster, ABC, have a financial interest in high ratings, and a sense of decorum adds a leaden note to the show. The academy has more than 8,000 members and multiple branches, so even when many people agree on a cause, like fighting OscarsSoWhite, there can still be all white acting nominees two years in a row. Who ends up attending or being invited to the Oscars will also play a big role. The narrative of this year's Globes was set less by the show's organizers and host, Seth Meyers though he deserves kudos for artfully threading a very tricky needle than by the women who attended and were heavily involved in Time's Up, including America Ferrera, Eva Longoria, Kerry Washington and Reese Witherspoon. Because the Oscars award movies, there will be far fewer television actresses on hand. Although there may be organizing among actresses once the Oscar nominations are announced on Jan. 23, potential nominees like Meryl Streep (for "The Post") and Michelle Williams ("All the Money in the World"), who each brought feminist activists as their plus ones to the Globes, have a heftier load to carry. And will best actress front runners like Frances McDormand ("Three Billboards Outside Ebbing, Missouri"), Saoirse Ronan ("Lady Bird") and Sally Hawkins ("The Shape of Water") publicly endorse Time's Up as heartily? Ms. McDormand delivered a ferocious acceptance speech after winning the Globe for best actress, saying she was delighted "to be part of the tectonic shift" in Hollywood's power structure, but also that she keeps her politics private. And the Oscars are not happening until March 4, a long way off. Lest we forget, the tone of the 2017 awards seasons was also set at the Globes, when Meryl Streep delivered her "hooks in my heart" speech calling out Donald J. Trump a week and a half before his inauguration. The 2017 Screen Actors Guild Awards rode a similar wage of outrage. Held nine days after Mr. Trump became president, and two days after his administration hastily instituted its chaotic Muslim travel ban, the SAGs were suffused with a sense of urgency as actors, one by one, announced their opposition. By the time the Oscars rolled around a month later, the anti Trump jokes and declarations felt predictable and played out, and ended up being overshadowed by a best picture mix up for the ages. This year's Oscars could also end up being a minefield of awkward male moments. One potential nominee, James Franco ("The Disaster Artist"), who won the Globe for best actor in a comedy or musical, is facing and denying rumors of sexual impropriety. Dustin Hoffman, who has also denied allegations, could also be on hand as he was at the Governors Awards. It is still unclear whether Casey Affleck, who nabbed an Oscar last year for "Manchester by the Sea," will carry on the tradition of best actors awarding the best actress trophies. Mr. Affleck is dogged by settlements he made with two women who said he sexually harassed them in 2010, and faces a lose lose situation whether he shows up or not. Some have suggested that women would make the biggest statement by simply not attending the big awards, or that the pre event red carpet peacocking should be done away with altogether. At the Globes, the Bagger floated the idea of getting rid of the carpet to Amy Poehler, who replied, "I think we should get rid of all awards shows, so I'm all for that." Of course, by boycotting the event, women would be handing all of the on camera time over to men. And, if reactions to Sunday's Globes are an indication, audiences want to see women at awards shows for reasons that run far deeper than ogling pretty dresses. They want to be inspired, and listen.	N24News: A New Dataset for Multimodal News Classification	Movies
SAN FRANCISCO Facebook said on Thursday that Chris Cox, a former top executive, was returning to the company as chief product officer. Mr. Cox had left the social network in March 2019 over disagreements with Mark Zuckerberg, Facebook's chief executive. In coming back as chief product officer, Mr. Cox, 37, who was previously at the company for more than a decade, will again become one of the highest ranking executives at Facebook. "Facebook and our products have never been more relevant to our future," Mr. Cox said in a statement to his Facebook page announcing his return. "It's the place I know best, it's a place I've helped to build, and it's the best place for me to roll up my sleeves and dig in to help." Mr. Cox is returning at a turbulent time for Facebook, which has been rocked by internal dissent over its recent decisions not to take any action on incendiary posts from President Trump. Facebook has also been under strain as the coronavirus pandemic has thrown its work force into overdrive to keep the site online as people flock to its services.	N24News: A New Dataset for Multimodal News Classification	Technology
Getting to the bottom of a shampoo bottle is never fun. Some of us let the bottle sit upside down. Some of us add water, hoping the remaining shampoo will glide out more easily. And some of us just give up and toss the old bottle. For Bharat Bhushan and Philip S. Brown, engineers at Ohio State University, the solution is a bit more complex. In a paper published Sunday, the scientists reported that they had created a plastic surface that can repel sticky liquids like shampoo and oil. They also showed that this surface could work with polypropylene, a cheap plastic used in packaging for a wide variety of consumer products. This new technology could have far reaching applications, including fingerprint resistant phone screens, car coatings, antimicrobial catheters and stain resistant fabrics, Dr. Bhushan said. Materials like shampoo and oil are hard to repel because of surface tension, or the attractive force among the molecules in a liquid. In a fluid with high surface tension such as water or mercury, molecules want to stick together. It's the reason water beads into droplets on a solid surface. But when a liquid with low surface tension like shampoo meets a solid surface, its molecules want to spread apart and stick to solid molecules rather than to one another. "If you've ever spilled salad dressing on your tie or clothing, you're well aware that it just soaks in and spreads immediately," Dr. McKinley said. Surfaces that manage to repel liquids with low surface tension are called superoleophobic, or highly oil repellent, surfaces. They are difficult to find in nature, in contrast to water repellent surfaces like lotus leaves, rose petals or gecko feet. (There are a few types of insects and fish that repel oils, but that's about it.) Making a superoleophobic surface requires some ingenuity. In particular, such surfaces must be created with two traits. First, they need a particular "roughness" that creates air pockets between the solid surface and the oil droplets. Second, they require a chemical coating with low surface energy. To achieve roughness, the Ohio State researchers embedded tiny particles of silica (the main ingredient in sand) into their plastic. To do so, they applied the particles to the polypropylene surface using a liquid that could dissolve the top layer of plastic. For the chemical coating, they used a compound of fluorine, called fluorosilane, to coat the rough polypropylene they created. Part of the novelty of this approach is how durable the surface is, Dr. Bhushan said. Many previous attempts relied on weakly bonded coatings to achieve roughness. This polypropylene is so durable, he added, because the silica structures used to create roughness are embedded in the plastic, rather than sitting on top of it. The difference is akin to melting down the glaze on a doughnut, embedding sprinkles in it and letting the glaze harden again, versus sticking sprinkles onto the doughnut using frosting. With the first method, the sprinkles are lodged in the glaze. With the second, the frosting could come off, taking the sprinkles with it. Embedding silica with a solution is a clever approach, said Siddarth Srinivasan, a researcher of fluid mechanics and surfaces at Harvard University who was not involved in the research. "Their technique is so simple, and easy to scale up," he said. Scaling up is something the Ohio State researchers had in mind. It's feasible to adapt this process to the commercial production of shampoo bottles, Dr. Bhushan said.	N24News: A New Dataset for Multimodal News Classification	Science
Experts advise looking at investments in mining, farmland and energy. Clockwise from top left: Electric lines near Maraba, Brazil, a wheat field in General Belgrano, Argentina; the Los Bronces copper mine in Chile; and construction at the Tianwan nuclear plant in China. If global financial markets are telling a story, it's one set in a dystopia where chronic malaise keeps the economy on the verge of recession and companies can't raise prices because people can't afford to pay more. One sign of the grim outlook is the collapse in oil prices to about 45 a barrel, close to a six year low, from 108 last June. Other commodities including copper, corn, iron ore, platinum and soybeans are all trading near multiyear lows, too. More evidence that investors expect a lingering slump can be seen in bonds; yields on American, European and Japanese government issues are near historical lows. Five year German bonds even have a negative yield; the deflation story is so compelling that buyers are willing to pay more for the bonds than their face value, and all the interest payments they are due to receive, just to be assured of getting most of their money back. What if there's a plot twist? What if global growth and inflation pick up, either because the central bank policies intended to engineer a recovery take hold at last, or else just because? Certain investments stand to rally vigorously if deflation fears prove unfounded, investment advisers say, and they have been hit so hard lately that the risk of further loss may be minimal even if conditions remain subdued. "I thought coming into the year that 2015 would provide an opportunity to pick up assets priced for a deflationary abyss," said James W. Paulsen, chief investment strategist at Wells Capital Management. "You don't even need inflation," he added. "You just need to avoid the abyss." If the abyss is avoided, a variety of means exist to capitalize on that, including energy stocks, junk bonds and stocks in emerging markets, Mr. Paulsen said. A rebound in growth probably would increase demand for oil, and junk bonds would tend to rally as investors express relief that issuers are likely to have sufficient business to meet interest payments. A robust global economy helps emerging markets in several ways, by supporting their bonds and currencies, and expanding markets for companies that export commodities and other goods to the West. John C. Maxwell, manager of the Ivy International Core Equity fund, agreed, saying that "if you really thought there was going to be global growth and healthy inflation, emerging markets would be an interesting place to go." The same applies to other economically sensitive niches that have been shunned for several years, he said, including shares of mining companies, home builders and producers of building materials. He especially likes copper mining stocks because in his view supply and demand are more closely balanced for copper than for other industrial metals, so he expects copper producers to respond more favorably to a rebound in growth. Mr. Maxwell is more skeptical about prospects for big oil companies. These days, he remarked, "a lot more people are experts on the oil price after nobody got it right." To Rebecca H. Patterson, chief investment officer of Bessemer Trust, a firm that advises wealthy families, a re evaluation of deflationary expectations would make prospects particularly bright for Mexican stocks. Mexico's proximity to the United States has made its economy more resilient than those of other oil exporters, she pointed out, so it's also a comparatively safe option. "One reason I think it's an interesting time for Mexico is that its economic fundamentals are decent, with a small deficit and growth closest to trend," she said, meaning the average rate across an economic cycle. She finds Mexico a good investment destination "if you think the U.S. might do O.K. this year and oil won't go to zero." The same goes for Canada, she said. While far more mature economically than Mexico and other developing countries, Canada is a large energy exporter, and its economic output and currency have been hurt by the drop in oil prices, she noted. Bonds in economically fragile Mediterranean countries like Spain and Italy should benefit from ebbing deflation fears, but loose European Central Bank policies have kept yields close to record lows, just like those of more stable economies. A weaker euro, which reduces the dollar value of European bonds and their income, means that American buyers face currency risk, too, so Ms. Patterson recommends avoiding them. "I would stay far away from Spanish or Italian government bonds," she warned. "You're asking for pain. I don't see any benefit for dollar based investors' owning European debt." David B. Iben, manager of the Kopernik fund, said he found "no evidence of deflation whatsoever" and saw plenty of room to run for exotic commodity plays. "We're finding incredible values in uranium, farmland, coal and electricity generation outside the U.S.," he said. "The market used to make you pay up for those, but they're trading at prices that should make them work out whether we get inflation or deflation." Uranium supplies have been abundant since the Cold War ended, Mr. Iben said, and the 2011 nuclear plant disaster in Fukushima, Japan, has kept demand from nuclear plants, and therefore prices, low. But dozens of plants are going into operation, especially in China, he added, making nuclear power generation "a growth business, not a dying business." He also likes South American farmland owners, such as SLC Agricola in Brazil and Cresud in Argentina, and electricity producers like Eletrobras in Brazil and RusHydro in Russia. Shares of all four trade in the United States. Mr. Maxwell at Ivy said he was wary of buying stocks in Russia, where energy played a dominant role in the economy. Because of the geopolitical risk, he said, "I would not be going crazy and buying Russia." Neither would Mr. Paulsen of Wells. He would avoid esoteric investments like those Mr. Iben suggested and stick with more sedate choices in case the global economy turned out to be more like the horror story that some feared and not a rags to riches tale. "There are plays that will do well if the trend reverses without having to go into deep, deep plays like Russia," Mr. Paulsen said. "I like the idea of betting against deflation, but when there are so many bargains around, you can take a conservative approach."	N24News: A New Dataset for Multimodal News Classification	Your Money
Left to right, Janet Jackson, Thom Yorke of Radiohead and Robert Smith of the Cure are among the seven acts that will be joining the Rock Roll Hall of Fame next year. Janet Jackson, Radiohead, Def Leppard and Stevie Nicks will join the Rock Roll Hall of Fame next year at its 34th annual induction ceremony, along with the Cure, Roxy Music and the Zombies, the organization announced on Thursday. The class of 2019, which will formally enter the pantheon on March 29 at Barclays Center in Brooklyn, represents a varied cross section of the last half century of pop music, with giants of classic and alternative rock, as well as a couple of acts from zones that the hall still glances at only occasionally: dance music and crowd pleasing 1980s pop metal. The seven inductees the biggest class since 2004 are mostly uncontroversial choices, which may help the hall duck the criticism it has often received because of its opaque internal politics. Three acts Def Leppard, Roxy Music and Nicks were accepted the first time they appeared on the ballot, while Radiohead and the Cure made it in the second time around. The artists who didn't make the cut, including LL Cool J, Kraftwerk and the funk band Rufus, say as much about the makeup of the hall as those that did. Here are some of the themes and inevitable squabbles of the latest Rock Hall class. In the early years of the Rock Roll Hall of Fame, which had its first induction ceremony in 1986, the winners were unquestioned gods of the genre, like Chuck Berry, Elvis Presley and the Beatles. But since at least 2007, when hip hop finally arrived via Grandmaster Flash and the Furious Five, the hall has been the focus of continual debate about the makeup or even the existence of a rock canon. This year's crop is unlikely to stir much controversy, unlike the recent inductions of Kiss, Bon Jovi or Journey, who, despite their success, have long been reviled by many critics and other gatekeepers on the hall's secretive nominating committee. The inclusion of Radiohead and Jackson should please some of the hall's detractors. Radiohead's snub last year mystified many observers who saw other 1990s alternative heroes like Nirvana, Pearl Jam and Green Day enter the hall the instant they became eligible. And the absence of Jackson, who had been rejected twice before, was seen as symbolic of the underrepresentation of women and people of color. In a statement, Jackson said, "I am truly honored and I am happy to be in there with my brothers," the members of the Jackson 5, who were inducted in 1997. (Michael Jackson was also inducted as a solo artist in 2001.) Nicks, who was already in the hall as a member of Fleetwood Mac, has been recognized for her solo career. She will be the first female multiple inductee, joining more than 20 men, including Michael Jackson, Lou Reed and each Beatle. In two of the more standard moves, the Zombies were recognized for crisp psychedelic pop like "Time of the Season" and Roxy Music, which included Bryan Ferry and Brian Eno, was inducted as one of the prime movers of 1970s art rock. Those that did not make the cut this year include Devo, Todd Rundgren and John Prine, each nominated for the first time; Rage Against the Machine, on its second nod; the 1970s funk band Rufus, featuring Chaka Khan, rejected a third time; and LL Cool J, Kraftwerk and the Detroit rock band MC5, each on its fifth nomination. That the snubbed nominees include a number of people of color, as well as genres like hip hop and electronic pop that are poorly represented at the Rock Hall, will not go unnoticed. LL Cool J would have been just the seventh hip hop act inducted. Two years ago, the voters rejected Chic the influential disco funk band whose song "Good Times" became part of the basic vocabulary of hip hop for the 11th time, although as a consolation gave Nile Rodgers, one of its founders, the award for "musical excellence." Let there be victory laps and no shows For some, being in the hall of fame is an unqualified honor, as well as a valuable credential. "It's about time," Jon Bon Jovi said last year, when his band was finally voted in after years of having been shut out by the Rock Hall's old guard.	N24News: A New Dataset for Multimodal News Classification	Music
What can you say about an adolescent American boy who is able to accurately quote Oscar Wilde? You can call him precocious, but in the case of Billy Bloom (Alex Lawther), who we first see quoting the Irish writer and dandy in a flashback recalling sunnier times in his childhood, that's not enough. Born into great wealth, the hero of "Freak Show" initially rhapsodizes to the audience about his mother (Bette Midler, going big in her scant screen time), whom he calls "Muv," praising her as "a living testament to grace, glamour and Gucci." Life with Muv was sweet, but after she enters rehab, Billy must reside at the mansion of his father (Larry Pine), who's not happy about Billy's rejection of conventional masculinity. The kids at his new high school aren't down with it either. Defiant, Billy wears Lady Gaga style costumes to school, and is brutalized for his trouble. In his recovery, he forges an unlikely friendship with a football star (Ian Nelson). The movie finds its ostensible plot about an hour in, after Billy decides to compete with an evangelical classmate (Abigail Breslin) for the title of homecoming queen. Laverne Cox can't do a whole lot in her perfunctory role as a local TV news reporter covering the homecoming queen competition. Directed by Trudie Styler, making her fiction feature debut, "Freak Show" benefits from a vast array of talents both behind the camera (the cinematographer, for instance, is Dante Spinotti, a regular collaborator with Michael Mann) and in front of it. Mr. Lawther is sympathetic and appealing as Billy, but Ms. Styler seems to mistake broad strokes for stylistic daring, and her colorful but diffuse movie never jells.	N24News: A New Dataset for Multimodal News Classification	Movies
This week, the Joffrey Ballet, which left New York for Chicago in 1995, returns to this city: It brings "Romeo Juliet" choreographed by Krzysztof Pastor to the Prokofiev score with a difference. Here, the story is told through the sequence of 20th century Italian politics. The first act is set during Mussolini's regime in the 1930s, the second act in the relatively prosperous 1950s, the third in the 1990s. Nonetheless, the central characters are still called Romeo, Juliet, Mercutio, Tybalt and so on. Chicagoans have admired this "Romeo"; New York sees it for the first time this week. Does this concept seem far fetched? History shows that nearly every version of this famous score has been different different from Shakespeare or from Prokofiev's idea, or both. Shakespeare's Lord Capulet says to his cousin, "You and I are past our dancing days," but you may be sure all choreographers have ignored that. When he composed his "Romeo" in 1935, Prokofiev gave that Shakespeare tragedy a happy ending. (This idea is as old as "Romeo" itself; Lope de Vega, a contemporary, gave his play "Capulets and Montagues" a happy ending.) The score was first staged in 1938 in Czechoslovakia. Only, however, when Prokofiev, working with the Russian choreographer Leonid Lavrovsky, agreed to allow Romeo and Juliet to die did it finally reach the stage in the Soviet Union at the Kirov (now Mariinsky) Theater in Leningrad (now St. Petersburg) in 1940. And the changes had only just begun. Here are some of the other treatments Prokofiev's three act score has received over the years.	N24News: A New Dataset for Multimodal News Classification	Dance
Dr. Myriam P. Sarachik. "I almost didn't get into the field at all," she said in January during a ceremony honoring her.Credit...Calla Kessler for The New York Times Dr. Myriam P. Sarachik. "I almost didn't get into the field at all," she said in January during a ceremony honoring her. In 1963, Myriam P. Sarachik tackled a big question in her field. For decades, physicists had noticed certain metallic materials exhibited odd behavior in electrical resistance the amount of sluggishness to the flow of electricity. Usually, the warmer a metal is, the more that electrons bounce off the metal's vibrating atoms, making it more difficult for a current to pass through. Typically, as a metal cools, the vibrations diminish, the electrons move more readily, and the resistance drops. But sometimes as some metallic materials are chilled even colder, the electrical resistance starts rising again. It was a mystery. The phenomenon is now known as the Kondo effect, after Jun Kondo, a Japanese physicist who successfully explained what was going on. The Kondo effect has turned out to be a central component needed to understand the behavior of electrons in solids. But Dr. Kondo, as a theorist and not an experimentalist, was not the first to show that his supposition was correct. That instead was Dr. Sarachik, 87, now retired after a career spanning more than a half century as a professor of physics at the City College of New York. The experiment was just one of the accomplishments for which Dr. Sarachik received this year's Medal for Exceptional Achievement in Research, a top honor of the American Physical Society. "And so here I am," Dr. Sarachik said during a ceremony held in Washington in January. "I can't even believe it, because I almost didn't get into the field at all." Her career commenced as the United States was racing to catch up in science and space after the Soviets launched the Sputnik satellite in 1957 and the first astronaut, Yuri Gagarin, in 1961. Colleges were establishing and expanding their physics departments. Industry jobs were bountiful. But even during this golden era of science, women like Dr. Sarachik were discouraged from participating. Two years before her Kondo effect work, Dr. Sarachik, giving in to the expectations of the day, set aside her physics research a year after finishing her Ph.D. at Columbia University in New York. She was going to stay home and take care of Karen, her newborn daughter. "I was home for about a month, and I realized I was never going to survive this," she said. Her husband, Philip, an assistant professor of electrical engineering at Columbia, urged her to return to research. She recalled him saying, "I would rather pay someone to take care of Karen than a psychiatrist." But when she attended a job fair at a physics conference in New York, Dr. Sarachik, unlike her Columbia classmates, received no requests for job interviews. "I got none," she said. "I got absolutely zero. I got, again, very unhappy. So very, very unhappy." Here are more fascinating tales you can't help but read all the way to the end. None Getting Personal With Iman. The supermodel talks about life after David Bowie, their Catskills refuge and the perfume inspired by their love. A Resilient Team for a Broken Nation. With the Taliban in control, what, and whom, is Afghanistan's national soccer team playing for? 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. In despair, she reached out to one of her Columbia professors, Polykarp Kusch. "I asked him to please help me," Dr. Sarachik said. "He argued with me long and hard. He said, 'You don't really want to do what you think you want to do. You don't want to do research. Maybe you should take a part time teaching job.' And I said, 'No, I want to do research.'" She said that at the end of the back and forth, Dr. Kusch gave in: "Finally he said, 'Look, Myriam, we trained you. I don't know why you want to do what you want to do. But if you want to do it, you have the right to try.'" In an interview, Dr. Sarachik said of Dr. Kusch, "He had this bias. We all have it, but he was willing to operate above it." Still, "It seemed like a neat thing to try," she said. When the magnetism of the iron was present, she observed the unexplained behavior of resistance increasing with falling temperatures. When the magnetism was not present, the resistance continued to drop with the dropping temperatures. The results caught the eye of Dr. Kondo, who had come up with calculations that suggested that as the alloy cooled, the electrons scattered more and more off the magnets of iron atoms, increasing the electrical resistance. Dr. Sarachik said that when Dr. Kondo sent her an early version of his paper, she immediately knew that her data fit with his calculations. She thus provided the first experimental confirmation of the Kondo effect. But her contribution was largely overlooked by others, including by her colleagues at Bell Labs. "I got no recognition for it for years," she said, and soon she was looking for a new job. Dr. Sarachik said in the laboratory's rankings of employees, she was placed in the bottom third and when her two year appointment ended, there was no offer for her to stay. At about the same time, her husband did not receive tenure at Columbia and also needed a new job, so the two of them considered moving away from New York. These days, married academics often talk of the two body problem the juggling of careers in the search of a university or company willing to hire both. It can be a convoluted balancing act, but it is commonplace. In the 1960s, that was rare. Only the husband mattered. Indeed, offering a job to the wife as well was often regarded as nepotism. Philip Sarachik received offers to join the faculty at top tier universities like the University of Michigan and the University of Maryland. She only received one offer of a temporary postdoctoral position, from the University of Maryland. Throughout a peripatetic childhood, she often did not fit in. She was born in Antwerp, Belgium, to Orthodox Jewish parents, just as Adolf Hitler was rising to power in neighboring Germany. Through false papers, bribes and an escape from a concentration camp, she, her parents and two brothers fled, first to Cuba and then to New York City. She was among the first girls to attend the Bronx High School of Science, and then she went to Barnard College, taking physics classes at Columbia. The sciences were opening up to women, slowly, when she decided to study physics. "If I had tried 20 years earlier, I don't think it would have been possible," she said. Her husband, whom she met in one of her undergraduate physics classes, encouraged her, too. "He was enormously supportive of me," she said. "He gave me the room to do what I really wanted to do." When Dr. Sarachik was having trouble finding a job in 1964, Philip said it was an easy decision to pass on the offers he had until she also found a position in the same locale. "What's the difficulty in making that kind of choice?" he said. "I had offers in a number of places so I had choices when Myriam didn't, so it wasn't very difficult to choose a place where we both had jobs." Finally, the City College of New York offered her a position as an assistant professor in 1964 while Philip joined New York University. In three years, she was promoted to associate professor with tenure. Her career thrived. Then her younger daughter Leah was murdered. Dr. Sarachik mentioned the loss glancingly during her talk in January. "We had a disastrous family disaster, which took me out of commission pretty much for 10, 15 years," she said. "And some of you know about that." Soon after the start of the fall semester in 1970, the nanny drove the couple's car to pick up Leah from a play date and never returned. The older daughter, Karen, then 9, was at home alone. Twelve days later, authorities found the nanny dead in the rear of the car from an overdose of sleeping pills. A month later, Leah's body was found in a trash can behind a summer house in Vermont. Dr. Sarachik filled the walls of her apartment with needlework. She helped her graduate students finish their degrees. She taught some classes. In the 1980s, as she sought to restart her efforts, one of her laboratories at the City College physics department had become a de facto storage room of junk. She sent out a memo asking people to take their belongings. No one did. She sent out another memo saying that anything not removed by the end of the week would be thrown out. Laura H. Greene, chief scientist at the National High Magnetic Field Laboratory in Tallahassee, Fla., first met Dr. Sarachik around this time. Dr. Greene had just joined Bell Labs, two decades after Dr. Sarachik worked there. "I didn't know she was just getting back into physics," Dr. Greene said. "I knew she had a sadness about her." Dr. Greene was switching from a different area of physics and needed to learn about a lot of Dr. Sarachik's work. "She had infinite patience," Dr. Greene said. "Really good at explaining things." Theorists indeed still have not come up with a convincing explanation for what she showed. Dr. Sarachik also led experiments that explored the quantum behavior of molecules that act like magnets. The work demonstrated that the north and south poles of these molecules, each consisting of a couple hundred atoms, could spontaneously flip at cold temperatures where such flips are forbidden by classical physics. Other physicists had tried to show this as well. But at that time, the materials could only be made as powders. The magnetic fields of these crystal specks pointed in random directions, and the evidence was inconclusive. One of Dr. Sarachik's students, Jonathan Friedman, provided a solution by mixing the powder in a liquid glue and placing the mixture in a strong magnetic field. The crystals lined up with the magnetic field, and as the glue dried, remained pointing in that direction. As a result, her data were clear and convincing. "It started the whole field with big symposiums, ending up with thousands of theorists and experimentalists working in this area," said Eugene Chudnovsky, a professor of physics at Lehman College and the City University of New York's Graduate Center.	N24News: A New Dataset for Multimodal News Classification	Science
He covered wars, politics and brash, complicated men like himself. His profile subjects included Oliver Stone, Tupac Shakur and David Geffen. Robert Sam Anson, a virtuoso of magazine writing who ventured with equal brio into the mean streets of Los Angeles, the jungles of Southeast Asia and the psyches of prominent American men, died on Monday at a home where he had been staying in Rexford, N.Y. He was 75. The cause was complications of dementia, his son, Sam Anson, said. A bear of a man who resembled the actor James Coburn, Mr. Anson wrote mostly for Vanity Fair, where he was a contributing editor for more than two decades, but also for Esquire, Life, The Atlantic and New Times, a short lived crusading magazine of the left in the mid 1970s. He was "the last of a breed of broad shouldered, bare knuckled, '70s magazine journalists who will chopper into any hellhole on earth and come back with an epic story," his Esquire editor, David Hirshey, once said. Mr. Anson's byline promised vigorous writing, vivid scene setting and insight into complicated, sometimes difficult men, of whom he was one. "He, too, was magnetic and brash, turbulent and complex, passionate and fascinating," David Friend, an editor at Vanity Fair, wrote in a tribute after Mr. Anson's death. Among those he profiled were the director Oliver Stone, who at the time was making his controversial movie about the assassination of John F. Kennedy; Tupac Shakur, in a piece written after the rap star's death; David Geffen, the music mogul, who allowed Mr. Anson a glimpse into his kaleidoscopic life; and Doug Kenney, the comic genius and co founder of National Lampoon, whose life was anything but funny. "The thing about Bob was that he was both vulnerable and imposing at the same time," Graydon Carter, the former editor of Vanity Fair, said in an email interview. "The wild man of his youth and he was really out there gave way to a journalist of towering bravery and ingenuity." As a 24 year old correspondent for Time magazine in Cambodia, Mr. Anson was taken prisoner of war in 1970 and held for weeks by the North Vietnamese and their murderous allies, the Khmer Rouge. Mr. Anson probed his own psyche in the last of his six books, "War News: A Young Reporter in Indochina" (1989), a personal story of camaraderie, competition and the thrill of danger. He was so exhilarated to be covering the war, he was hardly aware of the bullets flying around him. He frequently traveled over dangerous roads where some of his colleagues had been killed or kidnapped. Such daredevilry, Mr. Anson wrote, "was a means where every day you could test yourself, your willingness to push the limits." "And God knows it was fun," he added, "not just the doing of it, but the recounting of it later at cocktail time, where everyone claimed the closest call." In reviewing the book for The New York Times, Harrison E. Salisbury called it "the story of a very young man at war, a tale that is told with gusto and excitement and captures a correspondent's almost reckless pursuit of danger." An opinionated man who was fiercely protective of his work, Mr. Anson was not an easy edit. "He talked back to editors," Ken Auletta, a media writer for The New Yorker and a longtime friend, said in a phone interview. "And he would call people out," he added. "If a fellow reporter was cutting corners or not being aggressive in his questioning, he would call them out. He made enemies that way. But from his point of view, he was telling the truth." Robert Sam Anson was born on March 12, 1945, in Cleveland. His mother, Virginia Rose Anson, was a schoolteacher. His father was not in the picture, and his mother and her parents raised him. His grandfather, Sam B. Anson, was a major figure in journalism in Cleveland, where he held publishing and editing jobs at the city's daily papers. His grandmother, Edith (McConville) Anson, was a homemaker. Life at home was something of a journalistic boot camp. When Robert was a child, he later told friends, his grandfather would quiz him on current events. If he gave a wrong answer, his grandfather would throw something at him. As Mr. Anson recounted in his LinkedIn profile, he was expelled from one school for what he said was his "resistance to idiotic rules." His punishment for one misdeed was to copy, by hand, Stephen Crane's "The Red Badge of Courage," which "proved useful" when he covered Vietnam, he wrote. He graduated from the Jesuit run St. Ignatius High School in Cleveland in 1963 and went on to Notre Dame, where he majored in English and international relations. He graduated in 1967. Mr. Anson's three marriages ended in divorce. His brief first marriage, to Diane McAniff, whom he had met in college, was in the late 1960s. He was married, again briefly, to Sharon Haddock, a lawyer, in the mid 1970s. He married Amanda Kay Kyser, an artist, in 1985; they divorced in 2017. In addition to his son, Mr. Anson is survived by two daughters, Christian Anson Kasperkovitz and Georgia Grace Anson; a sister, Edith Schy; and a grandson. Time magazine hired him soon after college to work in its Los Angeles bureau. He covered politics, organized crime and what he once described as "a smorgasbord of mayhem," which included the sensational killing of the actress Sharon Tate and others by followers of Charles Manson. After he returned from Southeast Asia, he followed the 1972 presidential campaign, which led to his first book, "McGovern: A Biography" (1972). It was the authorized story of Senator George McGovern, the South Dakota Democrat who lost that election in a landslide to President Richard M. Nixon. His other books include "Gone Crazy and Back Again: The Rise and Fall of the Rolling Stone Generation" (1981), a history of Rolling Stone magazine and its editor, Jann Wenner; "Exile: The Unquiet Oblivion of Richard M. Nixon" (1984), which examined the former president's life after he left the White House; and "Best Intentions: The Education and Killing of Edmund Perry" (1987), about a Black honors student from Harlem who was killed by a white police officer in 1985. In a departure for a man so identified with being a writer, Mr. Anson accepted an offer in 1995 to become editor of Los Angeles magazine. His brief tenure was a disaster. Shortly after he took the reins, The Los Angeles Times wrote a scathing piece about him, portraying him as mercurial, pugnacious and sexist, "the kind of writer colleagues imagined nursed a Hemingway complex." Others believed he was a gifted editor whose disruption of a stodgy workplace was bound to ruffle feathers. Still, he and the magazine parted ways after just five months.	N24News: A New Dataset for Multimodal News Classification	Media
Steven Cohen, the presumptive new owner of the Mets, announced on Thursday that he intended to bring Sandy Alderson back as president of the team's baseball and business operations. Alderson's fingerprints are all over the current Mets roster, as he was the general manager of the club from 2010 until 2018, helping them to the National League pennant in 2015. He stepped down in the summer of 2018 because of a recurrence of cancer, but a year later he announced that he was cancer free after joining the Oakland A's as a senior adviser. He would not take over his new post in Queens until after the sale to Cohen is finalized, a process that may take several weeks. Cohen reached an agreement last week to buy 95 percent of the club from the owners Fred Wilpon, Saul Katz and Jeff Wilpon for roughly 2.42 billion, pending the approval of 22 of the other 29 owners in Major League Baseball. Cohen will be the club's chairman and chief executive, and Alderson will report directly to him. Cohen has owned a small piece of the Mets since 2012 and got to know Alderson in that capacity.	N24News: A New Dataset for Multimodal News Classification	Sports
'AMAHL AND THE NIGHT VISITORS' at Holy Apostles Soup Kitchen (Dec. 6 7, 7:30 p.m.; Dec. 8, 2 and 6 p.m.). This extraordinary project by On Site Opera is a presentation of Gian Carlo Menotti's 1951 opera on the Nativity, but with a twist: The chorus, performing at a Chelsea soup kitchen, is made up of people who have experienced homelessness and now live in supportive housing provided by Breaking Ground. Tickets are free, but the company asks for a food donation in lieu. osopera.org CHAMBER MUSIC SOCIETY OF LINCOLN CENTER at Alice Tully Hall (Dec. 9, 5 p.m.; Dec. 11, 7:30 p.m.). The Chamber Music Society has long given performances of Bach's "Brandenburg" Concertos during the holiday season, and now that's expanded into a larger Baroque project. Here the instrumental players are joined by the soprano Joelle Harvey in vocal music from Handel and Bach, as well as further pieces by Quantz and Vivaldi. 212 875 5788, chambermusicsociety.org MARTIN FROST at Alice Tully Hall (Dec. 12, 7:30 p.m.). Frost, one of the most charismatic and convincing clarinetists playing today, is joined by the pianist Henrik Mawe for a recital built around Brahms's Clarinet Sonata No. 2. 212 721 6500, lincolncenter.org/great performers JUILLIARD ORCHESTRA at Alice Tully Hall (Dec. 10, 7:30 p.m.). The composer John Adams takes the rostrum to lead Juilliard's instrumental students in his own "Doctor Atomic Symphony" a development of his remarkably successful opera as well as "Ciel d'hiver" by Kaija Saariaho and Brahms's Symphony No. 4. 212 799 5000, juilliard.edu 'MESSIAH' at St. Paul's Chapel (Dec. 13 14 and 17, 7:30 p.m.; Dec. 16, 3 p.m.). In our survey of the city's many versions of Handel's masterpiece last year, my colleagues called Trinity Wall Street's "perhaps the essential New York 'Messiah,'" and they weren't wrong. Julian Wachner conducts the Trinity Baroque Orchestra and the Choir of Trinity Wall Street in a reading that has been fiercely dramatic in music that can too often be treated as a comfy part of the festive scenery. A somewhat starrier option, if that's your thing, is available from the New York Philharmonic (Dec. 11 15, 7:30 p.m., David Geffen Hall), which this year has drafted the conductor Jonathan Cohen to lead a cast that includes the countertenor Anthony Roth Costanzo. 212 602 0800, trinitywallstreet.org ANNA NETREBKO at Carnegie Hall (Dec. 9, 2 p.m.). Under the title "Day and Night," the superstar soprano gives a recital that covers an immense amount of ground. With Malcolm Martineau at the piano, she sings Rachmaninoff, Rimsky Korsakov, Tchaikovsky, Debussy, Strauss and more. The mezzo Jennifer Johnson Cano and the violinist David Chan are on hand to help. 212 247 7800, carnegiehall.org	N24News: A New Dataset for Multimodal News Classification	Music
Numerous critics and media outlets rebuked the conservative Fox News commentator Tucker Carlson Wednesday after he said white supremacy in America was "not a real problem" on his talk show the night before. His remarks on " Tucker Carlson Tonight" came days after a mass shooting at an El Paso Walmart left 22 people dead and dozens injured. Investigators said the shooter was motivated by a hatred of Hispanics and pointed to a white supremacist manifesto worrying about "a Hispanic invasion." Mr. Carlson also likened white supremacy to "the Russia hoax," calling it a "conspiracy theory" used by Democrats to divide the country. His comments drew a storm of criticism. Brian Stelter of CNN said the comments were "nonsensical." Margaret Sullivan, the Washington Post media columnist, flat out called him "wrong." On social media, the hashtag FireTuckerCarlson became a trending term. On Wednesday afternoon, even the Fox News anchor Shepard Smith said that "white nationalism is without question a very serious problem in America." It was an aside that some interpreted as criticism although he did not name anyone. Mr. Carlson did not return a call requesting an interview on Wednesday. In a follow up segment on his program that night, he said that while "racism is one of America's problems," all supporters of President Trump were improperly being labeled white supremacists. Divisive rhetoric distracted from other issues facing the country and that could lead to greater conflict, he added. On Wednesday night's show, Mr. Carlson also announced plans to take a vacation, saying that he would be "headed to the wilderness" to fish with his son. A Fox News spokesperson told CNN that Mr. Carlson's vacation had been long planned. Mr. Carlson said he would return on Aug. 19. Here is a look at the facts behind his earlier claims. He also said another prominent hate site, The Daily Stormer, had about 400,000 page views a month until it was "run off the web" after the Charlottesville clashes. Precise numbers aside, the center says hate crimes and hate groups are on the rise in America. The number of groups rose by 7 percent to 1,020 in 2018, and the number of white nationalist groups rose nearly 50 percent to 148 that year. According to the Federal Bureau of Investigation, domestic terrorism is increasingly motivated by white supremacist ideology. The director of the bureau, Christopher Wray, called white supremacy and other forms of domestic extremism as a "persistent, pervasive threat." (Mr. Wray was appointed by President Trump and unanimously confirmed by the Republican controlled Senate.) This is a hoax. Just like the Russia hoax. This is a conspiracy theory used to divide the country and keep a hold on power. It is unclear whether he was referring to Russian election interference itself or allegations of Trump administration involvement. The two year investigation led by the special counsel, Robert S. Mueller III, produced a thick report and lengthy Congressional testimony. Mr. Mueller found Russian interference in all 50 states. During his testimony, he issued a strong warning on election tampering. "They're doing it as we sit here," he told Congress. As for Mr. Trump, while Mr. Mueller's 448 page report "does not conclude that the President committed a crime, it also does not exonerate him," according to the summary. They're making this up and it's a talking point, which they are using to help them in this election cycle. Here, Mr. Carlson was referring to Mr. Trump's Democratic opponents. Several of the Democratic candidates for president, including Senator Cory Booker of New Jersey and Mayor Pete Buttigieg of South Bend, Ind., have accused Mr. Trump of feeding racial division. Beto O'Rourke, an El Paso native, discussed the president in a MSNBC interview following the deadly attack in his hometown. "Of course he's racist," he said. "He's been racist from Day 1."	N24News: A New Dataset for Multimodal News Classification	Media
SAN FRANCISCO When Google conducted a study recently to determine whether the company was underpaying women and members of minority groups, it found, to the surprise of just about everyone, that men were paid less money than women for doing similar work. The study, which disproportionately led to pay raises for thousands of men, is done every year, but the latest findings arrived as Google and other companies in Silicon Valley face increasing pressure to deal with gender issues in the workplace, from sexual harassment to wage discrimination. Gender inequality is a radioactive topic at Google. The Labor Department is investigating whether the company systematically underpays women. It has been sued by former employees who claim they were paid less than men with the same qualifications. And last fall, thousands of Google employees protested the way the company handles sexual harassment claims against top executives. Critics said the results of the pay study could give a false impression. Company officials acknowledged that it did not address whether women were hired at a lower pay grade than men with similar qualifications. Google seems to be advancing a "flawed and incomplete sense of equality" by making sure men and women receive similar salaries for similar work, said Joelle Emerson, chief executive of Paradigm, a consulting company that advises companies on strategies for increasing diversity. That is not the same as addressing "equity," she said, which would involve examining the structural hurdles that women face as engineers. Google has denied paying women less, and the company agreed that compensation among similar job titles was not by itself a complete measure of equity. A more difficult issue to solve one that critics say Google often mismanages for women is a human resources concept called leveling. Are employees assigned to the appropriate pay grade for their qualifications? The company said it was now trying to address the issue. "Because leveling, performance ratings and promotion impact pay, this year we are undertaking a comprehensive review of these processes to make sure the outcomes are fair and equitable for all employees," Lauren Barbato, Google's lead analyst for pay equity, people analytics, wrote in a blog post made public on Monday. To set an employee's salary, Google starts with an algorithm using factors like performance, location and job. Next, managers can consider subjective factors: Do they believe the employee has a strong future with the company? Is he or she being paid on a par with peers who make similar contributions? Managers must provide a rationale for the decision. While the pay bump is helpful, Google's critics say it doesn't come close to matching what a woman would make if she had been assigned to the appropriate pay grade in the first place. Kelly Ellis, a former Google engineer and one of the plaintiffs in the gender pay suit against the company, said in a legal filing that Google had hired her in 2010 as a Level 3 employee the category for new software engineers who are recent college graduates despite her four years of experience. Within a few weeks, a male engineer who had also graduated from college four years earlier was hired for Ms. Ellis's team as a Level 4 employee. That meant he received a higher salary and had more opportunities for bonuses, raises and stock compensation, according to the suit. Other men on the team whose qualifications were equal to or less than hers were also brought in at Level 4, the suit says. The claim could become a class action suit representing more than 8,300 current and former female employees. The pay study covered 91 percent of Google's employees and compared their compensation salaries, bonuses and company stock within specific job types, job levels, performance and location. It was not possible to compare how racial minorities fared in terms of wage adjustments, Google said, because the United States is the only place where the global company tracks workers' racial backgrounds. In response to the study, Google gave 9.7 million in additional compensation to 10,677 employees for this year. Men account for about 69 percent of the company's work force, but they received a higher percentage of the money. The exact number of men who got raises is unclear. The company has done the study every year since 2012. At the end of 2017, it adjusted 228 employees' salaries by a combined total of about 270,000. This year, new hires were included in the analysis for the first time, which Google said probably explained the big change in numbers. Google's work force, especially in leadership and high paying technical roles, is overwhelmingly male and mostly white and Asian. Its efforts to increase diversity have touched off an internal culture war. In 2017, James Damore, a software engineer, wrote a widely circulated memo criticizing the company's diversity programs. He argued that biological differences and not a lack of opportunity explained the shortage of women in upper tier positions. When Google fired Mr. Damore, conservatives argued that the company was dominated by people with liberal political and social views. Mr. Damore sued Google, claiming it is biased against white men with conservative views. The matter has been moved to private arbitration. Its status is unclear. Google's parent company, Alphabet, said it had 98,771 employees at the end of 2018. The company declined to provide the number of Google employees, but Google is by far the largest part of the company. Google informed employees about the findings of its latest pay study in January at a meeting called to discuss a memo about cost cutting proposals that had been leaked publicly. The proposals, reported earlier by Bloomberg, caused an uproar because they included ideas like slowing the pace at which Google promotes workers and eliminating some of its famous perks. At the meeting, Sundar Pichai, Google's chief executive, played down the proposals as the product of brainstorming by members of the human resources staff and not things that senior managers were seriously considering, according to a video viewed by The New York Times. But in an effort to demonstrate that Google was not skimping on wages, executives said at the meeting that the company had adjusted the pay of more employees than ever before. Ms. Barbato, who presented the findings, said that more men were underpaid was a "surprising trend that we didn't expect."	N24News: A New Dataset for Multimodal News Classification	Technology
Erica Enders Stevens, aiming to become the first female Pro Stock champion in the car class took a giant step toward that goal Sunday evening by winning the National Hot Rod Association nationals event in Las Vegas. Enders Stevens, who had set a new track speed record in qualifying, beat the defending series champion Jeg Coughlin in the final round and regained the series points lead. It was her fifth nationals victory of the season. In other professional classes, Del Worsham won in Funny Car, Spencer Massey in Top Fuel and Andrew Hines in Pro Stock Motorcycle. One race remains on the 2014 calendar, at Pomona, Calif., on Nov. 16. In other racing news from the weekend: Lewis Hamilton passed his teammate, Nico Rosberg, for the lead with a late braking maneuver, then sped away to victory Sunday in the United States Grand Prix Formula One race at the Circuit of the Americas near Austin, Tex. The triumph helped Hamilton extend his lead over Rosberg, 316 292, in the battle for the season's driving championship. Two races remain on the calendar, with a double points finale that could easily reverse any edge accumulated by either driver. Rosberg, the pole winner, led the first 23 of 56 laps. Hamilton, determined to get his 10th victory of the season, overtook his teammate on the 24th lap and led the rest of the way. Daniel Ricciardo finished third, but was mathematically eliminated from title contention.	N24News: A New Dataset for Multimodal News Classification	Automobiles
We may think of 2020 as a year of seemingly endless bad news as the pandemic threatened our health, forced us to stay at home and upended most facets of life. But it wasn't all bad. Here's a look at some of the things that managed to come out on top. In a pandemic, a young man's and pretty much everyone else's fancy lightly turns to thoughts of ... pets. Or so it seemed this year, anyway, as the hottest commodity during lockdown after toilet paper and sourdough starters turned out to be rescue puppies and other critters. Stuck in our homes, starved of emotional interaction, suddenly we viewed those formerly unwanted animals in a new light. Their needs gave a structure to formless days; their affection was an antidote to the loneliness of social distancing; their energy was an excuse to get out of the house. The race to adopt was on as of April, when Wired reported, "All over the country, from New York to Wisconsin and North Carolina to Colorado and New Mexico, animal shelters are reporting massive upswings in the numbers of animals they've been able to adopt out or place in foster homes." By August, some organizations had waiting lists. When holiday season rolled around, gift givers had to start thinking hamsters. Now we're all barking up the same tree. Vanessa Friedman In the first six months of 2020, according to the National Vital Statistics System at the Centers for Disease Control and Prevention, 1,778,000 babies were born in the United States, while 1,626,000 people died. During the same period, Americans purchased approximately 19 million firearms. According to estimates by the Brookings Institution, based on background check data provided by the F.B.I., 3.9 million guns were bought in June alone, the highest single month sales on record. The June surge in gun purchases corresponded with a national protest movement against racism, as well as episodes of street violence and property destruction a response that, if not exactly heartening, in broad societal terms, was predictable and with precedent. More novel, though, was the surge that came just three months before, in March, when President Trump declared the pandemic was a national emergency and cities and states across the country locked down. Millions of Americans responded to the shock and uncertainty of a new, deadly and poorly understood disease by stocking up on food, toilet paper, cleaning supplies and communications equipment. Millions more, additionally or perhaps just instead, drove to the store and left with a new gun. John Hermann A steady stream of anxiety inducing events that could make anyone wish for an escape hatch called for one thing: marijuana. By late spring, cannabis stores and medical marijuana dispensaries were deemed essential businesses in more than a dozen states. Weed won at the polls too. Four states (New Jersey, South Dakota, Montana and Arizona) legalized recreational marijuana, and another two (Mississippi and South Dakota) made medical marijuana legal. Edibles became a popular choice for a pandemic. Sales were up with cannabis edibles even before the coronavirus swept the United States, as people drifted away from smoking and vaping to protect their lungs from the respiratory virus. With so many stuck inside with a bit of extra time on their hands, it's no surprise what they ended up reaching for. Whatever works. Lindsey Underwood There was perhaps no group of creators more prepared for the horrors of 2020 than streamers. Sitting in front of their cameras, often alone, talking for hours to the camera is what they do, and many are excellent at it. As late night hosts and those in traditional media struggled to entertain audiences on platforms like Instagram Live and Twitch, streamers were perfectly positioned to capture the moment. They hosted gaming tournaments, debates and news coverage. They provided millions of bored Americans with educational content, streaming themselves cooking, baking bread and crafting. They hosted politicians including Alexandria Ocasio Cortez and Ilhan Omar, who used the streamers to help encourage young people to vote. All of this contributed to a livestreaming boom in 2020. Twitch hit a high in terms of monthly hours watched, with 1.7 billion hours watched in November alone, according to a report from StreamElements, a livestreaming tools and services provider, and arsenal.gg, an analytics firm. Chatting channels, where streamers talk with their audience, became the most popular category as quarantine took hold and people grasped for social connection. Streamers also captured the political moment. The 29 year old progressive political commentator Hasan Piker rose to the top of Twitch in November after more than 80 hours of live election coverage. As the Black Lives Matter movement spread this summer, "Twitch became a hub for airing the sit ins and marches over racial inequality," The New York Times reported. Before this year, screen time was a hotly contested parenting topic. On one end of the spectrum was the zero tolerance crowd, who were certain that touch screens would short circuit a toddler's neurons and destroy a teenager's life. On the other, were the all screens crowd, who wanted to teach their children coding as a second language. In 2020, even the most organic Montessori toy mom had to hand over the iPad for at least a little while each day to preserve her fraying sanity. Who knows if it will stick, but screens are here to stay for everyone until at least the end of 2021. Jessica Grose I have a theory about living arrangements: The most important compatibility test is each person's tolerance to messiness. And as we all know, a mismatched Messiness Quotient among roommates can make things ... messy. So as lockdowns this year forced millions of Americans indoors and turned living spaces into working spaces (and gyms, schools, bars and everything else), our collective M.Q.s were pushed to the limit. Who can be bothered to pick up an empty water bottle or take those empty Amazon boxes to the recycling bin when the world is falling apart? If you, like me, are a messy person whose M.Q. matches that of the people you live with, well, this is our moment. No longer must we hide in the shadowy dirty clothes piles and overflowing junk drawers of society. Tidying up for guests? Hosting guests is canceled! Need to clear the table for dinner? Nope, that's a workstation now, we're eating on the bed again. And as I wrote this, from my standing desk at home, I paused to search for my yoga mat. Unable to find it, I asked my roommate to help. No luck. "It's not, like, a small thing. How could we lose it?" I asked her. She just looked at me, smirking, and said: "Come on." Even The New Yorker, that most august and pristine of publications, acknowledged this lifestyle on a recent cover. It featured an illustration of a woman sitting at her home desk, fully put together from the waist up, just enough to look good for a Zoom happy hour. Outside of the view of her laptop's camera was a house in disarray. Tim Herrera When the television writer Cord Jefferson accepted an Emmy for "Watchmen" earlier this year, he thanked his parents, his fellow writers and of course the show's director. He also thanked his therapist, Ian, who, he said, had "changed my life in many ways." Self care may be the mental health tonic of the moment, but there's nothing like good old fashioned talk therapy after nine long, deadly months of a pandemic. These days, you're only human if you're falling apart. (No, really: According to a new Gallup survey, Americans' assessment of our mental health is "worse than it has been at any point in the last two decades.") In the absence of national leadership, at least we've got our therapists. Of course, any "winner" of 2020 is probably also kind of a loser, or at least that's what my new therapist tells me. Therapy wins in that we could all use someone to talk to, and now we can do it from our couches. It wins in that there are a variety of start ups working to close gaps in the system, and because some geographic regulations have been waived, meaning patients now have access to treatment in communities other than their own. (Mine, who I will probably never meet in person, lives in Northampton, Mass.) Toilet paper has always been popular, even if we never quite acknowledged it. Hand sanitizer may be in the news more than ever (was it ever in the news before?), but ask any mother with a small bottle attached to her key chain or a teacher writing a school supply list: Well before 2020, it was a staple. Before this year, rotten bananas were a reminder of our waste, our excess, our inability to forsake the egg and cheese on a roll in favor of making a healthy, economical smoothie for breakfast like we promised ourselves we'd do when we bought groceries. As we rushed from home to work or social gatherings, we never made the smoothie, we always got the roll, and our bananas idled, getting mushy and bruised. Then came 2020: a monthslong opportunity to re examine all that we once wrote off as without value, and to bake banana bread, relying on some very basic ingredients and our smooshy, brown, fruit fly attracting treasured rotten bananas. Katie Rosman	N24News: A New Dataset for Multimodal News Classification	Style
Typical American car buyers are loath to purchase station wagons and hatchbacks, but if an automaker offers a taller version of either, consumers are more likely to say yes. That could be the thinking behind the Mercedes Benz GLE Coupe, about which the automaker released details late Tuesday. Like the BMW X6, with which it will no doubt compete, the GLE Coupe is offered as a sportier version of Mercedes' GLE crossover (formerly known as the M Class). Mercedes says its GLE Coupe is a balancing act between the sporty features of a performance car and the comfort and utility offered by a crossover or sport utility vehicle. Of course, the GLE is not a coupe at all in the traditional two door sense. It is, in essence, a raised hatchback. Mercedes will show the vehicle at the Detroit auto show next month. The GLE 450 AMG Coupe is a bit taller than the typical sports coupe or sedan It has a 362 horsepower 3 liter twin turbo V6 engine mated to a 9 speed automatic transmission and Mercedes' 4Matic all wheel drive system. It also comes with a roll stabilization system, continuously variable suspension damping and a system that compensates for the effects of crosswind. A rotary control on the center console helps the driver tailor those systems to specific driving requirements with selectable modes: Individual, Comfort, Slippery, Sport and Sport . Mercedes also said the GLE Coupe would have a pedestrian sensing braking system, a blind spot assist program, a lane keeper system and adaptive cruise control. Mercedes said the cargo volume is 58 cubic feet with the rear seats folded down. By comparison, the outgoing M Class S.U.V. (which will become the GLE Class) has just over 80 cubic feet with the seats folded down. The BMW X6 has a slightly larger cargo hold, too, at just under 60 cubic feet. The GLE 450 AMG will be available in the United States next summer. Mercedes did not reveal pricing.	N24News: A New Dataset for Multimodal News Classification	Automobiles
President Lyndon B. Johnson signed the bill creating Medicare and Medicaid in 1965, with former President Harry S. Truman, who had tried to establish national health insurance, seated at right. When it was created more than a half century ago, Medicaid almost escaped notice. Front page stories hailed the bigger, more controversial part of the law that President Lyndon B. Johnson signed that July day in 1965 health insurance for elderly people, or Medicare, which the American Medical Association had bitterly denounced as socialized medicine. The New York Times did not even mention Medicaid, conceived as a small program to cover poor people's medical bills. But over the past five decades, Medicaid has surpassed Medicare in the number of Americans it covers. It has grown gradually into a behemoth that provides for the medical needs of one in five Americans 74 million people starting for many in the womb, and for others, ending only when they go to their graves. Medicaid, so central to the country's health care system, also played a major, though far less appreciated, role in last week's collapse of the Republican drive to repeal and replace the Affordable Care Act, also known as Obamacare. While President Trump and others largely blamed the conservative Freedom Caucus for that failure, the objections of moderate Republicans to the deep cuts in Medicaid also helped doom the Republican bill. "I was not willing to gamble with the care of my constituents with this huge unknown," said Representative Frank A. LoBiondo of New Jersey, a member of the centrist Tuesday Group caucus, noting that in three of the counties in his district in the state's more conservative southern half, over 30 percent of all residents are covered by Medicaid. In the Senate, many Republicans, echoing their states' governors, had worried about jeopardizing the treatment of people addicted to opioids, depriving the working poor, children and people with disabilities of health care and in the long run reducing funding for the care of elderly people in nursing homes. The Republican bill would have largely undone the expansion of Medicaid under the A.C.A., which added 11 million low income adults to the program and guaranteed the federal government would cover almost all of their costs. It would have also ended the federal government's open ended commitment to pay a significant share of states' Medicaid costs, no matter how much enrollment or spending rose. Instead, the bill would have given the states a choice between a fixed annual sum per recipient or a block grant, both of which would have almost certainly led to major cuts in coverage over time. The nonpartisan Congressional Budget Office predicted that the Republican bill would have cumulatively cut projected spending on Medicaid by 839 billion and reduced the number of Medicaid beneficiaries by 14 million over the coming decade. Medicaid now provides medical care to four out of 10 American children. It covers the costs of nearly half of all births in the United States. It pays for the care for two thirds of people in nursing homes. And it provides for 10 million children and adults with physical or mental disabilities. For states, it accounts for 60 percent of federal funding meaning that cuts hurt not only poor and middle class families caring for their children with autism or dying parents, but also bond ratings. The program is so woven into the nation's fabric that in 2015, almost two thirds of Americans in a poll by the Kaiser Family Foundation said they were either covered by Medicaid or had a family member or friend who was. The program not only pays for 16 percent of all personal health care spending nationwide, but also accounts for 9 percent of federal domestic spending. Because it has always covered a patchwork of groups and many of its beneficiaries are poor and relatively powerless Medicaid lacks the unified, formidable political constituency that Social Security and Medicare have. States often have different names for the program, and many who rely on it don't realize that MassHealth in Massachusetts or TennCare in Tennessee are just Medicaid by another name. President Trump led the charge for the bill that would have slashed Medicaid, but he recognized the program's political potency during his campaign, proclaiming when he announced his candidacy that Medicaid should be saved "without cuts" and repeatedly taking to Twitter to declare his support for it. "The Republicans who want to cut SS and Medicaid are wrong," he wrote in July 2015. The C.B.O. report made it clear that within a few years, the cuts to Medicaid in the Republican bill would have been felt by millions of Americans. "It's health care for a huge chunk of the country," said James A. Morone, a political science professor at Brown University, "and as Donald Trump discovered, it's really, really complicated to mess around with." As he waited to see what would happen to the Republican proposal last week, Myrone Pickett said, "I've got a question mark hanging over my head." Mr. Pickett, of Bloomfield, N.J., got health insurance under the A.C.A.'s expansion of Medicaid, and has used it for monthly shots of Vivitrol, a drug that reduces cravings for opioids and alcohol. A heroin addict for 16 years, Mr. Pickett, 51, said the treatment had helped him stay clean for the past year, get medication for bipolar disorder and land a job at a grocery store. The A.C.A. offered a tempting deal to states that agreed to expand Medicaid eligibility to everyone with incomes up to 138 percent of the poverty level 16,400 for a single person mostly low wage workers like cooks, hairdressers and cashiers. The federal government would initially pay 100 percent of the costs of covering their medical care, and never less than 90 percent under the terms of the law. Over the past three years, 31 states and the District of Columbia took the deal. Announcing his vote against the G.O.P. proposal last week, Representative Brian Fitzpatrick, a Pennsylvania Republican who represents a politically moderate district north of Philadelphia, said his top concern was "the impact on the single most important issue plaguing Bucks and Montgomery Counties, and the issue that I have made my priority in Congress: opioid abuse prevention, treatment and recovery." The Republican bill would have allowed Medicaid payments to grow per person at an inflation rate that would have eroded their value over time. The C.B.O. estimated that states would have gradually had to devote more of their own money to Medicaid, cut payments to doctors, tighten eligibility or cut services covered. In 2020, states would have started losing the 90 percent federal match for anyone who had gained Medicaid under the A.C.A. expansion but was dropped from the rolls, even briefly. And the bill required beneficiaries in the expansion population to re enroll every six months, instead of annually, increasing the likelihood that many would be dropped. As a result, the C.B.O. estimated that by 2026, less than 5 percent of Medicaid recipients enrolled under the A.C.A. would have been covered at the higher matching rate. But more broadly, the cuts would have almost inevitably affected every group covered by Medicaid, including the biggest block of recipients: 36 million children as of last year. Representative Jaime Herrera Beutler, a Washington State Republican, announced her "no" vote on the bill Thursday, saying, "Protecting vulnerable children is a core purpose of the Medicaid program and when the program fails to do so, it fails entirely." For millions of disabled people, Medicaid covers services provided at home or through local programs aides who help them walk, eat and bathe, for example, and physical and speech therapy that allow them to stay out of institutions, where care is often more expensive. But those services are optional for states, while the cost of institutional care is not. The law would have given states an incentive to place them in institutions. Medicaid pays for Barbara Theus, 67, to attend a day program in Southfield, Mich., so that her son and caregiver, Royale Theus, can work. Ms. Theus sustained a serious head injury in a car accident 11 years ago and has not been able to care for herself since then. Medicaid also pays for home health aides who help Ms. Theus, a former nurse who did not have much savings at the time of her accident, get showered and fed. Mr. Theus was relieved when the bill failed. Had his mother lost coverage, he said, he would have had to leave his job to care for her. "I was hopeful that the powers that be would make the best decisions for the people, and that's what happened," he said. "What people began to accept, including Republicans, was that the assumption that you could afford health insurance if you were an able bodied adult was not true," said Colleen M. Grogan, a professor at the School of Social Service Administration at the University of Chicago, who has written extensively on health care. "You could be working and still not afford health insurance." In 1996, Mr. Clinton expanded Medicaid to cover more working families as part of his welfare overhaul. Campaigning for re election that year, he depicted Medicaid as a middle class program, telling audiences it was helping their grandparents. "He is the first Democrat to start calling Medicaid one of 'our programs,'" said Professor Morone of Brown. "There was a sense that Medicaid had sort of grown up as an entitlement." The expansion of Medicaid in the Children's Health Insurance Program, passed with Republican sponsorship in 1997, set the stage for the sweeping expansions of the Affordable Care Act 13 years later. But politics during Mr. Obama's presidency had become highly polarized. While earlier expansions of Medicaid had sometimes been bipartisan, the A.C.A. passed without a single Republican vote in Congress. The Tea Party had risen in opposition to the legislation, and later helped elect many of those who now form the conservative Freedom Caucus. Gradually, though, Republican led states have adopted the expansion. And now that the law known as Obamacare has survived the effort to repeal it, more states may choose to expand Medicaid. In Maine, voters will decide this fall whether to do so, and in Kansas, the Legislature has all but approved an expansion, although Gov. Sam Brownback could veto it. Last week, despite their desire to repeal Mr. Obama's biggest domestic legacy, some Republicans recognized that any bill that would lead to such drastic cuts in Medicaid would simply hurt too many of their constituents. In Ashland, Va., Medicaid made it possible for Kim Goodloe and her husband, Tom, to start a small company making metal parts for semiconductors and medical devices after the birth of twin boys with tuberous sclerosis 27 years ago. The genetic disorder causes tumors in vital organs, leading to frequent seizures, and Mrs. Goodloe had quit her job to take care of the boys when they were 4 Medicaid did not cover services for them back then. But now, Medicaid provides a home aide for Matthew, who is incontinent and nonverbal, suffers daily seizures and needs help walking. For the other twin, Christopher, who is less severely developmentally disabled, Medicaid provided a job coach, helping him to work at their company and earn enough money that he now pays taxes. The Goodloes have private insurance, but it is not required to pay for the twins' services, she said. With Virginia facing such steep cuts to its federal Medicaid payments, Mrs. Goodloe worried about losing the home health aide. They would have had to downsize the business, which employs 30 people. "Even within my own family, when you say 'Medicaid' it comes with some, 'Those people don't want to work.' They believe there's a lot of fraud, there's people that don't deserve it." "But then," she said, "They'll say, 'How could they take it away from Matthew?'"	N24News: A New Dataset for Multimodal News Classification	Health
On YouTube, young men role play as kindly romantic partners all in service of a better night's rest. What Does Having a Boyfriend Have to Do With Sleep? Owen Dennis Riley, 17, has never had a girlfriend. But he plays a boyfriend to at least half a million subscribers on YouTube. He brings you gifts on Valentine's Day and soup when you're sick. He serenades you, if you're into that sort of thing. Most important, he wants to help you get a good night's sleep. Instead of counting sheep or limiting your screen time before bed, he'll talk you down for the night and tuck you in. "Babe, baaaabe, what I want you to do is just take a deep breath in and a deep breath out," he says in a whisper at the beginning of a video titled "Loving Boyfriend Does Your Makeup." "Everything is going to be O.K. It's all right that we're going to be a little bit late to the restaurant. I called them. They said it was O.K. if we're a little bit late as long as we get there within the hour. So just calm down, I'm going to be here, I'm going to give you some support. I don't want you to stress, all right? I tried to get here as quickly as I could because I know you start to get really stressed in these types of situations. But don't worry because I'm here now, so you don't need to worry anymore." He proceeds to tickle the camera lens and microphone with makeup brushes, promising that you really look better without makeup, anyway. Owen isn't the inventor of this format. According to Craig Richard, an A.S.M.R. expert and a professor of physiology at Shenandoah University in Virginia, boyfriend and girlfriend role play videos have appeared on YouTube for at least five years. But Owen has certainly helped popularize them. In May, Emma Chamberlain, the teenage mega influencer, parodied him, the ultimate marker of YouTube fame. Like many other entrepreneurial teenagers, the Supreme resellers and meme makers, Owen was just looking for a way to expand an audience. After various fruitless endeavors singing, doing pranks with his siblings he turned to A.S.M.R. "I thought it would be easy, and fun it was summer break and I was bored," said Owen, who is home schooled. "Helping people" appealed to him, too. His early A.S.M.R. videos, featuring finger flutters, mic nibbling and breathy storytelling, began racking up millions of views. One commenter suggested that he try boyfriend role play. "I thought I could do it in my own way," Owen said. "I come from a Christian background. I don't want to do anything that will affect my integrity, which is wholesome." "I had a moment where I realized that I think I can make it cool," he continued. "I thought I could do it in my own way, something more realistic and natural for teenagers. I wanted to create something that my viewers won't be afraid to be caught watching." (Most of them are women between the ages of 18 and 24, according to demographic data Owen provided from his YouTube dashboard.) Owen lives outside of Savannah, Ga., with his parents. Often, when he is recording, they're in the other room, aware of the content he is making and sometimes involved in the creative process. "My family is so supportive," he said. "They thought it was cool I could get that many subscribers from whispering into a microphone." And those subscribers mean views, which means money. But just how much? "For every 1,000 views, I make 3," he said without a hint of braggadocio. The views on his role play videos range from 155,000 to two million. "You can do the math." The comments on a DennisASMR video often encompass a range of emotions, from enamored to creeped out. (Viewers also pose questions about his personal life.) These extremes revolve around the intensity of Owen's eye contact and the weight of his validating statements. How did this teenager develop such deep emotional intelligence? "I based it off my mom and how she would treat me," he said. "She would give me soda, crackers, you know, but then I changed into a boyfriend to make it sweeter." Watching his parents' happy marriage of 20 years has also inspired him. The videos, in turn, present examples of the validation and affection he wants for himself. Tired of tossing and turning? There are some strategies you could try to improve your hours in bed. None Four out of five people say that they suffer from sleep problems at least once a week and wake up feeling exhausted. Here's a guide to becoming a more successful sleeper. Stretching and meditative movement like yoga before bed can improve the quality of your sleep and the amount you sleep. Try this short and calming routine of 11 stretches and exercises. Nearly 40 percent of people surveyed in a recent study reported having more or much more trouble than usual during the pandemic. Follow these seven simple steps for improving your shut eye. When it comes to gadgets that claim to solve your sleep problems, newer doesn't always mean better. Here are nine tools for better, longer sleep. "I have dealt with the same things my viewers have: anxiety, insomnia and depression. And I've never been in a serious relationship, so I know how loneliness feels," he said. "I know how it all feels, so I can help give them what they're lacking." Judging by his latest videos, that includes a real life superhero, "smexy" mouth sounds and, of course, someone to talk to before bed. Another wrote: "I couldn't fall asleep because I was too invested in the drama." Even the more benevolent videos raise red flags. "It is absolutely not realistic behavior," Dr. Fleck said. "Being alone with a guy in your room when you're having trouble sleeping is not going to look like that." Alexandra R. Lash, a clinical psychologist in Portland, Me., has concerns that watching too much of this kind of role play may cause an "unrealistic and idealized perspective of what a partner can or should be." Echoing her concern, Dr. Fleck said that "the subliminal message in these videos is that the viewer needs someone to take care of them in order to fall asleep, and that's a notion we try to fight against in mental health. Believing so interferes with your ability to take care of yourself." Or a virtual boyfriend. Dr. Fleck warned that the videos shouldn't be a substitute for real world interactions. "What if YouTube is causing us to withdraw, and now we're using YouTube videos to get our needs met?" she said. "Looking into someone's eyes can cause the release of oxytocin, even if there is a screen between you." At the end of "Boyfriend Tucks You in at Night," Owen looks directly into the lens, with eye contact so intense it may feel natural to look away. He drums his fingers on the spine of a book and asks, "Did this help? Are you feeling more relaxed? I'll text with you if you still can't sleep, but I think you'll be fine." He smiles reassuringly, before squeezing in an ad for a weighted blanket.	N24News: A New Dataset for Multimodal News Classification	Style
On a memorable night a few years ago at the Metropolitan Museum of Art, the classical Indian dancers Bijayini Satpathy and Surupa Sen performed a duet in front of the great sandstone Temple of Dendur. Time stood still, every detail of their partnering so seamless that they appeared almost as one body, moving in harmony with the music. That fusion of shape and musicality was the fruit of a long collaboration the women had danced together for more than two decades. Until late last year, they created work at their home base at Nrityagram, a company and dance school near Bangalore in southern India. Ms. Sen was the choreographer, and Ms. Satpathy the star dancer and teacher. But as she approached 40, Ms. Satpathy said recently, she felt a new desire to test herself by carrying an evening on her own. She had "a strong urge to push into an untouched and underexplored dimension" of her artistry "before it was too late," she said over tea in Brooklyn, where she was staying with friends. Last year, when she turned 45, she told Ms. Sen that she would be taking some time away from Nrityagram to explore. She quit her position as director of the school and senior dancer in the company. This new phase of discovery has brought her back to New York, where she will be performing an evening of solos at Drive East, a yearly festival of Indian classical music and dance. It is a rare opportunity to see one of the finest proponents of the classical Indian dance style Odissi. This dance form has existed since at least the 10th century in Odisha, a state on the eastern coast of India, where its harmonious poses are depicted on the walls of temples. Ms. Satpathy was born in Odisha's capital; like many girls in the area, she studied Odissi at the local dance academy, where she was the best in her class. But the idea of dedicating her life to dance didn't cross her mind. She went to college and earned a degree in education, with plans to become a teacher. An audition for Nrityagram, which was then recruiting new dancers, got in the way. "As soon as I walked into that place," she told me, "I knew, this is what I want to do." Despite family disapproval "my parents didn't speak to me for three years" she persisted. Eventually, she became the head of the school, developing a rigorous conditioning program that includes elements of yoga, martial arts, exercises found in the Natya Shastra a surprisingly detailed ancient Sanskrit treatise laying out the principles of the classical performing arts and even some ballet and Pilates. This summer, she has been teaching conditioning workshops across the United States. She was also the star of the dance ensemble, the finest proponent of Ms. Sen's choreography besides Ms. Sen herself. "She's easily among the top five dancers I've ever seen in my lifetime," the choreographer Mark Morris, who has been watching her for over 20 years, said in a phone interview . Bit by bit, she said, she has built herself up, almost from scratch. "I've struggled and I'm still struggling to find my solo being," she said. "But I've begun to feel I'm moving differently. I feel a sense of expansiveness literally, I own the stage." Working alone has also allowed her to think differently about the Odissi choreography she has been performing for so long. At Drive East, she will dance solos created by Ms. Sen, as well as more traditional works by Kelucharan Mohapatra, the teacher and choreographer who is considered responsible for reviving Odissi in the 20th century. Though its basic poses and technique have been passed down over generations, there is room for expressive variety within the form. No two dancers, or choreographers, are alike. "I find myself questioning things," Ms. Satpathy said. "Sometimes I feel, hmm, maybe I could do something different here." Whereas before she labored to complete someone else's ideas, now, for the first time, she has found herself wondering what it would be like to create a piece of her own. "I have the urge to choreograph, but I'm petrified," she said, her eyes widening dramatically. Even so, she has given herself permission to try. She is now working on a solo inspired by a poem from "The Gita Govinda," a 12th century Sanskrit text that recounts the vagaries of the love between the god Krishna and the milkmaid Radha. In this particular song, Krishna expresses his longing for Radha, who refuses to see him. "It's about the wrenching pain of separation," Ms. Satpathy said, a subject particularly on her mind these days. In the solo, she moves slowly, heavily, low to the ground, her body weighted with sadness. A new dancer, distinct from the one who performed with Nrityagram, is emerging . "The way I'm moving, I haven't seen Surupa move," she said, referring to Ms. Sen . The solo, she added, is to debut in December at the Margazhi Dance and Music Festival in Chennai. Like the works she will be dancing in New York, the new solo reveals Ms. Satpathy's remarkable ability to transform herself through movement and the mimed expression known in Indian dance as abhinaya. In one of the pieces on the Drive East program, "Sita Haran" an episode from the epic poem "The Ramayana," choreographed by the guru Mohapatra she embodies no fewer than six characters. As the lord Rama, she elongates her spine and holds out her arms in a taut, muscular gesture, as if shooting an arrow from a bow. Then her spine softens into an S curve, and she tilts her head slightly. Now she is Sita, Rama's consort, watching in delight as a deer cavorts in the forest. In an instant, she becomes the deer, jumping and skittering in intricate patterns across the stage. As she shifts from one character to the next, everything about her changes, from her gait to the expression in her eyes, as well as her relation to the floor and even the air around her. It is this desire to lose herself in the movement, and in the stories that it embodies, that drives her, and, in turn, makes her dancing so riveting to watch. It's no coincidence that the title of the show at Drive East is "Kalpana," the Sanskrit word for imagination. Alone onstage, Ms. Satpathy is finally free to live within the world she has conjured in her mind. "It's a luxury," she said, "to live in this world you create as if it's real. In this way, my inner experience seeks completion."	N24News: A New Dataset for Multimodal News Classification	Dance
The TikTok stars Bryce Hall and Blake Gray are facing criminal charges for throwing mega parties at their Hollywood Hills mansion in defiance of a ban against large gatherings in Los Angeles, prosecutors announced on Friday. The two were each charged with a misdemeanor for violating the Safer L.A. health order and the city's "Party House Ordinance," said Mike Feuer, the Los Angeles City Attorney. The charges are among the first filed amid the city's crackdown on social gatherings during the Covid 19 pandemic. The two could face up to a year in jail and a fine of 2,000 if convicted. "With hundreds of people attending, loud music all night long and cars blocking access for emergency vehicles, party houses are really out of control nightclubs, and they've hijacked the quality of life of neighbors nearby," Mr. Feuer said in a statement on Friday. "As if that weren't enough, the hosts are incredibly irresponsible, with Covid 19 spreading and parties banned because of it. We've got to put a stop to it."	N24News: A New Dataset for Multimodal News Classification	Style
What would one give for a cool breeze right about now? Such a thing seems unavailable for love or money, a little gust to break the stultifying heat, to aerate the close, humid echo chamber of the 24 hour news cycle and its rat a tat revelations. Just imagine yourself on a boat, floating serenely into uncharted waters isn't that better? This Hugo Boss rucksack bears the coordinates of the label's New York flagship store at Columbus Circle. Casey Kelbaugh for The New York Times Hugo Boss, the German fashion label, thinks so, too. It may not be able to offer the breeze, but it can offer the wardrobe, in the old spirit of "dress for the job you want." Its spring 2018 collection for Boss, presented as part of New York Fashion Week: Men's on Tuesday afternoon, was an extended meditation on light fabrics, unlined jackets and roomy Bermuda shorts. Suits came in papery cotton, anoraks in paper thin leather. "Everything should be light and easy," said Ingo Wilts, the chief brand officer of Hugo Boss. "As the world is roasting," said this reporter, thinking back to a startling new set of conjectures about climate change published this week. "Exactly," Mr. Wilts said. "There's so much going on in the world right now, we want a kind of easiness and lightness in terms of clothes. We came up with this summer of ease." "Summer of Ease" became the collection's title. It had a nautical inspiration, lightly applied: ropes printed on silk kerchiefs, longitude and latitude coordinates (to Columbus Circle, the location of the Hugo Boss New York flagship store) on rucksacks, all of it in a blanched palette of sand, stone and wave. Looking seaward for inspiration can be tricky: Designers have gone the nautical route many times before. But if Boss did not explore startling new territory, at least it had a touch light enough to make the old feel fresh. Men's wear metabolizes change more slowly than its women's counterpart, and men in the world more slowly than their brethren in the ranks of the fashion industry. One might wish for a little more push or a little more speed, but relentlessness is ever present everywhere else at the moment. Imagine slipping on one of Mr. Wilts's double breasted cotton jackets or wide legged, pleated shorts, and feeling neither hemmed in nor weighed down. Truth be told, you could see the appeal. Ease? Please.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
For months, consumers have powered spending, while businesses pulled back ahead of the looming fiscal impasse in Washington. Now, as doubts grow about whether the president and Congress can reach a compromise before a year end deadline, evidence has emerged that consumers, too, are becoming more pessimistic about the economy. Consumer confidence in the first half of December took a sharper than expected dip, falling to its lowest level since August, according to a new survey released Thursday by the Conference Board. Wall Street also registered its frustration with the stalemate in Washington on Thursday, sending stocks sharply lower before recovering late in the day. "People are realizing that we may not get a compromise and they're getting nervous," said Guy Berger, United States economist with RBS Securities. "It's a precarious situation. So far consumers are worried about the future. Once they start worrying about the present, we're in trouble." If Congress and President Obama cannot agree on a deal to cut the deficit by Jan. 1, more than 500 billion in tax increases and spending cuts are set to take effect. Taxes have been the main sticking point while the president favors eliminating Bush era tax cuts on incomes over 250,000 and preserving current rates for lower incomes, many Republicans have been wary of supporting any tax increase. Republicans have been pushing for deeper spending cuts, something many Democrats have resisted. Both sides remained dug in, and at midday Thursday Senator Harry Reid of Nevada, the Democratic majority leader, said he thought it was unlikely a compromise would be reached before Jan. 1. With Wall Street tracking every turn of negotiations in Washington, shares tumbled after Mr. Reid's remarks but recovered later in the day after reports the House would reconvene Sunday and take up the issue. The Standard Poor's 500 stock index fell 1.73 points, to 1,418.10, while the Dow Jones industrial average sank 18.28 points, to 13,096.31 While an eventual deal that blunts part of the effect is expected in the coming weeks, some fallout from missing the Tuesday deadline will be felt right away including a two percentage point increase in payroll taxes as well as the end of unemployment benefits for more than two million Americans. All that has increased the uncertainty for individuals, who until recently had shrugged off the fiscal standoff in Washington. "Expectations have certainly shifted and it seems like consumer attitudes have caught up with business confidence," said Michael Griffin, executive director at Corporate Executive Board, a member based advisory firm. Surveys by the group have shown business sentiment weakening for three consecutive quarters, he said. Today in On Tech: Imagine not living in Big Tech's world. Dollar Tree will raise prices to 1.25 by the end of April. Consumers have had reasons to be more optimistic lately. After a deep decline caused by the housing bubble, home prices have begun to recover in many parts of the country. And the job market has been showing signs of improvement, with unemployment hitting a four year low of 7.7 percent in November. On Thursday, the Labor Department reported that initial claims last week for state unemployment benefits fell by 12,000, to a seasonally adjusted level of 350,000. Figures for jobless claims have been volatile since Hurricane Sandy, but the four week moving average for new unemployment claims now stands at its lowest point in nearly five years. Sales of new single family homes in November rose 4.4 percent, to a seasonally adjusted annual rate of 377,000, according to the Commerce Department. By contrast, the Conference Board's consumer confidence index fell to 65.1 in December from 71.5 in November. That was much sharper than the 1.5 point drop economists had been expecting. The board's expectations index was off more sharply, sinking to 66.5 from 80.9 in November. Several economists said the current situation recalls the standoff over raising the federal debt ceiling in the summer of 2011. In that case, too, consumer confidence eroded as both sides in Washington refused to blink until the last moment, but experts added the consequences were likely to be longer lasting this time because the changes in tax policy affect individuals directly.	N24News: A New Dataset for Multimodal News Classification	Economy
DETROIT If you come from a place that has exported its tastes in design, architecture, fashion and music to a welcoming audience for well over a century; a place steeped in art made of broken glass and low slung homes with triple thick brick walls; a place where the bottom fell out in a dizzying way, but where retailers and hoteliers and college students and everyday workers are walking the comeback trail together, you have a healthy respect for adversity, and for problem solving. You know that setbacks can arrive at any time, no matter how bright your current shine may be. They may knock you down for a bit, sure. But you can get back up. Tracy Reese is such a person. And that place is Detroit. Ms. Reese, 55, a Parsons educated designer with three decades of experience in the New York fashion scene, has dressed celebrities including Taylor Swift, Sarah Jessica Parker and Tracee Ellis Ross. That brand dissolved last year, after a 20 year run. This spring she unveiled Hope for Flowers, a sustainable clothing line based in Detroit, where she was born. Followers of her work will recognize the bright colors, the generous lines, the flow that seemingly keeps flowing even when the body is still. But they may not know it is also an answer to two questions that had nagged Ms. Reese for years: How can you slow it down and be profitable? And how could she involve Detroit? After Parsons, Ms. Reese went through the rise and fall of her first house, a stint at Perry Ellis and the restart of her Tracy Reese label in 1996, in New York's garment district. She took on an investor, Omprakash Batheja , and the business peaked in 2013, when it sold 23 million in wholesale goods. But as the fashion calendar became more demanding, requiring "stuff and more stuff," she said, she started to wonder. "Why do we need all of that?" Ms. Reese asked. By 2018, the business was contracting. To spur sales, Ms. Reese said, her investor suggested that she go down market. She disagreed, and the business continued to spiral downward. They are now in court to dissolve their partnership and determine who will own the Tracy Reese name. On the inside, it's all reclaimed wood, loftlike ceilings and windows that take up an entire wall, decorated with bright orange pillows and a floral quilt draped over a settee. Several pieces from the new line hang from a rack along the wall. "Some people need the purity and peace of white spaces, but that's never inspired me," Ms. Reese said. This year, she started devoting more time to a house she bought in 2017 in the Midtown section of Detroit. Many of her family members live in the city, including a sister and several cousins. She and her siblings were raised with a healthy amount of civic pride. Her mother insisted that the family spend its money within the city limits whenever possible. Now that Detroit is pushing ahead post bankruptcy, Ms. Reese said she has been heartened by all of the entrepreneurs, artists and activists taking a stake in the city, and she decided, "This all can't be happening without me." Ms. Reese has formed a partnership with Detroit Is the New Black, a label founded by Roslyn Karamoko that now showcases Hope for Flowers pieces and other designers at its anchor store on Woodward Avenue, Detroit's main thoroughfare. She found a screen printer in Detroit to dye her fabrics for the Hope for Flowers collection , and she got the sewing center at St. Luke New Life Center in Flint, Mich., to stitch the pieces . Ms. Reese first worked with St. Luke on an exhibit called "Flint Fit," an installation for which the artist Mel Chin went to Flint during the water crisis, collected over 90,000 empty water bottles and had them recycled into thread and fabric. Mr. Chin then asked Ms. Reese to design pieces for the fabric, and she created a rainwear and swimwear line that was sewn at St. Luke. Those pieces were a part of Mr. Chin's exhibit "All Over the Place," which was featured at the Queens Museum in New York in 2018. The space, which was a dusty defunct parking lot this summer, will gain walls and three huge skylights, providing natural light for the workers. I.S.A.I.C. plans to start with about two dozen people, training them in sewing, robotics, production, engineering and automation. "She sees Detroit as a place to demonstrate how industry could and should operate," said Jennifer Guarino, the chairwoman of I.S.A.I.C. and the vice president of manufacturing at Shinola, another Detroit based business that has infused the city with a renewed fashion sense. "One that is diverse, inclusive and offers equity in growth for longtime Detroiters." And Ms. Reese is an avid supporter of Merit Goodness, a project that teaches high school students fashion design, production, marketing, public relations and fund raising. Ms. Reese said she hopes the institute's sewing project will act as both a model of a new kind of factory and an inspiration for other producers who may come to the city. She takes a similar view of Merit Goodness, the sewing circle at St. Luke's, Detroit Is the New Black and other businesses such as Detroit Denim (whose co owner Brenna Lane is also an I.S.I.A.C. board member), which she hopes will inspire more responsible consumption. In June, Ms. Reese was a finalist in the CFDA/Lexus Fashion Initiative, a program that provides business support to help brands with responsible strategies. According to Steven Kolb, the chief executive of the CFDA, "What struck me in watching her go through the program was the emotion she had connected to her efforts, sometimes even with tears in her eyes. You could genuinely see it wasn't just marketing." Ms. Reese splits her time between Detroit and New York, and she will be showing Hope for Flowers this fall to several wholesale accounts for spring 2020. Thus far she sells to consumers via two stores Anthropologie and Detroit Is the New Black which is just fine with her. "My strategy is to go low and slow, to be very intentional about my footprint," she said. "I always wanted to make beautiful clothes. Now I want to do it the right way."	N24News: A New Dataset for Multimodal News Classification	Style
Shopping for flower bulbs: It's one of the more joyful summertime garden chores, certainly better than dragging hoses and sprinklers around or keeping ahead of the most incorrigible weeds. Bulb catalogs and their corresponding websites have no shortage of enticing choices, and now is the time to order spring flowering bulbs for fall planting or risk that some will be sold out. But gardeners suffer from a lack of creative direction in catalog pages that show product headshots of a single flower or a large group of the same variety. That can lead to uninspired planting, barely scratching the surface of the potential bulbs offer in garden making. Chanticleer Garden in Wayne, Pa., a former private estate with 35 acres, open to visitors since 1993, wants to show us otherwise. It calls itself "a pleasure garden," and is known for a creative use of plants. That's his assignment to the seven horticulturists on his team, each of whom manages an area of the property: To create visual excitement and artistry, while keeping in mind the teaching potential ideas visitors can use on a range of budgets and garden sizes. For instance, how a 3.50 packet or two of lettuce or purple leaf mustard seeds could grow a whole underplanting of seedlings to show off this year's tulips much more beautifully than bare soil or mulch. That's one takeaway from Chanticleer's prominent Teacup Garden, in the courtyard where visitors enter the grounds. At Chanticleer, there are some massed uses of a single bulb variety or two the generous waves of lavender blue Camassia in the lawn running alongside a creek, for example. But most bulb plantings are on a smaller scale that any gardener could take a cue from. Even larger ones like the Camassia, or Chanticleer's no mow fescue lawn with Darwin tulips and daffodils interspersed throughout, could be scaled down to work in a backyard or a small island within a larger piece of mowed turf. Mr. Thomas along with Lisa Roper, the horticulturist in charge of the Gravel Garden, and Eric Hsu, Chanticleer's plant information coordinator shared design inspiration and practical tips, as well as some favorite varieties. Choose a companion plant as a backdrop for bulbs, instead of a canvas of brown mulch. In the Gravel Garden, a gentle, south facing slope where plantings are in naturalistic sweeps rather than formal beds, Ms. Roper has been resourceful in showing off early blooming bulbs. "There isn't much going on in March and April to pair bulbs with, so I am really scrambling," she said. Some nevertheless striking results include the conifer like needles of Sedum rupestre Angelina, which make a vivid yellow orange pool beneath tiny, purple and blue Iris reticulata. Elsewhere, the sedum is well matched with grape hyacinth and early tulips. In another pairing Orange Emperor tulips with Mexican hair grass (Nassella tenuissima, hardy to Zone 6, despite its common name) Ms. Roper leaves the grass in place through the winter rather than cleaning it up in the fall, because its texture and warm tones make a great foil for the bulbs in the spring. Another standby is the succulent like Euphorbia myrsinites, with its blue green foliage and acid yellow early blooms, paired with Orange Emperor tulips, the arrestingly pale lavender blue Muscari Valerie Finnis and a small Narcissus called Hawera. Elsewhere, a bed of a sedge (Carex) is punctuated by the eight inch wide violet globes of Allium christophii; the two have been happy together for eight years. Emerging hostas, or even peony foliage, Mr. Hsu said, can also make good companions. "People forget how peonies come up at first with reddish green tones," he said. "When backlit, especially with tulips or alliums, it makes a very arresting combination." In his very public Philadelphia home garden, a 14 foot long, sidewalk facing bed, he uses other colorful foliage to set off bulbs, too, including dark colored Geranium maculatum Espresso and a gold lamb's ear, Stachys byzantina Primrose Heron. There is one bulb, at least, that needs no outside assistance. Allium karataviense, the 10 inch tall Turkestan onion, provides its own backdrop: wide, gray green foliage that handsomely sets off its pale lilac, spherical flower. It has been growing nicely in the Gravel Garden for years. Many gardeners want to cut off bulbs' foliage too soon, but it serves a critical role, nourishing the bulb below for next year's performance, so it should be allowed to photosynthesize until it fades in place. "Think about summer and fall blooming plants to plant around the bulbs," said Ms. Roper, who uses various asters to good effect. When bulbs share space with something that emerges or shows off after the blooms are gone, the garden will hang together without so many holes. Summer blooming butterfly weed (Asclepias tuberosa) and purple coneflower (Echinacea purpurea) are among her standbys. Or choose bulbs with less conspicuous foliage that doesn't need hiding, Ms. Roper suggested: "Species tulips have much smaller leaves, so there is not much left after flowering, which is nice." One she especially likes is Tulipa whittallii, which has bronze orange flowers feathered with subtle hints of lavender and green. Ready to Transform Part of the Lawn Into a Bulb Bed? Besides Chanticleer's impressive mass of Camassia in the lawn beside the creek and its no mow tulip and daffodil lawn, the estate has another planting that pairs bulbs with grass: a spot at the far end of the property appropriately called the Bulb Meadow. "The only flowers in it are bulbs," Mr. Thomas said. But unlike the single bulb Camassia display, this one has several: In spring, daffodils, tulips and bluebells (Hyacinthoides) show off, and "then in mid June, after their leaves die, we mow it," he said. In mid to late July, Lycoris, or resurrection lilies, come up for about a month, "and we try to mow it one more time after they fade, before it becomes pink with colchicums, the autumn crocus. In between, it looks like a mowed field, but that's OK." This makes for an arresting display, but it takes experimentation. Catalog language isn't always helpful about exactly when bulbs will bloom, because predicting precise dates for customers in various regions with different garden conditions is impossible. Visit public gardens to get pairing ideas, said Ms. Roper, who matches up Shogun tulip, grape hyacinth and Narcissus Minnow as one concurrent trio. In catalogs, it's often the rich, deep colors that catch the eye first. But at Chanticleer, subtler aspects of color play go into making plant pairings: The yellow throat of a certain tulip, for instance, will pick up on the foliage of the perennial beneath it. Mr. Hsu put in a word for another palette: white. "I don't get to enjoy my garden during the day," he said. "And in the evening, when I get home, the white is tranquil. I love bold, hot colors, but they don't show as well as restful white then." A succession of white bulbs, layered into his "perennial packed" raised bed, likewise sparkles on cloudy days when rich colors may not. First come the snowdrops, Galanthus nivalis (the common snowdrop) and elwesii (the giant), which he especially recommends, "because the foliage is really beautiful, and the flowers more noticeable," he said. "Everything about it is very elegant."	N24News: A New Dataset for Multimodal News Classification	Real Estate
Back when he was a young radio D.J. in Columbia, S.C., Charlamagne Tha God had a regular feature on his show called "The Ghetto Psychiatrist." Listeners called in to seek advice, which the host would offer in a style that was opinionated and blunt. "Always, historically, throughout the 'hood, everybody would come to me with their problems," Charlamagne said, sitting inside the Roxy Hotel in TriBeCa one recent afternoon. "Self help is something that I've always been into. I thought I was going to be a psychiatrist." As a co host of Power 105.1's morning show "The Breakfast Club," and as host of the MTV2 weekly talk show "Uncommon Sense Live," Charlamagne does serve as a counselor of sorts. His specialty is setting his guests and listeners straight whether or not they asked for his input. Three and a half years ago, he called Kanye West a "walking contradiction" to his face, and those like Jay Z and a pastor who told children there is no Santa Claus have received the tell it like I see it treatment. Now Charlamagne, who is in his late 30s, has written a book, "Black Privilege: Opportunity Comes to Those Who Create It" (Touchstone), that seeks not to tear down but to lift up. Organized into eight principles for success (Principle 5: "Put the Weed in the Bag!") and sprinkled with pearls of wisdom the author calls "God Jewels" (Example: "Always be wary when someone over 40 calls you 'son' unless it's your own father"), the book reads like a street smart self help guide.	N24News: A New Dataset for Multimodal News Classification	Style
SAN FRANCISCO It's official: President Trump is the single biggest political advertiser on Facebook. Mr. Trump and his political action committee spent 274,000 on ads on the social network since early May, outpacing the second biggest spender, Planned Parenthood Federation of America, a nonprofit organization that provides reproductive health care. Planned Parenthood spent just over 188,000 on Facebook ads over the same period. The ads bought by Mr. Trump and his PAC were also seen the most by Facebook's users, having been viewed by at least 37 million people since May. That compared with 24 million people who saw the second most viewed group of political ads, which were also from Planned Parenthood. These findings were laid out in a new study by a group of researchers from New York University, who used Facebook's own data to arrive at the results. Facebook in May began an archive of political ads, which is a publicly searchable database that catalogs the ads and identifies which groups or individuals paid for them. Facebook hopes the database will include any ad that has political content and that was aimed at Americans. The researchers conducted their study by scraping all of that raw data. Their work provides one of the most comprehensive pictures so far of who is placing political ads on the world's biggest social network and how much they are spending ahead of the midterm elections in November. Reaching voters through social media has become one of the most effective ways to get a message out, but up until now, the transparency around the practice has been limited. That previously allowed operatives from Russia to target divisive political ads at the American electorate in 2016. Facebook now requires buyers of political ads on its network to be verified as United States citizens or permanent residents, to cut down on foreign interference. That means Facebook's political ad archive largely provides a portrait of domestic activity, spotlighting both the digital ad buying of Democratic and Republican elected officials and political candidates, as well as nonprofit organizations, for profit groups and PACs. The archive also shows how much these ads were actually consumed by the social network's users. "One of the challenges in previous election cycles is that we never had a good repository of political ads," said Daniel Kreiss, an associate professor of communication at the University of North Carolina at Chapel Hill. He said the study was an "important initial analysis that reveals both the potential, and the many limitations, of Facebook's political ad database." The N.Y.U. researchers broke out the top 449 spenders of political ads on Facebook since May for The New York Times. Of those, 210 were left wing groups, 124 were right wing groups and 115 groups were politically neutral, they said. Damon McCoy, who conducted the study with two fellow researchers, Laura Edelson and Shikhar Sakhuja, said they were not able to tally the total spending for Republicans and Democrats because their analysis was ongoing, though they planned to release those figures in the future. As the midterms approach, political consultants have said that Democrats who are running for election are spending a smaller percentage of their ad budgets on digital ads than their rivals, sometimes as little as 10 percent versus more than 40 percent for Republicans. That has spurred volunteer efforts in Silicon Valley, which is widely regarded as liberal, to help bring Democratic campaigns into the digital age. But the new study found a healthy amount of activity from what the researchers described as left leaning politicians. Of the top 20 political candidates and PACs purchasing Facebook ads, 12 were identified as Democrats while eight were Republicans, according to data provided by the N.Y.U. researchers. Facebook's database worked well for identifying specific ads, Mr. McCoy said, but it did not give an overview of how a particular group or politician was advertising on Facebook. Some groups, he said, used multiple names to promote ads, such as the American Civil Liberties Union, which also had ads placed as the A.C.L.U. The researchers said they also found 43,575 cases of ads with political content that did not name a sponsor, indicating that whoever purchased the ad did not go through Facebook's verification process. They added that men and women between the ages of 25 to 34 were the most targeted for ads, while those under 17 or above 65 were the least targeted. Facebook said it welcomed the new study and hoped others would begin delving into its data. "This report is the exactly how we hoped the tool would be used outside experts helping to analyze these ads on Facebook," said Rob Leathern, Facebook's director of product management. "It brings more transparency to the messages people see and increases accountability and responsibility over time, not just for us but advertisers as well." Recent Facebook ads purchased and placed by Mr. Trump's operation show a similar style of testing, often running a dozen versions of an ad. This week, for example, Mr. Trump's operation has run dozens of ads on the social network, which seek to rally support to confirm Judge Brett M. Kavanaugh to the vacant spot on the Supreme Court. The White House did not respond to a request for comment. The Facebook ads from Planned Parenthood, meanwhile, ran the gamut from those challenging Mr. Trump's position on reproductive rights to ads about its services in various states. "Running ads on Facebook is a targeted and cost effective way to reach both our 2.4 million patients and 12 million supporters," said Erica Sackin, a spokeswoman for Planned Parenthood. She pointed out that the figures in the database included ads from the organization's 56 affiliates, including services they provide, as well as "advertisements raising the alarm about what is at risk as the Trump Pence administration and many states try to take away access to health care." "While Facebook is trying to deal with a very real problem of fake news, their solution is far from perfect and creates the unintended consequence of painting a false picture of political advertising on their platform," Ms. Sackin said. The only other political candidate to come close to Mr. Trump's Facebook ad spending was Beto O'Rourke, a Democrat and congressman in Texas's 16th Congressional district. He put in at least 194,400 since May on Facebook ads that reached roughly 13 million people, according to the researchers. Mr. O'Rourke, who has drawn media coverage for his efforts to challenge Senator Ted Cruz in November, had made Facebook a backbone of his campaign with ads on his local speaking engagements and promoting his grass roots fund raising efforts. According to the study, most other politicians shelled out well under 100,000 on ads on the social network, reaching only hundreds of thousands of Facebook users. Mr. O'Rourke's campaign did not respond to a request for comment.	N24News: A New Dataset for Multimodal News Classification	Technology
Dr. Hoving recalls the 2012 trip when the researchers first realized they were seeing something interesting. "When we visited the bottom of one of the dives with the ROVs, we saw a dead squid and then another one," he says. Video footage from other outings to the area also showed bodies, they later learned, and in 2015 they returned again, finding more squid carcasses scattered across the floor, some nearly 10,000 feet down. While many dives showed no squid, others were thick with them, as well as crustaceans and sea stars contentedly feeding on some of the remains. Could mating, and thus the slow rain of corpses, be seasonal? We don't know yet, says Dr. Hoving, but he and collaborators plan to conduct a more standardized survey in the future, perhaps using cameras stationed on the ocean bottom. It's a question that matters not just for our interest in the personal lives of squid, but also for understanding how the oceans, by far the world's largest storage place of carbon, perform that role. The researchers now estimate that at least in parts of the Gulf of California, squid may add up to about 12 milligrams of carbon per square meter per day on the ocean floor. That is a significant amount, about half of what gets stored by the incessant fall of tiny plankton bodies at shallower, better studied depths. Squid populations are presently exploding, researchers now know, perhaps because of warming oceans or because humans have depleted fish that prey on them. Understanding just how they contribute to the sequestering of carbon in the oceans will add important details to our picture of the planet.	N24News: A New Dataset for Multimodal News Classification	Science
In a wholly unforeseen span of about 20 seconds Sunday night, viewers of the Academy Awards were exposed to an impromptu bit of sports radio banter inspired by the faraway N.B.A. Yet it was the sort of back and forth, however brief, that makes the league truly uncomfortable. On what would soon become the most successful evening of Spike Lee's professional life, Samuel L. Jackson announced from the Dolby Theater stage in Los Angeles that Lee's beloved Knicks had beaten the San Antonio Spurs at Madison Square Garden to halt a franchise record home losing streak at 18 consecutive defeats. Lee, who was moments away from winning his first competitive Oscar, appeared to mouth back to Jackson that the Knicks were "trying to tank" N.B.A. speak for teams that seek to improve their position in the draft as much as possible through rampant losing. In truth, nothing the Knicks could do even winning could diminish the occasion for Lee. The Knicks' most famous fan won the Oscar that had eluded him for more than 30 years and surely knew as well as anyone that one measly victory, even over the Spurs and their decorated coach, Gregg Popovich, wouldn't knock the team too far off course in its shameless bid to finish at the bottom of the standings. But the exchange and ensuing waves of social media chatter shined the brightest of unwanted spotlights on a subject that N.B.A. officials undoubtedly wish would not have surfaced in this manner. For it is the public discourse that surrounds tanking which inevitably leads to otherwise passionate fans like Lee openly wishing for their teams to lose that has long been regarded at league headquarters as the most unsavory element of the practice. Tanking, in itself, can be a foolhardy strategy especially in the wake of a procedural change this season. This is the first year since the inception of the N.B.A.'s draft lottery in 1985 that the teams holding the three lowest win totals will share flattened odds of 14 percent each of landing the No. 1 selection in June. Previously, the team with the worst record had a 25 percent chance of winning the top overall pick. But Commissioner Adam Silver's push for so called lottery reform has made it even tougher for the worst team in pro basketball currently the Phoenix Suns, who, at 12 50, are a game behind the Knicks (12 48) to win the right to (presumably) select the highly coveted Duke freshman Zion Williamson. "I personally don't think it's a winning strategy over the long term to engage in multiple years of rebuilding," Silver said. "There's a mind set that, if you're going to be bad, you might as well be really bad. I believe personally that's corrosive for those organizations." The Philadelphia 76ers are the rare franchise in position to differ. They amassed a load of lottery picks and other trade assets across a three year window of intentional losing during the polarizing reign of their former general manager Sam Hinkie, who stepped down in April 2016 in response to a reduction in his authority over basketball matters before having the chance to reap the full benefits of all his team's futility. Several of Hinkie's high profile draftees Jahlil Okafor, Nerlens Noel and Dario Saric fell well short of becoming the sort of fulcrums teams build around. Ditto for the 2017 No. 1 overall pick Markelle Fultz, who was drafted by Bryan Colangelo, Hinkie's initial replacement. But the two selections who did become franchise players Joel Embiid (by Hinkie) and Ben Simmons (two months after Hinkie's exit) now find themselves flanked by the former All Star Jimmy Butler and a potential future All Star in Tobias Harris. Butler and Harris arrived via trades that the Sixers' new general manager, Elton Brand, was able to swing this season on the strength of the various trade chips Philadelphia had stockpiled under Hinkie. It is too early to say whether Silver's lottery reform crusade will actually quell further tanking attempts from teams pondering the Philadelphia model, but it has a chance. The flattened odds of winning the lottery mean that the Suns, Knicks and Cleveland Cavaliers, who currently comprise the bottom three teams, all face a daunting 86 percent chance that someone else wins the Zion Sweepstakes when the lottery is held May 14. One can safely assume that Lee and countless other Knicks fans will be shouting less flattering things as opposed to just mouthing them if all this losing they have endured this season leads to drafting someone other than Williamson. Since the Knicks are now linked with the 1993 94 Dallas Mavericks, having narrowly avoided breaking that team's league record of 19 straight home losses with that unexpected triumph over San Antonio on Sunday, it is worth remembering what happened to the Mavericks that season. With Jamal Mashburn as their star rookie rather than Chris Webber or Penny Hardaway, after the Mavericks fell to the No. 4 overall pick the previous off season despite boasting the highest odds of winning the draft lottery, they posted a 13 69 record. That is the type of cautionary tale that Silver, even as tanking talk persists, can forever serve up to discourage actual tanking: In the 34 year history of the lottery, only eight times has the team with the worst record managed to win the No. 1 pick. At least one Knicks fan in Hollywood finds the idea of tanking in professional sports to be "a horrible thing to even think about." The actor Leon Robinson, who starred in "Above the Rim" and "Cool Runnings" and has made numerous appearances at The Garden this season, said in a phone interview Monday: "I'm never happy to see my team lose. I'm in The Garden people go crazy every time they even get close to winning. Every time they're losing, people are shaking their heads at halftime. So I'm confused. Why are you coming to the game?" Lee, however, is hardly alone in lusting after Williamson. It's an open secret that the Knicks are dreaming of a mammoth free agent coup this summer with the more than 70 million of salary cap space they can clear; Kevin Durant and Kyrie Irving are widely regarded as the Knicks' top two targets. But make no mistake: The Knicks themselves, not just a segment of the fan base, are dreaming of Zion, too no matter what history says. Given the immediate on court impact one extremely gifted young man can have, in this five on five sport more than any other, it will probably always be thus.	N24News: A New Dataset for Multimodal News Classification	Sports
Virna Di Palma and Jason Reischel met a decade ago, as neighbors in a Murray Hill building where both had roommates. Shortly after that, Mr. Reischel found a rent stabilized one bedroom in Park Slope, Brooklyn, and they moved in together. But after a year or two, they started feeling trapped even though their rent never rose to more than 1,475 a month. "The apartment has been both a gift and a curse," Ms. Di Palma said. "We could never justify leaving. Our apartment was just too big and too cheap." It was old and worn too, with a sloping floor, cracked walls and balky heat. Though Ms. Di Palma hunted sporadically for a different rental, nothing was comparable. "There was no apartment that would be better financially," she said. "It was either stay in this apartment forever or get over it." She resolved to do the latter. So as Ms. Di Palma, now 33, changed jobs and earned more, she began the hunt to buy a one bedroom, budgeting 500,000. That was five years ago. She is now a senior director at Trace International, an anti bribery compliance company. Through those years, she dragged a reluctant Mr. Reischel, now 40, to open houses. When they started looking, he was a full time musician with his band, My Cousin, The Emperor. Now he also works for the city's "Pre K for All" initiative. Their budget eventually grew to 750,000. Ms. Di Palma wanted a dog friendly, one or two bedroom in Park Slope with a dishwasher and washer dryer. Outdoor space was essential. In warm weather, the couple found themselves going out to dinner just so they could sit outside in the fresh air. Most places they saw were purely average. At the low end, "we saw places that we wouldn't rent," Mr. Reischel said. At around the 650,000 mark, they started seeing places that were at least reasonable. Last summer, they considered a one bedroom duplex co op on Seventh Avenue for 699,000, with maintenance of around 900. It had a private roof deck, but reaching it meant going out into a hallway and climbing two flights of stairs. The building was also a four unit co op, which people warned them against. Mr. Reischel felt the interior space was narrow and claustrophobic. Ms. Di Palma liked a new condo building on Union Street, where a one bedroom with a balcony cost 760,000. Again, Mr. Reischel thought it was too small. One Saturday morning, while picking up trash on their block, as they often do, they chatted with a neighbor, Tyson Lewis, an associate broker at Halstead Property. He told them of a listing in the co op next door to them, which was soon to hit the market at 749,000. Maintenance was around 900. The one bedroom had a spiral staircase leading to a solarium, and a huge private roof deck. "We had seen lots of things but nothing like this," Ms. Di Palma said. "It was one of the few apartments I could actually buy. The apartment is like Miami Beach. It's really, really bright." She bid the asking price. At Mr. Lewis's suggestion, she also wrote a letter to the seller. It read, in part: "I have never taken any risks. My entire life has been carefully planned and executed. I'm not sure if I should be proud or ashamed of this. What I do know is that it has led me to this very decision and moment. One that I am sure of." She explained in her letter that she travels a lot for work. But "I always look forward to coming home," she wrote, to "a home where I can spend time with the people I love." "We were told the owner was so moved by the letter that she picked us," Mr. Reischel said. "I like to think that's a true story, but I don't have any evidence. I thought the letter was a little too intense." Their offer was not the highest one, Mr. Lewis said, but "for a few thousand dollars' difference, the seller chose them. When my client read that letter, she knew in her heart that Virna was the right buyer. The losing buyers may have been just as sincere, but they didn't write letters." Ms. Di Palma bought the apartment in the fall. Mr. Reischel pays a share of the costs. The couple spent several weeks and 50,000 renovating, stopping in every day. When they at last relinquished the rent stabilized lease, "I wanted to cry," she said. The two were thinking of adding air conditioning in the solarium, which readily overheats, but ran out of money. "It is like a science experiment to get it to work properly," Ms. Di Palma said. Instead, they added solar shades to block the sun. Now, the two still run into people in their neighborhood. "They say, 'I thought you moved!'" Ms. Di Palma said. "And I say, 'I moved next door!'"	N24News: A New Dataset for Multimodal News Classification	Real Estate
The ruling a victory of sorts for the rapper comes in a case that has gripped the music world, as well as President Trump. STOCKHOLM It looked like a small time assault case, but, somehow, it swept up Kim Kardashian West, President Trump and the United States' top hostage negotiator. And on Wednesday it finally reached its conclusion, when judges here in Stockholm found the rapper ASAP Rocky guilty of assault. But he will not serve any more jail time, having already spent over a month in a Swedish detention center. Swedish prosecutors had sought a six month prison sentence for Rocky for his part in a street brawl in Stockholm on June 30 that left a 19 year old man bleeding and needing medical treatment. But a panel of four judges, led by Senior Judge Per Lennerbrant, found that the assault was not of such a "serious nature that a prison sentence must be chosen." Rocky, 30, whose real name is Rakim Mayers, said this month during the trial that he had acted in self defense when he threw the man, Mustafa Jafari, to the ground, and then, along with two members of his entourage, punched and kicked him. Mr. Jafari had repeatedly harassed the rapper's entourage, and had thrown a punch at his bodyguard just before the attack, Rocky said. The judges found his defense unconvincing. "Based on two witness statements, the court finds the defendants were not subject to imminent attack," the judgment said. "Therefore, the defendants were not entitled to use violence in self defense." Rocky's co defendants, Bladimir Emilio Corniel and David Tyrone Rispers, received the same verdict and sentence. All three also were ordered to pay Mr. Jafari damages. In the trial, Mr. Jafari's lawyer asked for about 16,000 in compensation, but the court awarded 12,500 Swedish kronor, about 1,300, for pain, insult and injuries. Though the sentence represented a victory of sorts for Rocky, he said on Instagram that he was "disappointed by today's verdict." Slobodan Jovicic, his lawyer, said that he did not know whether the rapper would appeal the verdict. "The question is whether he'll have the energy and stamina to do this one more time given all the circus around it," he added. Much of the discussion in the trial centered on whether a bottle was used in the assault. Mr. Jafari said he had been hit on the side of the head with one, but was unable to say by whom. Rocky admitted picking up a bottle shortly before the fight, but said he put it back down shortly afterward because he "realized it was stupid." "The prosecutor has not been able to prove that the victim was struck in the back of the head with a bottle or that he was in any other way assaulted with bottles," Judge Lennerbrant said in a news release. "This has affected the assessment of the seriousness of the crime," he added. Rocky and his two co defendants served almost a month in detention in Sweden after they were arrested. Seen as flight risks, they were kept in the detention center from July 5 until the trial ended on Aug. 2. Mr. Trump became a close watcher of the case after the rap superstar Kanye West asked his wife, Ms. Kardashian West, to seek White House help in winning Rocky's release from jail. The president ramped up the pressure on Sweden, a longtime ally, beginning with a cordial phone call to the prime minister, then critical messages on Twitter, and, finally, by dispatching a special envoy for hostage affairs, Robert O'Brien, to watch over the trial. In a letter to Swedish officials during the trial, Mr. O'Brien warned of "negative consequences" for American Swedish relations if Rocky were not released. Swedish officials, including the prime minister, said repeatedly that they would not intervene in the case, citing the rule of law. Judge Lennerbrant said in an interview after the verdict that Mr. Trump's intervention had no impact on the decision. "I have not been subjected to any political pressure, nor has the district court," he said. In his Instagram post after the verdict, Rocky did not specifically mention the president's interest in the case as he thanked "my team, my management, attorneys, label and everyone who advocated for justice." On Aug. 2, at the end of the trial, the judges allowed Rocky and his two co defendants to be released while they awaited the verdict. They were not required to stay in Sweden and quickly returned to the United States. Swedish legal experts said at the time that their release was a sign that defendants would most likely be found not guilty, or found guilty and sentenced to time served. Christina Anderson reported from Stockholm, and Alex Marshall from London.	N24News: A New Dataset for Multimodal News Classification	Music
Harold Reid, whose resonant bass, comic touch and business acumen helped make the Statler Brothers a top grossing touring act and a steady presence on the country music charts for decades, died on Friday at his home in Staunton, Va. He was 80. His nephew Langdon Reid said the cause was kidney failure. Mr. Reid, a founding member of the group, was the Statler Brothers' de facto leader as they placed 58 singles in the country Top 40 from 1965 to 1989 32 of them in the Top 10. Four of them, including "Do You Know You Are My Sunshine," a song written by Mr. Reid and his younger brother, Don, who sang lead vocals, reached No. 1. The Statlers' lineup also included Lew DeWitt on tenor vocals and Philip Balsley singing baritone. Mr. DeWitt, who died in 1990, left the quartet in 1983 because of chronic health problems and was replaced by Jimmy Fortune. The Statlers imbued contemporary country and folk material with traditional gospel harmonies, helping to usher Southern gospel music into the cultural mainstream while paving the way for the arrival of crossover minded blockbuster country vocal groups like the Oak Ridge Boys and Alabama. "We took gospel harmonies and put them over in country music," Mr. Reid was quoted as saying in The Encyclopedia of Gospel Music. The jaunty banjo and drum arrangement of the group's breakthrough single, "Flowers on the Wall," evoked the hootenanny exuberance of the Kingston Trio as much as it did the down home call and response of gospel quartets like the Blackwood Brothers and the Statesmen. The Statlers' only bona fide crossover hit, "Flowers on the Wall" a song about heartache, its ebullience notwithstanding reached the Top 10 on both the country and pop singles charts in 1965. It also earned them a Grammy Award one of two they won that year for best contemporary (R R) performance by a group (vocal or instrumental), besting both the Supremes and the Beatles. Decades later the record was on the soundtrack of Quentin Tarantino's movie "Pulp Fiction." Many of the Statler Brothers' songs, including the nostalgia themed "The Class of '57" and "Do You Remember These," were written or co written by Mr. Reid, who often injected clever humor and wordplay into his lyrics. For example, the bed in the Statlers' 1970 hit "Bed of Rose's" is not one of flowers but that of a prostitute whose kindness unmasks the hypocrisy of self righteous Christian moralism. As an opening act for Johnny Cash from 1964 to 1971, the Statlers played an important role in the Southernization of American pop culture that was occurring then. Nowhere was this more evident than on ABC's "The Johnny Cash Show," where the group's homespun harmonies, regional vernacular and medicine show inspired showmanship were broadcast across the nation. Mr. Reid was the funny man of the group and the creative force behind Lester "Roadhog" Moran and the Cadillac Cowboys, the quartet's comedic alter ego, which lampooned the sacred cows of country music. Mr. Reid played the role of the drolly outrageous Roadhog Moran both on recordings and onstage. Harold Wilson Reid was born on Aug. 21, 1939, in Augusta County, Va., in the Shenandoah Valley, one of four children of Sidney and Mary Frances (Craun) Reid. His parents were aides at a psychiatric hospital. Mr. Reid grew up singing four part harmonies in church and formed his first vocal group, the Four Star Quartet, while in high school. The group later called themselves the Kingsmen but changed their name to the Statler Brothers in 1963 the name taken from a brand of facial tissue after the Portland, Ore., garage rock band the Kingsmen had a nationwide hit with "Louie Louie." The next year, Johnny Cash invited the Statlers to join his touring revue and persuaded his label, Columbia Records, to sign them to a contract. "Flowers on the Wall" was their first release for Columbia. But it was only when the Statlers moved to Mercury Records and began working with the producer Jerry Kennedy that they became regular hitmakers in the 1970s. The group recorded for Mercury for two decades, winning a third Grammy and nine Country Music Association Awards. They hosted a long running TV variety show on the Nashville Network and, breaking with convention, established their business operations in Staunton (pronounced Stanton), their rural Virginia hometown, rather than setting up headquarters in Nashville or some other entertainment hub. In 2007, five years after their retirement, the Statlers were inducted into the Gospel Hall of Fame. They were inducted into the Country Music Hall of Fame the next year.	N24News: A New Dataset for Multimodal News Classification	Music
But with this meticulously reported microhistory, Hale, who once played in a band and ran an underground club in Athens, delivers more than a love song to the music. "Cool Town" also serves up a textured portrait of a generation caught between baby and tech booms, wriggling under the thumb of the mainstream in the pre internet days when "mainstream" was a discernible thing and rummaging through thrift store bins both literal and figurative in an effort to create something new. I lived in Athens for a while in the 1990s, and spent a couple of years as editor of Flagpole, the city's alternative weekly. Hale is dead on in the details she relies on to evoke a scene that was in full swing in Athens when I arrived. She wisely emphasizes its L.G.B.T.Q. friendly and female empowering flavors: Gay people and women were driving creative forces in the biggest bands and some of the smallest, a reminder that Gen X indie culture was about more than wailing dudes from Seattle. She is smart on the way Athens art and music were defined by the tension between the rejection and embrace of Southern culture, both aesthetically and politically. She has a keen eye for fashion too, recalling the influential thrift store chic of Jeremy Ayers, an important scene catalyst: "Bits of lint and leaves seemed to spill out of his seams where a pegged pants leg met a flapping brogan or a thin wrist poked out from a collage of sleeves." Hale also shows how cool Athens was not some miracle gourd that grew out of Southern soil, as it was sometimes portrayed in the music press, but an extension of both the university's egalitarian, avant garde art school and the New York art scene: Ayers, briefly a lover to R.E.M.'s Michael Stipe and a B 52's collaborator, had once been a Warhol superstar named "Silva Thin."	N24News: A New Dataset for Multimodal News Classification	Books
As the world writhes in the grip of Covid 19, the epidemic has revealed something majestic and inspiring: millions of health care workers running to where they are needed, on duty, sometimes risking their own lives. I have never before seen such an extensive, voluntary outpouring of medical help at such a global scale. Intensive care doctors in Seattle connect with intensive care doctors in Wuhan to gather specific intelligence on what the Chinese have learned: details of diagnostic strategies, the physiology of the disease, approaches to managing lung failure, and more. The three page, single spaced document, full of lessons, circulates immediately and widely through social media platforms, a gem borne of pure, professional commitment. Facebook starts a "COVID 19 USA Physician/APP Group" on March 13. It has 57,000 members on March 15, and 105,000 on March 18. The Journal of the American Medical Association, even while moving its staff home for social distancing, sets new records for speeding helpful scientific studies, peer reviewed, onto the web. Knowledge grows. One JAMA paper is by a group of Wuhan physicians reviewing patterns and outcomes for 1099 patients, showing surprisingly high rates of severe illness in younger adults. Another is an honest account by physicians in Lombardy of both successes and mistakes as they grapple with unprecedented intensive care demands. A list serve for hospitals started by the Institute for Healthcare Improvement overflows with questions "What have you learned about setting up drive by testing?" "Has anyone found a new source of masks?" and instant answers from institutions and clinicians. One anesthesiologist in Valhalla, N.Y., types in a suggestion: "Instead of giving up when the ventilators are all in use, how about asking groups of students or family members who have become immune to the virus to ventilate patients manually, using 'Ambu bags,' in shifts even for days at a time?" Clinicians reply, some critical, some supportive, and all trying to find answers. And city by city, hospitals mobilize creatively to get ready for the possible deluge: bring in retired staff members, train nurses and doctors in real time, share data on supplies around the region, set up special isolation units and scale up capacity by a factor of 100 or 1000. On Tuesday, Mayor Bill de Blasio of New York asks for retired medical personnel to join the city's Medical Reserve Corps; 24 hours later, 1000 new volunteers have signed up. Northwell Health, a 23 hospital system in New York City, figures out how to add 1,500 beds, if needed, by repurposing space.	N24News: A New Dataset for Multimodal News Classification	Opinion
Although Indian immigrants make up about 1 percent of the United States population, their American born children are overrepresented in the National Spelling Bee finals and in the book's profiles. Like other immigrant parents, Indian families highly value education, but they have an additional advantage: An astounding 77 percent of adult Indian immigrants in 2015 had a bachelor's degree or higher (compared with 29 percent of all immigrants and 31 percent of native born adults). The Indian born Bee parents in the book are virtually all professionals with the know how and financial resources (some of them stay at home mothers) to help prepare their children for these intense competitions. There are even two minor league spelling bees for kids of South Asian heritage that are often a launching pad for the Bee. Less happily, the success of Indian American spellers has triggered some backlash on Twitter, with racist calls for white children to take back the Bee. Despite the mind boggling amount of work they did, the kids were enthusiastic about the competitions even when they faltered or failed. Shreyas Parab didn't get to the national semifinals but nonetheless relished his time in the limelight, and was thrilled when he spelled a word right after hours of study ("It's hard to describe the happiness. ... It's like a victory lap"). If there were spellers who would have preferred to be playing with their friends or resented the pressure, Shankar does not feature them. Ultimately, the payoff is the excitement and sociability of the bees, the prizes and media attention. And the bees, Shankar argues, help young people cultivate skills that can be valuable on the job market, create networking opportunities and build poise under pressure, especially for those who become "spellebrities" on ESPN's live broadcasts of the National Bee, which draw around a million viewers. Being able to spell the longest entry in the dictionary (pneumonoultramicroscopicsilicovolcanoconiosis, a lung disease), like 6 year old Akash Vukoti, may seem weird, but these parents treat spelling bees much like other American parents treat competitive baseball or soccer, "our brain sport that we encourage." The book is much less successful in making the jump from the generally middle class suburban Bee spellers to revealing truths about an entire generation of people born after 1996. They are "accustomed to competing from a young age," "work hard to become young social media influencers and entrepreneurs," "seek out opportunities rather than expecting things to be handed to them" these are just a few of the unsupported generalizations about Generation Z. Shankar is most convincing when writing about the kids and their parents in the culture of the Bee, and how many Indian Americans have come to call it their own.	N24News: A New Dataset for Multimodal News Classification	Books
Ms. Lopez, who stars in the television crime drama "Shades of Blue" and just completed a Spanish language album, had bought the unit directly from the sponsor in late 2014 for 20.16 million. She used a limited liability company in the transaction. Mr. Modlin said he could not comment on whether his client, Ms. Lopez, planned to buy elsewhere in New York. Last year, Ms. Lopez, 48, reportedly paid 28 million for an eight acre compound in the Bel Air neighborhood of Los Angeles with a large main house, guest cottages and an outdoor amphitheater. Her Manhattan home is a bit more modest by comparison, though striking in its own right. It has four bedrooms, six full baths and two powder rooms over 6,540 square feet on the building's fifth and sixth floors. There are also four terraces totaling 3,106 square feet. The building has a 24 hour doorman, and this apartment has a private, keyed elevator and vestibule. The main entry on the lower level opens to a 45 by 29 foot great room with a domed geometric skylight. The space includes a formal dining area and living room, as well as several spots for lounging. Three sets of French doors, with arched transoms, lead to a south facing terrace overlooking the park. There are additional views of the MetLife clock tower and the Flatiron Building. "This is the crown jewel of the Whitman," Mr. Modlin said of the apartment. At the center of the loft like home is an open kitchen, with another spacious dining area and built in seating. The kitchen has marble countertops and a long breakfast bar with stools, as well as built in pantries, stainless steel Miele appliances, a wine cooler and white custom cabinets.	N24News: A New Dataset for Multimodal News Classification	Real Estate
The Lincoln Center Festival's retrospective of four early works by the Belgian choreographer Anne Teresa De Keersmaeker offers the opportunity, rare in contemporary dance, to track the development of a major artist piece by piece. And development is not synonymous with improvement. At the Gerald W. Lynch Theater on Friday came the second work in the series, "Rosas Danst Rosas." This was the piece, created in 1983, that introduced Ms. De Keersmaeker's all female company, Rosas, and established her, then in her early 20s, as a new force in European dance. Probably the most beloved of the four early works, it is certainly the most famous in recent years, parts of it have shown up in a Beyonce video and were replicated by fans across the world in a 30th anniversary project. Made up of simple movements and gestures, it is a dance that anyone might reproduce, if only in excerpt. In one section, four women sit in chairs, crossing their legs, slumping back, doubling over, periodically nodding at one another or twisting skittishly. But it's the gestures that Beyonce borrowed a hair flip, a baring and covering of shoulders that most clearly account for the affection. The whole work is an evocation of young womanhood, compelling in its blend of awkwardness, ennui and burgeoning forces within. What was fresh about Ms. De Keersmaeker's work in 1983 was how this evocation came through the austere repetitions of Minimalism. "Rosas" is relentless. It's mechanical and sensual, rigorously formal and violently emotional. In this way, it extends the discoveries of Ms. De Keersmaeker's preceding dance, the first in the Lincoln Center series, "Fase, Four Movements to the Music of Steve Reich."	N24News: A New Dataset for Multimodal News Classification	Dance
As the lockdown stretches into another month, we've checked in on artists to ask how quarantining is affecting their studio practice. For some, the present emergency has spurred unlikely new ways of working. For others, it's grinding work to a halt, whether for logistical reasons or just for emotional ones. Mike Cloud, an abstract painter with a Yale M.F.A. who teaches at the School of the Art Institute of Chicago, falls somewhere in the middle. Mr. Cloud is known for applying bold colors to unusually shaped canvases, as well as for discreetly provocative gestures, like his "Hanging" paintings, a series of triangular constructions draped with small nooses. He spoke to me by FaceTime from the Chicago home he shares with his wife, the artist Nyeema Morgan, and their two children. These are edited excerpts from our conversation. What inspires you to paint during a pandemic? Painting right now feels like the most important thing I can do aside from taking care of myself and keeping my family healthy. Even the greatest paintings in history must have seemed trivial in comparison to the workaday struggles surrounding their creation. On the day Rembrandt was painting "The Night Watch," or Hokusai was painting "The Great Wave of Kanagawa," there must have been some contract being signed in a wool guild that would impact the livelihoods of hundreds of people, or some trial going on in a courthouse where someone's life hung in the balance. But from our perspective, 200 years later, those lives and livelihoods are lost no matter what. Painting is a way to make things keep mattering beyond the immediate.	N24News: A New Dataset for Multimodal News Classification	Art & Design
VIRGINIA WOOLF And the Women Who Shaped Her World By Gillian Gill You would be hard pressed to find a writer from the 20th century more admiringly cited than Virginia Woolf. Her potent, evocative fiction still impresses itself on new readers; her essays give clear and vivid insight into a writer's mind at work. There are, of course, a lot of biographies of Woolf, the most monumental perhaps being Hermione Lee's "Virginia Woolf" (1996), and Woolf's autobiographical writings (collected, in part, in "Moments of Being" and "A Writer's Diary") are also powerful resources for her readers. She is, weirdly, everywhere and nowhere. There is hardly a novelist, woman or not, more central to our understanding of modernism, women's writing or literary fiction. Joyce is a byword for difficulty and obscurity, Lawrence for weedy crypto fascism and misogyny, but Woolf's work, while densely lyrical and complex, has such apparent availability that it prompts near universal adoration in critics, writers, students and book clubs. Gillian Gill's new biography of Woolf, "Virginia Woolf: And the Women Who Shaped Her World," takes as its organizing principle Woolf's relationships, familial and otherwise, with women, placing special emphasis on the writer's connections to intellectually and literarily ambitious female figures of the 19th and early 20th centuries. Instead of progressing chronologically through Woolf's life, Gill, who has also written biographies of Victoria and Albert and of Florence Nightingale, traces female influences across clusters of her interlocutors. She considers what Woolf called "Pattledom," the family of her formidable Anglo Indian forebears on her mother's side, separately from the family of Minny Thackeray, her father's first wife. The aim seems to be to investigate various women's impact on Woolf's life from broad quarters, but the effect is to disrupt the chronological logic of biographical coherence. In chapters on Woolf's years in Hyde Park Gate and Bloomsbury, for instance, Gill must rehearse the circumstances of Woolf's brother Thoby Stephen's death, despite having detailed it in an earlier section as well. No doubt this circling around Thoby's death and other traumas in Virginia's extended family (both her parents had been previously married and had children by their former spouses) is intended to underscore the immense intellectual and psychic pressure that death produced on the sensitive Virginia, but it does complicate the reader's sense of events as they unfolded in her life. Despite this, Gill's chatty, often conspiratorial tone helps mitigate some of the anguished hand wringing that often accompanies discussions of Woolf's life. After all, she isn't only one of literature's most famous suicides; she also suffered extreme mental illness, horrible, and early, familial loss; her half brothers' incestuous advances; and deep sexual and literary frustration. Gill brings to this potentially grim picture an ear for the playful undercurrent a sense of the world's splendid possibility that also ran through Woolf's life, countering much of the darkness. While she does not downplay the writer's difficulties, Gill's portrait shows Woolf's character to have been complicated not just by difficulty but by pleasure, too. Pleasure is a challenge for a literary biographer: Pain reads much better as a block to creative expression, but happiness and comfort can be just as destructive to the work ethic. Woolf's own cruelties and limitations are also discussed in some detail, particularly her impatience with her mentally disabled half sister, Laura Stephen, her father's daughter from his first marriage. In Gill's account, Woolf's distaste for Laura seems to have been a byproduct of her mother Julia's irritation with the girl's needs. Laura's intellectual challenges were made infinitely worse by Julia's isolating severity, and Woolf's inability to perceive this is a failing. Gill presses further on Laura's problems, suggesting that she, too, was a victim of her half brothers' sexual aggression in her youth. Woolf's own writing on the abuse she suffered at the hands of those half brothers makes this speculation, sadly, all too likely to be true. In Gill's view, the relationship that becomes most central to Woolf's life is the one with her sister, Vanessa Stephen Bell. Vanessa is Virginia's compatriot in her youthful struggles against their half brothers, against their father's neuroses and neediness, against their beautiful mother's aestheticized misogyny and in her adult work, and Gill writes persuasively about the sisters' escape from the Stephen household, their marriages and their efforts to make books and art. Gill's biography is especially good in delineating Vanessa's charismatic appeal for her sister, whose adoration was never quite reciprocated. Vanessa's children (by her husband and at least one other lover) and her own sexual rapaciousness stand in sharp contrast to her sister's childlessness and sexual anxiety. The contrast is a provocative one; if Vanessa's libertinism feels more of a piece with Bloomsbury's contemporary reputation, Virginia's tense and worried physicality has become unfairly, I think associated with her brand of modernism. There is an unsettling stance toward so called healthy sexuality at the core of Gill's book that limits its usefulness as a biography. The patterns of intellectual striving are plain throughout the first half, but when Gill turns to Vanessa's and Virginia's sexual and emotional exploits (Clive Bell gives Vanessa "orgasms as well as sons," Vita Sackville West "failed to give Virginia Woolf orgasms"), the combination of speculation and prurience becomes difficult to manage. While describing the eventual marriage of Vanessa's illegitimate daughter Angelica to David Garnett, the lover of Duncan Grant, who was Angelica's father, Gill lavishes intense attention on the savor of incest in the relationship. It's obvious that the courtship and marriage discomfited Bloomsbury, but it's also not entirely clear that Grant was "motivated more by sexual jealousy than paternal concern" when he warned Angelica about Garnett. Vanessa's sexual boldness and Virginia's sexual angst are well documented; it seems unnecessary to consider the frequency or fact of orgasms, as though these are the only arbiters of pleasure or satisfaction in a relationship. The complexity and adventurousness of Bloomsbury's erotic escapades aren't, after all, the main source of our own interest in these women, and by shoehorning them into versions of sexuality that make sense to a contemporary reader Vanessa's licentiousness, Virginia's nervous refusal Gill misses the ways both women were deeply interested in the work that pleasure does in a life. Virginia's autobiographical writing and letters make it plain that she experienced strong physical compulsions outside her romantic relationships. Describing her half sister Stella Duckworth's doomed marriage, for example, Virginia writes: "It was to me like a ruby, clear, intense. ... This color, this incandescence, was in Stella's whole body." Compare this with the way Clarissa Dalloway thinks about the kiss Sally Seton bestows on her in the garden at Bourton in "Mrs. Dalloway": "She felt she had been given a present, wrapped up, and told just to keep it, not to look at it a diamond, something infinitely precious, wrapped up, which, as they walked (up and down, up and down), she uncovered, or the radiance burnt through, the revelation, the religious feeling!" These two jewels, the ruby of her sister's marriage, the diamond of her character's romance, are not signs of coldness or antipathy to sensual experience. On the contrary, the radiance within is the engine, the erotic charge, that colors even the slightest interaction with the object of her love.	N24News: A New Dataset for Multimodal News Classification	Books
The West Bund Museum, which contains a new outpost of the Centre Pompidou, called Center Pompidou West Bund Museum Project. SHANGHAI When the Pompidou Center first floated the idea of opening a Chinese outpost more than a decade ago, skeptics back home in France were still fiercely debating the question of whether the country's cherished national museums should have a role in promoting political and commercial interests abroad. But with the opening in recent years of the Louvre Abu Dhabi and the Pompidou Malaga, the country's strategy of using "museum diplomacy" to raise its profile overseas is well underway. That effort took a bold step forward on Tuesday when the Pompidou, the renowned Parisian museum of modern and contemporary art, unveiled an outpost in China. President Emmanuel Macron of France was in attendance at the ceremony. Situated along the banks of the Huangpu River on Shanghai's version of Museum Mile, the new outpost is a collaboration with the West Bund Group, a Chinese state owned development corporation that together with the local government has reportedly invested more than 3 billion in recent years to transform a former industrial neighborhood into a 7 mile waterfront cultural corridor. Called the "Centre Pompidou x West Bund Museum Project," the new outpost is housed in the newly built West Bund Museum. Designed by the British architect David Chipperfield and featuring more than 27,000 square feet of exhibition space, the museum consists of three exhibition halls clad in a jade like glass and linked by a central atrium. The Pompidou is calling the project the "largest ever cultural exchange" between France and China. Compared to the Louvre Abu Dhabi, which is based on a 30 year agreement between the French and United Arab Emirates governments, the scale of the project is nevertheless modest. Much like the Pompidou Malaga, which opened in 2015, the Shanghai project is a five year contract in which the Pompidou Center curates shows specifically for the Chinese outpost using works lent from its vast collection, while also providing educational programming and vocational training for Chinese museum professionals. At the end of the five years, both sides will have the opportunity to end or extend the partnership. But museum officials insist that the main motivation behind the Shanghai project is to foster dialogue, not to make profits. "If we really wanted to make money, a better idea would be to sell shows one by one to major international museums," Mr. Lasvignes said in an interview on Monday at the West Bund Museum. But in China, even the high minded mission of promoting dialogue comes with its own challenges. The opening of the Pompidou Shanghai outpost comes at an uncertain time in the West's relations with China, and the art world is not immune to politics. Censorship and self censorship are ubiquitous in China's creative industries and even private museums and galleries must often submit their programs and exhibitions for approval by local authorities. Pompidou Shanghai has already had its first encounter with censors. In "The Shape of Time," the first of three planned semi permanent exhibitions, the Pompidou introduces the history of 20th century art using 100 works drawn mostly from its collection. The exhibition features well known works like Pablo Picasso's "The Guitar Player" and Vasily Kandinsky's "Gelb Rot Blau" alongside works by Chinese artists like Zhang Huan and Zao Wou Ki. But despite being mostly pedagogical in nature, local officials requested before the project's opening that a few works in "The Shape of Time" be replaced for what Mr. Lasvignes called "various" reasons. "We discussed, we explained, and in most cases they agreed to keep the work," said Mr. Lasvignes. He said fewer than five works were ultimately replaced in the exhibition for reasons that were "not only political," though he declined to offer specifics. "I really believe maybe it's naive that as long as you can make interesting things, as long as you can make things without betraying yourself, it's better to be present than to not be there at all," he said. Mr. Lasvignes added that the limited scope of the partnership would allow the museum to evaluate the situation as the project progressed. "For me the question is, 'Are the rules that are being applied really changing the nature of a project?'" said Mr. Lasvignes. "If not, we go on. If yes, we will stop." A major reason the Pompidou does not want to see the Shanghai partnership derailed by minor censorship concerns is that the project was nearly two decades in the making. The French museum had been close to opening an outpost in Shanghai about a decade ago, but the deal collapsed at the last minute. By the time Mr. Lasvignes arrived at the Pompidou in 2015 and re initiated talks with officials in China, the country had become a much greater player in the art world. Buoyed by a booming middle class, China last year was the world's third largest market for art, according to the annual Art Basel and UBS art market report. It also boasts a growing network of art enthusiasts and professionals including curators, collectors and artists ranging from well known names like Ai Weiwei to younger, rising artists like Cao Fei, who recently received a solo exhibition at the Pompidou in Paris. As Pompidou officials looked around for locations, the West Bund emerged as a natural choice. Located not far from the former French Concession, the district was already home to several emerging private museums, including the Yuz Museum and the Long Museum, co founded by a former taxi driver turned billionaire and his wife. The deal received the highest possible official blessing in January 2018 when President Macron came to China on a state visit and personally discussed the matter with China's leader, Xi Jinping. The project will open to the public on Friday. On Monday morning, the scene at the West Bund Museum was frenetic as a small army of workers scrambled to put the finishing touches on the installations in time for President Macron's arrival. (As if to drive home the point about the need for greater professionalization, one rogue Chinese museum worker was seen napping peacefully amid the frenzy, basking in the soft glow of a video work.) For Mr. Macron, the museum opening will likely be a rare kumbaya moment in what is otherwise expected to be several days of tough discussions with Chinese officials about trade and climate change. The Sino French relationship has been further strained in recent months by tensions over France's decision to grant asylum to the Chinese wife of the former Interpol head. For the Pompidou, Shanghai is just the start of what promises to be a busy international schedule in coming years. Last year, the museum signed on for another five year commitment with its partner in Malaga. A project in Brussels is also underway and the museum is currently in negotiations for outposts in Seoul and the Czech Republic as well, according to Mr. Lasvignes.	N24News: A New Dataset for Multimodal News Classification	Art & Design
Pinterest is finally taking the plunge that many other tech companies already have: It has started selling video advertising. Video ads from brands like Kate Spade and bareMinerals will start appearing in the virtual scrapbook like Pinterest feed on Wednesday and into the coming weeks, and Pinterest is hopeful that ads from other brands will soon follow. The new ads will show up in a silent, GIF like format within Pinterest's feed, and will play with sound once clicked. Users will be able to click images, or pins, of featured products next to the videos. That could, for instance, bring them to a brand's website or allow them to buy the product without leaving Pinterest. The move puts the social bookmarking site in competition with the likes of Facebook, Twitter and Snapchat, as well as large digital publishers, which are all vying for the increasingly large amounts of marketers' digital ad dollars. Over the last two years, Facebook and Twitter have been vocal about their investments in video advertising technology, a space where Google's YouTube has long been dominant. Video ads often command a premium over other forms of online advertising, and also give social networks a chance to capture money from marketing budgets once earmarked for television. Pinterest allows people to save links to images and videos, known as pins, to aesthetically pleasing virtual bulletin boards, and to follow the boards created by others. It has become a popular destination for consumers looking to buy goods, particularly in areas like home improvement and cooking, and for the brands looking to reach them. Pinterest says 75 percent of the content people consume on its site comes from businesses. Pinterest, which says it has more than 100 million visitors a month, has largely been absent from conversations about videos, even as such content has boomed in popularity on its site. The company said it had seen a 60 percent increase in the number of videos saved by users in the last year. 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. Last year, Etsy was the website with the greatest number of links from Pinterest's Save button. Now, it is YouTube. "Candidly, the company just in general has underinvested until now in video as a platform," Jon Kaplan, the head of global sales at Pinterest, said in an interview. "We wanted to make sure it was customized and specific to the way people use our platform. What you're going to see going forward is a very big investment in video." Pinterest will most likely benefit from some brands that are turning away from TV, he said. BareMinerals, a makeup brand, will promote a new foundation on Pinterest with a video tutorial. Because the product is geared toward millennials, the brand decided to spend less on TV for the campaign, said Rebecca Boston, global director of social marketing for bareMinerals. "Talking to advertisers, there's an insatiable demand for video inventory," Mr. Kaplan of Pinterest said. "The viewership of TV is something that's of concern to them. That viewership is going down, ratings are going down, and they need to find places to accomplish their business objectives where people are spending their actual time." Ms. Boston added: "While it does have TV, we are investing more of a percentage of our marketing budget in digital and mobile because that's where the millennial is spending her time. She's not watching as much TV as she used to."	N24News: A New Dataset for Multimodal News Classification	Media
Flo and Clue, two popular period tracking apps, recently introduced health tools that evaluate a woman's risk for the hormonal imbalance known as polycystic ovary syndrome. In September alone, more than 636,000 women completed the Flo health assessments, said the app's developer, Flo Health. The app then recommended that 240,000 of those women, or about 38 percent, ask their doctors about the hormonal disorder. (BioWink, the developer of Clue, declined to provide similar usage statistics.) But what many women who used the Flo and Clue health tools may not have known is that the apps did not conduct high level clinical studies to determine the accuracy of their health risk assessments or the potential for unintended consequences such as overdiagnosis. As a result, some experts said, the new tools could lead some women to be labeled with a hormonal imbalance they did not have or that may have no significant repercussions for their health. "You could be making a lot of people concerned they have a problem that they don't know will have absolutely no clinical consequences for them," said Dr. Jennifer Doust, a professor of clinical epidemiology at Bond University in Queensland, Australia, who has studied polycystic ovary syndrome, which is known as PCOS. Flo's and Clue's health assessments are part of a broader shift in digital medicine. Health tracking apps have for years helped people collect and chart data on their heart rates, moods, sleep patterns and menstrual cycles. But now some of these apps are going further by using that data to predict an individual's risk for problems like heart conditions. In other words, they are moving from simply quantifying consumers' health data to medicalizing it. While some of the apps' new evaluation tools may be useful and helpful, determining whether they are accurate can be difficult. Of the several hundred thousand health apps available globally in major app stores, most lack high level evidence on their outcomes, according to a recent study in Nature Digital Medicine. And as long as consumer health apps make vague health promises like improved well being and do not claim to diagnose or treat a disease, they are not typically required to submit effectiveness evidence for vetting by the Food and Drug Administration. "It's certainly become confusing as a consumer if you go onto these app marketplaces and these apps are making claims about helping you learn about mental health, PCOS, heart disease, diabetes," said Dr. John Torous, director of the digital psychiatry division at Beth Israel Deaconess Medical Center in Boston, one of the authors of the Nature study. "Do we know this helps or it doesn't help?" Flo, which has more than 30 million active monthly users, and Clue, with more than 12 million, have good intentions. Their developers each said they had worked with medical experts to develop the assessments and had based them on international medical guidelines for identifying PCOS. The apps also include prominent disclaimers saying that their assessments for PCOS should not be construed as diagnoses. One woman, a product manager in the San Francisco Bay Area, interviewed by The New York Times who used Flo said it gave her more information about PCOS than her doctor had. But Sasha O'Marra, a copywriter in Toronto who tried a beta version of Flo's health risk feature in July, said she found the assessment irresponsible. The app said Ms. O'Marra's symptoms acne and menstrual cycle changes "may indicate a hormonal imbalance which is probably a manifestation of PCOS." She took the company to task on Twitter, explaining that her period had changed because she had just changed birth control pills. "It's very concerning to me," Ms. O'Marra said in an interview. "Telling people they might have something like PCOS without understanding the context behind their symptoms is a slippery slope." The company responded on Twitter: "Here at Flo, we use medically approved algorithms." It explained that its algorithm considered multiple factors. "If some symptoms match, we encourage a user to visit a doctor just to make sure that everything is fine." Polycystic ovary syndrome is a prevalent health problem among women of childbearing age. Its symptoms can include elevated testosterone levels, irregular periods and abnormal facial hair growth. The syndrome can make conceiving without fertility treatments more difficult for some women. The apps' PCOS risk assessment tools are easy to use. They ask women a series of questions about possible symptoms, adapting to certain answers with follow up questions. After people complete the questionnaires, the apps tell them whether their symptoms seem suggestive of the hormonal imbalance and may recommend they ask their doctors about it. Professional medical groups disagree over which symptoms are needed to identify the hormonal imbalance and whether it is overdiagnosed or underdiagnosed. One 2017 study of about 1,400 women who eventually received a PCOS diagnosis, for instance, reported that about one third of them consulted at least three physicians before the syndrome was identified. Women who have been misdiagnosed with PCOS said the experience could be jarring. "I was really stressed during that time because I really thought maybe I wasn't going to be able to have kids," said Sabrina Wisbiski, a human resources coordinator in the Detroit area, who said she was erroneously told by an endocrinologist a few years ago that she had the disorder. She said she later discovered that she had a different hormonal problem set off by intensive bodybuilding. Clue also said it had tested its risk models for the hormonal disorder on nine hypothetical patients who were assigned different symptoms. The prediction models incorrectly detected PCOS in one to two of the virtual patients and also typically assigned the virtual test subjects a risk score more than 15 percentage points higher than a physician did. "We err on the side of caution," said Daniel Thomas, Clue's head of data science. "Even if we think it's more likely that they don't have PCOS than having PCOS, but it's one of these gray zone cases, we would also still ask them to see the doctor." Dr. Torous, who has published studies on the evidence supporting health apps, said the validation method could skew Clue's health risk assessments. "If you're training a model on virtual patients, the model learns how to treat virtual patients," he said. "But a virtual patient is not you or me or a real person." "Irregular periods may be a symptom. Do your periods always start in the same timeframe?" one question on the Flo app said. Another said: "Plenty of acne in more than six months that usual skincare fails to cure could mean a hormonal imbalance caused by PCOS. Do you experience acne?" "It's kind of suggesting the answer, isn't it?" said Dr. Doust of Bond University. "If you were in any way thinking in your head already, 'Oh, I must have PCOS,' then it's kind of suggesting what you have to say to get that answer."	N24News: A New Dataset for Multimodal News Classification	Technology
Following an investigation by the National Highway Traffic Safety Administration, Ford says it will recall about 2,500 of its 2012 14 Focus Electric because of a power loss problem. Ford told the safety agency that a software issue in the powertrain control module could cause a loss of power to the front wheels. However, the automaker said the steering and brakes would work normally and that it was not aware of any accidents related to the defect. Ford told N.H.T.S.A. that by the middle of August it had received 16 reports from Focus Electric owners who had experienced the problem. The company's critical review group was given the task of reviewing the problem at that time. Ford decided on Sept. 5 to refer the issue to its customer satisfaction forum because of a "low occurrence rate." But the next day, the agency said it would investigate 12 consumer complaints that it had received about the power loss. Those complaints included one owner being stranded on a highway in what she thought was a hazardous location.	N24News: A New Dataset for Multimodal News Classification	Automobiles
WASHINGTON Facebook took down a video posted by the campaign of President Trump on Wednesday in which he claimed children were immune to the coronavirus, a violation of the social network's rules against misinformation around the virus. It was the first time Facebook has removed a post by Mr. Trump's campaign for spreading misinformation about the coronavirus, though the social network has previously taken down other ads and posts by the campaign for violating other policies. In June, for example, Facebook took down campaign ads that used a Nazi related symbol, which broke the company's rules against organized hate. The action on Wednesday did not signal a change to Facebook's fierce defense of free expression. Mark Zuckerberg, Facebook's chief executive, has said the social network is not an arbiter of truth and that it is in the public's interest to see what political leaders post even if they include falsehoods by politicians like Mr. Trump. Mr. Zuckerberg has stood by the position, even as other social media companies like Twitter have ramped up their rule enforcement with regard to the president's speech. The stance has put Facebook under tremendous pressure from employees, advertisers and civil rights leaders, who have opposed permitting Mr. Trump to spread falsehoods around mail in voting on the site and to allow comments and threatening language around the Black Lives Matter protests to remain up.	N24News: A New Dataset for Multimodal News Classification	Technology

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