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The N.F.L. has rescheduled Sunday's highly anticipated game between the New England Patriots and the Kansas City Chiefs to Monday night after Cam Newton, the Patriots' star quarterback, and the practice squad quarterback on the Chiefs tested positive for the coronavirus. With no new positive coronavirus tests among either team, the N.F.L. announced that their game originally scheduled for Sunday afternoon will start at 7:05 p.m. Eastern time, and to accommodate that change, the league pushed back the Monday Night Football matchup between Atlanta and Green Bay to 8:50 p.m. "In consultation with infectious disease experts, both clubs are working closely with the N.F.L. and the N.F.L.P.A. to evaluate multiple close contacts, perform additional testing and monitor developments," the league said in a statement. "All decisions will be made with the health and safety of players, team and game day personnel as our primary consideration." The league has followed Major League Baseball and relied instead of frequent testing, reconstructed team facilities to encourage social distancing, and protocols for how players, coaches and teams can interact in locker rooms, team planes and sidelines on game day. The success of the strategy relies heavily on players, coaches and team personnel self policing their behavior by returning home after work and not engaging in risky activities. Still, even the most cloistered players are allowed to interact with their families and others outside the N.F.L., increasing the odds of becoming infected. 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. The league got through the first three weeks of the season largely unscathed. But this week, the league was forced to grapple with an outbreak on the Tennessee Titans that led to their game on Sunday against the Pittsburgh Steelers to be pushed back to Oct. 25. At least a dozen members of the organization including as many as nine players are known to be infected. The league's arrival at that decision showed how difficult it is to contain the virus. After three players and five staff tested positive, the league said the Titans Steelers game would be pushed to Monday or Tuesday. Within 24 hours, more players and staff members tested positive and the game was pushed back by several weeks. Several more members of the team have since tested positive, which has prevented the team from practicing. In response, the league tightened guidelines and testing protocols. But given the fickle nature of the virus, it is possible the Patriots Chiefs game could be pushed back further if more players test positive. The Patriots confirmed a positive test, but did not identify the player, in accordance with privacy policies. In a statement released Saturday, the team said the player had been isolated and that subsequent tests done on players and staff who had been in contact with him had come back negative. According to the league's daily transaction wire, Newton and Jordan Ta'amu, a quarterback on the Chiefs practice squad, were added to the Covid 19 injury list on Saturday. "We are in close consultation with the N.F.L. as well as our team of independent doctors and specialists," the Patriots' statement said, "and will follow their guidance regarding our scheduled trip to Kansas City and game against the Chiefs. The health and safety of our team, as well as of our opponent, are of highest priority." The game was to be a closely watched showdown at Kansas City's Arrowhead Stadium featuring two of the league's best quarterbacks. The Patriots are 2 1 with Newton, who replaced Tom Brady after he left for the Tampa Bay Buccaneers. Patrick Mahomes, the Super Bowl most valuable player, and the Chiefs are 3 0. After the game was postponed, Tyrann Mathieu of the Chiefs wrote on Twitter, "Wear your mask, wash your hands." Players, coaches and staff members who test positive are not allowed in team facilities. Because of the scope of the outbreak in Nashville, Tennessee's team facilities have been closed since Tuesday and all in person activities halted. The Titans reportedly had new cases on Friday and Saturday, raising questions about whether the outbreak would force the postponement or cancellation of their next game, at home against the Buffalo Bills on Oct. 11. Now, with positive cases on two more teams, the N.F.L. is facing its first serious challenge to completing the regular season according to its design. League officials have said for months that they expected players and others to test positive. Though they have said they intend to play a full 16 game season, there are several bye weeks built into the league's calendar, which means games could be shuffled further or even eliminated as circumstances develop. Commissioner Roger Goodell has also tried to keep players and coaches in line. Five head coaches have been fined tens of thousands of dollars for not wearing masks on the sidelines. And after the Titans' outbreak began, the league stepped up enforcement measures to help limit exposure risks and ramp up punitive measures for missteps. The league sent a memo on Friday to teams stating that players and coaches would be prohibited from leaving their team's city during bye weeks. Two days earlier, Troy Vincent, N.F.L.'s executive vice president for football operations, had sent another memo that threatened suspensions or the forfeiture of draft picks to teams whose coaches did not wear masks while on the sidelines. "If we are to play a full and uninterrupted season, we all must remain committed to our efforts to mitigate the risk of transmission of the virus," Vincent said. Though this week marks the first widespread reporting of positive tests in the N.F.L., the league has been previously affected by isolated cases. After the season opening game on Sept. 10 between the Houston Texans and Chiefs in Kansas City, Mo., 10 fans who had attended the game had to quarantine because they were exposed to another fan who had tested positive in a suite at Arrowhead Stadium. Kansas City has continued to allow up to 17,000 fans to attend each game roughly 22 percent of the stadium's capacity. The Atlanta Falcons placed starting cornerback A.J. Terrell on the reserve/Covid 19 list before the team's Week 3 game against the Chicago Bears, which was played as scheduled after neither team reported any additional positives.	N24News: A New Dataset for Multimodal News Classification	Sports
Read about the events that our other critics have chosen for the week ahead. 'LOVE IN FRAGMENTS' at the 92nd Street Y (March 6, 7:30 p.m.). The Y begins a new, multidisciplinary series with this reflection on love. You name the medium, this program has it: music by Bach, Widmann and more, performed by the violinist Gergana Gergova and the cellist Alban Gerhardt; dance choreographed by Sommer Ulrickson; sculpture by Alexander Polzin; even projected text, taken from Roland Barthes's "A Lover's Discourse." 212 415 5500, 92y.org JEAN RONDEAU at Weill Recital Hall (March 7, 7:30 p.m.). Rondeau has been more collateral damage than active combatant in the recent harpsichord wars, set off by the rebellions of Mahan Esfahani. But this young French harpsichordist is a bit of a rebel in his own right, and in more than just his choice of hairstyle. See if returns are available to hear him play music by Bach and Scarlatti. 212 247 7800, carnegiehall.org ANDRAS SCHIFF at Carnegie Hall (March 7, 8 p.m.). Janacek and Schumann from this eminence grise of the piano world: Janacek in the form of Book I of "On the Overgrown Path" and the Sonata "1.X.1905"; Schumann through the "Davidsbundlertanze" and the Piano Sonata No. 1. 212 247 7800, carnegiehall.org VIENNA PHILHARMONIC at Carnegie Hall (March 2 and 5 6, 8 p.m.; March 3, 2 p.m.). The Vienna Philharmonic is in town for four programs this week, and it will play not a bar of music composed in the past hundred years. The better evenings are likely to be the latter two, in which Michael Tilson Thomas is at the helm for Ives, Brahms and Beethoven with the pianist Igor Levit on Tuesday, and Mahler's Symphony No. 9 on Wednesday. The first two concerts are led by Adam Fischer, and include Beethoven and Bartok on Saturday, and Haydn and Mozart on Sunday, with Leonidas Kavakos as the violin soloist. 212 247 7800, carnegiehall.org	N24News: A New Dataset for Multimodal News Classification	Music
Dukagjin Lipa onstage at the Sunny Hill Festival in Pristina, Kosovo. Mr. Lipa, whose daughter is the pop star Dua Lipa, said he wanted to change the way Kosovo was seen abroad. PRISTINA, Kosovo Last Friday afternoon, Dukagjin Lipa, 49, sat backstage at Kosovo's first major music festival, bleary eyed and trying to ignore the two cellphones ringing on the table in front of him. "Oh my God," he said. "I didn't sleep for 48 hours now." Founding the three day Sunny Hill Festival headlined by his daughter, the pop star Dua Lipa had turned out to be tough. "No promoter would willingly come to Kosovo. It's a logistical nightmare. It's a financial nightmare," he said, when asked why no one had put on a similar event before. He felt the need to put on the festival for one reason, he said: "For more than 50 years, there's been a misconception of Kosovo. It's not what you read." In the minds of many, he said, Kosovo's image was still shaped by the war in the late 1990s, in which ethnic Albanian rebels fought for independence from Serbia, and the refugee crisis that followed. Mr. Lipa and his family are ethnic Albanians, like an estimated 90 percent of the country's population. Kosovo's relations with Serbia remain tense. The two nations have yet to agree a border, a key step for Serbia to be able to join the European Union. The political situation adds to poor perceptions of Kosovo, Mr. Lipa said. He senses it when people ask where he's from, he added. When he says "Kosovo," they often reply, " 'Oh, how sad, I feel so sorry for you,' " he said. Mr. Lipa said he wanted to show that Kosovo was a vibrant place where people could have a good time. "We have our troubles, but we have one of the most wonderful youths in this part of the world," he said. "They are intelligent, they're creative. They have something to say." Serbians, many of whom see Kosovo as an integral part of their country and do not recognize it as an independent nation, may be difficult to convince. "I replied to a Serbian kid a couple of hours ago on Instagram," Mr. Lipa said. "He commented something derogatory about Albanians and I said, 'It'd be much nicer if you come over here and have fun with your neighbors. If you do, I'll spot you the ticket.' " But it wasn't just an international audience that Mr. Lipa's festival needed: To fill its 15,000 person capacity, it had to find a domestic one, too. He had some problems with this. There were complaints about the price of the tickets: 55 euros, or around 62. Over half of Kosovo's 15 to 24 year olds are unemployed, according to the United Nations, so they have little disposal income. Mr. Lipa said that the tickets were as cheap as possible given he was trying to stage the event to international standards, which included bringing in world renowned acts like his daughter, Ms. Lipa. The pop star was born in London, but spent four years of her childhood in Pristina. She regularly talks up her Kosovar roots in interviews and to her 16 million Instagram followers. Other Kosovar musicians, such as Rita Ora, have also brought attention to the country. Mr. Lipa was born in Pristina when it was part of Yugoslavia. His father was the head of Kosovo's history institute, his mother a teacher, and he had a comfortable, middle class life ("We went to Thessaloniki for shopping, would you believe?"). At age 15, he fell in love with the guitar and somehow wrote a hit song with his friends, but there was no money to be made from singing in Albanian, so on his parents' advice, he trained to be a dentist. His studies took longer than they should have. Yugoslavia's government banned teaching in Albanian at Kosovo's university in 1991, and Mr. Lipa moved to Bosnia to continue college. He got caught in the country's civil war, spent two months in besieged Sarajevo and eventually left for London. It was events like these that had made him patriotic, he said, adding that he has since tried to pass that feeling onto Ms. Lipa and his other children. A strong sense of ethnic Albanian identity was everywhere at the festival. Dua Lipa wore red and black, the colors of the Albanian national flag, when performing her 90 minute set. She spoke almost entirely in Albanian between songs. Later, she held the Albanian flag aloft to screams from fans. Many of the acts, who ranged from Albanian rap stars like M.C. Kresha to Jericho, a band widely seen as Kosovo's answer to Rage Against The Machine, drew cheers from the crowd by making a double handed sign that represents the black eagle on Albania's flag. The American rapper Action Bronson, whose father is Albanian, also made the gesture during his set. Kosovo's blue flag, which features six stars to represent the country's main ethnic groups, was nowhere on display. The event did attract some foreigners, but most seemed to be ethnic Albanian members of the Kosovar diaspora. One of them, Nora Thaci, 18, a college student, said her father had driven her "for, like, 24 hours" over 1,000 miles from Switzerland to see Dua Lipa. But there were some non Kosovars, too. On Friday morning, Sara Aleksieska, 18, a high school student from neighboring Macedonia, got onto a packed minibus in the country's capital, Skopje, with her sister and a friend to travel for two hours to the festival. It was her first time going to Kosovo, she said, and she didn't know what to expect. Whenever her parents had talked about the country, it was always to do with politics and always very serious. Before she left, she said, her father had told her repeatedly to be safe. But on Saturday evening, lazing in the festival's chillout area, Ms. Aleksieska said she would try to bring her parents next year. "I'm going to go back and tell them how great this place is," she said. Everyone was friendly, the bands were great and the food was cheap, she added. She had not understood any of the Albanian spoken from the stage, she said she knew no Albanian words; her sister only the numbers up to 10 and the word for ice cream but that hadn't mattered. "When everyone yelled, we yelled. It's been so much fun."	N24News: A New Dataset for Multimodal News Classification	Music
What books are on your nightstand? "The Innovative University: Changing the DNA of Higher Education From the Inside Out," by Clayton Christensen and Henry J. Eyring. "Calvin and Augustine," by B. B. Warfield. "The Tech Wise Family: Everyday Steps for Putting Technology in Its Proper Place," by Andy Crouch. "Across Five Aprils," by Irene Hunt. "Let Us Now Praise Famous Men," by James Agee and Walker Evans. "Our Young Folks' Plutarch," by Rosalie Kaufman. Our 7 year old regularly tries to get into bed with us, and he's figured out that his odds of success are higher if he brings an interesting book. The last three of these have arrived with him in recent weeks. Tell us about the last great book you read. "The Lion, the Witch and the Wardrobe," by C. S. Lewis, which we finished six weeks ago see previous point about the enterprising 7 year old. There are many themes and lines worth turning over in your mouth and head for a lifetime, but one that my children keep coming back to is the power of the white witch to keep it "always winter and never Christmas" in Narnia. What's the most interesting thing you learned from a book recently? I'm currently obsessed with how fast our understanding of the human brain is changing. There's a Moore's Law in terms of neurological imaging. What we're learning about the brain and especially about the frontal lobe of teenagers is doubling every 18 to 24 months now. Most of what I'm learning in this space is coming from articles and meetings with neurological researchers, but some scholars are starting to write important books on the "so whats" of bathing our brains in too much technology. Right now, my favorite work in this space is Cal Newport's "Deep Work: Rules for Focused Success in a Distracted World." Everyone should also read or reread Sherry Turkle's excellent "Alone Together: Why We Expect More From Technology and Less From Each Other." Mary Aiken's "The Cyber Effect: An Expert in Cyberpsychology Explains How Technology Is Shaping Our Children, Our Behavior, and Our Values And What We Can Do About It" is well worth a read. What books do you think most accurately depict Washington? I'm a fan of Joanne Freeman, but I hope that her new book "The Field of Blood: Violence in Congress and the Road to the Civil War" doesn't end up feeling like an accurate depiction of present day Washington. What books best capture your own political principles? Edmund Burke's "Reflections on the Revolution in France" is the simplest answer. All governance east of Eden is imperfect. Democratic republicanism is the best form of government when it is functioning well, but instant, majoritarian mob rule is one of the most grotesque when it is moving fast. The conservatism with which I identify is humble about the dangers always around the next corner, and therefore it labors to be grateful for every spark of thick localistic community built on volunteerism and neighborly affection. I think the most important American book on political philosophy is "The Federalist Papers," by James Madison, Alexander Hamilton and John Jay (and I am certain I will heartily recommend whatever project eventually flows from all of the commentary Harvey Mansfield has recently been offering on those founding federalist efforts). The most important book on America remains Alexis de Tocqueville's "Democracy in America." And for teaching high school and college students, there's really not much better than the Declaration of Independence. What books would you recommend to somebody who wants to know more about Nebraska? A compilation of the Associated Press college football polls from 1970 through 2001. Willa Cather's "O, Pioneers!" is also pretty decent (although "Death Comes for the Archbishop" is my favorite Cather work). 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. Your children are home schooled. What books do you have them read? Melissa (my wife) and I think it's important to distinguish between habits and content. Perhaps most importantly, we want them to be addicted to reading. To that end, we've been trying to build into them a desire to join "the Century Club," which requires reading 100 books in 365 days. None of them have succeeded yet, but one of our teenagers might this coming year. To ensure that they don't prioritize easy quantity over quality, Melissa and I take an active role in the selection of every other book. I just checked in on our teenage daughters and one of them was reading "Dracula"; the other is reading "Great Expectations." Are there books you feel all American children should read? I devoted a chapter of "The Vanishing American Adult" to trying to build a "five foot bookshelf" of 60 books that we would regard as a kind of evolving "family canon." I wrestled there with how I think the canon fights often devolve into an endless argument about what book or identity group is being excluded at the arbitrary line between book 60 and 61, or between book 200 and 201. So I want to be clear that I don't think our "family canon" is the only canon for every American family, but I do strongly believe that every American family should be developing their own canon of books they read together and repeatedly and moreover that we should be comparing our lists with those of our neighbors and fellow citizens, so that we might enrich one another. As we considered a thousand plus candidate books for our canon, we ultimately decided to segment that work by limiting ourselves to 12 categories with a maximum of five books each. Our categories include big themes like: God, Greek Roots, Shakespeare, the American Idea, Markets, American Fiction, a Humanistic Perspective on Science, etc. Our category on Tyrants and Totalitarianism, for example, includes Hannah Arendt's "The Origins of Totalitarianism," F. A. Hayek's "The Road to Serfdom," George Orwell's "Animal Farm," Aldous Huxley's "Brave New World," and "The Communist Manifesto," by Karl Marx and Friedrich Engels. Which books do you think capture the current social and political moment in America? I've been aching over Robert Putnam's "Our Kids: The American Dream in Crisis" for two years straight. It was widely praised, but still not enough. We ought to be talking constantly about the troubling data Professor Putnam has uncovered. There really are "two different Americas," but not in the way the phrase lingers in our ears because of how John Edwards's presidential campaign in 2004 branded the 1 percent and the 99 percent. Putnam shows that the troubling resurgence of socioeconomic class in America centers primarily around the divide between the mobile educated elite (31 percent of our neighbors, according to Putnam) and the majority of America the 69 percent of kids he says are born into a house with no college graduates. These children have collapsing family structures, decreasing socioeconomic mobility and rapidly thinning networks of kith and kin. I like J. D. Vance's "Hillbilly Elegy," but Putnam's work is, I think, the big backdrop for understanding the vicious cycle of how declining economic opportunities for the non educationally credentialed and family and neighborhood collapse are becoming mutually reinforcing for broad swaths of America. Which fiction or nonfiction writers inspired you most early your career? Before I became a historian, I worked as a business strategist for companies and nonprofits trying to navigate the digital revolution. One big problem, though, was that at the front of that wave, most of us were blind to what was arriving. Nicholas Negroponte's "Being Digital" offered baby steps into seeing how the I.T. revolution was going to upend sector after sector. It is obviously dated in important ways now, but I think we still aren't reflecting nearly enough on the transformation of our sense of place as the economy is moving from being primarily about atoms to primarily about bits. Similarly, Michael Lewis's brilliant "Moneyball" is not really just about the transformation of baseball scouting; it is about the arrival of big data in everyday life. Before anyone had envisioned Uber and Lyft triumphing over the old taxi industry, Lewis was already seeing around the corner to how life is going to be transformed by digital technologies that will allow us to glimpse what the guy two floors up whom we don't know is about to make for dinner, so that we can decide if we want to buy two servings of the dish. Which historians and biographers do you most admire? Why? As I've taught more and particularly, as I've done more after action evaluation on which books actually make a difference in the lives of students and friends I've come to value more books and writers that economize well. Many people know the old joke that "I wrote a 500 page dissertation because I didn't have time to write a 200 page dissertation," but it remains true that there's a major difference between the "order of discovery" and the "order of presentation." We authors need to realize that not everything we've learned is really worth our readers' time. We should be doing some of the work of culling and prioritizing for them. For example, over time I've come to prefer Robert Dallek to Robert Caro for a biography of Lyndon Johnson. Both of them are brilliant, and Caro's details are amazing, but there's a lot more bang per paragraph in Dallek's 400 pages than in Caro's 3,000 plus page version. Are there genres you avoid? I intentionally read no modern fiction. I wish it weren't so, but life is short, work is full and kids are under our roof only for a short time. When I read fiction, I want a community of discourse to vouch for the fact that it's already stood the test of a bit of time. How do you like to read? Paper or electronic? One book at a time or several simultaneously? Morning or night? I read articles in the gym in the morning on a tablet or phone. Then I print out a stack of them that I carry around with me throughout the workday. But when I'm getting into bed, I prefer a book to articles and I move to exclusively paper. I don't want any temptations to be drawn back into the immediacy of a phone with its demonic alerts. Another recent innovation in my life is when I'm getting into a new book, I often download a few podcasts or book talks with the author and go on a long walk. Then I return to the printed words after having gotten more familiar with the author's spoken words. The back and forth between forms helps me get up to speed with his or her argument more quickly. What kind of reader were you as a child? Which childhood books and authors stick with you most? For a Nebraska kid in the late 1970s and early 1980s, Nebraska football was a quasi religion, so I ran out to get The Omaha World Herald every morning, salivating for the sports page. My dad, however, required that I read one front page story and one editorial before I was allowed to turn to the sports. Soon after my newspaper addiction was firmly established, the habit of reading spilled over to many typical children's series: the Hardy Boys, Jack London, the Great Brain, the Boxcar Children. (I also spent an insane amount of time with the Guinness Book of World Records and various sports almanacs.) If you could require the president to read one book, what would it be? There is a joke in here somewhere about 2 Corinthians, but I'm going to pass. Perhaps Barry Schwartz's "The Paradox of Choice: Why More Is Less," or James K. A. Smith's "You Are What You Love: The Spiritual Power of Habit." You're organizing a literary dinner party. Which three writers, dead or alive, do you invite? Martin Luther would be the headliner of any "dead or alive dinner party" I would ever throw. He is, quite simply, one of the most fascinating brains and compelling personalities in history. So I'd huddle with him first, and ask his advice on what additional two we should invite from among the shortlist of: William Shakespeare, Jean Jacques Rousseau, Frederick Douglass, G. K. Chesterton, Flannery O'Connor and Martin Luther King Jr. Disappointing, overrated, just not good: What book did you feel as if you were supposed to like, and didn't? Do you remember the last book you put down without finishing? I think lots of 300 page books could (and should) have been 30 page articles, but neither magazines nor book publishers have much of a market for 30 pages. I don't need to gratuitously slap modern writers, but I'd probably make this critique of three quarters of the books I've speed read this year.	N24News: A New Dataset for Multimodal News Classification	Books
Why Doesn't Anyone Want to Live in This Perfect Place? The Huntington Open Women's Land is about a half hour drive from Waterbury, Vt., the home of Ben Jerry's ice cream. It's a secluded patch of 50 acres, laden with wildflowers, tall woolly bushes and deep ponds, nestled up against Camel's Hump, a hiker's paradise frequented by outdoorsy types in Teva sandals and wraparound hydration packs. It is, by most standards, a paradise. At least for now. HOWL, as it's known, was once a residential community with on site events ; today it's more of a rural retreat. A shabby chic four bedroom farmhouse hosts a rotating cast of guests from HOWL's 300 strong mailing list, who stay for days or weeks at a time, tending to the land or making art. Most are 50 and older. The five members of HOWL's board are more senior 60 and up. They have begun weighing the possibility that their perfect place may not be long for this world. There are no clear inheritors of the land, which was designated a place for women and women only by a private donor in 1986. Recruitment efforts have been unfruitful. There are bills to pay. Such stories of pending obsolescence are common among the living leaders of the womyn's land movement, who began founding rural lesbian utopias in the 1960s. At the peak, in the late '70s and early '80s, there were an estimated 150 such intentional communities in the United States. "It cannot be overstated how hard it was for lesbians to find each other before the networking and consciousness raising that came with the women's movement," Rose Norman writes in "Landykes of the South," a collection of essays, fiction and poems about lesbian communities. Many of the lands functioned as cooperatives, with residents dividing labor: tending to the farm, repairing buildings, overseeing finances, accompanying each other to medical appointments, which could be quite a haul from their pastoral homes. In the absence of the men, women often comfortably lounged around the premises in various states of undress. HOWL in particular was envisioned "as a place where young women have role models of strong old women and the children learn naturally the good things about growing old as well as the not so good," Alverta Perkins wrote in a newsletter in 1986. (That bulletin also included a list of "actualizing" workshops and talks, like "Pelvic Power" and "no voice weekend a gathering of deaf and hearing women with no verbal communication.") Shaina Levee, 35, a psychotherapist in Richmond, Vt., discovered HOWL through a Craigslist housing search in late 2017. For five months of subsidized rent, she made sure the pipes worked and water flowed, and that guests were welcomed properly. With the money she saved, she was able to open a mental health practice in Stowe. Ms. Levee had attended women's groups and conferences, but HOWL felt different: The setting, work ethic and familial "circle of aunties" brought her back the next year. "There's a healing component," she said. Other visitors felt it, too. "I didn't realize the weight of society's judgments that I had internalized until I didn't have those anymore," said Katherine Ayers, a 35 year old Ph.D. student at Virginia Tech, who camped at HOWL in 2018. Over the course of the last year, she visited eight more lands. In her travels, she rarely came across another woman her age. Most everyone was 20 years older. As social media began to subsume the internet, Alapine purposely kept a low profile, for security reasons. But its members have come around to publicity, speaking to documentary crews and podcast hosts about the beauty of their home. They even contemplated starting their own podcast, but they simply don't have the money or resources. "This is a business," said Barbara Lieu, 74, who manages the properties. "Some might say it's not, but it is." In an effort to drum up interest, HOWL has held more theme weekends, like those focused on nature or the Sabbath, and promoted its property on Facebook. Alapine hosts college classes of lesbian, gay and queer students, many of whom bond with the residents about issues like being disowned by their parents or being bullied on campus. "Not much has changed," said Ellen Spangler, 85, of the conversations. Still, Ms. Lieu said, "I don't have a fantasy that young lesbians will want to come here. They have enough freedoms in the world that we never had. And they're transitioning in all kinds of ways." The structural inequalities that gave rise to the womyn's land movement gender based economic discrimination and the lack of legal protections for gay people in America aren't as acutely felt today. Decades ago, these women came seeking a new life after leaving behind first marriages, families and neighborhoods where living openly was unsafe. Winni Adams, 75, a former government contractor, arrived at Alapine in 1999, long after she had divorced her husband in Virginia. She still recalls the contentious fight for custody she waged while hiding her sexuality. The day after she and her husband settled, she came out. "Young women today can't possibly comprehend what it was like for us," said Ms. Lieu, the Alapine manager. "You couldn't get a credit card in your own name. People wouldn't loan money to women, even if they had jobs and money to buy a house. We could be beaten by the police for wearing the wrong clothes, for wearing pants." Several women interviewed experienced sexual harassment and assault in their home cities and towns. "We all have our own rape stories," Ms. Adams said. Some residents, nearing or past retirement age, are less vocal about those violations now than they once were. "I don't want to fight anymore. I'm over going to marches and all that," Ms. Adams said. "My solution was to walk away from the patriarchy and not be in those situations, because you're just banging your head. Why keep doing that?" Ms. Ravin, who previously worked in Israel establishing anti harassment initiatives, believes there's much that HOWL can offer newcomers in the way of ideology. "We're bringing up young women today to feel completely, completely equal, and when they leave home they discover it's not quite like that," Ms. Ravin said. "They discover sexual harassment, they discover date rape, and they are completely shocked and outraged." "Drawing from feminist histories and experiences is so important for what people are trying to do now with respect to the MeToo movement, women in the workplace and a hundred other things that are on the feminist radar right now," Dr. DeVun said. "And these people have been thinking about it and doing things about it for a long time." In the last year, Alapine visitor traffic significantly decreased. The community now focuses mostly on attracting middle aged women who may consider the remote Alabama location for a vacation home or retirement but not millennials. "Young women have never wanted to learn from old women," Ms. Adams said. "We are invisible to them. They've always been told that old women are worthless." And it's not just about age. These communities were primarily founded by white women, and they continue to occupy them in the greatest numbers. According to Dr. Keridwen Luis , an anthropologist and the author of "Herlands," some feminists called the alternative living structures a "middle class response" that low income women of color simply didn't have access to. "Women were really, really trying to get away from a capitalist minded mentality," Dr. Luis said. "But it does come down to the fundamental problem of, how do you get the land in the first place? That kind of thing shapes the kind of end result of the community that you've got." Ms. Ayers said she would consider moving full time to a place like Alapine if she could afford it. Like many recent graduates, she has student loans to pay off and employment opportunities to consider. It was, she thought, likely easier in the '70s to farm and earn enough money to pay the yearly land taxes. Since the invention of "womyn," many people have come to prefer the term "queer" as a catchall for a number of L.G.B.T.Q. identities. Ms. Norman met several college students whose peers viewed the term "lesbian" as too "woman identifying." Others take issue with policies that exclude bisexual and transgender women, or fear a group of older women won't be welcoming. "Younger demographics tend to assume that older generations are less forward thinking," Dr. Luis said. Unlike HOWL or other land trusts, Alapine residents own unique properties on the premises. Each deed gives Alapine's management organization, Sheeba Mountain Properties, a right of first refusal for purchase. The idea was that there would be a waiting list of women to whom they could sell an open property. But there is no waiting list, and there are still 45 buildable lots. Should a property owner wish to sell, she is welcome to accept an offer from any buyer, regardless of gender, which could upend the ideology of the place. "You can't tell the person who owns the house next to you that they can't sell to a transgender person," Ms. Lieu said, though an informal contract among the residents does codify an agreement that each would find a lesbian buyer. There have been rumors of new separatist communities springing up elsewhere. Dr. Luis heard of one run entirely by trans women in the South. The rumors place it on an alpaca farm. On Facebook, a rather secretive group hints at a female led eco village in Europe. There are also retreats and businesses built to meet a demand for women only spaces. But those reflect a new world, one in which feminism is marketable and where college educated women make up more than half the American work force. Maybe it's time to stay?	N24News: A New Dataset for Multimodal News Classification	Style
Everyone the world over knows that travel has drastically changed. For many, the simple idea of travel is fraught, regardless of the current restrictions and border closures. But others still feel the need to get away, drawn to the appeal and respite of new or familiar sights and sounds and experiences. A few of our writers got away, safely, by conducting a great deal of advance planning, choosing their destinations and activities carefully, and taking many, many steps to best ensure their health and safety and of those they encountered. Here are a few chronicles on traveling during the summer of Covid 19. If you decide to travel, before you book be sure to look up any restrictions for your destination. Many states require strict self quarantine requirements for new visitors or even returning residents, and the rules are changing by the day. You might also want to investigate the transmission rate of your destination and your ability to isolate if necessary while away. Finally, you should consider if a self quarantine will be required when you return home; perhaps yet another reason to vacation close by. First, the flight we planned to take this summer for a family trip was canceled. Then, day camp for our children was called off. The time had come to improvise if we wanted a way to get out of our house and still have a memorable summer experience this year. But there would be a few ground rules, my wife and I decided. It had to be safe. It had to be affordable. And we would only take a trip if we could commit as a family to follow the local health rules. Thus began our grand adventure into the wilds of Maine which has a state ordered quarantine for 14 days for visitors from most states. We picked Maine because we had been there before, and loved the combination of mountains and the sea, and the people in this defiantly independent place. First, we had to get there: It is a 11 hour drive from our home in Washington, and we had been warned we could not go inside stores once we got to Maine, so we had to bring more supplies than normal. That is why we decided to get a rooftop bag ( 61 from Amazon) for our S.U.V. It was big enough to fit all three of our children, but instead we loaded the luggage. We also splurged on an inflatable kayak ( 86) and a bike rack ( 174) and then had several days of debate over what else we might be able to fit into the car, finally heading out with not a single square foot of unused space. We left our house at 5 a.m., while the children were still asleep, and somehow managed to only make a single stop on the way to Maine, refueling and getting a curbside delivery from Rein's New York Style Deli, a delicatessen heaven that is right off I 84 in Vernon, Conn. (Full disclosure: Wanting to avoid public restrooms, we also found a private spot in the woods.) How did we manage to drive that far with so few stops? We had downloaded videos for our kids, ages 7, 6 and 2. We let them drink water, but not too much. And we just kept going, with my wife and I sharing the driving. When we arrived at our house rental in Maine late that afternoon, we knew immediately we had made the right choice, even if this trip was going to be very unusual, given the self quarantine requirement. No one was enforcing these rules. But we decided to honor them anyway. The sleepy town of Searsport was once one of the most important shipbuilding communities in the United States. All 17 of its shipyards are long gone, leaving behind a main street with a few restaurants, antique shops and a maritime museum. None of which we went inside. But for 160 a night, we rented a four bedroom house, with a sprawling, grassy backyard that faced right out onto Penobscot Bay and the islands that dotted the horizon between us and the open waters of the Atlantic Ocean. A small rocky beach, where the birds and crabs were about the only other company, was down a pathway. Our children ran wild, freed from months confined to our house in Washington. We took bike rides, up into the hillsides on empty local roads and out onto the finger shaped Sears Island, a paradise of dense Maine woods and wildflower filled fields. We floated on the bay in our small boat. We found an old croquet set in the garage and knocked around the balls. The daily symphony of Maine summertime weather was on full display: Dawn this far North starts at 4:15 a.m., with fog in the mornings, cool air to start the day, a blazing sun that by noon glitters off the top of the bay's small waves, then a sudden switch to breezy air again by evening. We would punctuate this sometimes with a small fire in the backyard, and one night even made s'mores with marshmallows, Hershey's chocolate and graham crackers. Who needs summer camp? We did it on our own. We did make several carefully organized day trips during our stay. Acadia National Park was only an hour away. Given that this was a national park, administered by the federal government, I called to ask if we could still visit, even if we were honoring the Maine state quarantine, which also applied to state parks and beaches. A Park Service employee told me she did not know the answer, finally a state health department official said it would be OK, as long as we bought our tickets in advance, meaning we did not have to come close to employees there and stayed away from any other guests. So we loaded into our car and headed off, finding a national park that is typically jampacked in the summer only sparsely populated. When we took a hike along the Beech Cliff Loop Trail me carrying our 2 year old in a hiking carrier we only encountered one other couple along the way and stayed six feet away. The oddest part of our trip was this distance. The last time we were in Maine, one of my favorite parts was getting to know the people, like Peter Ralston. The photographer lives in Rockport and has fascinating stories about the years he has spent photographing Maine's islands, or his early work when he was a friend of a painter named Andy Wyeth. We also met a young musician and songwriter, Alex Wilder, and his family. Curbside pickup became our life link to stores and restaurants that included the famed Young's Lobster Pound in Belfast, where I got my first contactless lobster in my life. (It was still delicious, consumed from our kitchen, with views of the bay.) Most businesses were perfectly happy to accommodate out of state quarantineers with these curbside, contactless services. ERIC LIPTON As of early mid July, residents of Connecticut, New York, New Jersey, New Hampshire and Vermont can travel to Maine without a quarantine. Others are required to self quarantine for two weeks, which they can avoid with a negative coronavirus test taken within 72 hours before arrival in the state. (Tests may be taken upon entry of the state, but quarantines are required until negative results are released.) It was nearly summer. I was tired of the walls of my house. Pretty sure the walls were tired of me. In the carport the big blue river raft wore the look of a dog that waits too long by the door. Enough. I texted my old friend Tim, a travel writer sidelined by the pandemic. His walls, as it turned out, were tired of him, too. But where to go? There was one answer. Away. Away from the relentless bad news. Away from the unceasing grief. Away from the fear of the unmasked masses. Into the pines, and onto the water. Back to "the rock bottom facts of ax and wood and fire and frying pans," as John Graves wrote in "Goodbye to a River," my forever vote for the best book about rivers, and life on rivers. Raft in tow, I pointed the rig toward northeast Oregon. As the odometer spun up, the towns grew smaller and felt less menacing. Then the earth opened and the road dropped down the walls of a steep canyon, and even the small towns disappeared. Better. At the bottom there was little more than a campground and the Minam Store selling fishing flies, and a boat launch, and the river, hurrying past. A deep exhale, as if after a long time underwater. The Grande Ronde is not well known to those outside the Northwest. The river begins in the Blue Mountains of Oregon. For the next 182 miles it works its way north and east until its confluence with the Snake, in Washington State. Those who do make the 350 mile drive from Portland, say, usually come to float a 45 mile stretch of water from Minam to Troy, a trip that begins on the Wallowa River, until those waters shake hands with the Grande Ronde about 10 miles downstream. The Grande Ronde portion is part of the federal Wild Scenic Rivers System, and that designation is deserved. The river's grandfather long ago wore a canyon through volcanic rock, until today those walls ascend 2,000 feet in places. There is no car access on this stretch. You are on your own. Which is why you came, after all. Each spring the tall walls that wear sagebrush and grass briefly flare green, and the river below is fast and loud and splashy and forgiving to the novice boater who takes care. There are campsites soft with pine needles on the inside of every bend, and the feel of warm sun on the back of the neck after the long winter is as welcome as a hand of a friend. It all feels like a bit of Montana wilderness, placed down in a deep crack in the earth. Tim and I took precautions before meeting. We drove separately, arriving from different towns. We chose a destination where the only thing crowded upon arrival was the sky, before an unseasonable deluge. To shuttle a car between put in and takeout a necessity, for 90 minutes we masked up and rode with the windows down. Once on the river, we slept in separate tents. We brought a hand wash station and we scrubbed with the zeal of surgeons. Most important, though, was what we did before ever leaving home: We knew the patterns of the other's life. Tim and I both work from home. We keep our bubbles small. Our risk to the other, we figured, was acceptably low. The first morning, we were up early but on the river late, still new enough at river trips and the work they require, and still impatient in a city way that leads to wasted time. Finally we pushed off into a cold spitting rain, the river blown out from the previous night's downpour, its water turgid and colored. Tossing big dry flies to ravenous trout, one of our goals, was out the window. This was a blessing in its way. Not a scrap of agenda remained for us rafters, except to keep the wet side down. We practiced our fledgling rowing technique through rapids like Martin's Misery, and we talked, and we knocked the same old jokes back and forth like a shuttlecock, and we drank cold beer, and we talked more. Mostly, we tried to forget about the world above the canyon's rim. And we tried to slow down. Read. Nap in the hammock strung between ponderosas. Listen to the corkscrew song of a canyon wren. Watch a young mink play beside the boat. And all the time, let the fast river carry us down. Which it did. Out of rain, into sunshine. CHRISTOPHER SOLOMON As of July 8, Wallowa County, home to our float trip, was in Oregon's Phase 2 opening, allowing more activities. As illnesses have started to climb again in Oregon, Gov. Kate Brown now requires face masks statewide, even outdoors, when distancing isn't possible. The drive from Silver Lake to Malibu, up the 101, took 30 minutes on a Thursday afternoon. We drove past lettuce farms, lemon trees and a truck advertising cilantro and watercress. The truck's driver smiled, window down, face mask around chin. The 101 gave way to State Route 154, with rolling hills thick with shrub and brush, seemingly devoid of human intervention. Before walking into the Santa Ynez Inn, a 20 room hotel in the style of a Victorian mansion, we donned our face masks. The general manager, Julio Penuela, also wore a mask while checking us in, though the guests behind us did not, standing by the front door, a good 12 feet away. We arrived shortly before the start of the daily happy hour. "We're doing it a little differently because of the pandemic," said Mr. Penuela, gesturing at the plastic wine "glasses" and shrink wrapped cheese plates. "We'd usually have more jewelry on display, too, but we don't want to have things that people can touch." Before heading to wine tasting rooms in the nearby town of Los Alamos, we walked to Dos Carlitos, a Mexican restaurant up the street. A dozen patrons sat outside, slugging margaritas and wine between scoops of chips and guacamole. "You only have to wear your mask if you're moving about," a server told us. That seemed to be the unofficial rule throughout the region. In an Uber? Mask on. Walking into a tasting room? Mask on. Sitting at a table? Mask off (one could attempt to taste wine with a mask on, but that could present some challenges). Servers stayed valiantly masked while explaining the varietals and fielding questions. "We're new at this," said Kim van der Linden of Stolpman Vineyards, which had outfitted the lawn of its Los Olivos tasting room with wrought iron tables, chairs and umbrellas. "We used to have everyone inside, standing along the bar. Obviously, you can't do that now." Across the street, a prepaid, 90 minute, private tasting at the pinot noir producer Dragonette came with an unanticipated bonus freedom to eat the sandwiches we bought from Panino, the deli next door, one of the many food options recommended by tasting room manager Nicholos Luis. (Most wineries generally do not allow guests to bring in outside food.) Some tasting rooms in Los Olivos, like Stolpman and Dragonette, recommended or required advance reservations. Others, like Story of Soil and Bien Nacido Solomon Hills Estates, were able to accommodate walk ins. By late afternoon on Friday, the number of people milling about downtown Los Olivos had thinned out. Judging by the crowd spilling out of the Italian restaurant S.Y. Kitchen in Santa Ynez (indoor and outside dining was allowed at the time), some of them went there. On the phone, the hostess explained that she had no tables available for three hours. "It's been busier than it usually is, at this time of year," said a server at Pico, a wine bar and restaurant in Los Alamos. "People want a break, they want the country, they want good vibes." It seemed, watching people come together, lower their masks and raise their glasses, that they wanted a level of lightheartedness that often seems out of reach at home, surrounded by bills and laundry and 24 hour cable news. We brought back some bottles to help with that. SHEILA MARIKAR While no statewide travel restrictions are currently in place, coronavirus cases in California rose in July and ordinances throughout the state have banned indoor wine tasting. Wineries with the capacity to host guests outdoors moved their tastings accordingly, but rules are changing by the day. If you're planning a trip, call the wineries you intend to visit to find out their policies, and don't forget your mask. It was March and I didn't know the scale of what was to come. I told myself that I didn't want to impose in Kentucky and I didn't want to potentially expose anyone to the coronavirus in case I was carrying it after all of my travels. After all, I had been at a theme park, surrounded by sticky fingered children a week earlier. I also had many projects to do in my apartment in New York. The next morning, as I sat in a window seat next to a woman without a mask, I knew I'd made a mistake. She kept bumping my shoulder when she nodded off to sleep. Each time she did it, I winced. By the time I walked out of La Guardia Airport, a single thought was on repeat in my mind: I should have gone home to Hazard. When the invitation was extended again two months later, I didn't think twice. I felt fortunate to have my health, a support system and a job I could do remotely. I had followed all the rules and remain, to this day, so grateful to the essential workers. But I was also itching to get out. While the sirens from ambulances rushing to the hospital four blocks away from my apartment had slowed, they were still more frequent than before Covid 19. The fireworks set off daily from 4 p.m. to 5 a.m. for two weeks made it so I was getting about three hours of sleep every night. I was exhausted and I now hated New York. After three months alone in my 400 square foot apartment, I had completed nearly all the projects, I'd made pesto with the basil I'd grown, organized my jewelry, baked banana bread and done many virtual happy hours and workouts. Now loneliness was starting to set in. I always pack light, so when I walked out of my apartment with my extra large suitcase, carry on, backpack and several tote bags promptly at 6:30 a.m. on a Saturday morning last month, my best friend, Baylen, was surprised. It was clear I had no intention of coming back to New York anytime soon. We planned on being in Hazard for at least a month, so we packed a lot of clothes, snacks for the road and toys for Baylen's 10 week old French bulldog, Hootenanny. We figured we'd stop every few hours on the 11 hour drive for Hoot to do his business. Baylen picked up a rental car at Kennedy Airport the night before we left, and he "scrubbed it down," he told me. As we drove (well, as he drove, because I don't drive) across the George Washington Bridge and out of the city, I felt something I never imagined I could feel joy to be in New Jersey. We drove straight through the Garden State and into Pennsylvania. In Lebanon, we stopped at a Starbucks, where we put Hoot's food and water bowls out in the parking lot and played with him. The puppy got about 100 compliments and I told maskless people who got too close to me in an effort to pet him that they could not pet him without a mask on. We drove for another few hours and stopped at Point Lookout in Green Ridge State Park in Maryland's Allegany County. Hoot handled his business, we cleaned up after him, snapped some photos and I did what I hoped I wouldn't need to do: sought out a public restroom. The one at the visitor center was closed, so I tried to pee in the woods, but there was a camera and I am afraid of authority, so I got in the car and we kept going. About an hour later, somewhere in West Virginia, we stopped for a bathroom break. I went into a Wendy's that smelled like bleach and had handfuls of patrons inside and out. The sign outside the bathroom door said that only one person could enter at a time. After washing my hands and using a paper towel to open the door to leave the restroom, I doused my hands in hand sanitizer even though I knew the soap washing was plenty. We got to Kentucky at 5 p.m., made a beeline to the porch. We ate the first homemade meal that we had not cooked ourselves in months, and I slept for 10 hours. There were neither fireworks nor ambulance sirens. TARIRO MZEZEWA There are currently no statewide travel restrictions in Kentucky. Gov. Andy Beshear signed an executive order in July, mandating all customers in retail facilities , in grocery stores and in several other businesses to wear a mask when indoors. If people are outside and can't maintain six feet of distance from others, they also must wear a mask. Follow New York Times Travel on Instagram, Twitter and Facebook. And sign up for our weekly Travel Dispatch newsletter to receive expert tips on traveling smarter and inspiration for your next vacation.	N24News: A New Dataset for Multimodal News Classification	Travel
In mid March, three days after canceling their April wedding in Puerto Vallarta, Mexico, because of the pandemic, Dana Bakich and Daniel Snyder consoled themselves by bringing home a new puppy: a curly haired, black and white Labradoodle chosen for his sweet disposition and little to no likelihood of shedding. Three months later, with the pandemic raging on and hoping to live closer to their families, the couple packed up their home in Los Angeles and drove eastward toward the Atlanta suburbs with Malo named for the French port city of Saint Malo, where his "parents" got engaged in tow. Dog lovers are quick to point out that dogs make any situation better, but Ms. Bakich learned that even with a canine co pilot, no road trip is fully disaster proof especially when it begins in a 2006 Honda Civic shift stick with 200,000 miles on it. "On day two, we were driving through Death Valley and the air conditioner stopped working," said Ms. Bakich, 31, the founder of Positive Equation, a social media consultancy for nonprofits, and HerDesk, a soon to launch line of desks. "It was 108 degrees and Malo hadn't been groomed yet." The couple purchased trash bags from a local drugstore and filled them with ice, then cushioned them around Malo in the front seat. "He slept; he was totally fine," Ms Bakich said. "But the second we got to Scottsdale we bought a new car." Beyond the parade of snouts on social media, there is plenty to suggest that the "corona puppy" surge for many, fueled by the quest to find joy or purpose while stuck at home is real. Breeders' wait lists stretch into 2022. Animal nonprofits report dramatic increases in adoptions and fosters this year. But when their humans want to jet off on vacation for the weekend, pets are not staying at home with house sitters: For most people, neither jetting off for the weekend, nor even house sitters, are possibilities right now. Instead, these pups are curling up in the back seat or, like Malo, snuggling up in the front seat and enjoying the ride. When Lanto Griffin, 32, and Maya Brown, 28, of Jacksonville Beach, Fla., suddenly found their careers on pause this spring, Troy, their new shar pei lab rescue, helped them weather the downswing. (Research suggests that dogs can affect one's physical and emotional well being, from cardiovascular health to happiness.) Ms. Brown lost her job as an attorney and Mr. Griffin, a professional golfer, was idle when the PGA Tour temporarily suspended its season. "When you're used to being on the road almost every week and all of a sudden you're home for three months, Troy helped get my mind off everything that was going on," said Mr. Griffin. Golf has resumed and, although dogs are not allowed at tournaments, Troy has driven with the couple around the Eastern United States, with stops in Hilton Head Island, S.C., Columbus, Ohio, and elsewhere. From his perch in back, he has routinely "upgraded" himself, worming between the front seats and resting his head on the air vents. "Troy has a pretty bad case of FOMO" fear of missing out "and he has to be right beside us so he can know what's going on," said Ms. Brown. At one hotel in Detroit, as some guests smoked marijuana (which is legal in Michigan) in their cars to celebrate July 4, Troy, who loves cars, patrolled the parking lot and sniffed around each set of wheels. "I think people thought he was a police or narcotics dog, so Troy and I got a lot of weird looks," said Ms. Brown. "I had to tell people that he just wanted to get in the car." Troy and Malo were hardly the only pups relishing life on the road this summer; the travel industry abounds with data showing that dogs are on the move. BringFido, a website and app that lists dog friendly hotels, restaurants and activities around the world, has seen 27 percent more user sign ups over last summer. The "Allows Pets" filter was the second most searched for amenity (after "Pool") on Airbnb. In August, the proportion of pet to human passengers flying on JSX, a low cost hop on jet service, was more than double January's figure. VistaJet, a private aviation company, is seeing a 68 percent increase in year over year dogs on board. From Memorial Day Weekend through August, the 100,0000 campsites listed on Campspot had more than 80,000 reservations with pets about 40 percent more than last year. At LoveThyBeast, a New York City based pet accessories company, travel carrier sales were 32 percent higher from March to July than they were last year. The Cottages at the Boat Basin, a dockside resort in Nantucket, Mass., has had a 20 percent increase in travelers with pets this summer. One family even booked a 12 day stay in one of the aptly named "Woof Cottages" pet friendly, human accommodations that start at 160 a night and come with their own "concierge" in the form of Bailey, the resident black Lab Brittany spaniel mix solely for their 200 pound Newfoundland to rest and cool down. The family stayed on their boat, docked just offshore. Although many travel companies, including The Cottages, have been pet friendly for a while, the coronavirus has nudged others to learn new tricks. "In previous years, it was common to get a flurry of requests for pet policy updates in the first quarter," said Melissa Halliburton, BringFido's founder and chief executive. "But this summer we have seen an uptick in those requests much earlier than usual, plus requests to be added to the website from hotels that just recently began allowing pets." In July, as part of its Covid reopening, Ireland's Dromoland Castle began welcoming dogs for the first time in its 58 year history: An Instagram post featuring Callie, the managing director's new springer spaniel, heralded the news. Although Amtrak's overall ridership dropped in March, the proportion of animal to human passengers was about three times higher in June than it was in June 2019. This fall, the rail company will expand its pet program which allows dogs and cats of a certain size to ride in carriers under seats to all weekday Acela trains (pets have historically only been allowed on Acela on weekends). Some airlines, meanwhile, have become temporarily stricter about pets. American Airlines suspended checked pets (versus pets that fit in the cabin) in late March during the flurry of pandemic related flight cancellations and late breaking government restrictions. Delta Air Lines and United Airlines have enacted similar restrictions around cargo pets. "We got married in October and as newlyweds that's not exactly how we expected to start off," she said. "In April and May, we were like, 'What do we do now?'" Ms. Camus and her husband quickly realized that, like everything, adopting a dog is harder during a pandemic. Most of their 20 applications were rejected or unanswered. When they found a shelter with puppies, their home inspection was conducted over Zoom and the adoption went through. Two months later, after resolving to take some much needed time off with close friends and deciding that a road trip would involve too many bathroom breaks for Marvel Ms. Camus and her husband found themselves sitting in a nearly empty La Guardia Airport, tossing around a squeaky ball. Marvel, for her part, was a travel pro, basking in a chorus of "oohs" and "ahhs" on the flight (at 95 each way, the Southwest Airlines pet fare cost about the same as the human fares). On the weeklong vacation in Jasper, Ga., she walked and swam in the mountains, learned to play with other dogs and befriended goats at a local vineyard. "It was beneficial to both of us mentally it was a time to have some fun and be outdoors and let loose a little," Ms. Camus said. "She just loves being around her people and living life, no matter where we are." Sarah Firshein is a Brooklyn based writer. She is also The Times's Tripped Up columnist. If you need advice about a best laid travel plan that went awry, send an email to travel nytimes.com. For more travel coverage, follow us on Twitter and Facebook. And don't forget to sign up for our Travel Dispatch newsletter: Each week you'll receive tips on traveling smarter, stories on hot destinations and access to photos from all over the world.	N24News: A New Dataset for Multimodal News Classification	Travel
When Broadway closed on March 12, it was only the tip of the iceberg: live theater has since suspended operations around the country. Fortunately, online initiatives appeared almost immediately to pick up the slack, like Richard Nelson's new Apple family play devised for Zoom, "What Do We Need to Talk About?" It's not the same, of course. But it is something. The latest institution to open its vault is Lincoln Center, which begins to explore its sterling theatrical catalog with Dominique Morisseau's 2017 drama, "Pipeline," which will be presented free via BroadwayHD, May 15 to 22. (On Wednesday, that powerhouse platform will premiere "The Goes Wrong Show," a BBC series by the crew behind "The Play That Goes Wrong" that was shot in front of a live audience.) In general, bigger companies have been well positioned. The National Theater in London is making the most of its treasures with its popular At Home program. Right now, you can watch both versions of Danny Boyle's "Frankenstein," with Benedict Cumberbatch and Jonny Lee Miller alternating the roles of Victor Frankenstein and his creature. On Thursday, it will be replaced by "Antony and Cleopatra," starring Ralph Fiennes and Sophie Okonedo (through May 14). Below is a selection of archival and new shows. Some are grass roots Zoom projects and some are big budget, multicamera ventures. Some are free and some are not. All will remind us of what we are missing. Fans of Daniel Fish's Tony Award winning revival of "Oklahoma!" should jump on the stream of Michael Gordon and Deborah Artman's chamber opera, "Acquanetta," which Fish directed at Bard College's Fisher Center last summer. The production made abundant use of video for its tale of 1940s horror including movies starring the real life starlet Acquanetta, nee Mildred Davenport so an online presence feels like a natural extension. The free webcast will be available for a month beginning Wednesday. We don't see much contemporary Japanese theater in the United States or much Japanese theater at all so the Japan Society's JS Encore free streaming series is a rare opportunity. The spotlight is squarely on the Seinendan Theater Company, which was to have performed in New York in May, with the double bill of one acts "Robot Theater" (recorded in 2013) yes, there are robots onstage and "Ronin Office Ladies" (2006). Both shows are up until May 28; the next day, the Japan Society will upload a capture of the company's "Control Officers." Victory Gardens Theater in Chicago is streaming its 2017 production of Lisa Kron and Jeanine Tesori's Tony winning musical "Fun Home," a tender, somber but also often funny coming of age story directed for Victory Gardens by Gary Griffin. (May 12 24, 20.) The ambitious Homebound Project teams up actors and playwrights in short new pieces spread over three editions. The actors in the first round include Amanda Seyfried, William Jackson Harper, Marin Ireland, Thomas Sadoski and Alison Pill, and they will be paired with 10 playwrights like Sarah Ruhl, Rajiv Joseph, Martyna Majok and Qui Nguyen. The first installment streams May 6 to 10, the second May 20 to 24 and the last June 3 to 7. Tickets start at 10, with proceeds going to No Kid Hungry. Nora Ephron and Delia Ephron's hit play inspired by Ilene Beckerman's book about the role clothes play in women's lives has welcomed a parade of stars over the years. May 4 to 25, the 92nd Street Y will stream, for a 10 donation, a 2017 performance featuring Lucy DeVito, Tracee Ellis Ross, Carol Kane, Natasha Lyonne and Rosie O'Donnell (the last two were in the original 2009 Off Broadway cast). The play's minimalist format should translate well to the screen. On Thursday at 7 p.m., Frances McDormand, Oscar Isaac, Jeffrey Wright, Frankie Faison and John Turturro will read scenes from the Sophocles tragedy "Oedipus Rex," in which a mad monarch confronts both a plague and thorny family issues. The performance presented by Theater of War Productions, which specializes in drawing connections between classic texts and contemporary issues will be followed by a moderated discussion with audience members. The event is free but registration is required. The Geffen Playhouse, in Los Angeles, is venturing into uncharted waters with "The Present," a new show by the illusionist Helder Guimaraes (whose "Verso" played New World Stages in 2016). Directed by Frank Marshall, this "live, virtual and interactive" experience has previews (starting May 7) as well as opening (May 14) and closing (July 5) dates just like regular theater in the good old days, two months ago. The Manhattan space the Tank has gone virtual with CyberTank, where emerging theater makers can show their moxie. Among the most intriguing programs is a Zoom version of the established Rule of 7x7 series, in which seven writers come up with one rule each (past examples: "bright sunshine"), then must use them all in 10 minute plays. The next installments are Friday and Saturday, May 22 23 and June 4, all at 8 p.m. Sign up at RuleOfShow gmail.com if you want to write, direct or act. One silver lining to this pandemic: easy access to wildly different takes on Shakespeare. Here's your opportunity to compare and contrast. The Virginia based American Shakespeare Center is streaming multicamera captures of shows recorded at its Blackfriars Playhouse, a reproduction of the indoor theater where Shakespeare often plied his trade. Included are "Much Ado About Nothing" (through May 10) and a family friendly 90 minute adaptation of "A Midsummer Night's Dream" (through May 31). And they don't just do Shakespeare: A stage adaptation of "The Grapes of Wrath" is also up through May 31. Tickets start at 10. In Canada, the Stratford Festival is running a free 12 play Shakespeare Film Festival until the end of July, with excellent captures and much new content, like behind the scene featurettes and live chats. Up now are "King Lear" (through May 14) and Robert Lepage's stunning "Coriolanus" (through May 21); "Macbeth" starts Thursday, and new shows will follow weekly. Since 2011, La Jolla Playhouse in San Diego has been producing immersive works that step out of traditional theater's physical boundaries in its Without Walls program. So it makes conceptual as well as practical sense for the new commissions to be virtual. The first, starting May 14, is Mike Sears and Lisa Berger's video installation "Ancient," in which nine actors will explore the repetition of daily tasks. Three more projects, including David Israel Reynoso/Optika Moderna's interactive "Proyecto: Portaleza," will follow in June July. Tickets are either free or 25, depending on the event. (Note, the La Jolla Playhouse also offers content related to some of the hits that have premiered there, like "Come From Away" and "Miss You Like Hell.")	N24News: A New Dataset for Multimodal News Classification	Theater
The Picture Is Looking (a Little) Brighter for Women at the Oscars None Hildur Gudnadottir with her Golden Globe for her score for "Joker." She's nominated for and favored to win an Oscar in the same category. There's been much ado about this year's Oscar nominees for directing a list devoid of any women for the second straight year. But in other categories honoring roles behind the camera, according to a new study, women are making some strides toward recognition from the academy. The overall percentage of female nominees in nonacting categories rose five percentage points from last year, according to the Women's Media Center report, released Thursday ahead of Sunday's awards ceremony. Still, though, women make up only 30 percent of Oscar nominees for nonacting awards. Men held the majority of nominations in these categories by a wide margin, 70 percent. More female producers were nominated this year for best picture, according to the study, and there was an increase in women nominated for film editing, animated feature, makeup and hairstyling, original score and documentary short. Four of the five nominated documentary shorts have at least one woman at the helm, and in the best score category, the "Joker" composer Hildur Gudnadottir the first woman nominated for that award in three years, and only the ninth in Oscars history is favored to win. In the other 13 categories, including best director and both adapted and original screenplay, the number of female nominees remained the same or dropped. And in some of those fields cinematography, sound mixing and visual effects there were no women nominated at all. As one of the Oscars' more prominent categories, the all male directing field has garnered the most attention, especially after a successful year for women led films, including Greta Gerwig's "Little Women," Lulu Wang's "The Farewell," Lorene Scafaria's "Hustlers," Olivia Wilde's "Booksmart" and Melina Matsoukas's "Queen Slim." But in the documentary categories, female filmmakers are prospering. In addition to the women leading the pack for documentary short nominations, four of the five documentary feature nominees have at least one female director: Julia Reichert for "American Factory," Tamara Kotevska for "Honeyland," Waad Al Kateab for "For Sama" and Petra Costa for "The Edge of Democracy." (The fifth nominated film, "The Cave," has two female producers Kirstine Barfod and Sigrid Dyekjaer.) The success women have experienced behind the camera this year aligns with a steady increase in onscreen representation for women as well as for people of color. Women were the lead or co lead in 43 of 2019's top 100 grossing films, up from 39 the previous year, according to an annual study from the University of Southern California's Annenberg Inclusion Initiative. But more women working offscreen doesn't necessarily mean their accolades will match up when awards season comes around. While women directed 15 percent of the year's top grossing films a number that has steadily grown over the decade, a different report from the University of California, Los Angeles, found they were still overlooked by the Oscars, Golden Globes and BAFTAs. Whether women collect more trophies onstage Sunday or not, there's good news off the awards stage: Another composer, Eimear Noone, will make some Oscars musical history herself, as the first woman to conduct the ceremony's orchestra.	N24News: A New Dataset for Multimodal News Classification	Movies
Michel Deon in 2003 in the library of the Institut de France in Paris. Michel Deon, a French writer and a member of the Academie Francaise whose dozens of novels offered a witty, panoramic view of French society and history, died on Dec. 28 in Galway, Ireland. He was 97. His death was announced by the academy, Agence France Presse said. Mr. Deon was known in the English speaking world primarily for two novels. His "Where Are You Dying Tonight?" ("Un Dejeuner de Soleil"), the fictional biography of a mysterious man of letters, appeared in France in 1981 and became his first work translated into English, in 1989. The other novel, "The Foundling Boy," published in 1975 as "Le Jeune Homme Vert," told the story, with robust humor and a nod to Henry Fielding's "Tom Jones," of a Frenchman who comes of age amid the turbulent politics of the 1930s. An English translation appeared in 2013. To French readers, Mr. Deon was a complicated and contrarian figure: a political reactionary whose work evolved from experimentalism to more traditional forms, and an enthusiastic champion of young renegade writers. After being elected to the academy in 1978, he used his influence to bring attention to Jean Rolin, Emmanuel Carrere and the American French writer Jonathan Littell, whose 2006 Holocaust novel, "The Kindly Ones," received the academy's top prize. Mr. Deon prided himself, he once said, on preserving "a certain anarchism of the right and a pessimism that strives for lucidity." He was born Edouard Michel on Aug. 4, 1919, in Paris, an only child. He took his pen name from his maternal grandmother, Blanche Deon de Beaumont. His father, Paul, a civil servant, took his son and his wife, the former Alice de Fossey, to Monaco in 1927 after being appointed chief of security for that principality. He died in 1933 and Edouard returned with his mother to Paris, where he attended the Lycee Janson de Sailly and studied law at the University of Paris. He wrote about his childhood in a memoir, "Your Father's Room" (2004). He was drafted into the army in 1939 and, after being discharged three years later, remained in the southern zone, outside Nazi occupied France, working as an editor of Action Francaise, the journal of the ultranationalist monarchist movement of the same name. In 1944 he returned to Paris and completed his first novel, "Farewell to Sheila." Alienated by the leftist orientation of French intellectual life after the war, dominated by Jean Paul Sartre and his journal Les Temps Modernes, Mr. Deon became a newspaper correspondent in Italy and Switzerland. He continued to travel for much of the rest of his life, spending long periods in Portugal; in Greece, where he bought a house on the island of Spetsai; and in Ireland, where he settled in the western village of Tynagh in the late 1960s. With grants from the Institute of International Education and the Rockefeller Foundation, he traveled across the United States by Greyhound bus in 1950, explored French speaking Canada and studied Cajun French. In 1952 the literary critic Bernard Frank, writing in Les Temps Modernes, placed Mr. Deon in a new school of disruptive, slashingly polemical right wing writers he called the Hussars, after Roger Nimier's 1950 novel, "The Blue Hussar." The other core members of the group, whose existence Mr. Deon always denied, were Jacques Laurent and Antoine Blondin. "They form a fascinating quartet of original, cosmopolitan, witty minds, far superior to their British contemporaries, the Angry Young Men," the poet and novelist James Kirkup wrote in his obituary of Mr. Laurent for the Independent of London in 2001. With "Night People" (1958), Mr. Deon moved toward the front rank of postwar novelists, summoning a nightmarish vision of Paris through the nocturnal wanderings of his insomniac main character. In "Wild Ponies" (1970), one of his best known novels in France, he presented an ambitious social canvas, describing the adventures of five friends who, after studying together at an English university, disperse across Europe during World War II and the Cold War. "A Purple Taxi" ("Un Taxi Mauve") (1973), about a French expatriate in Ireland and the colorful characters he encounters, was made into a 1977 film with Philippe Noiret, Peter Ustinov, Fred Astaire and Charlotte Rampling. The book was awarded the Grand Prix du Roman by the academy. In 1963 Mr. Deon married Chantal Renaudeau d'Arc, who survives him, as do their children, Alice and Alexandre.	N24News: A New Dataset for Multimodal News Classification	Books
Their Calling Was to Lay Hands on the Sick. Then Came the Coronavirus. Hugh Vincent Dyer, a 45 year old Catholic friar, begins his days now in a sealed nursing home in Manhattan. He celebrates Mass in an empty chapel. The service is broadcast over closed circuit television into residents' rooms. "And I preach," he told me, "because the people are listening," even though there are no eyes in the chapel to reflect recognition, and no heads to bow in thanks. "I say a prayer of spiritual communion, because they can't physically receive the sacrament." He spends the rest of his time making phone calls to residents and their relatives, praying the rosary or stations of the cross on the closed circuit chapel channel and sometimes sharing poetry, recorded concerts or films. Signs on doors demarcate the rooms of patients suffering from the coronavirus. Father Dyer visits these patients only at a safe distance, clad in the white habit of the Dominican Order and a pale surgical mask. He tries to help residents and the staff maintain hope, even as death has become an increasingly regular occurrence. "I hear from people who want to know, Is this the end of the world?" he said. "And I don't know. But in some sense, we're to live as though it's always the end." A few weeks ago, the apocalypse didn't feel so near. Before the coronavirus began its sweep through the nation, Father Dyer spent roughly 20 hours a week at the nursing home. He lived in a community of eight Dominican friars at the St. Catherine of Siena religious house, on Manhattan's Upper East Side. There, the brothers lived much as Dominican friars have since the order's founding in the 13th century: praying, eating and ministering together. For this particular community, that ministry has primarily entailed chaplaincy at local hospitals and nursing homes since the 1940s. On any given day, the brothers could expect to offer Mass at on site chapels, anoint the sick, administer last rites to the dying and pray with patients and their families. Then they would return to their community, where they found peace, solidarity and spiritual sustenance in their brotherhood. But as the coronavirus spread, the friars realized their common life could be a source of danger. In light of his work in the nursing home, Father Dyer first stopped making hospital visits, fearing he might contract the virus and spread it to the vulnerable elderly. "Then by the 10th of March," he said, "we figured, maybe I should just move there." The brothers also made the difficult decision to send three elderly friars away, concerned that they, too, might fall ill living in such proximity with active chaplains. In all, the number of brothers living at the residence is down to four half of what it was in early March. The loss has been difficult to bear. "Our life is founded on doing things in common," Walter Wagner, 58, one of the remaining brothers, said. "We pray in common at least twice a day if not more, we eat in common, and we spend a lot of the day in common." Now, with social distancing, he said, "all of those forms are challenged." The friars no longer gather for communal prayer or meals. Father Wagner used to be a substitute chaplain, making hospital runs when the other friars were occupied. But since medical facilities have vastly restricted entry, his visits have stopped. Father Wagner also celebrated Mass as the pastor of St. Vincent Ferrer and St. Catherine of Siena on Sundays, but with all public Masses in the Archdiocese of New York canceled, he has found himself often alone. He fills his hours with work: live streaming Mass and prayers on Facebook, recording audio messages to his parishioners, writing letters of encouragement. "It's been this moment of trying to figure out, How do you live the gospel when you don't have some of the fundamental means of living it?" he said. That question has weighed on lay Catholics, too, as the pandemic has withdrawn the familiar comforts of the faith, including confession, public worship and most crucially, communion. I asked Father Wagner how he would counsel them. He recalled a passage from St. Thomas Aquinas: "God is not bound by the sacraments," he said. "God gives us tangible signs and effective signs, but God is not locked into that." John Devaney, 44, another of the brothers, has continued to venture into the city's hospitals. Where he had once been able to stand near his patients and lay his hands on their bodies in a final gesture of solace ("Christ always laid his hands on the sick," he reminded me), coronavirus protocols now require that he adopt gloves, gowns, masks and usually a great deal of distance. He has also wrestled with his own fear. Walking the halls of temporary coronavirus wards amid the pumping hiss of mechanical ventilators and shellshocked hospital workers, he said: "I started to think about, maybe I could get this. Maybe it could kill me." Yet Father Devaney still finds avenues of grace. "What gives me hope is that in the Catholic funeral liturgy, it says, life hasn't ended, it has changed. So for me the hope is that there is a supernatural reality we can't see, that there is eternal life, life in eternity. And that death doesn't have the final word." Yet these sacrifices make up the core of the faith. The Gospel of John recounts that after arising from his tomb, Jesus Christ appeared to Mary Magdalene, who had come to tend to his body. He called to her by name, and recognizing her beloved teacher, she rushed to embrace him. "Do not touch me," he said. How jarring that must have been to hear, and how painful to refrain impossible, perhaps, save for the belief, held close in her heart, that the time would soon come to touch him again. The Times is committed to publishing a diversity of letters to the editor. We'd like to hear what you think about this or any of our articles. Here are some tips. And here's our email: letters nytimes.com. Follow The New York Times Opinion section on Facebook, Twitter ( NYTopinion) and Instagram.	N24News: A New Dataset for Multimodal News Classification	Opinion
Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Dec. 21 27. Details and times are subject to change. WONDER WOMAN (2017) 6 p.m. on Cartoon Network. Superpowered sword and shield meet World War I weaponry in this DC Comics blowout, the first stand alone "Wonder Woman" movie with Gal Gadot. (The second, "Wonder Woman 1984," comes out this weekend.) Directed by Patty Jenkins, this take on the superhero's origin story takes place primarily in the early 20th century, introducing Gadot's character as a mythical Amazon warrior who lives with other Amazons on a Mediterranean island. That island is magically insulated from the rest of the world until an American fighter pilot (Chris Pine) crash lands there, tailed by German soldiers. The hodgepodge of mythology (of both the Greek and the comic book varieties) and history that follows makes for a movie that "cleverly combines genre elements into something reasonably fresh, touching and fun," A.O. Scott wrote in his review for The New York Times. The film's "earnest insouciance recalls the 'Superman' movies of the '70s and '80s more than the mock Wagnerian spectacles of our own day," Scott added, "and like those predigital Man of Steel adventures, it gestures knowingly but reverently back to the jaunty, truth and justice spirit of an even older Hollywood tradition." CITY HALL (2020) 8 p.m. on PBS (check local listings). The documentarian Frederick Wiseman ("Titicut Follies," "Ex Libris") trains his patient, piercing lens on the Boston City government in this, his most recent documentary. Shot around Boston's administration building and in other areas of the city (including, during one extended sequence, Faneuil Hall), the film follows Boston's mayor, Martin J. Walsh, and other city employees during moments both mundane (streams of people arriving at City Hall, workers answering calls at a 311 center) and extraordinary (a town hall meeting about a proposed cannabis dispensary that turns into an impassioned debate). In her review for The Times, Manohla Dargis wrote that the film is both "an exploration of civil society and the common good" and "fundamentally a portrait of a people." Dargis and Scott each included the film on their lists of the top 10 movies of 2020.	N24News: A New Dataset for Multimodal News Classification	Television
India's rivers are central to the life of its people and the Hooghly River, a 160 mile branch of the Ganges that runs through the city of Kolkata in West Bengal, is no different. In the late afternoon, I walked to Babu Ghat, and onto the broad concrete slipway that descended into the water, where a few moored boats bobbed slowly and men and children bathed in underclothes. The sticky heat had finally begun to break and people were out sitting on the banks of the Hooghly, chatting, eating, or just watching the sun glitter on the water as it began its descent. A young man approached me and, apropos of nothing, asked if I liked Kolkata. When I replied yes, he nodded and said, "Kolkata is the heart of India." After four days in Kolkata (or the Anglicized "Calcutta"), the capital of West Bengal and known by the nickname, City of Joy, it was difficult to argue. Kolkata, a city strongly associated with British rule and the East India Company, has a fascinating relationship with its colonial history. With a rich literary tradition and strong educational institutions, Kolkata also has a more relaxed and peaceful feel than some of India's other modern metropolises. Combined with spicy Bengali cuisine and a love of fried street food, it proved a rewarding place to explore and naturally, I managed to keep my budget in check. My comfortable room ( 27 per night) in the Ballygunge area of the city was centrally located and ideal for exploring the rest of the city. I rented the room through Airbnb, which I use judiciously. When traveling solo, I'll typically rent a room in a family's home: In many instances, hosts have happily clued me in on things to see and do. One tip: Click on the host's profile picture to see how many properties they have listed. If I see that a host is managing a large number of places, I may choose to stay elsewhere I'm more interested in using Airbnb as a cultural exchange than as a hotel. My hosts, Saroj and her daughter, Mrinalini, knew their city well and were happy to offer insight. They both loved the intellectual curiosity and open mindedness of the city. "Calcutta is laid back, old world, colonial. People have time; it's a little easier," said Mrinalini. "In Bengali culture, women are generally considered equal," she added, compared to places like Delhi. "In some cases they're actually considered superior: It's very progressive. I didn't even think about being feminist because I never needed to be." Kolkata's colonial history is on display at the Victoria Memorial, a grand museum with attractive surrounding gardens that began construction in 1906 and opened to the public 15 years later (Tickets are 500 rupees, a little less than 7, for foreign visitors, and 30 rupees for locals). I made the 30 minute walk from my room in Ballygunge, dodging taxis and weaving between vendors selling fresh fruit and chaiwalas pouring searing hot tea into thin, earthen cups. (On the way there, I made a quick stop to appreciate the soaring Gothic Revival beauty of St. Paul's Cathedral, an Anglican house of worship completed in 1847.) Within the Victoria Memorial's magnificent marble walls are some interesting artifacts and exhibitions. "The Artist's Eye: India 1770 1835" has a number of handsome paintings from the likes of Thomas Daniell and Tilly Kettle, who arrived in India in the 1760s and was one of the first prominent English painters to work in the country. On the other side of the exhibition hall, a more intriguing exhibit catalogs the timeline of British colonial rule in India through photos, prints and historical relics. Kolkata was made the capital of British India in 1772, but growing nationalist sentiment and resistance to British rule led to Britain moving the capital to Delhi in 1911. A devastating famine during World War II killed millions in Bengal some lay blame for the tragedy directly at the feet of the British. A caption under one of the last photos in the exhibition reads: "Calcutta benefited from British rule more than other Indian cities, and also paid a greater price." I was mulling over those words when I struck up a conversation on the street with Aradhana Kumar Swami, a teacher who was picking up his wife and buying supplies in Kolkata before embarking on a 40 hour train journey home to the Kerala region. "No, not at all," he responded, when I asked if there was any lingering resentment toward the British. "We have no problem with the British." Some people, he said, had an issue with the opulent Victoria Monument, however. Queen Victoria, he said, never once visited the city. "That could have been a school or something," he said, and shook his head. It's easy to see where Kolkata's reputation as an educated city comes from: simply visit the College Street Book Market, near the University of Calcutta. I took the underground Metro to the Central station (5 rupees) and cut over to College Street. I immediately heard chanting, and came face to face with a large group of student protesters, waving signs and yelling slogans. I asked a couple of people what the protest was about they said it was government related but wouldn't be more specific. Books, from markets and shops and roadside stalls The energy from the protest carried over to the book market, probably the largest collection of books I've ever seen in one place. Piles of books of all kinds from engineering to Shakespeare to Dan Brown spilled over from roadside stalls onto the street. I saw one barefoot vendor precariously negotiating his wares as if he were a mountain climber, looking for a particularly hard to find volume. I wanted something by the Nobel Prize winner and Kolkata native Rabindranath Tagore, and after asking around, I found a book of his short stories at a shop called Bani Library for just 95 rupees. I took my book around the corner to the College Street Coffee House, a favorite hangout for students, writers and intellectuals for the past 75 years. The place has an immediate shabby charm waiters dressed in green uniforms with gold belts navigate the cavernous, dimly lit room full of tables packed with people having animated discussions. I shared a table with a young couple and enjoyed a coffee with a plate of chicken chow mein noodles (100 rupees). Security is tight at the temple no photos are allowed, and you'll have to check your cellphone, too (3 rupees), as well as your shoes (2 rupees). I joined a long queue of worshipers carrying gifts of money and flowers and got a peek at the Sri Sri Jagadiswari Kalimata Thakurani idol, bright red tongue visible and a foot placed onto a man's chest. I asked a stranger if he could tell me more about the significance of the idol, and he simply replied, "Mother!" The Mother House of the Missionaries of Charity, or just the Mother House, is another essential place to visit. Mother Teresa, the Roman Catholic nun and founder of the Missionaries of Charity who was canonized in 2016, worked and lived primarily at the Mother House from 1953 until her death in 1997. On the ground floor, a simple but elegant tomb marks Mother Teresa's final resting place, and all are welcome to pay their respects. The flavors and spices of Indian street food I spent hours walking the streets of Kolkata, and found this to be the best way to get to know the city. I worked up a decent appetite, naturally, and fortunately found a number of good options right there on the street. A deep love of Chinese cuisine pervades the city, as is evidenced by the number of stalls selling 30 rupee plates of fried chow mein noodles. I walked up and down Circus Avenue near my lodgings and indulged in another favorite, crunchy fried pakora made from chickpea flour (20 rupees) and sprinkled with spicy salt. Generous 10 rupee cups of spicy, milky tea are nearly omnipresent. The area around the Hatibagan Market, several blocks of sprawling chaos containing seemingly anything you could possibly want to buy, is another prime area to seek out street food. Navigating beeping cars and buses, gleaming displays of wristwatches and knockoff Tommy Hilfiger shirts, I found a sweet, earthy cup of freshly squeezed sugar cane juice (30 rupees for a large cup). Down the street, I indulged in aloo chop, a deep fried latke like treat made from shredded potato and held together with chickpea flour (20 rupees for four pieces).	N24News: A New Dataset for Multimodal News Classification	Travel
The Arizona Cardinals hired Kliff Kingsbury as their new head coach, becoming the latest team to bet on a high flying offense to bring them success. Kingsbury, a former head coach at Texas Tech and a proponent of the air raid offense, has worked with Patrick Mahomes, Baker Mayfield, Johnny Manziel, Case Keenum and other quarterbacks during his time as a college coach, which included stops at Texas A M and Houston. Kingsbury's arrival comes just days after the Cardinals cut ties with Steve Wilks, a defensive minded coach who was fired after just one season. The Cardinals, who handed the starting job to the rookie quarterback Josh Rosen in Week 4, had a league worst record of 3 13, and scored just 225 points, the least in the league. Kingsbury, who signed a four year contract according to multiple news media reports, will be expected to replicate the success that Coach Sean McVay had with the Los Angeles Rams in a similar situation: a young offensive coach being paired with a promising young quarterback (for the Rams, that player was Jared Goff). The Cardinals' announcement of Kingsbury's hiring went as far as pointing out that Kingsbury and McVay are friends.	N24News: A New Dataset for Multimodal News Classification	Sports
For months, the Metropolitan Opera has been streaming operas from its extensive video archive each night, a program that has helped it attract tens of thousands of new donors. The At Home Gala the company broadcast in April, with live performances filmed on smartphones by singers around the world, was watched by 750,000 people. All that has been free. But for its next major initiative during a lockdown of its theater that will last at least until the end of the year, the Met will test whether a broad audience will pay for digital content. On Saturday, the company announced that over the coming months it will present some of its biggest stars in a series of recitals from idyllic locations, streamed live but professionally, not with homespun production values. Tickets will cost 20 a concert, roughly the same price as the Met's popular Live in HD movie theater broadcasts. The company hopes the series will be a moneymaker in its own right, as well as a stimulus for donations. "We had a lot of momentum, a big surge, which has slowed down at this point," Peter Gelb, the Met's general manager, said of fund raising to mitigate what is projected to be close to 100 million in revenue lost because of the coronavirus pandemic.	N24News: A New Dataset for Multimodal News Classification	Music
The first few months of 2019 were huge for "Black Panther" and Donald Glover. Ryan Coogler's superhero movie took home three Oscars, including the prize for best score. At the Grammys, where it won again, Glover's musical alter ego Childish Gambino picked up four trophies for his ambitious political music video and song "This Is America." Both had something in common: a longhaired, lightly bearded Swedish musician named Ludwig Goransson. Goransson may not be a household name, but he's a well known face behind the scenes. (His brief moment in the spotlight came when he accepted the record of the year Grammy for "This Is America" and thanked 21 Savage, who was absent in ICE detention.) He did innovative soundtrack work for Coogler's Rocky film "Creed" as well as the director's breakthrough, "Fruitvale Station." Goransson is currently at work on Christopher Nolan's "Tenet," but his next major project arrives on Tuesday: He scored all eight episodes of the Disney Plus "Star Wars" series, "The Mandalorian." With that in mind, Goransson locked himself in his studio for a month and intuitively bought a bunch of rarely heard bass woodwind recorders . He started improvising, going into an almost meditative state, he said, creating a sprawling four hours of score that he spent the past year writing and recording with top Hollywood studio musicians. Goransson, 35, said he fell into his relationships with some of Hollywood's most exciting young talents by chance. He hit it off with Coogler, a fellow student at the University of Southern California, in 2007 over a game of pool at a frat house when Coogler brought up his favorite Swedish hip hop artists. "He was a football player, and he had really long dreads," Goransson said. "Maybe it's because we come from different backgrounds that we just have so much to talk about." "We kind of laughed we had a good time together," said Goransson. "A couple weeks later, he emailed me and was like, 'Hey man, I'm also a rapper, so I wondered if you could take a listen to this, and maybe mix my song?'" What drew Glover in? "I had the classical background and jazz background," Goransson said. "I could bring something different to the table." Goransson did not grow up in the hip hop world, but music has been his constant since he was "little Ludde" from Linkoping, Sweden. His mother, a florist from Poland, and his father, a guitar teacher at the local music school, filled the house with songs ranging from classical to rock to Swedish folk. He was named after Beethoven. ("My dad wanted to name me Albert after Albert King, the big guitar blues player," he said. "But my mom said, 'No Ludwig Beethoven.'") And he's always had long hair: "Everybody thought he was this adorable little girl," said his sister, Jessika, "because he had the same hair that he has now. I have a bit of hair envy." Goransson started playing guitar when he was 6, but his breakthrough came three years later, when his father was learning Metallica's "Enter Sandman" at the request of his students. "He got obsessed," his father, Tomas, said in a phone interview. "He started to practice playing every day for three or four hours." Goransson spent most of his youth in his family's basement, teaching himself how to use a drum machine and a digital eight track recorder, and nurturing another fascination: soundtracks. He loved the music of John Williams and Danny Elfman, and won the chance to have his work performed by a professional orchestra as a senior in high school. He wrote an Elfman inspired piece called "Five Minutes to Christmas," and when he heard "a big classical orchestra play something that I'd written," he said, "I was like, Oh wow. This is something I want to do for a living." He went to the Royal College of Music in Stockholm to major in jazz guitar, but soon left for U.S.C., where he scored dozens of student films. "They were all pretty bad," he said, "but there was one of them that was actually good" Coogler's short, "Locks," a precursor to his verite style debut, "Fruitvale Station," about the killing of a young black man by a white officer on a Oakland, Calif., subway platform. "It was always a collaboration that's to be respected to the utmost, and that respect is kind of compounded because we were friends first," Coogler said in an interview. "We've been close friends for so long that we're like family now." When Goransson got the job scoring "Black Panther," Marvel's 2018 juggernaut about the king of a fictional African nation and his righteously angry cousin, he knew he had to go to Africa if he was going to get it right. He recorded the talking drum player Massamba Diop playing a motif for T'Challa the drum literally says the character's name and the flutist Amadou Ba playing a theme on his Fula flute for Erik Killmonger. He then fashioned a symphonic score with an African heartbeat. Goransson tries to give every film a sonic identity inherent to its world. For "Fruitvale Station," he used recordings of an actual BART Station. On "Creed," he sampled a boxing training session at Coogler's old gym in Oakland and converted those sounds into beats and rhythms for the film's fight sequences.	N24News: A New Dataset for Multimodal News Classification	Music
15 Plays and Musicals to Go to in N.Y.C. This Weekend Our guide to plays and musicals coming to New York stages and a few last chance picks of shows that are about to close. Our reviews of open shows are at nytimes.com/reviews/theater. 'DERREN BROWN: SECRET' at the Cort Theater (in previews; opens on Sept. 15). Brown, a dazzling practitioner of what he calls psychological illusionism, will read minds on Broadway. Maybe yours? When Ben Brantley reviewed an earlier version of this show at the Atlantic Theater Company, he called it "enthrallingly baffling." Some routines, he wrote, produce "results that have you slapping your forehead." 212 239 6200, derrenbrownsecret.com 'FREESTYLE LOVE SUPREME' at the Booth Theater (previews start on Sept. 13; opens on Oct. 2). Quick! What rhymes with "limited Broadway run"? After a successful stint Off Broadway, this hip hop musical comedy, improvised anew each night, moves uptown. Created by Thomas Kail, Lin Manuel Miranda and Anthony Veneziale, the show stars Veneziale, Utkarsh Ambudkar, Andrew Bancroft, Chris Sullivan and Arthur Lewis, with special guest appearances. 212 239 6200, freestylelovesupreme.com 'HEROES OF THE FOURTH TURNING' at Playwrights Horizons (previews start on Sept. 13; opens on Oct. 7). Will Arbery's play, about Christian conservatives, takes its title from a sociological theory that tracks how America moves through crisis, recovery, awakening, unraveling and back to crisis. In a Wyoming backyard, four young adults and a college president have some crises of their own. Danya Taymor directs. 212 279 4200, playwrightshorizons.org 'LINDA VISTA' at the Hayes Theater (previews start on Sept. 19; opens on Oct. 10). A midlife crisis comes to Broadway, courtesy of Steppenwolf and Second Stage. Ian Barford stars in Tracy Letts's play about a recently divorced man with a talent for disappointing the women in his life and himself, too. Dexter Bullard directs a cast that includes Caroline Neff, Chantal Thuy and Cora Vander Broek. 2st.com 'LITTLE SHOP OF HORRORS' at the Westside Theater Upstairs (previews start on Sept. 17; opens on Oct. 17). If threats to the environment have you rattled, a musical comedy in which a plant triumphs may be just the ticket. Michael Mayer directs a revival of Howard Ashman and Alan Menken's musical horror comedy about a flower shop employee and the bloodthirsty vegetable he nurtures. Jonathan Groff, Tammy Blanchard and Christian Borle star. 212 239 6200, littleshopnyc.com 'NOVENAS FOR A LOST HOSPITAL' at Rattlestick Playwrights Theater (in previews; opens on Sept. 19). St. Vincent's Hospital in Greenwich Village shut down in 2010. Condos and townhouses now occupy the block where it stood. Nearby, at Rattlestick Playwrights Theater, the playwright Cusi Cram and the director Daniella Topol honor that shuttered institution in a site specific production that traces its rich history. Kathleen Chalfant portrays Elizabeth Ann Seton. 866 811 4111, rattlestick.org Read about the events that our other critics have chosen for the week ahead. 'SCOTLAND, PA' at the Laura Pels Theater at the Harold and Miriam Steinberg Center for Theater (previews start on Sept. 14; opens on Oct. 23). Is this a musical you see before you? Yes. The playwright Michael Mitnick and the composer Adam Gwon adapt Billy Morrissette's cult 2001 film, which resets Shakespeare's "Macbeth" in a fast food franchise. Ryan McCartan plays Mac, Taylor Iman Jones is his ambitious wife, and Lonny Price directs. 212 719 1300, roundabouttheatre.org 'THE SOUND INSIDE' at Studio 54 (previews start on Sept. 14; opens on Oct. 17). Mary Louise Parker, an actress of audacity and surprise, makes a resonant return to Broadway. David Cromer directs Adam Rapp's play, about a creative writing professor facing a cancer diagnosis and her relationship complex in emotions and structure with a first year student. When it showed at the Williamstown Theater Festival last summer, Jesse Green called it an "astonishing new play." 212 239 6200, lct.org 'THE TALMUD' at the Doxsee (in previews; opens on Sept. 14). What do a 517 chapter elucidation of the Hebrew Bible and a nifty roundhouse have in common? A lot, Jesse Freedman will tell you. At Target Margin's Theater, Freedman, the artistic director of Meta Phys Ed., has created a piece that introduces Shaolin monks to Rabbinic Judaism. Choreographed Talmudic debate is included. 866 811 4111, targetmargin.org 'WIVES' at Playwrights Horizons (in previews; opens on Sept. 16). Is Jaclyn Backhaus's new play one to love, honor and cherish? Directed by Margot Bordelon for Playwrights Horizons, the piece, which spans three places and three eras, explores how behind every great and not so great man, there is a largely ignored woman. Aadya Bedi, Purva Bedi and Adina Verson star. 212 279 4200, playwrightshorizons.org 'THE WRONG MAN' at the Robert W. Wilson MCC Theater Space (previews start on Sept. 18; opens on Oct. 7). Wrong place, wrong time, wrong girl. Right notes? MCC Theater presents a new musical from the celebrated songwriter Ross Golan about Duran (Joshua Henry), a drifter convicted of a crime he didn't commit. Thomas Kail directs and Alex Lacamoire is the music supervisor, orchestrator and arranger. 212 727 7722, mcctheater.org 'DOUGLAS' at the Daryl Roth Theater (closes on Sept. 14). Hannah Gadsby's solo show, named for her dog, says goodbye to New York. Like "Nanette," its celebrated predecessor, "Douglas" is, Jesse Green wrote, "angry even furious and draws its comic energy from the effort to master and direct that anger into sharp insight and its byproduct, laughter." hannahgadsby.com.au 'EUREKA DAY' at Walkerspace (closes on Sept. 21). Colt Coeur's production of Jonathan Spector's infectious comedy about a vaccine debate at a private day school ends it run. Ben Brantley wrote that under Adrienne Campbell Holt's direction, the early scenes tend toward an easy satire, but the play as a whole "winds up engaging you on a much deeper, more compassionate level." coltcoeur.org 'MAKE BELIEVE' at the Tony Kiser Theater at Second Stage Theater (closes on Sept. 22). Bess Wohl's mysterious, moving play about four siblings, adrift as children and equally unsettled as adults, puts away childish things. Jesse Green described the two act show, which stars Samantha Mathis, Susannah Flood and Brad Heberlee and is directed by Michael Greif, as "a rich and moving contemporary drama." 212 246 4422, 2st.com	N24News: A New Dataset for Multimodal News Classification	Theater
Through a virtual reality headset from Embodied Labs, a user can experience what it's like to be "Alfred," 74, as he takes a test. His vision is obscured by age related macular degeneration. This article is part of our continuing Fast Forward series, which examines technological, economic, social and cultural shifts that happen as businesses evolve. When Carrie Shaw was a freshman at the University of North Carolina, her mother, then 49, learned she had early stage Alzheimer's disease. "I was really scared of my mom's diagnosis," said Ms. Shaw, founder and chief executive of the Los Angeles based Embodied Labs, an immersive educational technology company that uses virtual reality software to train health care professionals who work with older adults. "I had that avoidance reaction to let the family figure it out without me," she said. "So after I graduated, I joined the Peace Corps for a two year stint in the Dominican Republic. I wanted to help and serve, but didn't know how to in my own family." Although they became closer, Ms. Shaw, now 32, was frustrated. "I struggled so much to imagine how my mom was perceiving the world around her," she said. In 2014, she returned to school to earn a Master of Science degree in biomedical visualization at the University of Illinois at Chicago. Her thesis question: If we could step into the world of someone who is aging, could that help health care providers be more effective? The evolving technology of virtual reality helped her answer that question. And four years ago, Ms. Shaw started Embodied Labs, alongside her sister, Erin Washington, who also cared for their mother, and is the chief product officer, and Thomas Leahy, a college classmate, now the firm's chief technology officer. The company's software allows users to peer into the body and mind of someone confronted with aging issues: cognitive decline such as Alzheimer's, age related vision and hearing loss, or neurodegenerative diseases such as Parkinson's and dementia. The goal is to give users, including medical students, nurses, certified nursing assistants, assisted living staff members and family caregivers, a better understanding of the challenges facing aging adults with these diseases or impairments through a first person patient perspective. Medical students, for example, can use the Embodied Labs V.R. headset and computer software for a 20 minute training program with 360 degree medical illustrations of changes in the brain structure and activity. They can also tap into an immersive visual experience in which the student virtually enters the world of Beatriz, a middle age woman, as she advances through a decade of Alzheimer's disease. In another program, users embody Alfred, a 74 year old man with high frequency hearing loss and age related macular degeneration. The idea is to show that hearing and vision loss can make someone appear to have cognitive impairment although they do not. The program experience is a day in Alfred's life, including interaction with his doctor and his family. With the virtual reality goggles, the viewer's eyesight is reduced by a dark spot in the middle of the visual field simulating macular degeneration. The diminishing vision makes eye contact, communication and easy tasks difficult and frustrating. The software also takes the user for a tour of the changes inside the retina as macular degeneration advances. Embodied Labs' latest program, launched in June, is the Eden Lab, which simulates experiences of older L.G.B.T. adults. "Misconceptions based on ageism, homophobia and transphobia can lead to health disparities that impact physical and mental health," Ms. Shaw said. "What I try to do with Embodied Labs is to provide that understanding gap, so people can get to that point faster than I did," she said. "It's the convergence of aging, emerging technology and the need to transform our work force training methods in health and aging care." Start up funds to develop the platform and the software came from a handful of angel investors, friends and family. In addition, Ms. Shaw competed for grants and no interest loans and received 250,000 as the 2018 winner of the XR Education Prize Challenge funded by the Bill and Melinda Gates Foundation. This year, the company received seed funding of 3.2 million from several venture capital funds, including the WXR Fund, which invests in women entrepreneurs and in the next wave of computing. "The opportunities for immersive technology in health care are vast and span telehealth, therapeutics and diagnostics, training and more," said Martina Welkhoff, co founder and managing partner of the WXR Fund. "Humans instinctively communicate and learn in 3 D, so immersive technology is particularly powerful in complex, high stakes systems such as health care," she said. The company sells a kit of hardware plus a software license to over 100 subscribers, including senior living communities like Benedictine Health System and Front Porch; GreatCall, which sells senior cellphones, medical alert systems and mobile medical alerts; as well as over 40 universities and medical schools; and government aging agencies. Ms. Shaw estimates subscription revenues of 1 million this year. "The Embodied Labs technology puts you into the shoes of the patient and you also see what the disease is going to look like over time," said Mary Furlong, a consultant on health care and longevity marketing. "It's not just a science project; it is a viable market," she said. "What's striking about Carrie's work is that she can train people in call centers, train people in senior housing and in home care multilevel channels that makes a business work." Ms. Herrick said she had used the module to understand what her mother in law, who has Alzheimer's disease, was going through. "We were struggling as a family to deal with it," she said. "After my husband and I experienced what the patient is feeling and saw how the brain changes when Alzheimer's starts to happen, our patience and our understanding of what she was experiencing changed dramatically overnight. I realized, for instance, that this is how I would want someone to talk to me if I have Alzheimer's." Ms. Shaw said she realized that immersive technology was changing rapidly and that staying on top of it was challenging. "The platform where we are starting is the first bridge," she said. "The technology can improve our health, not just in training, but in wellness and in therapy in everyday ways." Ms. Shaw's mother died the month Embodied Labs launched. She was 61. "As I am building this company, I think of my mom all the time," Ms. Shaw said. "It would have been wonderful if she could have put on goggles that would have helped her do art, or physical therapy, in a fun way that would have extended her own abilities. I'm aging myself. I always ask: What is the world we want to create that we ourselves are aging into?"	N24News: A New Dataset for Multimodal News Classification	Health
One of the city's poorest neighborhoods faces a looming health crisis as its most vulnerable residents and medical advice are overlooked. SAN FRANCISCO After Mayor London Breed of San Francisco issued the nation's first shelter in place order on March 16, the city of nearly 900,000 quickly fell in line. Nonessential businesses and schools closed, parks and playgrounds thinned out, and social distancing became a way of life. And for those trying to maintain a semblance of pre coronavirus normalcy, authorities have been quick to intervene. On a recent sunny Sunday, the police descended on Dolores Park, a popular picnicking spot, to disperse those who might come within six feet of strangers; the mayor even threatened to close the park if visitors didn't comply with health guidelines. As of April 27, at least 17 citations had been handed out for violations of the mayor's order. But steps from City Hall, a different scene has unfolded. The streets and sidewalks in the city's impoverished and overlooked Tenderloin district are humming with activity. Groups of 10, 15 or more congregate on corners and spill into the street. Open air drug use, rampant before the virus struck, continues unabated, alongside sidewalk bazaars of bric a brac. The walkways are fuller than ever, particularly as the number of street tents has tripled, by one estimate, to more than 300 in the 50 square block Tenderloin. A city mandate for masks in public goes virtually unheeded, including in grocery and liquor stores. Here, in the city's densest neighborhood, police don't enforce the six foot social distancing mandate on just one block, a patrol car drove by three men sharing a glass pipe, a social circle of seven and two elderly women nudging a man sleeping in a doorway. Bushra Alduais, who lives in the Tenderloin with her husband and three children, is accustomed to seeing the needle sharing, violence and mental disorder endemic to the neighborhood, but the outbreak of the coronavirus has brought a new element of danger. She said she hasn't set foot outside her apartment in more than six weeks. "My kids are bugging me," Ms. Alduais said. "They want to go outside, I want to go outside." Her husband ventures out to buy groceries and other essential goods. "Nothing has changed in the Tenderloin," Ms. Alduais said. "It's worse and worse." The Tenderloin and nearby South of Market, or SOMA, present a particular challenge for city officials. As one of San Francisco's oldest neighborhoods, the Tenderloin is chock full of historic buildings, theaters and restaurants, but decades of political indifference have also left it a haven for homelessness, drug use and prostitution amidst cramped living spaces like single room occupancy hotels, where residents share bathrooms and other facilities. You don't move to the Tenderloin you end up there. Median household income in the Tenderloin from 2014 to 2018 was just 22,150, according to data San Francisco's chief economist, Ted Egan, provided far below the citywide median of 104,552. And almost 30 percent of residents in the district, including an adjacent neighborhood, live below the federal poverty line. "The city treats the Tenderloin like a containment zone," said David Elliot Lewis, who has lived in the neighborhood for 14 years. "They wouldn't tolerate what you see here in the Marina or Pac Heights" two of the city's most affluent neighborhoods and home to some of its technology billionaires "particularly with this virus that can spread so quickly." "It's scary and it feels threatening to my health to just be outside," said Mr. Lewis, who has been posting photographs of sometimes disturbing Tenderloin street scenes on his Facebook page. He straps on a mask and form fitting goggles to venture to grocery stores and walks in the street, rather than on the sidewalk, to keep his distance. Mr. Lewis is not alone in his frustration. A group of residents, businesses and the University of California Hastings College of Law, located in the Tenderloin, sued the city in federal court Monday to clean up the neighborhood, alleging "squalid" conditions that threaten people's health in light of the coronavirus pandemic. Rather than acting as an equalizer, the coronavirus is deepening socioeconomic rifts. The wealthiest receive the best care, have access to testing and enjoy emotional support from family members over video calls, while the most vulnerable are too often simply ignored. Less than 2 percent of the U.S. population has been screened for the virus, while wealthy enclaves like Bolinas, Calif., have arranged for each of its 1,300 citizens to get a test. "We're already having problems as it is with the Tenderloin," Mayor Breed told me. "We think that just because there's a pandemic that the problems that many people who are homeless face would just all of a sudden disappear and this would become the priority." "But people who suffer from substance use disorder and mental illness, that just doesn't turn off because of a pandemic," she said. When it comes to the poorest in places from Philadelphia's Kensington to Los Angeles's Skid Row, city officials grappling with Covid 19 are collectively shrugging. Their options are few and unpalatable: Put them in shelters, large encampments or even jails, where the virus has spread quickly, or in costly and logistically difficult hotel rooms; or simply let them fend for themselves. Critics say officials too often are choosing the latter. And these solutions seem more like a Band Aid than a long term fix. A lack of reliable information means many in the nation's most downtrodden districts resist wearing masks or altering their daily routines and still more simply have nowhere else to go other than makeshift tents. Sheltering in place works, but it is a recourse for the privileged who can afford to stay at home for weeks on end, because their jobs or bank accounts permit it. Panhandling is only possible out in the open. An even more troubling future is on the horizon. Local eviction moratoriums and rent stabilization initiatives will help keep in their homes some of the 30 million who have filed for unemployment benefits in the past five weeks, but a new wave of homelessness is likely. More than 60,000 have filed unemployment claims this year in San Francisco alone, and the mayor expects at least 40,000 more, suggesting one in nine residents will have lost their jobs. "You can't pitch a tent in a wealthy neighborhood, so you'll probably head for the Tenderloin," said Matt Haney, a San Francisco supervisor who represents the area. Mayor Breed quickly ordered quarantines, helping to keep infection rates low and winning her praise and national recognition (the crisis also delivered a timely distraction from a roiling fraud scandal involving a Breed administration official). Just over 1,600 positive coronavirus cases have been confirmed in the city and 29 deaths, far fewer than in New York City, the pandemic's epicenter. Even as tourism dollars have dried up, Mayor Breed extended the shelter in place order to the end of May, a contrast with states like Texas and Georgia, where officials are pushing to open more businesses more quickly. But the mayor has also attracted the ire of supervisors like Mr. Haney and Hillary Ronen, who told me their districts lack sufficient portable toilets and hand washing stations as officials focus their efforts on other neighborhoods. Demonstrators gathered outside Mayor Breed's home on April 30 to protest a shortage of mandated hotel rooms for the city's 8,000 homeless residents. The 11 member board of supervisors had pushed through emergency legislation requiring the city to secure 8,250 hotel rooms for homeless residents 1,250 more rooms than originally planned. But by the end of April, San Francisco had secured only about 2,500 rooms and had moved just over 1,000 people into them. Mayor Breed said she was working to lease or even buy more hotel rooms and pointed to the logistical challenges of transporting people to these rooms while maintaining social distancing. And there's the hefty bill to contend with about 56 million per month that will be only partly offset with federal funds. Mayor Breed bristled at a new encampment of an estimated 100 people that sprouted beside the Asian Art Museum downtown in the weeks after the coronavirus arrived, saying well meaning philanthropic groups distributing tents could attract more people to the city. The mayor said the city's gains are threatened by neighborhoods like the Tenderloin where residents are resistant to change: "Even though we've been able to handle almost everything else in a way that has put us in a decent place as it relates to the number of infections of Covid 19 in the city, it could take off at any time because of our not only congregate living settings but also because of a population of people who are just not going to naturally comply." "We're at an impasse as it relates to this particular population," she said. The Times is committed to publishing a diversity of letters to the editor. We'd like to hear what you think about this or any of our articles. Here are some tips. And here's our email: letters nytimes.com. Follow The New York Times Opinion section on Facebook, Twitter ( NYTopinion) and Instagram.	N24News: A New Dataset for Multimodal News Classification	Opinion
July is National Ice Cream Month, which is one of more than 12,000 specially designated months or dates to celebrate specific and in some cases, offbeat causes. If every day is a holiday, is any day really that special? The answer, especially if you're on social media, seems to be a resounding yes. The sheer number of "holidays" people celebrate and by celebrate, that mostly means tweet is staggering. (There are only 10 federal holidays in the United States, after all.) On Friday, for example, NationalCameraDay was a trending term on Twitter. Saturday was National Meteor Watch Day, and on Tuesday, you could celebrate Compliment Your Mirror Day by practicing self acceptance and telling yourself you are beautiful and strong. But where do these offbeat holidays come from? And are they legitimate? While organizations and companies invent a lot of them, the majority come from people and, yes, many are better vetted than you might think. Chase's Calendar of Events, a reference book, chronicles and verifies more than 12,500 special events, holidays, historic anniversaries and federal and state observances. For instance, July is Cell Phone Courtesy Month and National Ice Cream Month, which was first designated by President Ronald Reagan in 1984. Chase's has been around since 1957. In 1958, the United States government, which used to issue a pamphlet called "Special Days, Weeks and Months," basically said to Chase's, "Here, you do this." Chase's Calendar of Events is a reference book that chronicles and verifies special events, holidays, historic anniversaries and federal and state observances. "The government used to compile this, and then they got tired of it, so they asked Chase's to take it over," said Holly McGuire, a senior editor at Chase's. Back then, "it was pretty much all commercial related, such as Dairy Week or National Fur Week, and it was all to promote products," Ms. McGuire said. Raisin Day, for example, began in the early 1900s, she said. Now, the dates run the gamut. The publication divides the events into holidays religious, civic or folkloric and what it calls special days, which can be advocacy, quirky or promotional days. Each spring, Chase's editors comb through thousands of new entries. If you submit a holiday to Chase's, be prepared to provide contact information that will be shared publicly. Chase's tends to be conservative with handing out spots, Ms. McGuire said. "We don't list days in our annual reference until we can satisfy ourselves on criteria, such as authoritativeness, permanence, etc." "We're like a dictionary," she continued. "An observance may be floating around for a couple of years before we put it in the book. We are assessing whether it's really got traction or not." Ms. McGuire acknowledged that social media has influenced its mission. "Our work is more complicated because we've got all of cyberspace to hunt," she said. She emphasized that a major problem is a glut of holiday websites. "I see a lot of days where there is no stakeholder or owner credited, and I think that could be a problem for the general public because I think you have a right to know if something is halfway legitimate," she said. "It's a shame." What may come as a surprise, she said, is that "a lot of people still do things the old fashioned way" by asking a City Council, mayor or governor to proclaim a day. Could someone get a holiday off the ground without any external backing? Definitely, maybe now more than ever, Ms. McGuire said. "We don't want to stifle," she said. "Really there's nothing stopping anybody from doing this." And nothing has stopped Adrienne Sioux Koopersmith, of Chicago, who has been creating holidays or "holidates," as she calls them for more than 25 years. She's already invented more than 1,900, she said. "Since I model myself after Aesop from Aesop's fables, I consider these holidates to be a story with a moral attached," Ms. Koopersmith said. Adrienne Sioux Koopersmith of Chicago has invented more than 1,900 events, or "holidates," as she calls them. Her most recognizable one, she said, is National Splurge Day, on June 18, which she created in 1994, in which celebrants are encouraged to do something good for themselves.	N24News: A New Dataset for Multimodal News Classification	Style
The Brooklyn Apartment That Almost Got Away When Nate Katz, originally from Maine, came to New York, he lived with a roommate, moving a few times within Park Slope, Brooklyn. By the time he met Julia Rogawski, a native of Manhattan, he was living by himself there in a rundown railroad one bedroom. Ms. Rogawski had also lived in assorted roommate situations. In a pinch, she could always crash with her mother. Four years ago, a newly minted lawyer, she started working for the firm of Greenberg Traurig, and moved to a small apartment in a NoLIta walk up. The couple met through friends about two years ago. As their leases approached expiration, they decided to hunt for a place together. Because each paid around 2,000 a month in rent, they figured they could save money by spending in the mid 3,000s and still find a nice rental in a charming rowhouse. Mr. Katz, a video editor for a postproduction company, sometimes works from home, so their goal was a two bedroom in north Park Slope or Prospect Heights, Brooklyn, preferably with a garden for growing vegetables. Idly checking listings last summer, they spotted a rental in a prime Park Slope location. Mr. Katz, who like Ms. Rogawski is now in his early 30s, stopped in. The apartment, a one bedroom for 3,400 a month, was small and dark. The owner saw Mr. Katz's bicycle helmet and curtly told him, "There is no room for storage of bikes in this building." It was easy to cross that place off the list. Mr. Katz and Ms. Rogawski assumed they would find plenty of similar but nicer places. They did not. A friend of Mr. Katz's, moving out of town, suggested they take over his one bedroom in a Park Slope townhouse. That one, however, had an open view from the entry hall and stairs into the ground floor living space of the owner, who also had a therapy practice there. Mr. Katz was uneasy about encountering patients. But the couple did like the owner's dog. "I fantasized I would walk it and babysit it over the weekends," Ms. Rogawski said. Passing up apartment and dog, she visited a two bedroom duplex in a three family house in Prospect Heights for 3,900 a month. It had a garden and bicycle storage under the stoop. But the place turned out to be a sublet, and they weren't interested in an apartment they would have to leave. Apartments with gardens, the couple discovered, tended to be partly underground, dim and musty, often with "a level of grunge that I was uncomfortable with," Mr. Katz said. "I didn't want to be in a basement. I would see a little water damage on the ceiling and was, like, 'this is never going to work.' " Their price range rose. Even for 3,800 a month, places weren't as nice as they had expected. They abandoned the idea of outdoor space. The couple contacted Steve Halama, a salesman at the Ideal Properties Group in Park Slope, who had a listing with promising pictures of the building's exterior. Even though there was a lack of interior photos, Ms. Rogawski was hopeful. But the place turned out to be small and dark. It was a hot summer day, and the couple were eager to leave. But Mr. Halama had a half dozen places lined up, so they figured they might as well press on. The next place, a two bedroom in a rowhouse in Park Slope, was about 4,500 a month. It was handsomely restored, an attractive combination of the new and the old. It had a second bathroom and a washer dryer hookup. "I wish we hadn't seen it, because we couldn't afford it," Mr. Katz said. "They fell in love with it because it is stunning," Mr. Halama said. Nothing else compared. The others they saw that day were depressing, with "thin walls and fake countertops, like fake wood," Ms. Rogawski said. "They all felt like a step back." So, for the apartment they loved, they offered 3,950 a month plus six months' rent in advance, "thinking there's no way they'll say no to this," Mr. Katz said. He was wrong. While they were in the midst of negotiations, they had seen a second two bedroom in a rowhouse two blocks away, for 4,200 a month. It was much like the other, if somehow not quite as nice. Now, they had two similar options. They listed the pros and cons. "How do you make a choice when both are equal?" Mr. Katz said. "We were looking for something to sway us. We spent the day freaking out about what decision we were making." They visited the first place one more time. "I was already kind of upset about breaking our budget so much," Ms. Rogawski said. In the end, they followed their hearts, and rented apartment No. 1, imagining that, in the future, they would remember it with great fondness as their first apartment. "There was something magical and beautiful" about it, Ms. Rogawski said. "It might be the nicest place we ever live." They arrived in early fall, paying a broker fee of 10 percent of a year's rent, or a little over 5,000. "My favorite part is having people for dinner," Ms. Rogawski said. "Before, I was ashamed to have someone set foot in my apartment." If a few friends came over for pizza, some would sit on the couch and others on the floor. Now, they can actually cook and have everyone sit at a table. "It is exciting to be able to do that," Mr. Katz said.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Welcome to Best of Late Night, a rundown of the previous night's highlights that lets you sleep and lets us get paid to watch comedy. If you're interested in hearing from The Times regularly about great TV, sign up for our Watching newsletter and get recommendations straight to your inbox. The saga of President Trump's taxes continues with Treasury Secretary Steven Mnuchin refusing to release Trump's most recent returns, writing in a letter to the head of the House Ways and Means Committee that he finds the request "lacking a legitimate legislative purpose." James Corden joked about the seemingly endless tax drama: "Who would have thought 'Game of Thrones' would be wrapping up before the Trump tax return story ever did?" On "The Daily Show," Trevor Noah weighed in on the dispute. "Here's the thing: Many legal experts say that the law is on the Democrats' side," he said. "If they have a reason, they get to demand Trump's tax returns. It doesn't matter if you think the reason is expletive . That's just how it works. That's how America's laws work a lot of the time." "It's the same way a president can declare an emergency at the border just to get his wall," Noah continued. "It doesn't have to be a real emergency. Yeah, he just has to say something. He can just be like, imitating Trump 'Folks, these Mexicans, so dangerous. So dangerous, some of them can even come back from the dead into our land. I saw it in a documentary called 'Coco.'" On Tuesday, The New York Times reported on Trump tax data from 1985 through 1994, which showed his core businesses lost more than 1 billion over a decade. "In fact, year after year, Trump appears to have lost more money than nearly any other taxpayer in America. I guess we finally found something that Trump really is the best at." JAMES CORDEN "Planet Earth, unfortunately, after seven billion seasons, is about to be canceled," Noah said in reference to a United Nations study on climate change that found that more than a million plant and animal species are now at risk of extinction. Seth Meyers poked fun at Mike Pompeo's response, in which the secretary of state praised the steady reductions in sea ice for "opening new passageways and new opportunities for trade." "Hey! The polar ice caps are melting, and you're excited about new trade routes? That's like being excited that your house burned down because now you can see your pool from the driveway." SETH MEYERS "Hoping for a disaster so you can make money off it isn't a plan for climate change, it's literally the plot of 'The Producers,'" Meyers continued. "You're trying to pull a Max Bialystock on climate change. 'It's springtime for everyone all of the time!' And hey! Your boss called climate change a Chinese hoax, remember? You can't just turn around and say it's not a hoax, but good news, we could make money off it. What's next, we're going to see Trump on QVC, selling urban canoes?" Jimmy Kimmel pounced on the passageways remark as well. "Great, it will be very good for the kayak industry but everyone else is screwed," he said, before introducing a video parody in which guest "actor, director, and two time Sexiest Man Alive" George Clooney reps for Udumass, an initiative supporting science and working against "dumb expletive idiots saying dumb expletive ." "In case you can't tell, the theme this year was 'camp.' Now, it's hard to pin down, but the Met explained it as anything that celebrates artifice, exaggeration and being intentionally over the top as opposed to previous Met Galas, which were all about modest restraint." STEPHEN COLBERT "This is a who's who of 'who the hell put you in that dress?'" JIMMY KIMMEL "Singer Katy Perry wore a hamburger suit with a toothpick hat. Said Trump, 'Oh my god, it's the perfect woman. But lose the toothpick, I'm not that fancy." SETH MEYERS "It's just nice to know I'm not the only person at these events who ends up hiding in the bathroom with a giant cheeseburger." JAMES CORDEN Stephen Colbert's monologue Tuesday night touched on the stock market, trade deals with China and Fox News viewers having an existential crisis.	N24News: A New Dataset for Multimodal News Classification	Television
Terrence McNally (seated) and his husband, Tom Kirdahy, in their living room in front of two Jane Freilicher paintings: "Still Life in Greenwich Village" (1977), center, and "The Black and White Set" (1990 91), upper right. Terrence McNally Cherishes the Light in Art. Until It Goes Out. Having a documentary made about you can prompt reflection, and "Every Act of Life" is having that effect on its subject, the four time Tony winning playwright and librettist Terrence McNally, who just turned 80. "It's very emotional for me," Mr. McNally said the other day, seated in his light filled Greenwich Village apartment with his husband, Tom Kirdahy. "Every Act of Life" was released digitally this week, after making the festival rounds. "It brings up conflicting emotions," Mr. McNally added, that are "sometimes funny, sometimes painful." But there is no conflict in Mr. McNally's art collecting principles, which are as clearheaded and articulately stated as the words he gives his characters in plays like "Master Class" and "Love! Valour! Compassion!" "I like cityscapes in the city, and country landscapes in the country," Mr. McNally said. He and Mr. Kirdahy also have a place in the Hamptons. "What I don't have much of is portraits." Mr. McNally leans toward a particular brand of lyrical realism epitomized by the work of Fairfield Porter (1907 1975) and Jane Freilicher (1924 2014) the world served up slightly abstracted, so as to heighten the emotions just beneath the surface. Not wholly unlike his own writing. "Porter is probably my favorite American painter," Mr. McNally said, gesturing to a small, squarish oil with evocative patches of green, "In the South Meadow" (1965). "This is the best one I could afford. It's a sketch, but the one I wanted was 900,000." In the home office, there's an original pencil drawing by Thomas Hart Benton from the illustrated edition of "The Grapes of Wrath," given to Mr. McNally by John Steinbeck; as a young man he traveled the world with Steinbeck for nearly a year, tutoring the author's sons. Opposite the Porter is a limited edition Matisse lithograph, depicting a man's head, that Mr. McNally picked up nearly 60 years ago. "It was the very first artwork I bought," he said. "I love Matisse more than any other 20th century European artist." Between the two homes, they own a few dozen artworks, they said, in a discussion about their surroundings which also addressed the collection of Mr. McNally's long ago ex, the playwright Edward Albee, who died in 2016. These are edited excerpts from the conversation. The two Freilichers near the fireplace "Still Life in Greenwich Village" (1977) and "The Black and White Set" (1990 91) look like they depict this neighborhood. MCNALLY She lived two blocks from here. We can see some of the same buildings that she painted. People said, "Don't you want to meet her?" And I didn't. If I had run into her somehow, it would have been thrilling. But to be set up? Those are awkward dates. TOM KIRDAHY We love them. Sometimes we put the gas fire on, put the lights down low, and just stare at the paintings. It's a beautiful thing to do. Freilicher was not a trendy artist when she died. MCNALLY I've never bought art that was in fashion. When I was with Edward Albee, he was very insulting about it. He only bought nonrepresentational art. He said, "You'll be buying Grandma Moses next!" But he was a great collector the apartment looked like a gallery, you could barely walk between all the works. What would you have on the walls, given no constraints? MCNALLY There are some Fairfield Porters I would give anything to own, but they are in the millions now. They belong in museums anyway. It's selfish to own the Mona Lisa. MCNALLY A great work is one you never get tired of you find new value in it every day. With a lesser work, the light sort of fades. I recently got tired of a painting I had for 15 years, and I gave it to a friend. The light just went off for me.	N24News: A New Dataset for Multimodal News Classification	Art & Design
For many young political reporters, the apex of television journalism is landing a job as a correspondent for CNN. For Peter Hamby, it is landing an editorial spot working at a hot smartphone app. Mr. Hamby, a national political reporter for CNN, said on Monday that he would soon join Snapchat, the photo and video messaging start up that is popular with young audiences, in an editorial capacity. The move seemed curious considering Snapchat's origins as a Silicon Valley photo application, best known as a conduit for disappearing "selfies" between teenagers. Photos, text and video messages sent using Snapchat usually disappear from the app after no longer than 10 seconds. But Snapchat has shown aspirations to expand beyond messaging, dabbling at being a media platform. In January, Snapchat introduced its "Discover" section, an area inside the app that showcases original content from about a dozen established publishers including ESPN, National Geographic and CNN. Roughly one million people view CNN's Snapchat Discover content every day, according to two people with knowledge of the efforts, who spoke on the condition of anonymity. A CNN spokesman declined to comment on its Snapchat partnership. Snapchat is part of an elite club of highly valued technology start ups. The company, now based in Venice, Calif., has raised more than half a billion dollars in venture capital and is valued at more than 15 billion. Jill Hazelbaker, a Snapchat spokeswoman, said of Mr. Hamby that the company was "thrilled to have him on board." Mr. Hamby did not respond to requests for comment. Politico earlier reported Mr. Hamby was joining Snapchat. Mr. Hamby's move away from a more established media outlet to a fledgling brand is not unprecedented. Ben Smith, a long established political reporter, left Politico in 2011 to join BuzzFeed, then a new media start up known for its list style articles and cat videos. In January 2014, Vivian Schiller, a veteran of television and digital news outlets, including The New York Times, joined Twitter as the company's head of news, though she has since left the company. Evan Spiegel, Snapchat's co founder and chief executive, is described by people with knowledge of his thinking as being fascinated with the media industry and as holding the curated editorial approach of some of the world's top publications in high regard. The company's efforts to move into original content have been spurred in part by this fascination, said these people, who spoke on the condition of anonymity. Snapchat has been building up its staffing from media companies; in November, the start up hired a reporter from The Verge, a technology news site. Mr. Hamby, who worked for CNN for nearly a decade, was known for his willingness to experiment with new forms of digital media to deliver news broadcasts. He has a following of more than 50,000 people on Twitter and in 2013 published a widely circulated paper on the effects of digital technologies on campaign and political journalism. "CNN is proud to be one of the first news organizations to partner with Snapchat," CNN editors said in an internal memo to the company's Washington bureau. "Now we're sharing one of our best and brightest with them." Mr. Hamby will still appear on CNN as a contributor, CNN said, though he will not officially work at the company as an employee.	N24News: A New Dataset for Multimodal News Classification	Media
Credit...Harry Eelman for The New York Times He knows how to intimidate you, if he wants to, or charm you, if he chooses. Because he is a taskmaster and a visionary and a billionaire, people in Hollywood and Silicon Valley pay close attention when he speaks. He has so many vests from Herb Allen's Sun Valley retreats for global elites that they're taking over his closets. "There is so much fleece," says the chairman of IAC, laughing. "I've been going for 30 years." On this rainy afternoon, by the fireplace in the Frank Lloyd Wright inspired stone and wood living room of his dreamy mansion, Mr. Diller is all charm, with a healthy dose of self deprecation. He's dressed in a red checked flannel shirt, a burgundy Hermes hoodie, baggy jeans and black Tod's loafers. We are eating cold salads and drinking hot tea, served by the butler, Victor. And we are hopscotching topics, from Silicon Valley taking over Hollywood to Jared Ivanka Josh Karlie to pornography to his company's dating websites to the time Harvey Weinstein tried to throw Mr. Diller off a balcony in Cannes to how his friend Hillary Clinton is faring to the mogul's dismissal of Donald Trump (whose Secret Service code name is Mogul) as "a joke" and "evil." I tell him that a friend of mine, an executive in network television, fretfully asked her Hollywood psychic how long Mr. Trump would last as president and the psychic asserted that it wouldn't be more than two years and that the president would be felled by a three page email. (The only problem with this prediction being, I don't think Mr. Trump emails.) "I would so love it if he were being blackmailed by Putin," Mr. Diller says with a sly smile. "That would make me very happy. This was a man of bad character from the moment he entered adulthood, if not before. Pure, bad character. Ugh, Trump." He shrugs off what he calls Trump's "normal, vicious Twitter attacks" on him. After Mr. Diller mocked Trump's campaign in 2015, Trump tweeted: "Little Barry Diller, who lost a fortune on Newsweek and Daily Beast, only writes badly about me. He is a sad and pathetic figure. Lives lie!" Mr. Diller waves off talk of Mr. Trump opening the door to more celebrity presidents, saying, "I want this to be a moment in time where you go in and pick out this period with pincers and go on with life as we knew it before." Has the media gone overboard in criticizing Mr. Trump? Mr. Diller says that he and his wife, Diane von Furstenberg, are friends with Josh Kushner and his supermodel girlfriend, Karlie Kloss, but do not hang out with Jared and Ivanka. He has put Chelsea Clinton on the boards of two of his companies, but that is not likely to happen with this first daughter. "I mean, we were friendly," he says of Ivanka, in the time before Mr. Trump became president. "I would sit next to her every once in a while at a dinner. And I, as everyone did, was like, 'Oh, my God, how could this evil character have spawned such a polite, gracious person?' I don't think we feel that way now." At 76, having seen around the corner to tech and pulled together the ragtag group of internet ventures at IAC into a thriving whole, Mr. Diller has "mellowed beautifully," as one producer here who has known him for many years puts it. His dogs are jumping up on our chairs. He has three Jack Russell terriers cloned from his late, beloved dog Shannon, a Gaelic orphan he found wandering many years ago on a back road in Ireland. For about 100,000, a South Korean firm "reincarnated" Shannon in three pups: Tess, short for "test tube," and DiNA, a play on DNA, who live in Beverly Hills; and Evita, who lives in Cloudwalk, the Connecticut home of Mr. Diller and Ms. von Furstenberg. "These dogs, they're the soul of Shannon," he says. "Diane was horrified that I was doing this but she's switched now to say, 'Thank God you did.'" He says he met Mr. Geffen, whom he considers "family," when the two were teenagers in the William Morris mailroom in Los Angeles. "It's Christmastime and this scrawny person comes into the mailroom and he said, 'I'm in the mailroom at William Morris in New York. I had a week off for the holiday so I wanted to come and work here.' And I thought 'Oh, my God, on your vacation?' Because for me, vacation was Hawaii." We talk about how Hollywood has changed, and I ask how the MeToo era will affect the content of movies. "'Red Sparrow' has some of the most violent and extreme sexual messiness that you could imagine," he says. "O.K., it was made a year and a half ago. Would it be made today in the same way? Probably so. So I don't think it affects content. "I mean, if you take the effect of pornography on young people today. Pornography until recently was fairly staid. Today, online, pornography is so extreme and so varied, with such expressions of fetishism and other things that boys are seeing. The idea of normal sex and normal romance has to be adversely affected by that." Once, Hollywood taught us about desire and sex and romance, giving us a vocabulary for these experiences. But no more. I wonder what will happen as girls emboldened by the fall of male predators collide with boys indoctrinated by pornography. "I see it in our companies, where the relationships between people are changing," Mr. Diller says. "We recently had a formal complaint made by a woman who said that she was at a convention with her colleagues and she was asked to have a drink with her boss. Period. That was the complaint. And we said, 'Here's the thing. Anybody can ask you anything, other than let's presume something illegal, and you have the right to say "Yes" or "No." If it's "Yes," go in good health and if it's "No," then it's full stop.' "But the end result of that is a guy, let's presume he is heterosexual, and his boss, heterosexual, and guy asks guy for a drink and they go have a drink and they talk about career opportunities. And the boss says, 'Oh, this is a smart guy. I'm promoting him.' A woman now cannot be in that position. So all these things are a changin'. "God knows, I'm hardly a sociologist. But I hope in the future for some form of reconciliation. Because I think all men are guilty. I'm not talking about rape and pillage. I'm not talking about Harveyesque. I'm talking about all of the spectrum. From an aggressive flirt. Or even just a flirty flirt that has one sour note in it. Or what I think every man was guilty of, some form of omission in attitude, in his views. Are we really going to have only capital punishment? Because right now, that's what we have. You get accused, you're obliterated. Charlie Rose ceases to exist." Mr. Diller is the chairman of the board of Expedia, and his IAC owns a gaggle of internet properties, including Vimeo, Dictionary.com, Investopedia, Tinder, Match and OkCupid. I wonder how he thinks online dating is reshaping the culture. "It's just like the princess phone evolved to the internet," he says. "Match.com has caused God knows how many more marriages than bars ever did. And now I'm starting to hear that out of Tinder. It's funny, though, on Bumble, the women get to choose first and they don't want to. I liked the sheer adventure of romance before online dating, which is less appealing to me." "Does Hollywood reflect in any possible sense what is happening in the world?" Mr. Baitz asked. "Hollywood abdicated films and became an empty exercise in male capes and superheroes. Can you imagine anyone now making 'Norma Rae,' 'Silkwood,' 'Five Easy Pieces,' 'Reds'?" Since Mr. Diller was running Paramount in 1981 when Warren Beatty and Diane Keaton made Mr. Beatty's epic "Reds," he should know. "What an undertaking," Mr. Diller says. "But isn't it amazing how it holds?" Calling "Red Sparrow" "awful" and "The Shape of Water" "beautiful but silly," he says he wouldn't want to run a movie studio now. "It would be like saying, do I want to own a horse and buggy company? The idea of a movie is losing its meaning." Of the Academy Awards nominees this year, he said, "essentially, no one went to see them." Growing up in Beverly Hills with a father in the construction business he says there are still streets out here named "Dillerdale" and "Barrydale" Mr. Diller was able to see the twilight of the men who invented Hollywood. "They were real characters overblown, exuberant, nasty, but each of them in their own way were genuinely interesting people," he says. "The only thing that I've learned, that I think I've had some instinct for, is instinct. And these people operated completely out of instinct. As against today, when people operate out of research and marketing." He says that Netflix and Amazon have blasted Hollywood into "a completely different universe." "It's something that's never happened in media before, when Netflix got a lot of subscribers early on and made the brilliant decision to pour it into original production, like spending more than 100 million dollars to make 'House of Cards,' instead of buying old stuff," he says. "It blows my mind. It's like a giant vacuum cleaner came and pushed all the other vacuum cleaners aside. And they cannot be outbid. No one can compete with them." He calls Reed Hastings, the C.E.O. of Netflix, the most remarkable person in the media business: "He has so much original thinking in so many different areas, he's really impressive." I ask how the tech community's noxious bro culture will affect the business here, given that Hollywood already has such entrenched sexism. "They're tech people," he says with a shrug. "They don't have a lot of romance in them. They don't have a lot of nuance in them. Their lives are ones and zeros." But they can grow, he says. "When I met Bill Gates, I would say he had the emotional quotient of a snail. And now you can see him cry." He corrects me when I call the tech titans our overlords. "Our overlords are not them," he says. "Our overlords are artificial intelligence." At several points during our three hour interview, Mr. Diller stops to ask me if this is any fun. When I assure him it's fascinating, he looks skeptical. The other quality his friends talk about is his voracious curiosity. "When he knows about something, he knows more about it than anyone else, and when he doesn't know something, he wants to know more about it than anybody else," says Scott Rudin, who has produced movies, plays and television with Mr. Diller (including "Lady Bird" for the screen and "Betrayal," "The Humans," "A Doll's House, Part 2," "Three Tall Women" and "Carousel" for Broadway). Mr. Rudin is also helping his friend develop the so called Diller Island, an undulating pier floating on piles in the Hudson River adjacent to the meatpacking district. Given that Mr. Diller helped create the Fox Broadcasting Company with Rupert Murdoch and blessedly greenlighted "The Simpsons" I wonder if he feels like Dr. Frankenstein. "I left Fox before Fox News came into being," he says. About the sale of Fox to Disney, he notes that his former boss "played a bad hand very well." I observe that he called Harvey Weinstein out publicly as a bully early on. Mr. Diller recalls that once in Cannes, when he was the chief executive of Universal, Stacey Snider, the head of the movie division, told him that "Harvey had treated her terribly and made her cry. So the next day I saw Harvey on the terrace at Hotel du Cap and I said, 'Harvey, don't ever treat an executive at my company that way. Don't you ever talk to anyone in that manner.' "And Harvey, about six feet away, said, 'I'm going to throw you off the terrace.' And this gorilla, because he looks like a gorilla, starts walking towards me, right? And truly, I was scared. I thought, how, without cutting and running like a chicken, do I stop him? And somehow a bear came into my mind." He says he pulled himself up into a menacing stance, as you're supposed to do if you have to confront a bear. "And it so surprised him that he stopped and I got out with a small amount of honor," he says. He adds: "Other than psychopaths, I think all of this bad behavior is finished." Speaking of bad behavior, I ask if he knew Mr. Trump back in the day in Manhattan. He said that when he was in his mid 30s, running Paramount, Mr. Trump invited him to lunch. "And you know when people compliment you without foundation?" Mr. Diller says. "And they do it too much? It's really irritating. It's kind of offensive. And he spent the entire time saying how great I was. He didn't know me. And afterward, I walked around the corner and I thought, 'I never want to see that man again.' Decades passed and we would run into each other, but I literally never spoke to him again." He says he has gone to a couple of Broadway shows recently with Hillary Clinton and that "she's well with herself again and she has a role to play." After the interview, when the Cambridge Analytica scandal breaks, I call him to see what he makes of Facebook's role. "Since the beginning of media and advertising, the holy grail has been the precise targeting of the ads," he says. "Along comes the internet with almost perfect aim, and now the entire concept is being called antisocial. That's a most ironic but momentous thing." Mr. Diller's friends say he is quiet about his philanthropy. He flinches when I use the term "Diller Island," saying it should be called "Pier 55." Now he is working on an idea concocted by Alex von Furstenberg, Diane's son whom Mr. Diller also calls his son, to build a gondola up to the Hollywood sign and a circular catwalk around it, so that people can tour and hike around it. He is very proud of the success of the High Line, the elevated park he helped fund on the West Side of Manhattan. "Who would have dreamed so many people would come?" he marvels. Andrew M. Cuomo, the governor of New York, pulled the Hudson Island project, a 250 million family park and cultural center, out of the ashes, moving past attempts by Douglas Durst to block it. (Hasn't that family done enough damage?) "The delay cost us 25 million or something like that," Mr. Diller says. "But here's the thing. My family's lucky. So who's counting? Can I actually say, 'Who's counting?' That's awful. But it's true. There's a lot about the absurdity of wealth. I have so many friends who continue to make absurd amounts of money and count it. I think if you're really lucky, who's counting?" MORE: Barry Diller confesses a major fear in a round of Confirm or Deny.	N24News: A New Dataset for Multimodal News Classification	Style
Seventeen volunteers in the Netherlands have agreed to host parasitic worms in their bodies for 12 weeks in order to help advance research toward a vaccine for schistosomiasis, a chronic disease that afflicts more than 200 million people a year, killing thousands, primarily in sub Saharan Africa and South America. "Yes it sounds odd and crazy. The idea of having a worm grow inside you is awful," says Meta Roestenberg, an infectious disease physician at Leiden University Medical Center, who is directing the research. But she said the risk to the student volunteers is "extremely small," especially compared with the potential benefit to preventing a disease that burdens millions of the world's poorest people. A Dutch ethics board agreed. But other researchers of this disease are conflicted about the study's method, fearing there is no way to be sure that all of the tiny parasites have been evicted from the hosts when the trial ends. Schistosomiasis is sometimes called bilharzia or snail fever because the illness causing larvae spend their nights tucked away in the shells of snails in freshwater lakes. During daylight, thousands of Schistosoma mansoni head out across the water, penetrating the skin of bathers or fishermen. Over the coming weeks, larvae turn into adult worms and males and females pair up and mate, producing hundreds of eggs a day. When the offspring hatch, some may get lodged in the liver or bladder, inducing an immune responses that can lead to chronic pain, fever, organ failure, internal bleeding or a gynecological infection that many researchers believe dramatically increases the risk of being infected by H.I.V. At least two potential vaccines for "schisto" were recently approved for early stage human trials. The traditional path forward, which would cost millions, requires setting up a study in an afflicted area and using only people who have already been exposed to the worms. Obtaining financing for future development is expected to be a struggle. "You get yourself in a Catch 22," said Dr. Peter J. Hotez the dean of National School of Tropical Medicine at Baylor College of Medicine in Texas, who has spent the last 15 years trying to develop a vaccine. Donors, he said, want proof that the vaccine will work in people before committing funds. But it's hard to offer proof without money. Dr. Roestenberg's study, known as a challenge trial, aims to prove that there is a quick and affordable way to test the vaccine in people. That could help the prototype Dr. Hotez has developed with Texas Children's Hospital Center for Vaccine Development advance more quickly. But "there is too much uncertainty," he says. The first time that people are exposed to Schistosoma mansoni larvae, they can have an acute reaction known as Katayama fever or develop a central nervous system infection, which in rare cases causes irreversible neurological damage or death. By dosing young, healthy volunteers with just 20 male larvae incapable of reproducing inside their host Dr. Roestenberg says she has vastly minimized the risks. But if the subjects' health can be ensured, Dr. Hotez questions whether there will be enough of a detectable infection to show that a vaccine is working. So far there has been no reason for alarm in the study underway, Dr. Roestenberg said. As soon as the larvae passed through their skin, all of the volunteers displayed a bit of a rash. One had a mild fever. But all this was expected and 24/7 medical care is available should a more serious issue arise. At the end of the study, all will be given Praziquantel, which is supposed to clear any infection and kill the remaining parasites. Other schistosomiasis researchers were critical of this point. Daniel Colley at the University of Georgia told Science magazine, which first reported on the study, that the drug is "not terribly effective" and given that the worms' life span is five to 10 years, "That is a long time to have something as ugly as a schistosome living in your blood vessels, putting out excrement and things." But it is precisely because of the drug's limitations that another researcher, Dr. James Collins at the University of Texas Southwestern Medical Center, said that he is convinced that "the benefits outweigh the risks." For now, dozens of male worms have eight weeks until they are expelled from the veins of the Dutch students. For their trouble, each volunteer was paid about 1,200.	N24News: A New Dataset for Multimodal News Classification	Health
Lincoln Continental Is Reborn, Inspired by Its American Roots and Chinese Tastes DETROIT It took the interest of Chinese consumers to persuade Ford Motor to revive a quintessentially American car, the Lincoln Continental. Ford will unveil a new version of its full size Continental sedan this week at the New York International Auto Show, signifying the return of a car that epitomized elegance in the 1960s before it faded into obscurity and went out of production in 2002. But even as Ford hopes the new Continental will invigorate its Lincoln luxury brand in the United States, the company expects most of the car's sales to be in China. It is the latest twist in a global car market that has automakers hustling to develop models that appeal to both Chinese and American buyers. In the case of the Continental, the growing demand for large cars in China provided a strong business incentive for Ford to resurrect the sedan for the United States market as well. Mark Fields, Ford's chief executive, said the new Continental was designed with American and Chinese consumers in mind. "When you stand back, their wants and needs are more similar than they are dissimilar," Mr. Fields said. The Continental that will be displayed at the auto show is billed as a concept car. But Ford said a final version will go on sale next year. "Lincoln is a core part of our profitable growth path," said Mr. Fields, who took over the top job at Ford last year. Building Lincoln into a serious contender in the luxury market is critical for Ford, which is the nation's second biggest automaker after General Motors. Last year, the company sold about 100,000 Lincolns, nearly all of them in the United States. Even though sales increased 16 percent from the previous year, Lincoln was a distant eighth among luxury brands in the American market, and it sold less than one third the volume of the leaders in the category, Mercedes Benz and BMW. Ford has steadily been upgrading its Lincoln lineup with newer cars and sport utility vehicles in recent years, but Lincoln has been hard pressed to compete with German and Japanese carmakers, or even keep pace with Cadillac, a division of G.M. "Lincoln just isn't visible enough and doesn't register well with high end buyers," said Joseph Phillippi, president of the marketing firm AutoTrends Consulting. "They need this large sedan to generate buzz in a very, very competitive arena." Full size sedans can be highly profitable, particularly for option laden models that ooze luxury. Ford estimates the global market to be approaching two million sales a year, with much of the future growth coming from rich Chinese buyers with chauffeurs. Mr. Fields said the car's heritage was "the cherry on the sundae" for the forthcoming Continental. But he said Ford was careful not to rely on nostalgia as inspiration for the vehicle. "You don't want to wallow in the past," he said. "You want to recognize it, but make sure that this car moves the brand forward." The exterior of the concept car features a rectangular honeycomb grille like famous Continentals of the past. But it is smaller and less showy, and it blends in with an array of high tech lighting embedded in the car's chrome trim. Inside, the car is devoted to creature comforts, such as contoured seats in the rear that recline fully and have extended leg rests, and a "refreshment storage" compartment that can chill a bottle of Champagne. The concept car also has an oversize sunroof that can be automatically tinted to block ultraviolet rays and a rear seat table that emerges from a console at the touch of a button. Kumar Galhotra, president of the Lincoln division, said the spacious rear seat and luxury amenities were designed specifically for Chinese consumers, who consider riding in the back to be the height of opulence. He said that focus groups in China were generally impressed by Lincoln's American heritage and image. "They thought of the brand as very presidential," Mr. Galhotra said. "That word came up again and again."	N24News: A New Dataset for Multimodal News Classification	Automobiles
The Palm Court of the Plaza Hotel has been many things since it opened in 1907: a playground for Eloise, a saloon for tycoons and panjandrums, a tea parlor for afternoon finger sandwiches. One thing it had never been was a bar. But last year, Geoffrey Zakarian, the silver haired celebrity chef, became the Plaza's culinary director, and one of his first moves was to recast the Palm Court from teatime haunt to all day hangout. That includes an after dark bar, complete with craft cocktails, low lights and servers in low cut dresses. Eloise would have been carded. Well, the palms are back, four of them, 21 feet high each, all Royal. But the centerpiece is a new U shaped Sahara marble and brass bar that seats 18. Fringed by 1 million in carpet, the bar, designed by Thierry Despont, recalls the glamour of Harry's in Venice or Rick's in Casablanca. A fashion y crowd gathers after work, as clerks from nearby Bergdorf Goodman and stylish boutiques end their shifts. That includes lots of men in black jackets with leather patches and women with miraculously high heels and tight pants. As the night wears on, the crowd gets older and more touristy, as well heeled guests wobble in and out from the hotel's 282 rooms. The results are magical. On a recent Tuesday night, an exuberant out of town yenta tried to set up two scenesters. "But I'm gay!" the young man protested. "Doesn't matter," the answer came. "Just try."	N24News: A New Dataset for Multimodal News Classification	Style
A Simple Regimen Can Prevent TB. Why Aren't More People on It? Tuberculosis struck 10 million people worldwide in 2017, killing 1.6 million of them a toll greater than that of H.I.V., malaria, measles and Ebola combined. TB is the leading infectious killer around the globe; nearly 1.8 billion people are carrying the bacterium that causes the disease. The world is sorely in need of new ways to prevent TB, not just treat it. Drugs to stave off the infection do exist, but the monthslong regimens are difficult and people often do not finish the prescribed courses. That may soon change: A new drug course, lasting just one month, is just as effective as longer regimens at preventing TB, scientists reported earlier this year. The results have left experts hoping for new progress against a disease that has been an intractable enemy for centuries. "I think it's a moment of really extraordinary promise," said Mike Frick, co lead for TB at Treatment Action Group, an advocacy organization. Among the plagues sweeping developing countries, TB has often taken a back seat to competing and urgent priorities, especially H.I.V. (The two are linked: H.I.V. patients account for one in five TB deaths worldwide.) In August, the Food and Drug Administration approved a new drug to treat the deadliest strain of TB but it was the first approval for a TB drug in more than 40 years. Diagnostic tests for the infection are not sensitive and mostly rely on sputum, which many sick people struggle to produce. And prevention? "It's really downplayed and it's ignored, and it's ignored to a degree that is scandalous," said Dr. Richard Chaisson, professor of medicine at Johns Hopkins University in Baltimore. Like the Science Times page on Facebook. Sign up for the Science Times newsletter. One challenge is identifying those who should receive preventive drugs. The drugs are the clear choice for the most vulnerable groups: people with H.I.V.; people whose immune systems are compromised because they take biologic drugs for Crohn's disease, arthritis or other diseases; and young children and others who share a home with someone infected. Protection for these groups should last at least five years, studies suggest. But one in three people worldwide harbor the TB bacteria, and just one in 10 will go on to develop the disease. Who among them should be treated? "The biggest issue has been to identify those 10 percent," said Dr. Eliud Wandwalo, senior coordinator for TB at the nonprofit Global Fund. "We don't have any good indicator to show you which of these people who are infected might progress and become sick." For many people who are healthy, or who simply feel healthy, the drugs have been a tough sell. For decades, the standard course has been an antibiotic called isoniazid that kills the bacteria causing TB only when they are replicating. The drug must be taken daily for nine months, in the hope of catching the bacteria as they multiply, and it can cause numbness, nausea and fever. Isoniazid also can cause liver toxicity, so people taking it are advised not to drink alcohol for the entire nine months. "Traditionally, completion rates have been very poor," said Dr. Alison Grant, an epidemiologist at the London School of Hygiene Tropical Medicine. Doctors sometimes decline to prescribe the antibiotic because of worries about exposing otherwise healthy people to the side effects, or contributing to a rise in drug resistant bacteria if patients don't complete the full course. Both those concerns are unfounded, said Dr. Grant. Doctors "just stay away from it, despite the evidence showing otherwise." In the past decade, scientists have come up with two shorter courses: a drug called rifampin taken every day for four months; or a combination of isoniazid and rifapentine, taken once weekly for three months. Still, for some people, remembering to take the pills and all 11 pills together once a week can be more challenging than taking them every day, Dr. Grant said. An alternative emerged in March, when Dr. Chaisson and his colleagues published a study in The New England Journal of Medicine showing that a regimen of isoniazid and rifapentine, taken daily for one month, is as effective at preventing TB, safer and more likely to be completed than the traditional nine month course of isoniazid. The World Health Organization met to review this new regimen in July and is expected to endorse it later this year. The study was conducted only in people infected with H.I.V., however, and it is likely that the W.H.O. will approve the regimen only for those patients. Dr. Chaisson thinks preventive drugs should be given to a far larger population. "If we had an intervention for H.I.V. that reduces mortality by 37 percent, the W.H.O. would have an emergency meeting and it would be recommended for uptake in the entire world," he said. "But when it's for TB, people just sort of shrug." "It's just a stolid world of never changing practices slow to adopt, slow to change, slow to evolve," Dr. Chaisson added. Cost is another hurdle. The one and three month courses both rely on rifapentine, made by Sanofi. In 2013, after a yearlong advocacy campaign to lower the costs, Sanofi dropped the price of rifapentine in the three month course from 71 to 32. The new one month course requires more rifapentine overall than the three month regimen, and so is more expensive. Advocates and global health organizations are in intense negotiations with Sanofi to lower the cost to just 15 for the entire one month treatment course.	N24News: A New Dataset for Multimodal News Classification	Health
The result was hurt feelings, mixed emotions and resentment, and once feelings are involved, business takes a back seat. After the end of our personal relationship, the deadline expired for taking advantage of the short sale program. I ended up in foreclosure. So not only did I lose out on money from a potential sale, but I ruined my credit as well. I've suffered financially from not being able to do business in my own name and probably lost around 200,000 directly and indirectly through my mistake. Who would have known that sex would lead to losing money? Obviously, I didn't. But this is one of the many mistakes that led me to talking more about money as part of my work. It's 2015, and my credit still isn't the same. Neither is my net worth, but the lesson I learned is certainly priceless.	N24News: A New Dataset for Multimodal News Classification	Your Money
In 2011, Donald J. Trump, host of "The Celebrity Apprentice," was the star of a Comedy Central roast, a familiar ritual for showbiz personae. The guest of honor sits stage center and gets insulted, then everyone laughs it off as all in good fun. The State of the Union address, under President Trump, has become something like a celebrity roast in reverse. In this ritual, the center of attention stands at the podium, he says things about working together and getting along, and after it's done, everyone goes on their way, assuming he didn't really mean it. So while the advance spin about the president's speech Tuesday was that it would emphasize "unity" and "bipartisanship," the pre address coverage on cable news was less credulous than before. Mr. Trump had, perhaps, finally been the wolf who cried boy too many times. (He had, in a lunch with news anchors that same day, already called Senator Chuck Schumer a "nasty son of a bitch.") Beyond that, there was a sense, with Democrats having swept into control of the House and opponents lining up to run in 2020, that the president was no longer the sole focus of the show. Having served, since announcing his campaign in 2015, as the norm breaking antihero protagonist of America's political TV serial, he now had to share billing with a vast ensemble of co stars. There was, of course, Alexandria Ocasio Cortez, the ubiquitous new representative from Queens, doing interviews before the speech on CNN and after it on NBC. There was a house full of adversaries and potential opponents in the room, as the cameras darted from face to face to catch the reactions of Senators Kamala Harris, Cory Booker, Elizabeth Warren, Bernie Sanders and more. Arguably, the expressions of incredulity and sardonic shade were statements as politically significant as anything President Trump read from his text. It was like a miniature primary of smirks and grimaces, pitched to any of the Democratic base watching, or catching up on social media. One declared Democratic candidate, Senator Kirsten Gillibrand, sent out one of her reaction GIFs on Twitter to raise campaign donations mid speech. Elsewhere on Twitter, Trump detractors circulated a picture of the House speaker, Nancy Pelosi, perfunctorily applauding in the president's direction, as if handing him one small clap on a tiny hors d'oeuvre tray. President Trump, never a strong reader off the prompter, read through sections at a slow cadence, then slam cut through jarring segues. As at his rallies, and on reality TV, he was more comfortable in the moments he could improvise and play off the crowd. As he introduced a Holocaust survivor celebrating his birthday, the room broke into "Happy Birthday," and Mr. Trump made an orchestra conducting gesture. But there was more dissonance than harmony. An upbeat section on the economy closed with a dark warning that investigations of him would bring it all crashing down, wrapped up with a Johnnie Cochran esque rhyme: "If there is going to be peace and legislation, there cannot be war and investigation." The speech made hairpin turns from uplift to fearmongering and back. Stacey Abrams, the former candidate for governor in Georgia, gave the Democratic response. This is typically a thankless job, but her speech may have benefited simply from being comparatively short, focused and sustained in tone. Fittingly, the most boisterous cross partisan cheers were ironic. When Mr. Trump referenced the women's employment rate, a crowd of Democratic women celebrated many of them having taken the jobs of the president's supporters. It was one of many striking visuals of the night, and not just because the congresswomen were dressed in suffragist white. The new class of representatives also contrasted sharply with the throngs of Republicans mostly white, mostly men who lined the aisle to glad hand the president as he walked into the hall. Mr. Trump extended the moment. "Don't sit, you're going to like this," he ad libbed, adding that there were now more women serving in Congress than ever, which was the closest he came in the speech to congratulating his opponents on their win. They cheered even louder, if more defiantly than he might have planned. For the former TV host, it was perhaps the old showman's trick of seeking to hang onto the spotlight by ceding it. For them, it was a chance to emphasize that this new face of the Congress likely would not be there, if not in reaction to Donald Trump. It was the one point in the State of the Union on which he and they could all agree to give him credit.	N24News: A New Dataset for Multimodal News Classification	Television
The moderate global warming that has already occurred as a result of human emissions has quadrupled the frequency of certain heat extremes since the Industrial Revolution, scientists reported Monday, and they warned that a failure to bring greenhouse gases under control could eventually lead to a 62 fold increase in such heat blasts. The planetary warming has had a more moderate effect on intense rainstorms, the scientists said, driving up their frequency by 22 percent since the 19th century. Yet such heavy rains could more than double later this century if emissions continue at a high level, they said. "People can argue that we had these kinds of extremes well before human influence on the climate we had them centuries ago," said Erich M. Fischer, lead author of a study published Monday by the journal Nature Climate Change. "And that's correct. But the odds have changed, and we get more of them." The study by Dr. Fischer and his colleague Reto Knutti, of the Swiss Federal Institute of Technology in Zurich, is not the first to attribute large scale changes in extreme weather to human influence on the climate. But it is among the first to forecast, on a global scale, how those extremes might change with continued global warming. The question is important because while a gradual increase in average temperatures can have profound ecological consequences, it is weather extremes that have the greatest effect on human society. A 1995 heat wave in Chicago killed hundreds of people, and a 2003 heat wave in Europe killed an estimated 70,000. Scientists believe both were made more likely by the human emissions that are warming the planet, and heat on that scale will become commonplace if emissions are allowed to continue unabated. For now, though, such heat extremes Chicago temperatures were near or above 100 degrees for four days running that July are still rare, which makes them difficult to study in a statistical sense. For their paper, Dr. Fischer and Dr. Knutti focused on more common heat and precipitation extremes. Using computer analyses of what the climate would be like if the Industrial Revolution had never happened, they focused on the sort of weather extremes that would be likely to occur in any given location on the earth about once in 1,000 days, or a little less than three years. Since the 19th century, the earth has warmed by about 1.5 degrees Fahrenheit. Computer models suggest that has driven up heat extremes four to fivefold, according to the new study. If global warming can be brought under control as rapidly as many environmental activists would like, keeping global warming below three degrees Fahrenheit, the new study found that heat extremes might increase only 14 fold later this century, compared with their frequency in the preindustrial world. But runaway emissions, causing the planet to warm by more than five degrees Fahrenheit, would lead to a 62 fold increase in heat extremes, the researchers found. Other studies have forecast levels of heat and humidity by late this century that could make it dangerous for people to work and play outside, possibly for weeks on end. While it might seem obvious that global warming would lead to more heat extremes, changes in heavy precipitation can seem less intuitive. Yet scientists predicted them decades ago, based on the principle that warmer air can take up more moisture from the surface of the ocean. The increase is leading to heavier rainstorms across large parts of the United States, with the biggest effect in the Northeast, previous research found. At the same time, higher temperatures are drying out the soil and worsening the effects of droughts when they do occur, as in California over the last few years. "The bottom line is that things are not that complicated," Dr. Knutti said. "You make the world a degree or two warmer, and there will be more hot days. There will be more moisture in the atmosphere, so that must come down somewhere." Myles R. Allen, a climate scientist at the University of Oxford who was not involved in the new paper, said in an interview that "the method they use to add up risk on a global scale is spot on." While previous research focused on particular disasters like the European heat wave, he added, the new approach does a better job of capturing the influence of greenhouse gases on more common types of weather extremes. "We keep asking people to do something about climate change," Dr. Allen said. "They deserve to know what climate change is doing to them."	N24News: A New Dataset for Multimodal News Classification	Science
Summer after summer, the Boston Symphony Orchestra retreats to its seasonal home: Tanglewood, a bucolic and beloved outdoor destination for music, tucked away in the Berkshires. New England's vacationers and classical buffs follow by the hundreds of thousands. But this year, for the first time since the Second World War, Tanglewood's season, a staple of summer in the Northeast, has been canceled because of the continued threat of the coronavirus pandemic. On Wednesday, the Hollywood Bowl, where the Los Angeles Philharmonic has spent its summers for nearly a century, also canceled its season. Together, the closures, announced on both coasts in such close succession, seem to cement a new reality: the end of live performance in America for the summer. The Boston Symphony's season at Tanglewood, where it started summering in 1937, is a huge draw for visitors across the Northeast. More than 340,000 people attended events at the festival last summer, The Berkshire Eagle reported, when Tanglewood added lectures and master classes to its slate of programming and opened the Linde Center for Music and Learning. This season's lineup included the Tanglewood regulars Yo Yo Ma and Emanuel Ax, and popular traditions like John Williams's Film Night and a sold out James Taylor concert on the Fourth of July. John Legend, Brandi Carlile and Patti LaBelle were also on the schedule. Mark Volpe, the Boston Symphony's president and chief executive, said the organization explored various alternatives to canceling the season, at one point sending a drone up above the expansive lawn to think about how social distancing might work. But with the thousands of people who congregate each summer in lines to the bathrooms and walk back to their cars at the end of the evening, he said, it just wasn't feasible. The cancellation affects hundreds of the Boston Symphony's 1,300 employees, Mr. Volpe said in an interview on Friday particularly the part time staff who spend the summer parking thousands of cars, cleaning the grounds, selling food and beverages and keeping the festival secure. "You take Tanglewood out of the Berkshires in the summer, and that basically drives the hospitality industry, which is a big part of their economy," Mr. Volpe said. "So this has the potential to be devastating to our many partners in the business community in the Berkshires." The Tanglewood cancellation accounts for a total loss of 12.4 million in expected ticket revenue for the Boston Symphony. The organization has had secure finances and a robust endowment under the tenure of Mr. Volpe, whose planned retirement in February 2021 will be pushed back until the board is able to find a successor. The virus had already taken a toll on the Boston Symphony, which in April said it had already lost more than 10 million in revenue after spring performances were canceled, The Boston Globe reported. Boston Symphony musicians took pay cuts averaging 25 percent each, and 400 part time staff members, along with 70 full time staff, were furloughed. Musicians will not face any additional pay cuts at least through the end of the fiscal year on Aug. 31, Mr. Volpe said. But without Tanglewood, there will be additional furloughs of the full time staff. Between the Tanglewood ticket losses, canceled performances from the regular season, lost revenue from the Boston Pops orchestra and tours, and the expected drop in contributions, the Boston Symphony is bracing for a total loss of 29.2 million in revenue, which is offset by reduced expenses. Most other major American classical institutions have already canceled their summers: the Santa Fe Opera, the Ravinia Festival in Chicago, the Glimmerglass Festival in Cooperstown and Lincoln Center's programming, including the Mostly Mozart Festival and Midsummer Night Swing. Internationally, some organizations are still weighing their options; the Salzburg Festival in Austria, which this year is slated to celebrate its centennial, has not yet made a decision. The grounds at Tanglewood will remain open for several hours a week, on Wednesdays and weekends, but visiting will require signing up in advance, the Boston Symphony said on Friday. The festival also plans to film new performances for its website in June and July some for free, others for purchase with some of the artists from the 2020 lineup.	N24News: A New Dataset for Multimodal News Classification	Music
Tech savvy entrepreneurs in France are offering apps to help visitors get the most out of Paris and many other cities. Started by Benjamin and Nina Forlani, Insidr is a digital concierge that provides visitors with an LG 4G smartphone (29 euros for a weekend, EUR45 for a week or EUR6 a day for longer stays). It has international and local calling and texting capabilities, and acts as a Wi Fi hot spot for a traveler's devices. It features curated Google Maps for areas around the Louvre and the Champs Elysees. But perhaps the most valuable feature is the 50 or more Angel Insidrs listed as contacts in the WhatsApp application. These Parisians will offer tips whenever they are messaged be it what bars are open in the Marais on a Sunday or where to get dim sum in Belleville. The phone is also preloaded with apps like the Oanda currency converter, Google Translate, Citymapper and the Paris tour start ups MeeTrip and Tod (Trip on Demand). Founded by Ralph Guyot Jeannin, MeeTrip allows visitors to connect with one of 10,000 guides in any of 1,500 cities worldwide; the guide arrives within 30 minutes when booked via the app on Google Play and iTunes. Tod provides a similar service, but offers a wider range of activities, like bike rides. It is available only in France. Pretty Streets, an app created by Fabrice Gibelin and Benoit Germond, directs users to the most visually appealing blocks based on geotagged, user generated photos taken in more than 40 cities.	N24News: A New Dataset for Multimodal News Classification	Travel
For Catherine Bazerghi, a Texas native, life in New York City began in 2011, with a roommate on the Lower East Side. "It was such a rude awakening," she said. "It was less than 500 square feet for a two bedroom, and I came from a 950 square foot one bedroom in Dallas." Ms. Bazerghi, who previously worked in retail and e commerce and is now seeking a new position in e commerce, later roomed with a friend in the Gramercy area and then moved into her sister's two bedroom condominium in Hoboken, N.J. She paid 1,000 a month in rent and was able to save toward a studio of her own. "I had fairly low expectations," she said, "because I understood what I would be able to get with my price point," up to 350,000. She cared most about having a kitchen she could live with for a long time. If the kitchen didn't have more than a small wall of appliances, the layout would have to allow for a portable island. "I wanted an oven that could fit a cookie sheet in it," she said. She craved counter space, too, for her KitchenAid mixer, which was housed temporarily with her parents in Austin, Tex., until she had room for it. "I love to be the person who brings treats to the office," said Ms. Bazerghi, who is the president of the New York chapter of Texas Exes, an alumni organization for the University of Texas at Austin. Last fall, Ms. Bazerghi saw a nice looking studio with a Murphy bed and a large, renovated kitchen on Realtor.com. The asking price was 349,000, with monthly maintenance of around 600. She contacted the agent, but didn't hear back. Her mother connected her with a longtime friend from Austin, James Malone, now an associate broker at Bond New York. He arranged a visit to the studio, in Concord Village in Downtown Brooklyn, a seven building complex near the Brooklyn Bridge built around 1950. As she stepped inside the studio, she felt that it was made for her. "I watch a lot of HGTV, and people write letters to the owners," she said. So she wrote hers: "I would love to spend many future years in this apartment," she told the seller. One studio, in a big building in Murray Hill, had an asking price of 365,000 and maintenance of almost 800. The kitchen was small, and the window faced the noisy exit lanes of the Queens Midtown Tunnel. The studio later sold for around 367,000. Another studio, on the Upper East Side, had a brick wall, built in bookshelves and a sunken living room. It was 295,000, with maintenance of 833. "It was tiny, but had so much character, which I can be somewhat of a sucker for," Ms. Bazerghi said. But the kitchen had a convection oven instead of a regular one, and renovating felt like more than she could handle. The apartment later sold for 290,000. Having seen other options, Ms. Bazerghi felt certain about her choice in Brooklyn. Mr. Malone negotiated a price of 335,000. Ms. Bazerghi considered keeping the Murphy bed for guests, but decided to sell it on Craigslist. She added blue textured wallpaper to create what she called a "wow wall," and arrived in the spring.	N24News: A New Dataset for Multimodal News Classification	Real Estate
In its emergency authorization of the Pfizer BioNTech vaccine on Friday night, the Food and Drug Administration took an unexpected step, leaving open the possibility that pregnant and breastfeeding women may opt for immunization against the coronavirus. The agency authorized the vaccine for anyone 16 and older, and asked Pfizer to file regular reports on the safety of the vaccine, including its use in pregnant women. There had been no guarantee that the agency would take this route. The vaccine was not tested in pregnant women or in those who were breastfeeding. Regulators in the United Kingdom recommended against these women receiving the shots even while acknowledging that the evidence so far "raises no concerns for safety in pregnancy." The Centers for Disease Control and Prevention has not yet endorsed the vaccine for pregnant women, but an advisory committee to the agency is expected to meet this weekend to make further recommendations. Some experts said the virus itself poses greater risks to pregnant women than the new vaccine, and noted that vaccines have been given to pregnant women for decades and have been overwhelmingly safe. "This is a really huge step forward in recognizing women's autonomy to make decisions about their own health care," said Dr. Emily Miller, an obstetrician at Northwestern University and a member of the Covid 19 task force of the Society for Maternal and Fetal Medicine. Some health care workers are at high risk of Covid 19, either because their jobs bring them into intense contact with the virus for example, cleaning the rooms of sick patients or because they live in low income and multigenerational homes, Dr. Faden said. "We have to be able to give women the opportunity to think through this for themselves with whoever it is providing obstetrical care to them," she said. Health care organizations should also help their employees weigh the risks, and accommodate women who do not feel comfortable working on the front lines, she added. None of the vaccine clinical trials have so far included pregnant or lactating women, nor even women who are planning to get pregnant; some trials are expected to begin in January. Still, the American College of Obstetrics and Gynecology, the S.M.F.M. and other organizations have been calling on the F.D.A. to allow pregnant and lactating people access to the vaccine. At a meeting on Thursday to review Pfizer's data for an emergency use authorization, Dr. Doran Fink, the F.D.A.'s deputy director for vaccine development, signaled that the agency was open to the idea. "We really have no data to speak to risks specific to the pregnant women or the fetus, but also no data that would warrant a contraindication to use in pregnancy at this time," Dr. Fink said. "Under the E.U.A., they would be then free to make their own decision in conjunction with their health care provider." The E.U.A. did not endorse the vaccine for pregnant or breastfeeding women, other than to note that Pfizer should collect long term data on how the vaccine performs in pregnant women. A Canadian senator has died after being hospitalized for Covid. Disney puts worker vaccine mandate on pause after Florida ban on restrictions. Several moves by the U.S. over the last week aim to shift the course of the pandemic. Since the 1960s, pregnant women have been urged to receive vaccines against influenza and other diseases. These women are generally cautioned against live vaccines, which contain weakened pathogens. Even so, the benefits of live vaccines outweigh the risks in some situations, said Dr. Denise Jamieson, an obstetrician at Emory University in Atlanta and a member of A.C.O.G.'s committee on Covid vaccines. "We have a long track record of giving pregnant women vaccinations, and nearly all vaccinations are very safe," Dr. Jamieson said. Dr. Jamieson said she was "disappointed that F.D.A. was not more explicit" but encouraged that "there is no explicit contraindication regarding pregnancy, which is good." Health care providers should be prepared to counsel pregnant patients on the decision to be immunized, based on the patients' potential exposures and underlying conditions like diabetes and obesity, Dr. Jamieson added. "A woman who can stay home, who doesn't have any other children and no one in the household is working, is very different than an essential worker who needs to go out every day and be around other people," she said. Women who are contemplating pregnancy should get both vaccine doses before trying to get pregnant, she added. In the initial rollout, it will be mostly pregnant health care workers who must weigh the benefits and possible risks. By the time the vaccine is available to pregnant essential workers or to women in the general population, there should be a lot more data available, the experts said. "The big question we don't know quite yet is if it actually crosses the placenta," said Dr. Geeta Swamy, an obstetrician at Duke University in Durham, N.C., and a member of A.C.O.G.'s Covid vaccine group, referring to the vaccine. "To be honest, what would be the most reassuring would be to see some of the animal data." "The vaccines that are behind if they haven't started their D.A.R.T. studies, they should start them yesterday," Dr. Faden said. The experts were particularly enthusiastic about the prospect that breastfeeding women might get the vaccine. "The biologic plausibility to there being some risk of harm to an infant from breastfeeding is extremely, extremely low," Dr. Swamy said. In the time it would take an antigen the essential ingredient in the new vaccine injected into a woman's arm to travel through her bloodstream and into breast milk, the antigen would disintegrate. "There's not a good reason even to think that vaccinating children is unsafe," Dr. Swamy added. "To be honest, the reason we don't have pediatric studies yet is because they're trying to figure out the right dosage." Some women breastfeed for years and, particularly in low and middle income countries, not being able to do so may have devastating consequences for babies, experts said. "I would applaud the fact that the F.D.A. has recognized that in the absence of data and meaning in either direction, decisions should be made between patients and their providers," Dr. Swamy said. "We're talking about women who are adult individuals, right?"	N24News: A New Dataset for Multimodal News Classification	Health
This from Charlotte Rampling, the Oscar nominated actress who, since her breakout performance a half century ago as the chillingly self involved Meredith in "Georgy Girl," has rarely missed an opportunity to let you know what's on her mind. Yes, that Charlotte Rampling, who in the 1970s shocked moviegoers when she played a concentration camp survivor in a sadomasochistic relationship with a former Nazi officer; who vamped in the buff for Helmut Newton and, some 30 years later, did it again for Juergen Teller shot naked, at 63, alongside a much younger model in a Marc Jacobs campaign. She is that vociferous champion of feminism and apparent libertine who earlier in her career scandalized fans by implying in an interview that she was engaged in a lusty menage a trois. And who only last month, in the wake of her best actress nomination for "45 Years," declared on French radio that a proposed boycott of the Oscars would be "racist against whites." Her apparently unthinking, disastrously timed remarks uncorked torrents of vitriol on Twitter and threatened to upend her chances on Sunday of taking home Hollywood's most coveted prize. (Brie Larson is the clear front runner for her role in "Room.") Under the vigilant eye of her publicist Lauren Schwartz, who never left her side, Ms. Rampling replied stoically to a question about the slim chance, in the wake of her lapse, that she would make off with an Oscar. She had held out the hope, it seemed, that the highly charged matter would never come up. A stony silence followed the question, during which Ms. Rampling exchanged furtive glances with Ms. Schwartz, before venturing, with a perceptible shrug: "What will be, will be. I've done my bit." Earlier that day, La Legende, as she is known in Paris, where she makes her home, had attended a luncheon for the women who are Oscar nominees. At the time, Ms. Schwartz said, the contretemps had seemed all but forgotten or, more likely, simply swept under the rug. Yet, it was a chastened, fiercely guarded Ms. Rampling who later that day offered guests ginger beer from a fridge lavishly stocked with fancy French fruit juices and Moet Chandon, before cheerlessly submitting to an interview. "Go ahead, ask your questions," she challenged with a level gaze. She wore a white Armani jacket and black trousers her choice, as it happened, a sound one. "Am I allowed to say this?" she asked, turning for approval to Ms. Schwartz before confiding that she had almost worn a different outfit, one that another actress had on at the luncheon that day. An idol since the 1960s to her style struck fans, she wears what she pleases on the red carpet, her choices often standbys from her personal wardrobe. She usually favors a discreet black suit or dress not unlike the long sleeved Stella McCartney she wore in December to the European Film Awards, or the Hermes midi dress and vintage Chanel jacket she chose for the AFI Fest a month before. She had attended the Giorgio Armani couture show, among others, in January, where she was seated in the front row next to Juliette Binoche. "I was looking to see if I would be inspired," she said, "whether I would have a flash." She otherwise prides herself on a low maintenance approach to red carpet preparations, dispensing with the retinue of stylists, groomers and assorted handlers who customarily dance attendance on the stars. But we weren't here to talk about makeup. Ms. Rampling fleetingly dropped her guard as she talked about her role as Kate Mercer in "45 Years," a woman celebrating a decadeslong marriage to a man, whom, as she discovers to her mounting rage, she hardly knows at all. She learned of her Oscar nomination, her first, when she emerged from the Metro in Paris and paused to check her phone mail, Ms. Rampling recalled. She was stunned. "I didn't think I'd get an Oscar nomination ever in my life," she said, "especially for a film like that." By "like that," she means the kind of art house jewel whose subtleties and languid pacing are likely to leave a mass audience cold; a film that, when it does succeed, takes everyone involved aback. "It was a great thrilling moment," Ms. Rampling said of the nomination, her clouded features brightening. "Suddenly it takes you back to your childhood." The actress, the daughter of an Olympic gold medalist and lieutenant colonel in the British Royal Artillery, said that her early life "was always a competition." Bouncing back to the moment, she added jubilantly, "This competition, you know, is a big one." The nomination exposed her to the kind of webwide scrutiny she prefers to ignore. "I'm not into all that," she said. "I'm not into myself. I'm not somebody who uses the Internet to find gossip. I find that any information I'm going to get about me will come to me anyway." She had already pre empted attempts to burrow into her psyche in "Charlotte Rampling: The Look," a 2011 documentary in which the actress tackles head on such once taboo topics as sex and death and that great Hollywood bugaboo, age. "It took five years for the filmmakers to get all that out of me," Ms. Rampling said the other day. In the film, and again in the interview, she indicated that she's felt little pressure to give her famously feline, slightly androgynous features an overhaul. "The prospect of surgery scares me," she said. More to the point: "I'd like to observe how my face changes with time. I'd like to see myself grow old, to discover what I can discover truthfully. I want to take that on." Among the choicer moments in "The Look" was Ms. Rampling's acknowledgment, "We do want people to like us, to think that we're not monsters. In the interview she tried to clarify: "Yes, I've created a Charlotte monster, but it's a monster that only attacks me." "Still, even a monster should be allowed out, from time to time," Ms. Rampling said. "She's as much entitled to her moment as that girl who has to be nice all the time."	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Sir Martin Sorrell resigned on Saturday as the head of the advertising company WPP, amid allegations of "personal misconduct," the company said. Martin Sorrell has resigned amid an investigation into alleged misconduct as the chief executive of WPP, the world's largest advertising group, the company said on Saturday, abruptly ending his decades long run leading the agency he helped found. In a statement, the London based advertising behemoth said the change would take effect immediately. Roberto Quarta, the chairman of WPP, was named executive chairman until the company could appoint a new chief executive. The company said Mr. Sorrell would be "available to assist with the transition." The company's statement also said Mr. Sorrell, 73, would be "treated as having retired" and that his share awards would vest. "The previously announced investigation into an allegation of misconduct against Sir Martin has concluded," the statement said. "The allegation did not involve amounts that are material." The statement did not provide any additional details about the investigation, its findings or what role, if any, it played in Mr. Sorrell's resignation. On April 3, the board of WPP said it had appointed an independent counsel to investigate an allegation of what it called "personal misconduct" against Mr. Sorrell. Richard Oldworth, a spokesman for WPP, said on Saturday that he could not comment beyond the company statement. But in a separate statement to employees on Saturday, Mr. Sorrell made note of a "current disruption" that he argued "is simply putting too much unnecessary pressure on the business." "That is why I have decided that in your interest, in the interest of our clients, in the interest of all share owners, both big and small, and in the interest of all our other stakeholders, it is best for me to step aside," he said. "We have weathered difficult storms in the past. And our highly talented people have always won through, always." David Rigg, a spokesman for Mr. Sorrell, said on Saturday that he had "nothing further to add." Mr. Sorrell, a frenetic, loquacious man, looms as a giant of the advertising world. He is a fixture on the London and European social circuit among movers and shakers, hobnobbing as a regular at the World Economic Forum in Davos, Switzerland, and jetting to business events around the globe. Queen Elizabeth II knighted him in 2000 with a tap of her sword on his shoulders, the highest honor among a raft of awards he has received for his business acumen throughout the years. 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. A first generation Jewish immigrant in Britain whose parents came from Kiev, Ukraine, Mr. Sorrell got his big break in advertising when he joined Saatchi Saatchi in 1975. He quickly worked his way up and became so entwined with the agency's founding siblings that he became known in the industry as "the third brother." In 1985, he struck out on his own with an improbable business gamble: He bought part of a British shopping basket manufacturer, Wire and Plastic Products, and proceeded to transform it into a global advertising behemoth, acquiring 18 advertising related companies in just three years. In 1989, he surprised the advertising world with a hostile 825 million takeover of Ogilvy Mather, then one of the most influential ad agencies, and continued to snap up global competitors, including Young Rubicam, a global marketing and communications company. Mr. Sorrell shaped WPP with an iron grip, and fashioned it in his own image. (He is renowned for holding conversations while texting with clients and friends.) Today, WPP is a global advertising behemoth with 130,000 employees in 112 countries, and a market valuation of around 22 billion pounds, or about 31 billion. Yet as he fashioned himself as a superstar executive, Mr. Sorrell also came under sharp scrutiny especially for his increasingly lavish pay packages, which came to symbolize boardroom excess in Britain. Since 2012, WPP has paid Mr. Sorrell PS210 million, making him the highest paid chief executive of any company listed on the FTSE. Despite gains for WPP's investors, a backlash emerged two years ago, when he pocketed a PS70 million payout.	N24News: A New Dataset for Multimodal News Classification	Media
Frank Heart, the engineer who oversaw development of the first routing computer for the Arpanet, the precursor to the internet, died on Sunday at a retirement community in Lexington, Mass. He was 89. The cause was complications of melanoma, his son Bennet said. In 1969, Mr. Heart led a small team of talented young engineers to build the Interface Message Processor, or I.M.P., a computer whose special function was to switch data among the computers on the Arpanet. To this day, many of the principles Mr. Heart emphasized reliability, error resistance and the capacity for self correction remain central to the internet's robustness. Data networking was so new that Mr. Heart and his team had no choice but to invent technology as they went. For example, the Arpanet sent data over ordinary phone lines. Human ears tolerate low levels of extraneous noise on a phone line, but computers can get tripped up by the smallest hiss or pop, producing transmission errors. Mr. Heart and his team devised a way for the I.M.P.s (pronounced imps) to detect and correct errors as they occurred. Mr. Heart demanded that I.M.P.s be made impenetrable, believing that curious graduate students would be tempted to poke around the machines to see how they worked and bring down the network with their tinkering. "I took an extraordinarily rigid position," Mr. Heart said in an interview in 1994. "They were not to touch it, they weren't to go near it, they were to barely look at it. It was a closed box with no switches available." As a result, the I.M.P. was encased in intimidating battleship gray steel. "It was part of Frank's personality to try to control uncontrollable events," said David Walden, a computer programmer who helped build software for the I.M.P.s. Thanks to Mr. Heart's s relentless worry about errors, his team of 10 engineers, who called themselves the I.M.P. Guys, ended up inventing the field of remote diagnostics for computers. They also designed the I.M.P.s to run unattended as much as possible, bestowing on them the ability to restart by themselves after a power failure or crash. This infant network "did a lot of looking at its navel all the time," Mr. Heart said in 1994, "sending back little messages telling us how it was feeling and telling us what kind of things were happening, where." Bolt, Beranek and Newman, the Cambridge, Mass. based technology company where Mr. Heart spent most of his career, beat I.B.M. and other larger firms in the bidding to build the I.M.P. for the federal government's Advanced Research Projects Agency, or Arpa. The machine was built during nine frenetic months. Just before Labor Day in 1969, two members of the team flew to California to install the first machine roughly the size of a refrigerator and weighing more than 900 pounds at the University of California, Los Angeles. A few weeks later, the second I.M.P. went in, at Stanford Research Institute (now SRI International in Menlo Park, Calif.), and a computer network was born. "His fanatical attention to detail paid off," said Alex McKenzie, one of the team members. "The first I.M.P. was delivered on time and on budget, and when it was plugged in, not only did it start working, but it hardly needed debugging." The public at large was so unfamiliar with computer networking at the time that when Bolt, Beranek was awarded the 1 million Arpa contract in late 1968 and the news reached the office of Senator Edward M. Kennedy of Massachusetts, the senator sent a telegram thanking the company for its ecumenical efforts and congratulating the company on its contract to build the "Interfaith Message Processor." Frank Evans Heart was born on May 15, 1929, in the Bronx and grew up in Yonkers. He inherited a penchant for engineering from his father, Herbert, an engineer at the Otis Elevator Company. His mother, Ada (Abramson) Heart, was an insurance agent. Mr. Heart enrolled at the Massachusetts Institute of Technology in 1947 and paid his way through college by entering a five year master's degree program in which work and school were combined in alternate semesters. In 1951, M.I.T. offered its first course in computer programming, and Mr. Heart signed up. He became fascinated by computers and finished his master's degree while working at Lincoln Laboratory, a military contractor at M.I.T. Mr. Heart was a research assistant on Whirlwind, a computer that controlled a radar defense system for tracking aircraft. The Korean War was being fought at the time, and Lincoln Laboratory officials intervened with the draft board, winning a deferment for Mr. Heart for the essential work he was doing for the military. Mr. Heart received both bachelor's and master's degrees in electrical engineering in 1952. While at Lincoln Lab, Mr. Heart met Jane Sundgaard, a programmer there. They married in 1959. Ms. Heart died in 2014 at 81. In addition to his son Bennet, Mr. Heart is survived by another son, Simon; a daughter, Rachel Heart Bellini; and six grandchildren. Mr. Heart remained at Lincoln Laboratory until 1966, when he was recruited by Bolt, Beranek (now a part of Raytheon) to work on a hospital computing system. Shortly after he arrived, the hospital system was deemed a failure and set aside. As luck would have it, the company had just been asked to submit a proposal to build the first I.M.P., and Mr. Heart was put in charge. That first node spawned many more. I.M.P.s lay at the heart of the Arpanet until 1989, when the federal government decommissioned the network. Most of the I.M.P.s were disassembled and thrown away. A few remain, scattered in museums and computer labs around the United States. The technology research company Gartner Inc. forecasts that 20.4 billion Internet connected devices will be in use worldwide in 2020. Many of them are a tiny fraction of the size of the original I.M.P., and far more powerful. Like other data networking pioneers, Mr. Heart could not predict the huge and lasting impact his invention would have; he ascribed much of his involvement to happenstance. "I was extraordinarily lucky to latch onto a rising rocket," Mr. Heart wrote in an unpublished memoir, "and ride it to a huge change in our society."	N24News: A New Dataset for Multimodal News Classification	Technology
A MULTIMILLION DOLLAR dispute between a politically connected Florida billionaire and the brother in law of the king of Jordan over a debt involving oil shipped during the Iraq war might seem irrelevant to the lives of ordinary citizens. But while the principals sound like characters in a Hollywood blockbuster, a court ruling in the case could have far reaching ramifications in Florida, a state already known for having the strongest laws in the nation protecting debtors from creditors. Some lawyers say that if the ruling is ultimately upheld by the Florida Supreme Court, the state could become a haven for people running from child support and alimony payments. It could also set up a public policy problem, where ordinary citizens could struggle to collect debts from one another. Two developments in the case this week could offer some clues to the final outcome. The dispute began when Mohammad Anwar Farid Al Saleh sued Harry Sargeant III, a shipping and asphalt mogul and onetime finance chairman of Florida's Republican Party, and Mr. Sargeant's partner, Mustafa Abu Naba'a, for failing to pay what he said was his share of the profits for arranging to have fuel for the United States military transported across Jordan during the Iraq war. Mr. Al Saleh, who is married to the half sister of King Abdullah II of Jordan, said he was cut out of the deal and was owed more some 60 million. In 2011, a court sided with Mr. Al Saleh, and a jury set the award at 28.8 million. Mr. Sargeant, who argued that Mr. Al Saleh had not lived up to his side of the deal, appealed that decision but lost. On Thursday, the Florida Supreme Court agreed that the award was appropriate. But the story does not end there, and a bigger issue still looms. Mr. Al Saleh has tried to obtain payment by going after stock certificates in various foreign corporations owned by Mr. Sargeant and Mr. Abu Naba'a. But the two debtors have succeeded in blocking that effort in a separate court action. Their lawyers argued that those stock certificates were beyond the reach of the Florida court because the companies were organized in foreign jurisdictions the Bahamas, the Dominican Republic, the Isle of Man, Jordan and the Netherlands. Last month, Florida's Fourth District Court of Appeal agreed, essentially saying that Mr. Al Saleh would have to go country by country to collect the money owed to him even though he and Mr. Sargeant have homes in the Palm Beach area. This week, the same court refused to rehear the appeal, leaving the state Supreme Court as the only option. State courts, of course, have jurisdiction within their state. But generally in a case where the money to pay a creditor is in another state or country, the court will assert its jurisdiction over the debtor and order him to get the assets to pay the creditor. (The Florida appellate court cited a New York appellate ruling that did just that even though the Florida court went on to do the opposite.) If the debtor refuses to comply, he can be held in contempt of court and jailed. The most famous of these cases involved H. Beatty Chadwick, a Pennsylvania multimillionaire who spent 14 years in a state jail instead of complying with a judge's orders to bring his offshore assets back to the United States and pay his ex wife. Lawyers have said that the Florida court ruling on the stock certificates opens the way for the state to become more of a debtors' paradise than it now is. It already protects homes, life insurance policies, annuities and retirement accounts from creditors. "The effect of this decision is to make Florida an asset protection haven within the United States," said Wayne Patton, a lawyer in Miami who helps wealthy people protect their assets. "It's Florida doing the opposite of what so many other courts have done." Opinions on the case tend to run hot. Mr. Sargeant is a well known figure in the state, with many influential and wealthy friends, including former Gov. Charlie Crist, who was a fraternity brother. He is also a controversial and litigious figure. Representative Henry A. Waxman, Democrat of California, called him a war profiteer for making more than 200 million on the 1.4 billion contract to transport fuel to Iraq at the center of Mr. Al Saleh's case, and he asked the Defense Department to investigate him in 2008. In 2009, Mr. Sargeant was forced to step down from his Republican Party post over questionable fund raising techniques during the 2008 presidential campaign. Last year, Mr. Sargeant's father and brothers pushed him out of a family owned oil company. But the question beyond the parties in this case is, What will the ruling mean for less wealthy and less influential Floridians? That depends first on whether the ruling is upheld and how it is applied. Benjamin H. Hill III, a respected trial lawyer in Florida, says he thinks that the ruling will stand but that it is less sweeping than other lawyers believe. "There is some language in this that someone is going to grab on to," he said. "They might say I'm going to put all my stock certificates in a New York safe deposit box. That is something someone might try. It creates obstacles, but not obstacles that are impossible to cross." Daniel A. Bushell, an appellate lawyer in Florida, said the impact could be greater and make it harder to tap offshore assets to pay debts. "We have a large international population and a lot of international business here," he said. "It makes it a lot easier to shield your assets and hold them offshore in your home country." Florida's homestead laws and protection of annuities, life insurance and retirement accounts have long been attractive to debtors. O. J. Simpson moved to the state after a California court ordered him to pay 33.5 million to the parents of Ronald Goldman, who was killed in 1994 along with Mr. Simpson's ex wife, Nicole Brown Simpson. Joseph R. Fitos, a shareholder in the law firm GrayRobinson, said he worried that the ruling could make Florida more attractive to people trying to avoid paying child support and alimony, even though orders to enforce commercial judgments and family law matters are different. "It's a slippery slope that could turn Florida into a haven for deadbeat dads," Mr. Fitos said. "It seems at the very least to be blurring lines, and that to me is a very dangerous proposition." One bright spot for creditors in general is that not all people trying to protect their assets are that sophisticated. Moving assets to Florida to buy a house or into a bank account in a foreign country to avoid a creditor can fall under the laws against fraudulent transfer and be pulled back. Creditors can turn to other options to collect their debt. They can go to the various jurisdictions to try to get the assets, though that is costly and time consuming. They can try to force debtors into involuntary bankruptcy, at which point bankruptcy court judges can order the debtors to use all assets to pay their debt. Or they can wait it out, since commercial judgments in Florida like the one in the Sargeant case are good for 20 years. All of these options require more time and money. Jay D. Adkisson, a lawyer in California who represents creditors in cases against debtors, said the best strategy was to try to force a settlement by exploiting what he called pressure points, like going after someone's wife after all assets have been put in her name. "It sounds like a good idea, but it's not when she gets a subpoena and is going to be charged with fraudulent transfer," said Mr. Adkisson. "The wives are the best. They don't like being deposed or having you examining their friends. That's when the debtor gets out the checkbook." It remains to be seen how Mr. Al Saleh will get his money. But it is clear he is not giving up. Edward H. Davis Jr., a certified fraud examiner at Astigarraga Davis and counsel to Mr. Al Saleh, said his client would appeal the decision on the stock certificates to the Florida Supreme Court. But even if the court agrees to hear the case, it will probably not do so before next year. In the meantime, interest on the original award continues to grow.	N24News: A New Dataset for Multimodal News Classification	Your Money
EAST RUTHERFORD, N.J. Giants General Manager Dave Gettleman gave a rousing endorsement of Coach Pat Shurmur, stood behind his decision to draft running back Saquon Barkley and laughed off suggestions that the team might trade receiver Odell Beckham Jr. But Gettleman, in his first news conference with reporters since the summer, remained surprisingly noncommittal on Wednesday about quarterback Eli Manning's future with the Giants, leaving the door open for the organization to potentially move on from its two time Super Bowl most valuable player this off season. "We will do what's in the best interest of the New York Giants," Gettleman said, before adding: "What we're trying to do here is build sustained success. That takes some brutal honesty, and it takes some tough decisions." Gettleman said he and Manning had met for an "extensive" conversation on Monday that he deemed to be "very honest and upfront." Notably, it was Manning who initiated the discussion. "Eli came in and wanted to talk," Gettleman said. "It wasn't like he was called to the principal's office; he came to see me." None Week 11 Takeaways: Here is what we learned this week. N.F.L. Tightens Covid Protocols: As cases rise and Thanksgiving approaches, the league is requiring masks inside team facilities and increasing testing. The Jets Lose Again: Falling to the Miami Dolphins, the Jets' receiver Elijah Moore offered consolation. The Long Path to the Super Bowl: With 18 weeks in the regular season and fewer teams earning byes in the playoffs, the Super Bowl is still a long way off. Playoff Simulator: Explore every team's path to the postseason, updated live. Manning, who turns 38 on Thursday and is under contract through the 2019 season, started all 16 games for the Giants this season and threw for 4,299 yards with 21 touchdowns and 11 interceptions. He completed 66 percent of his passes, a career high, and finished with a 92.4 quarterback rating, his highest since 2015. But the Giants started with a 1 7 record this season before finishing 5 11, and they have an 8 23 record over the past two years with Manning as the starter. There are questions about his pocket presence, decision making and arm strength including from Beckham, who criticized Manning in an interview with ESPN in October. Gettleman pointed to the offense's productivity in December, when the Giants scored 30, 40, 27 and 35 points (they also were shut out by the Tennessee Titans on Dec. 16). "He still can make N.F.L. throws," Gettleman said of Manning. "He's still got it." Shurmur shares that opinion, having defended Manning throughout the season and especially in recent weeks regarding the quarterback's ability to return as the Giants' starter in 2019. On Monday, he said Manning should be evaluated based on his performance in the second half of the season. "I think he was better able to showcase what he could do once we solidified the offensive line," Shurmur said. "I think that's a fair assessment." As for how he planned to assess Manning's performance amid the swings in fortune throughout the season, Gettleman was less effusive. He said he would watch film "until my eyes bleed." Manning has a full no trade clause, and cutting him would incur a sizable hit to the Giants' salary cap. Nevertheless, Gettleman said, "everything is on the table for us." Gettleman executed an extensive roster overhaul this season, his first as the team's general manager. But the Giants still finished last in the N.F.C. East, leaving them with the No. 6 overall pick in the coming draft. This year's class is not expected to contain the same caliber of quarterback prospects as last year, when the quarterbacks Baker Mayfield, Sam Darnold, Josh Rosen and Josh Allen all went in the first 10 slots of the draft. Still, Gettleman defended his decision to draft Barkley, a running back, with the second overall pick in 2018. Barkley ran for 1,307 yards, a Giants rookie record, and added 721 yards receiving. "If I was in that situation 100 times, I'd draft him 100 times," Gettleman said of Barkley. His assessment of the 2019 draft options remained the same as a year ago, he said, but he did not rule out selecting a quarterback. The Giants did select a quarterback in the fourth round last summer, Kyle Lauletta, who struggled in his lone appearance of the season, going 0 for 5 with one interception during the second half against Washington on Dec. 9. "You're going to take the best player available," Gettleman said. "You start reaching, you're going to get in trouble."	N24News: A New Dataset for Multimodal News Classification	Sports
How did early humans first enter the Americas? After crossing into Alaska, the Ice Age adventurers may have trekked along two routes: either by foot through the interior of present day Canada through a grassy passageway between two large ice sheets, or they moved south along the Pacific Coast. Scientists have debated the two theories, and in recent years support for the coastal route has grown from archaeological finds, such as 13,000 year old footprints on an island in British Columbia. Now, geologists studying boulders and bedrock on Alaska's southeastern islands have found evidence of an ice free route some 17,000 years ago down the coast that would have allowed human travel. "We're not definitively saying they took the coastal route," said Alia Lesnek, a graduate student at the University at Buffalo and lead author of the study. "We have some of the first direct evidence that that was something that could be done." The finding, published Wednesday in the journal Science Advances, supports the theory that the first people to populate the Americas were seafarers traveling from island to island.	N24News: A New Dataset for Multimodal News Classification	Science
Kiss your lover at midnight. Fling open all your windows and doors. But whatever you do to celebrate the arrival of 2020, don't eat lobster. These are some of the superstitions and traditions that, according to some cultures, will help you avoid setbacks and barrel into the new year with good fortune and cheer. There's a solid chance you grew up in Pennsylvania if you eat pork and sauerkraut on New Year's Day; Dutch and German settlers there have been serving it up since the 1800s. In Denmark, dishes are thrown at a neighbor's door as a sign of friendship. (That's one way to get rid of chipped plates.) And what about that midnight kiss? According to Pete Geiger, the editor of the Farmer's Almanac, a person who kisses their beloved at the stroke of midnight will have 12 months of continued affection. Pity the person who doesn't their love will be denied. "For people who are superstitious, that first kiss actually means something," he said.	N24News: A New Dataset for Multimodal News Classification	Style
MANHUNT stream on Acorn TV. Martin Clunes, known for portraying the title character of "Doc Martin," a comedy about a grouchy physician practicing medicine in the English countryside, sheds the white coat and dons his serious cap in this three part crime drama series. Based on a memoir by Colin Sutton, the British detective who led an investigation into the killings of three women that shocked London in the early 2000s, "Manhunt" begins when a young French student is found dead in the suburbs. With no witnesses or forensic evidence on which to rely, Sutton (Clunes) has his team turn over every stone until they find clues that link the murder to two others from years before. The show is already a huge hit in Britain, although critics there disagree about its treatment of murders that really happened The Guardian called it sober and responsible, but The Independent found the dramatization "exploitative." THE PARTY'S JUST BEGINNING (2018) stream on Hulu; rent on Amazon, Google Play, Vudu or YouTube. Karen Gillan ("Jumanji: Welcome to the Jungle") writes, directs and stars in this dark coming of age dramedy about a young Scottish woman who sells cheese at a supermarket by day and drowns her sorrows in alcohol at night. But her wild lifestyle hides somber truths: She's haunted by her best friend's suicide, and no amount of partying can help her overcome her grief.	N24News: A New Dataset for Multimodal News Classification	Television
Astronomers have traced a series of brief, enigmatic bursts of radio waves to a galaxy far, far away and indeed a long time ago some three billion years or so. But as much as you might be hoping or dreading it to be true, this is probably not E.T. "We've joked about spaceship battles and death stars blowing up, but we think we can explain it with ordinary physics," said Shami Chatterjee, a Cornell astronomer. Dr. Chatterjee is the lead author of a paper published in Nature on Wednesday that details the search for the source of the radio waves known as "fast radio bursts," intense pulses of radiation from the sky lasting only a few milliseconds. He also spoke at a news conference sponsored by the American Astronomical Society in Grapevine, Tex. These have been disappointing times for those yearning for some alien direction from Out There. Last summer, Russian astronomers reported that they had recorded a promising sounding signal from a star in the Hercules constellation, but they dismissed it when it became public as a freak bit of random radio noise, the astrophysical equivalent of a cosmic butt dial. More recently, searches for radio signals from a set of stars with anomalous spectral features and another star known as Tabby's Star that has shown suspicious variations in its light seem to have come up empty. So at least for now, the skies appear to be bereft of intelligence. But the new results from the fast radio burster, known as 121102 after Nov. 2, 2012, the date it was first observed need not discourage any aficionados of cosmic mystery. Most likely, Dr. Chatterjee said in a telephone interview, the bursts could be caused by weird reactions between a neutron star the dense spinning magnet left behind by a supernova explosion and the debris from that explosion. Or perhaps from some unexpected quirk of a supermassive black hole in the center of the galaxy, a dwarf assemblage of stars some three billion light years away in the constellation Auriga. Because they are so short and until recently have never been seen to repeat, these phantoms have been hard for astronomers to study. Usually, astronomers notice them after the fact. Moreover, radio telescopes have poor angular resolution, making it impossible to determine exactly what star or distant galaxy they came from. The radio emissions themselves, Dr. Chatterjee said, resemble the blasts from pulsars the spinning neutron stars that emit clocklike pulses of radiation and whose discovery in 1968 did indeed elicit speculation about little green men. But the radio waves arrive on Earth dispersed or spread out in time by wavelength, which implies that they have traveled from far outside our galaxy. That great distance also implies that they are enormously more powerful than pulsars in our galaxy, adding to the mystery of what they are and raising the question of why they are not seen within our own galaxy, the Milky Way. In all, 18 of the fast bursters have been spotted since they were first recognized in 2007 a small number. If extrapolated to the whole sky, that means 5,000 to 10,000 of these flashes should happen every day. Where are they? Lacking much evidence to the contrary, astronomers theorized that the bursts resulted from apocalyptic events like collisions of neutron stars. At one point, Dr. Chatterjee said, there were more theoretical models of the bursts than observed bursts. "Many things go bang," he explained. The big break came in 2012 when the burst known as 121102 repeated itself. Subsequent observing campaigns with the Very Large Array of telescopes in New Mexico and the Arecibo radio telescope in Puerto Rico recorded a total of nine bursts over 83 hours of observing time and a terabyte of data during a six month period in 2016. In addition, papers also have been submitted to the Astrophysical Journal Letters by two other groups led by Shriharsh Tendulkar of McGill University and by Benito Marcote of the Joint Institute for VLBI in Europe, in Dwingeloo, the Netherlands. Following up on the Very Large Array observations, Dr. Marcote's team on the European VLBI network was able to pinpoint the location of the burst to a faint dwarf galaxy in the Auriga constellation. Dr. Tendulkar and his colleagues then used the eight meter Gemini North telescope on Mauna Kea in Hawaii to observe the galaxy and measure its distance. That distance, three billion light years, confirmed the original supposition that the fast bursts come from far, far away. "The host galaxy is puny," Dr. Tendulkar said during the news conference in Grapevine. That dwarf galaxy is only a hundredth of the mass of the Milky Way. If this burster, 121102, is indeed typical of the bunch, the astronomers said, this might be a clue. Such galaxies are typically home to some of the most violent events in the universe, Dr. Chatterjee said, things that go seriously boom in the night like certain kinds of gamma ray bursts and superluminous supernova explosions that result in extremely magnetic pulsars known as magnetars. These are the signatures of massive stars, of the deaths of massive stars, he said. But this only raises more questions. "The only one that repeats is from three billion light years," Dr. Chatterjee mused.	N24News: A New Dataset for Multimodal News Classification	Science
Brad Bigford, a traveling nurse practitioner from Boise, Idaho, jumped at the invitation: spend an afternoon at Fred's Reel Barber Shop in nearby Meridian, offering the flu vaccine to customers. "Ladies, send your guys for a trim and a flu shot," Mr. Bigford posted on Facebook. He added, "Anti vaxxers need not reply." Within hours, his Facebook page was swarmed with hundreds of vitriolic comments, even violent threats from people opposed to vaccines. Vicious reviews on Yelp and Google about his urgent care business, Table Rock Mobile Medicine, popped up from "patients" as far away as Los Angeles, Texas and Australia. Protesters circulated his cellphone number, hometown and wife's name. Then the e cavalry rode to his rescue. A new group of doctors, nurses and other vaccine supporters, called Shots Heard Round the World, flooded his page with evidence based vaccine facts, which attracted harassers spoiling for a fight to their own sites and away from Mr. Bigford's. They taught him how to block some 600 posters and expunge comments. Vaccines used to be embraced almost unquestioningly in the United States as lifesavers. But growing skepticism surrounds them as anti vaxxers dominate the internet megaphone. Their aggressive tactics on social media have cowed the staid medical establishment into relative silence. They have sown doubt about optional vaccines like those for the flu and HPV, and angst in many new parents facing state mandates. But now doctors and other health care providers are beginning to link arms virtually in an organized effort to defend not only each other, but also vaccines themselves, which they see as essential to their mission. On Thursday, they held their most full throated virtual rally, storming social media platforms with positive vaccine messages and the hashtag DoctorsSpeakUp, NursesSpeakUp, ResearchersSpeakUp, ParentsSpeakUp and TeachersSpeakUp. The hashtag and its allies percolated throughout Twitter, many listing diseases they had never seen, because of vaccines. Doctors and nurses posted memes and TikTok videos. The U.S. Surgeon General tweeted it out. Throughout the day, vaccine resisters used the hashtags to hurl challenges. When anti vaxxers attacked the Instagram post of an adolescent medicine doctor who wrote about the HPV vaccine, Shots Heard rushed to her aid. Such efforts are particularly urgent now, say some medical experts, who fear an imminent perfect public health storm: The coronavirus is spreading not only simultaneously with a severe flu season but also, potentially, measles outbreaks, which typically occur in late winter and early spring. Until recently, it was rare for doctors to post pro vaccination messages on social media. Dozens of colleagues quietly reached out to Dr. Steven Ford, an assistant professor of neonatal medicine at the University of South Florida, after he wrote a Facebook vaccine info post that was intended for parents of his vulnerable premature patients. "They all said, 'We appreciate this,' 'It's very brave,' 'Great job,' but very few would repost it or speak up publicly," said Dr. Ford, who was subjected to a howling anti vaccination barrage. The call to arms was conceived by Dr. Zubin Damania, who practiced for a decade as a Stanford University hospital based internist and now lectures about medical care at conferences and online as ZDoggMD. "I particularly want to call out my own tribe doctors," Dr. Damania said. "They are the biggest cowards when it comes to this stuff because they feel they have so much to lose." Shots Heard sprang from the ashes of a scorched earth cyberattack on Kids Plus Pediatrics, an independent practice whose main office includes the site of a converted Chinese restaurant in a small, tired strip mall in Pittsburgh. The practice has a video studio with podcast equipment. In the summer of 2017, it released "We Prevent Cancer," a 90 second video spot about the HPV vaccine. Dr. Wolynn reached out to colleagues for help. On Facebook, Physician Moms Group and many others came to his defense. Ultimately, the practice blocked some 900 attackers from its online platforms. Dr. Wolynn, who has been a consultant on vaccine confidence and a clinical researcher for Sanofi and Merck, was alarmed by the attack and the increasing reticence among pediatricians to speak forcefully about vaccines' benefits. He and Mr. Hermann hit the road, exhorting providers to support each other. "We're a horrible mismatch for the anti vaxxers," Dr. Wolynn tells providers. "They have no restrictions on what they can say. We do," he said, referring to a doctor's obligation to address evidence based medicine. "But pediatricians have built up face to face trust with patients and that's what we can work from. " Shots Heard grew out of those sessions. Since going online last fall, the group has grown to nearly 600 vetted volunteers worldwide, dedicated to defending other vaccine advocates against online anti vaccine attacks. Members include clinicians, nurses, lawyers, researchers, medical students, paramedics and state legislative staff members. When an attack is reported, the group's members are notified by email or through a closed Facebook group. "We want them to ride to the site and do whatever they feel comfortable doing," Dr. Wolynn said. "For some, it's to respond to every bogus claim with a link to an evidence based study. For others, it's to push back at the anti vaxxers." Shots Heard recently posted a free 80 page strategy guide, "Anti Anti Vaxx Toolkit," that has been downloaded more than 2,000 times. In the last three months the group's members have swooped in on about 10 large scale attacks and about 60 smaller ones. The cyberattacks seem to be initiated by a relatively small number of extremists, rather than the "vaccine hesitant" often parents who are scared and concerned about the schedule of vaccines and their impact. "It's fine to ask questions in good faith," Dr. Wolynn said. "It's just not okay to be hostile." Educators like Dr. David L. Hill, a pediatrician in Goldsboro, N.C., who lectures about patient communication, says he does not want anti vaxxers to control the messaging to these families. "Doctors have to talk to parents in a way that doesn't make them feel belittled or disrespected," he said. "The conversation should start with the idea that everyone wants what's best for the child." A 2019 study in the journal Vaccine that analyzed the characteristics of anti vaccine commenters on Facebook found that while most are female and mothers, their differences were significant. Health experts, the authors said, should therefore not presume that a one size fits all pro vaccine message will be effective. In response to an inquiry from The New York Times, she wrote in an email that she had over two million followers across several platforms, but denied coordinating attacks. "I believe the increased traction of the vaccine choice movement may simply be the natural byproduct of consumers becoming more educated about their health," Ms. Elizabeth wrote. Dr. Damania, who raps, rants and interviews guests on YouTube and Facebook, has felt the wrath of vaccine protesters. While interviewing Dr. Paul Offit, a well known vaccine advocate, the two men heard loud thumping. Protesters were pounding on the glass walls of the Las Vegas studio. But it was after the cyberassault on a Cincinnati pediatrician in January that Dr. Damania called for last week's action to flood social media with pro vaccine posts. The pediatrician, Dr. Nicole Baldwin, had posted a 15 second pro vaccine TikTok video to reach her adolescent patients, linking it to Twitter and Facebook. Anti vaxxers telephoned her office, labeling her a pedophile and a child poisoner. She received death threats. The police patrolled outside her home for several days. She, too, reached out to Shots Heard. "They were invaluable," said Dr. Baldwin, who wound up barring 5,000 attackers from her Facebook page alone. In Idaho, Mr. Bigford has installed security cameras and alerted neighbors to look out for unfamiliar cars. His wife urged him to stop posting about vaccines. "But if I stop posting, then the only people talking about vaccines are the anti vaxxers," he said. "It's part of our mission as health care givers to keep talking about this. So I'll keep going." Like the Science Times page on Facebook. Sign up for the Science Times newsletter.	N24News: A New Dataset for Multimodal News Classification	Health
Credit...Rebecca Conway for The New York Times BHUBANESWAR, India Namita Pradhan sat at a desk in downtown Bhubaneswar, India, about 40 miles from the Bay of Bengal, staring at a video recorded in a hospital on the other side of the world. The video showed the inside of someone's colon. Ms. Pradhan was looking for polyps, small growths in the large intestine that could lead to cancer. When she found one they look a bit like a slimy, angry pimple she marked it with her computer mouse and keyboard, drawing a digital circle around the tiny bulge. She was not trained as a doctor, but she was helping to teach an artificial intelligence system that could eventually do the work of a doctor. Ms. Pradhan was one of dozens of young Indian women and men lined up at desks on the fourth floor of a small office building. They were trained to annotate all kinds of digital images, pinpointing everything from stop signs and pedestrians in street scenes to factories and oil tankers in satellite photos. A.I., most people in the tech industry would tell you, is the future of their industry, and it is improving fast thanks to something called machine learning. But tech executives rarely discuss the labor intensive process that goes into its creation. A.I. is learning from humans. Lots and lots of humans. Before an A.I. system can learn, someone has to label the data supplied to it. Humans, for example, must pinpoint the polyps. The work is vital to the creation of artificial intelligence like self driving cars, surveillance systems and automated health care. Tech companies keep quiet about this work. And they face growing concerns from privacy activists over the large amounts of personal data they are storing and sharing with outside businesses. Earlier this year, I negotiated a look behind the curtain that Silicon Valley's wizards rarely grant. I made a meandering trip across India and stopped at a facility across the street from the Superdome in downtown New Orleans. In all, I visited five offices where people are doing the endlessly repetitive work needed to teach A.I. systems, all run by a company called iMerit. What I saw didn't look very much like the future or at least the automated one you might imagine. The offices could have been call centers or payment processing centers. One was a timeworn former apartment building in the middle of a low income residential neighborhood in western Kolkata that teemed with pedestrians, auto rickshaws and street vendors. In facilities like the one I visited in Bhubaneswar and in other cities in India, China, Nepal, the Philippines, East Africa and the United States, tens of thousands of office workers are punching a clock while they teach the machines. Tens of thousands more workers, independent contractors usually working in their homes, also annotate data through crowdsourcing services like Amazon Mechanical Turk, which lets anyone distribute digital tasks to independent workers in the United States and other countries. The workers earn a few pennies for each label. Based in India, iMerit labels data for many of the biggest names in the technology and automobile industries. It declined to name these clients publicly, citing confidentiality agreements. But it recently revealed that its more than 2,000 workers in nine offices around the world are contributing to an online data labeling service from Amazon called SageMaker Ground Truth. Previously, it listed Microsoft as a client. Is the work exploitative? It depends on where you live and what you're working on. In India, it is a ticket to the middle class. In New Orleans, it's a decent enough job. For someone working as an independent contractor, it is often a dead end. There are skills that must be learned like spotting signs of a disease in a video or medical scan or keeping a steady hand when drawing a digital lasso around the image of a car or a tree. In some cases, when the task involves medical videos, pornography or violent images, the work turns grisly. "When you first see these things, it is deeply disturbing. You don't want to go back to the work. You might not go back to the work," said Kristy Milland, who spent years doing data labeling work on Amazon Mechanical Turk and has become a labor activist on behalf of workers on the service. "But for those of us who cannot afford to not go back to the work, you just do it," Ms. Milland said. Before traveling to India, I tried labeling images on a crowdsourcing service, drawing digital boxes around Nike logos and identifying "not safe for work" images. I was painfully inept. I had to pass a test prior to starting the work. Even that was disheartening. The first three times, I failed. Labeling images so people could instantly search a website for retail goods not to mention the time spent identifying crude images of naked women and sex toys as "NSFW" wasn't exactly inspiring. A.I. researchers hope they can build systems that can learn from smaller amounts of data. But for the foreseeable future, human labor is essential. Bhubaneswar is called the City of Temples. Ancient Hindu shrines rise over roadside markets at the southwestern end of the city giant towers of stacked stone that date to the first millennium. In the city center, many streets are unpaved. Cows and feral dogs meander among the mopeds, cars and trucks. The city population: 830,000 is also a rapidly growing hub for online labor. About a 15 minute drive from the temples, on a (paved) road near the city center, a white, four story building sits behind a stone wall. Inside, there are three rooms filled with long rows of desks, each with its own wide screen computer display. This was where Namita Pradhan spent her days labeling videos when I met her. Ms. Pradhan, 24, grew up just outside the city and earned a degree from a local college, where she studied biology and other subjects before taking the job with iMerit. It was recommended by her brother, who was already working for the company. She lived at a hostel near her office during the week and took the bus back to her family home each weekend. I visited the office on a temperate January day. Some of the women sitting at the long rows of desks were traditionally dressed bright red saris, long gold earrings. Ms. Pradhan wore a green long sleeve shirt, black pants, and white lace up shoes as she annotated videos for a client in the United States. Over the course of what was a typical eight hour day, the shy 24 year old watched about a dozen colonoscopy videos, constantly reversing the video for a closer look at individual frames. Her client, a company in the United States that iMerit is not allowed to name, will eventually feed her work into an A.I. system so it can learn to identify medical conditions on its own. The colon owner is not necessarily aware the video exists. Ms. Pradhan doesn't know where the images came from. Neither does iMerit. Ms. Pradhan learned the task during seven days of online video calls with a nonpracticingdoctor, based in Oakland, Calif., who helps train workers at many iMerit offices. But some question whether experienced doctors and medical students should do this labeling themselves. This work requires people "who have a medical background, and the relevant knowledge in anatomy and pathology," said Dr. George Shih, a radiologist at Weill Cornell Medicine and NewYork Presbyterian and the co founder of the start up MD.ai., which helps organizations build artificial intelligence for health care. When we chatted about her work, Ms. Pradhan called it "quite interesting," but tiring. As for the graphic nature of the videos? "It was disgusting at first, but then you get used to it." The images she labeled were grisly, but not as grisly as others handled at iMerit. Their clients are also building artificial intelligence that can identify and remove unwanted images on social networks and other online services. That means labels for pornography, graphic violence and other noxious images. This work can be so upsetting to workers, iMerit tries to limit how much of it they see. Pornography and violence are mixed with more innocuous images, and those labeling the grisly images are sequestered in separate rooms to shield other workers, said Liz O'Sullivan, who oversaw data annotation at an A.I. start up called Clarifai and has worked closely with iMerit on such projects. Other labeling companies will have workers annotate unlimited numbers of these images, Ms. O'Sullivan said. "I would not be surprised if this causes post traumatic stress disorder or worse. It is hard to find a company that is not ethically deplorable that will take this on," she said. "You have to pad the porn and violence with other work, so the workers don't have to look at porn, porn, porn, beheading, beheading, beheading." iMerit said in a statement it does not compel workers to look at pornography or other offensive material and only takes on the work when it can help improve monitoring systems. Ms. Pradhan and her fellow labelers earn between 150 and 200 a month, which pulls in between 800 and 1,000 of revenue for iMerit, according to one company executive. By United States standards, Ms. Pradhan's salary is indecently low. But for her and many others in these offices, it is about an average salary for a data entry job. Tedious work. But it pays for an apartment. Prasenjit Baidya grew up on a farm about 30 miles from Kolkata, the largest city in West Bengal, on the east coast of India. His parents and extended family still live in his childhood home, a cluster of brick buildings built at the turn of the 19th century. They grow rice and sunflowers in the surrounding fields and dry the seeds on rugs spread across the rooftops. He was the first in his family to get a college education, which included a computer class. But the class didn't teach him all that much. The room offered only one computer for every 25 students. He learned his computer skills after college, when he enrolled in a training course run by a nonprofit called Anudip. It was recommended by a friend, and it cost the equivalent of 5 a month. Anudip runs English and computer courses across India, training about 22,000 people a year. It feeds students directly into iMerit, which its founders set up as a sister operation in 2013. Through Anudip, Mr. Baidya landed a job at an iMerit office in Kolkata, and so did his wife, Barnali Paik, who grew up in a nearby village. Over the last six years, iMerit has hired more than 1,600 students from Anudip. It now employs about 2,500 people in total. More than 80 percent come from families with incomes below 150 a month. Founded in 2012 and still a private company, iMerit has its employees perform digital tasks like transcribing audio files or identifying objects in photos. Businesses across the globe pay the company to use its workers, and increasingly, they assist work on artificial intelligence. "We want to bring people from low income backgrounds into technology and technology jobs," said Radha Basu, who founded Anudip and iMerit with her husband, Dipak, after long careers in Silicon Valley with the tech giants Cisco Systems and HP. The average age of these workers is 24. Like Mr. Baidya, most of them come from rural villages. The company recently opened a new office in Metiabruz, a largely Muslim neighborhood in western Kolkata. There, it hires mostly Muslim women whose families are reluctant to let them outside the bustling area. They are not asked to look at pornographic images or violent material. At first, iMerit focused on simple tasks sorting product listings for online retail sites, vetting posts on social media. But it has shifted into work that feeds artificial intelligence. The growth of iMerit and similar companies represents a shift away from crowdsourcing services like Mechanical Turk. iMerit and its clients have greater control over how workers are trained and how the work is done. Mr. Baidya, now a manager at iMerit, oversees an effort to label street scenes used in training driverless cars for a major company in the United States. His team analyzes and labels digital photos as well as three dimensional images captured by Lidar, devices that measure distances using pulses of light. They spend their days drawing bounding boxes around cars, pedestrians, stop signs and power lines. He said the work could be tedious, but it had given him a life he might not have otherwise had. He and his wife recently bought an apartment in Kolkata, within walking distance of the iMerit office where she works. "The changes in my life in terms of my financial situation, my experiences, my skills in English have been a dream," he said. "I got a chance." "That was my baby," she said of the project. She was less interested in image tagging or projects like the one that involved annotating recordings of people coughing; it was a way to build A.I. that identifies disease symptoms of illness over the phone. "Listening to coughs all day is kind of disgusting," she said. The work is easily misunderstood, said Ms. Gray, the Microsoft anthropologist. Listening to people cough all day may be disgusting, but that is also how doctors spend their days. "We don't think of that as drudgery," she said. Ms. Hernandez's work is intended to help doctors do their jobs or maybe, one day, replace them. She takes pride in that. Moments after complaining about the project, she pointed to her colleagues across the office. "We were the cough masters," she said. 'It was enough to live on then. It wouldn't be now.' She made three cents for each click, or about 18 cents a minute. In 2010, her husband lost his job, and "MTurk" became a full time gig. For two years, she worked six or seven days a week, sometimes as much as 17 hours a day. She made about 50,000 a year. "It was enough to live on then. It wouldn't be now," Ms. Milland said. The work at that time didn't really involve A.I. For another project, she would pull information out of mortgage documents or retype names and addresses from photos of business cards, sometimes for as little as a dollar an hour. Around 2010, she started labeling for A.I. projects. Ms. Milland tagged all sorts of data, like gory images that showed up on Twitter (which helps build A.I. that can help remove gory images from the social network) or aerial footage likely taken somewhere in the Middle East (presumably for A.I. that the military and its partners are building to identify drone targets). Projects from American tech giants, Ms. Milland said, typically paid more than the average job about 15 an hour. But the job didn't come with health care or paid vacation, and the work could be mind numbing or downright disturbing. She called it "horrifically exploitative." Amazon declined to comment. Since 2012, Ms. Milland, now 40, has been part of an organization called TurkerNation, which aims to improve conditions for thousands of people who do this work. In April, after 14 years on the service, she quit. She is in law school, and her husband makes 600 less than they pay in rent each month, which does not include utilities. So, she said, they are preparing to go into debt. But she will not go back to labeling data. "This is a dystopian future," she said. "And I am done."	N24News: A New Dataset for Multimodal News Classification	Technology
A large screen looms over the stage. Projected onto it is a black and white close up on an eyeball, fluttering in a state of nervous distress. An overture, powered by distorted electric guitar and staccato strings, accompanies this sooty B movie style image. A choir grasps toward high pitched wails. Everything blares. Gradually, as the onscreen image pulls back, the audience can discern that the twitching eyeball isn't recorded, but is rather a very much live, high definition stare at Mikaela Bennett, the soprano at the center of "Acquanetta." The composer Michael Gordon and librettist Deborah Artman's old school suspenseful "filmic opera" had its chamber version premiere at the Prototype festival of new opera theater on Tuesday at the Gelsey Kirkland Arts Center in Dumbo, Brooklyn. The production's camera eye and the audience's gaze rarely move away from Ms. Bennett over the next 70 minutes in an opera that feels like a major addition to this composer's canon. A founder of the influential Bang on a Can collective, Mr. Gordon has a history of creating scores that can work alongside moving images. But "Acquanetta" is something different and grander. The plot has a true story undercurrent. The actress Mildred Davenport, known as Acquanetta, had a celebrated (if necessarily minor) career in 1940s B movies, including the horror film "Captive Wild Woman" elements of which are repurposed in this opera. Its creators describe her career as brief, saying in a program note that she "inexplicably walked away from the Hollywood studio system." Rather than telling the actress's biography straight, "Acquanetta" bills itself as a "one act deconstruction" of the horror genre. But that makes the piece sound more academic than it is. Though experimental in design, it doesn't stint on narrative; it hurls the audience into the maelstrom of the making of "Captive Wild Woman" starring her and, yes, an ape heightening the wary, intoxicating experience of being a young woman in Hollywood. The director, Daniel Fish, delights in parceling out important information, just like a horror film should. (Some of the ways his staging builds and releases tension are too good to spoil.) "Acquanetta," which debuted in an arrangement for more instruments in 2006, also mulls questions of gender, identity, media representation and spectatorship. Its wittiest section comes when a stereotypical blonde bombshell from the film within the opera sings what sounds like an appeal to a zombie, with the refrain "Please don't take my brain." (The chorus eventually takes up the feminist chant of "I want to play a real woman.") Amelia Watkins brings usefully campy acting to the role of this "Brainy Woman." But she also excels in bringing across the character's underlying existential dread. Ms. Bennett works the same magic with the title role. Her opening aria is a list poem of desires, presumably addressed to Hollywood. ("Bury me, transform me, convince me, remake me.") But as soon as the song ends as the whirl of the studio system starts to drown her in makeup and director's commentary her face communicates real life horror. Her adroit performance is as well suited to the libretto's subtleties as her voice is to the music's thrashing intensity. Mr. Gordon's writing, for a small yet loudly amplified rock meets classical ensemble, is similarly alert. Long stretches of his score channel a doomy, goth rock energy. But he also sprinkles in unexpected accents including swooning touches of folk like string harmonies that keep the soundscape as nimble as Ms. Artman's text. The conductor Daniela Candillari guides a uniformly powerful cast, as well as a tight ensemble of the Bang on a Can Opera musicians and the members of the Choir of Trinity Wall Street. If only there were a new opera studio, akin to the vintage B picture system, that could churn out works of this energy and originality. But, alas, contemporary music is rarely produced at the pace of a Universal or an RKO, so audiences should catch Prototype's brief run of "Acquanetta" while they can.	N24News: A New Dataset for Multimodal News Classification	Music
At Auschwitz Exhibition, a Witness to a History He Can Never Forget Each weathered piece of history set off a mental reel of flickering images for Roman Kent. The boxcar stationed outside the entrance of the Museum of Jewish Heritage near Battery Park in Manhattan. It looked like the one that had brought him to Auschwitz. "I woke up, and I was surrounded by a hundred people," he recalled. "Thank God I was with my family, but I couldn't move, and we were packed like that for four days and three nights. There was no pail for relieving yourself. Water to drink was a problem." Inside the museum, he spotted a caldron. It was the type used to make the thin turnip soup that was fed once a day to the famished, along with an ounce and a quarter of bread. On May 8, the museum will open an exhibition to the public that will, unavoidably, also open wounds. Titled "Auschwitz, Not Long Ago, Not Far Away," it will tell the story of that emblematic death camp, and the Holocaust, with 700 artifacts, most borrowed from Auschwitz, where 1.1 million people were killed, one million of them Jews. The traveling exhibition, largely produced by Musealia, a Spanish for profit company, with the cooperation of the Auschwitz Birkenau State Museum, was first seen in Madrid over a 14 month stretch by more than 600,000 people. Last Wednesday, three floors of the exhibition and its accompanying explanatory panels and film clips were in place, and the museum permitted a reporter to tour with Mr. Kent, a camp survivor and chairman of the American Gathering of Jewish Holocaust Survivors and Their Descendants. Mr. Kent, 90, and frail, was subdued, but resolute as he was escorted around the galleries. That changed when he confronted a dozen battered suitcases taken from arriving Jews about to be split into those who would work and those who would die immediately. Mr. Kent remembered the SS officers shouting at his family, "Mach schnell! Mach schnell!" The beatings of the men. The beatings of the women. The biting dogs. The horses trampling the prisoners. This was the last time he saw his mother, he recalled, as the prisoners were divided. For a moment he could not bring himself to talk. The museum expects to see many visitors like Mr. Kent who live in the New York City area, which, in 2017, had 50,000 Holocaust survivors. Many of them have died since then, and those who remain are in their late 80s or their 90s. Museum officials say the exhibition's effort to depict the brutalities of the past is an urgent one at a time of rising anti Semitism, which was recently underscored by the deadly attacks against Jews in San Diego and Pittsburgh. Elizabeth Edelstein, the Jewish Heritage Museum's vice president for education, said the museum regularly talks with survivors about "what aspects of this painful history they feel should be explored, how content reflects their own experiences." Such conversations prompted the museum to include stories of the "myriad ways ordinary people responded to the unfolding genocide, including inspiring stories of resistance, resilience, courage, and altruism." Along with activists like Elie Wiesel and Benjamin Meed, Mr. Kent spent much of his adult life calling public attention to what had been done to the Jews after the relative silence for decades after the war. He has been back to Auschwitz now a museum near Krakow, Poland, several times and has seen these artifacts in that pained setting. Arriving when he was 15, Mr. Kent does not recall precisely how long he was in Auschwitz. "One day in Auschwitz was a month, one week a year, one month was an eternity," he said. "How many eternities can one have in one's lifetime?" After being transferred to other camps, Mr. Kent and his brother, Leon, were liberated by the Third United States Army while on a death march to Dachau. The brothers later reunited with their sisters, who also survived. But one, Dasza, sickened at Auschwitz, died a couple of months later in a Swedish hospital. His oldest sister, Renia, remained in Sweden. The brothers immigrated to the United States in 1946 as part of a government program to admit 5,000 orphans. They chose to live in Atlanta where they attended Emory University. Leon became a neurosurgeon. Mr. Kent thrived in the export import business, and he met his wife, Hannah, on a visit to the New York area, where they eventually settled. They had two children and three grandchildren. His wife died in 2017. During his visit to the museum, as he moved from gallery to gallery, Mr. Kent paused to gaze at a section of a barracks, at fence posts braced with barbed wire "most of the time they were electrified," he said tartly at a triple tiered bunk bed, striped uniforms and the confiscated shoes of women and children. At another gallery, he was struck once again by the demonic efficiency the Germans displayed in creating an assembly line to exterminate Jews. The gallery contained a shower head from a building that the Nazis billed as a "disinfection" house, used for removing lice. Actually it was a killing chamber. Here on display was a rusty canister for the cyanide based Zyklon B, a pesticide adapted to poison humans. There was an ingenious chute where the pellets, which released the gas, were dropped from portholes in the roof so they could be retrieved by gas mask wearing Sonderkommandos workers, usually Jews, forced into these jobs after the victims expired. Other Sonderkommandos carried out the corpses. "How is it possible for a man to be so cruel," Mr. Kent murmured. One display case had metal hatches from a furnace in a crematory where corpses were turned to ash, then dumped in a nearby river. In a film clip, a surviving former Sonderkommando recalled hearing the women being gassed muttering a prayer, "Shema Yisroel," as they clawed futilely for air. As detailed and accurate as the museum exhibition is designed to be, Mr. Kent said nothing, not even a visit to the site today, can convey the horrors that occurred there. "What happened in Auschwitz, no human being can comprehend," Mr. Kent said after his tour. "It is beyond comprehension."	N24News: A New Dataset for Multimodal News Classification	Art & Design
The final season of "Game of Thrones" arrives April 14. Before then, we're getting prepared by rewatching the first seven seasons. Sign up to get these straight to your inbox. This article contains spoilers for Seasons 1 7 of "Game of Thrones." I see a darkness in your binge, and in that darkness, eyes staring back at me. Brown eyes, blue eyes, green eyes. Eyes you'll binge forever. Welcome back to our guide through an epic "Game of Thrones" rewatch. If you're just joining us, you can catch up on Season 1 or Season 2 first, or pray to the Lord of Light as we resurrect Season 3. Novices beware: This newsletter is dark and full of spoilers. And now our watch continues. How Should I Rewatch 'Game of Thrones'? If you want to catch up fast, concentrate on the installments that are central to the famously complicated plot and the ones that provide all the facts and feels. These are four must watch episodes of Season 3. Episode 1, "Valar Dohaeris," for the reset of where most of the characters are on the map and a demonstration of some new, necessary relationships (Tywin and his pen pals, Margaery and the people). Plus: our first giant. (Don't stare too long; they're shy.) Episode 5, "Kissed by Fire," a rather warm entry with heartwarming moments (Shireen) and romance (Jon and Ygritte), as several folks discover bath time and take the plunge. Also: smirk along with (or at?) Cersei as we sort through the tangled web of Lannister/Tyrell/Stark marriage alliance plots. Episode 8, "Second Sons," to attend a royal wedding where no one dies, although Cersei does drop a death threat on a Tyrell in the Sept of Baelor. Foreshadowing! Bonus: Sam Tarly becomes Sam the Slayer. Episode 9, "The Rains of Castamere," because it's a nice day for a Red Wedding. Scream, cry and say goodbye to some sadly unsuspecting Starks. Also try not to choke up when Bran wargs Hodor for the first time, or Rickon and Osha leave. The heartbreak! The War of the Five Kings has lost one king but remains in full swing, with three of the seven kingdoms in open rebellion. Plots are in place to remove another king from the board by the end of the season, but there are so many plots, counterplots, and untrustworthy types lurking about, it's hard to keep track. Focusing on these might help: An awful lot of children in Westeros and Essos get mistreated molested, murdered, sold or sacrificed (as we learn the daughter raping Craster has done with his 99 sons, and would have done with his 100th, Gilly's baby). Some 8,000 newborns were killed in Astapor because slave masters wanted to prove their eunuch soldiers had no sense of empathy. Other children are orphaned when their parents are killed in one or another war. Few kids can fend for themselves the Stark children survive primarily because they have guardians who step in and take care of them. (The Hound isn't a bad babysitter!) We don't know yet what kind of parental substitutes the White Walkers are, but you'd figure they have to be better than Craster. (They at least show an interest.) No wonder Dany develops a savior complex there are so many children in this brutal world who desperately need saving. Spies are everywhere. Jon Snow goes undercover with the Free Folk as a defector (and doesn't fully fool them). Varys convinces Ros to spy on Littlefinger (or perhaps she lured him in, looking to spill some valuable info about her boss's travel plans). Varys then tries to thwart Littlefinger by plotting with the Tyrells, but Littlefinger's prostitute Olyvar easily seduces Loras Tyrell and reports back. Key bit of intel: Loras is set to marry ... someone. Littlefinger concludes that the someone is Sansa and alerts the Lannisters, leading to Tywin's strategic matchmaking of Cersei with Loras and Tyrion with Sansa, which none of them are happy about. (Littlefinger gives Ros to Joffrey, which doesn't end well.) Even though Jorah Mormont is no longer a spy, he's clearly worried that new Team Dany member Barristan Selmy knows he was, and could use that fact against him. And the ultimate spymaster in all of Westeros, of course, is the Three Eyed Raven, who recruits Jojen Reed and Bran Stark for his mysterious purposes. At least Jon, Ros, Olyvar and Jorah know the risks of their espionage: Bran has no idea what's in store for him. ("The raven is you" does not count.) When did the plans for the Red Wedding coalesce? The Frey alliance with the Starks was in tatters by the end of Season 2, but they didn't plan it alone. When did Tywin Lannister get in on the action? Clues come early in Season 3, when he embarks on a correspondence spree. (Notice that when both Tyrion and Cersei come to visit him, he is preoccupied with writing letters). Tywin's first missives would most likely be to the Freys, who want revenge on the Starks and an end to the war in the Riverlands. What about Roose Bolton? The first dodgy sign comes when he doesn't tell the Starks that Ramsay has captured Theon with the Stark position weakening, Roose probably decided to start keeping his options open. When his hunters return with Jaime Lannister (and Brienne), those options become clearer: He can alert Robb and help resolve issues with Lord Karstark, or he can alert Tywin, and gain a favor from the crown. So for the second time, Roose neglects to inform the Starks about a prisoner they seek. While Jaime and Brienne are in Bolton's custody, Tywin starts talking about Sansa being "the key to the North." It would seem Tywin is more secure with his plans to remove Robb perhaps because he now knows the whereabouts of his son. Only after this do the Freys bring new terms to the Starks, at which point Roose decides to free Jaime. Coincidence? Joffrey's nuptials won't happen until Season 4, but the conspirators begin their conspiring here in Season 3. It takes a lot to plan a murder at a royal wedding you have to order the flowers, the cake, the poison ... Early on, Olenna Tyrell questions Sansa about what Joffrey's really like, possibly to clarify her thoughts about a course of action. And with all the Sansa swapping schemes being bandied about, it must have also occurred to the Queen of Thorns that a swap would be beneficial for Margaery's sake as well her granddaughter would still be able to marry Joff's gentler brother Tommen, who would ascend to the throne, if say, Joffrey were removed from power before consummating any marriage. That is, if the Tyrell Lannister alliance remains intact, and if the Lannisters still need the Tyrells more than the Tyrells need the Lannisters. And so Olenna offers a few concessions to Tyrion and Tywin offering to pay for half of the royal wedding (after Tyrion objects to its cost) and agreeing to a Loras Cersei marriage alliance, for now at least. We don't see Olenna interact with Littlefinger at all this season they're careful, these two. But Varys does tell her that Littlefinger is "the most dangerous man in Westeros." Who better to help plan a regicide? "Always the artists," Mance Rayder grumbles when he finds disassembled horse corpses at the First of the First Men. (Sam also finds a man with his head in his lap.) Either the White Walkers really have a lot of time on their hands, or they're trying to send a message. But what is it? We'll later see some of these same spirals and geometric patterns in cave paintings and stone circles made by the Children of the Forest, which underlines the connection between the two species. Are the White Walkers' art pieces a memory or mockery of their creators? A warning to humans? A ritual form of worship? Yelp reviews? In order to defeat them, we'll need to understand them. If you don't share Ramsay's taste for sadism, skip his slicing, dicing and psychosexual mutilation of Theon, mostly while the poor devil is strapped to a saltire cross. Basically, any time you see Ramsay, fast forward and explain that he breaks Theon and turns him into a groveling slave called Reek. Done? Done. Also potentially hard to take: the sight of the men crucified along Astapor's Walk of Punishment. The shot comes about 30 minutes into Episode 3 and lasts a little over two minutes, with most of the miserable victims remaining in the background. Twin rebellions beyond the Wall and in Essos, Episode 4 The Night's Watch mutiny is sudden and brutal. (The first blow takes place around 41 minutes into the episode, and lasts two minutes.) Dany's sack of Astapor, while empowering, is also quite violent she incinerates a man and orders mass murder. (The incineration starts at around 51 minutes into the episode, and lasts about a minute). Jon and Ygritte have a date night (the cave scene arrives about 11 minutes into Episode 5 and lasts about three minutes). Loras and Olyvar share some pillow talk (around 52 minutes into Episode 5, lasts about a minute). Robb and Talisa leave war behind for one night (about 7 minutes into Episode 7, lasts about four minutes). Melisandre gets Gendry's blood up (she starts to seduce him about 30 minutes into Episode 8, and the leeches are clear of all private parts three and a half minutes later). Everything seems fine until the band plays the Lannister theme song. If you'd rather skip the slaughter, it starts at about 46 minutes into Episode 9 and goes until the end, picking up again for a couple minutes more at the beginning of Episode 10.	N24News: A New Dataset for Multimodal News Classification	Television
In the mid 1950s, early in his career as a fashion designer, Arthur McGee had an identity problem of sorts. "When I'd go to look for lines of fabric, I'd go to the fabric company, and they'd say, 'Well, where's the designer?' " he recalled decades later when he was being honored by the Metropolitan Museum of Art. "They'd walk right by me. And I'd say, 'It's me.' " The slight, it seemed, was because of the color of his skin: Black designers were exceedingly rare at the time. As Newsweek put it in 1992, "Until recently, African Americans were easy to find in the garment industry: They were the ones pushing the racks of dresses along Seventh Avenue." Mr. McGee, who died on July 1 at a nursing home in Manhattan, was a pioneer on that street, the heart of the city's fashion industry: He was thought to be the first black designer to run the design room of an established Seventh Avenue concern, the Bobbie Brooks line. The cultural historian Aziza Braithwaite Bey, who once worked for Mr. McGee, said that he died after a long illness resulting from a series of aneurysms. He was 86. Mr. McGee was a quiet force in the business for decades, dressing celebrities as well as creating functional clothes for retail outlets like Saks Fifth Avenue, Bloomingdale's and Bonwit Teller. Dr. Bey said Mr. McGee had a talent for blending ancient cultures and contemporary style. "His classic designs, whether created in the '60s, '70s, '80s or '90s, could be worn today," she said. Along the way he mentored other designers of color. "Arthur was not a firebrand," Harold Koda, the former curator in charge at the Costume Institute of the Metropolitan Museum of Art, said by email. "Instead his confidence in his own talents was like water seeping into the hard rock of racism effortless seeming, but effective in breaking through." Dr. Bey was one of those who benefited from his guidance. "He mentored working designers and fashion students nationally and internationally," she said by email. "He was my mentor when I returned from studying haute couture in Paris in 1965. He taught me important skills of the trade and how to navigate in a fairly inhospitable industry." Though Mr. McGee helped bring more diversity to the business, he was clear in how he wanted to be defined. Arthur Lee McGee was born on March 25, 1933, in Detroit. His father, George, worked in road construction. He cited his mother, Rose, who was a skilled clothes maker, as his earliest influence. "She could make anything," he said in 2009 in a video made by the Metropolitan Museum of Art. "She would take a piece of newspaper and make it into a pattern, then make a garment out of it." "I stayed in school for maybe six months, then I quit," he recalled in the video, "because they said to me, 'There's no jobs for a black designer.' " He had begun working for the designer Charles James while still at the institute, and was also doing his own designing. In the early 1960s he opened a shop on St. Marks Place in Manhattan. Later he had a store in Miami. In the late 1960s and early 1970s he was head designer for College Town of Boston and other lines. Prominent figures from the Dance Theater of Harlem, Broadway and Hollywood began to seek him out. Among the fans of his clothes was the actress Cicely Tyson, who was once a fashion model. "When I wore them, I always felt like I was floating," she said in 2009 at a tribute to him organized by the Costume Institute. In a 2018 episode of the PBS series "Antiques Roadshow," someone brought in an outfit that Mr. McGee had made for the saxophonist Dexter Gordon to wear to the Academy Awards when he was nominated for an Oscar for the 1986 film " 'Round Midnight." Laura Woolley, the expert who assessed the outfit, appraised it at 5,000. When not designing for celebrities, Mr. McGee kept practicality in mind. "These clothes were all at a certain price range," he said in the 2009 video, describing his general public designs, "and you could always wear them, and you could get new ones added to the old ones. And that's the way the market looked then. Now you can't wear any of the stuff that you buy; it costs two arms and three legs, plus some more. It just doesn't work."	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Music copyright cases often come down to esoteric points of law and musical analysis, with lawyers and academic experts dissecting melodies for signs of similarity. But in one prominent recent case, the deciding factor may simply have been whether a rock band wanted to pursue a grieving mother. Last October, the 2000s era emo band Yellowcard filed what at the time seemed to be a routine infringement case against Juice WRLD, a fast rising rapper and singer. The band accused Juice WRLD of copying the melody of its 2006 song "Holly Wood Died" without permission for his breakthrough hit, "Lucid Dreams," and asked for at least 15 million in damages. But two months later, Juice WRLD, whose real name was Jarad Higgins, died at the age of 21 of an accidental drug overdose, and he was memorialized as a tragic symbol of the SoundCloud rap generation. For the last two weeks, a posthumous album, "Legends Never Die," has held the No. 1 spot on Billboard's charts with gigantic streaming numbers. Just weeks after Juice WRLD's death, the members of Yellowcard said they wanted to continue with the case, despite what their lawyer, Richard S. Busch, acknowledged were awkward "optics." The case was stayed in February until Juice WRLD's estate could name a personal representative, or executor. In the music industry, Busch is widely feared as a hard charging lawyer who often represents plaintiffs in music copyright cases. His biggest achievement was winning the "Blurred Lines" case against Robin Thicke and Pharrell Williams on behalf of the family of Marvin Gaye a case that yielded a 5.3 million judgment and became perhaps the most controversial music copyright case in decades. Yet in court papers on Monday, the "Lucid Dreams" case was quietly dropped. According to a one page form signed by Busch, the band was voluntarily withdrawing its lawsuit. A lawyer for Juice WRLD and his estate, Christine Lepera, said in an interview that there had been no settlement in the case, and that there would be no changes to the credits of "Lucid Dreams." (The credits had already been changed once before, when Sting and a collaborator were given writing credit and 85 percent of the song's royalties for unauthorized use of a sample.) One clue was a court filing a few weeks ago, in which lawyers on Juice WRLD's side noted that his estate had appointed his mother, Carmela Wallace, as its personal representative. That meant that the case could now move forward and would have pitted the four men of Yellowcard against a woman who had recently lost her 21 year old son. In a statement, Busch noted that the decision to drop the case was made by the band. "My clients are very sympathetic not only of Juice WRLD's death," Busch said, "but also needed time to decide whether they really wanted to pursue the case against his grieving mother as the personal representative of his estate." It is possible, though, that the band could change its mind and sue again. The dismissal of its case, Busch said, was made without prejudice meaning, he added, "it can be refiled."	N24News: A New Dataset for Multimodal News Classification	Music
Aaron Judge Is Playing Like a Star. Will He Be Paid Like One? Aaron Judge is one of the most talented and recognizable players in baseball. A larger than life outfielder with a toothy grin and a devastating swing, Judge was the American League rookie of the year and the runner up in most valuable player voting in 2017, and his was the best selling jersey in Major League Baseball in each of the last two seasons. He is playing for the most valuable team in a sport that paid out a waterfall of big contracts this off season: Bryce Harper and Manny Machado signed free agent contracts worth a combined 630 million, and teams committed 1.75 billion in contract extensions, including an eye popping 360 million in new money over 10 years to Mike Trout of the Los Angeles Angels. Judge's cut for the 2019 season, which gets into full swing on Thursday against the Baltimore Orioles? A hair above 684,000. Few would quibble with that salary, which is 11 times higher than the median household income in the United States in 2017. But in a sport that took in about 10 billion in revenue last year, complex questions about its economic structure are emerging amid rising tension between team owners and the players' union: As teams increasingly rely more on younger, cheaper players and shift their free agency priorities, can young stars like Judge expect to earn what their predecessors did? And even more, why aren't players earning the most money during their most productive ages? "Something needs to change," Judge, who will turn 27 in late April, said recently, adding, "They have to find a fair way to evaluate players at a younger age." He is far from the only superstar to make well below his market value: In 2017, the Chicago Cubs' Kris Bryant, then 25, earned about 1 million after winning the 2016 National League M.V.P. Award and a World Series title; the Mets' Jacob deGrom, who agreed to a contract extension on Tuesday, reluctantly accepted a 607,000 salary for 2016, when he was 28, after being the N.L. rookie of the year in 2014 and helping the Mets to the World Series in 2015. Carlos Correa, a 2015 rookie of the year and an All Star in 2017, made less than 535,000 in each of his first three seasons with the Houston Astros before receiving a discretionary raise to 1 million for 2018. "Players like Aaron Judge or like me or Kris Bryant contribute so much to teams before reaching arbitration, while making the major league minimum salary, when we're producing like players who are making much more," said Correa, 24, a shortstop who will earn 5 million this season after going through salary arbitration for the first time. Such low salaries used to be more palatable for players, given the promise of a big payday once they reached free agency. But that promise is drying up: Fewer teams are competing (eight teams had at least 95 losses last season, the most in history); clubs are more wary of aging players' production dropping off since drug testing began; the luxury tax has deterred some spending; and analytics driven front offices are evaluating players in similar ways, driving down bidding wars for players. None Everyone Loves Ohtani: The Angels' two way star was a unanimous pick for A.L. M.V.P. and his superfans redefine devotion. Phillie Phavorite: Bryce Harper truly committed to Philadelphia and now he's back on top of baseball, winning the N.L. M.V.P. Cy Young Winners: Milwaukee's Corbin Burnes and Toronto's Robbie Ray had hit rock bottom before they worked their way up to stardom. Baseball Is Stuck in Neutral: The potential of a lockout has a star studded group of free agents waiting for the dust to settle. Free Agency Tracker: Get the latest updates on signings, contract extensions and trades. The free agent market has shifted drastically the past two off seasons as teams have become more leery about handing out lengthy contracts to older players, leaving younger ones like Judge feeling squeezed on each end. "You can't play both sides," said the Yankees slugger Giancarlo Stanton, 29, who signed a 13 year, 325 million contract extension with the Miami Marlins in 2014 after one season of arbitration. "You can't say, 'Oh, break in and we'll see how they can do,' and once they're proven, 'Oh well, they're old now.'" Stanton said Judge could not expect to be rewarded in free agency the way similar players had been in the past. "He has to be more aware and knowledgeable to the situation than I had to be, because it has changed," Stanton said. The Yankees could have given Judge a heftier raise than the 62,000 bump he got for the 2019 season much as the Tampa Bay Rays could have given the 2018 A.L. Cy Young Award winner, Blake Snell, more than a 15,500 raise, to 573,700, for 2019. (Snell has since agreed to a five year, 50 million extension.) Neither team was obligated to, based on the collective bargaining agreement. Yankees General Manager Brian Cashman said the team's pre arbitration salary formula is based on players' service time and performance. "Its strength is built on its consistency," he said. "We've stayed disciplined to it." But few players are as valuable as Judge. In 2018, when he earned 622,300, he was actually worth 71 million to the Yankees, according to Block Six Analytics, a firm based in Chicago. Block Six devised a metric called Revenue Above Replacement, which attempts to calculate a player's value to a team based on factors like merchandise sales, attendance, social media influence and television ratings. By Block Six' estimates, Judge will still be worth at least 33 million a year in his early 30s, despite natural decline in his on field performance. "Stars are still stars," Adam Grossman, the founder and chief executive of Block Six Analytics, said. But Judge, who received a 1.8 million signing bonus as a 2013 first round pick, did not reach the major leagues until age 24, having spent three years playing college baseball and parts of three in the minor leagues. He will not become a free agent until his age 31 season, and teams might not be willing to hand out a Machado or Harper level contract at that age. His teammates, though, feel he deserves that type of paycheck now. "What people need to realize, say we're taking Judge for example, he's one of the best, if not the best, at what he does," Yankees starting pitcher James Paxton, 30, said. "If you look at the best in the world at what they do, what are they compensated? A lot." Next season, Judge is likely to become a multimillionaire through arbitration. That route offers little long term security, as each deal lasts just one season. Given that and the uncertain nature of free agency, the sport has gone through a small explosion in contract extensions this spring. The Yankees could offer Judge a huge extension during arbitration, as they did with Luis Severino, 25, last month, but such a deal would most likely not come close to what Machado and Harper earned by virtue of reaching free agency at 26, an abnormally young age. The players' union has argued that teams have wielded analytics to justify paying free agents less money, ignoring qualities like leadership and experience. "The suggestion that all players at a particular age are falling off a cliff is an excuse being used to drive down player salaries," Tony Clark, the executive director of the M.L.B. Players Association, said. M.L.B. has labeled it a distribution problem. Dan Halem, the deputy commissioner, said the players' portion of revenue had been relatively consistent over the past decade, arbitration salaries had risen and the top earning free agents were taking away from the rest. "It's pretty easy to say, 'Let's pay the younger players more and let's continue to pay the free agents what they're getting paid,'" Halem said. "That system doesn't work for us because the overall amount going to players hasn't changed, it's just being distributed among free agents differently. "There's salary inequity among players, in that the superstars are getting more and more, and other free agents who are not valued the same way by clubs are getting less."	N24News: A New Dataset for Multimodal News Classification	Sports
The painter Ficre Ghebreyesus (1962 2012), whose work makes its New York solo debut with the show "Gate to the Blue," traveled a long way in his cut short life. He was born in Eritrea, East Africa, and left at 16 to escape the country's brutal war of independence with Ethiopia. He traveled on foot to Sudan and lived as a refugee in Italy and Germany. In 1981, he settled in the United States, where he studied painting at the Art Students League in New York and at the Yale School of Art and supported himself for years as a restaurant chef in New Haven, Conn. During these years in exile, he became fluent in multiple languages, spoken and visual. In a mural size painting on unstretched canvas titled "Zememesh Berhe's Magic Garden," an enclosing "wall" of Eritrean style geometric patterning serves as backdrop for an African American bottle tree. And much of his work semiabstract, opaquely autobiographical has a dreamlike cast. In "Mangia Libro," titled for a nickname "book eater" that his family gave him as a child, he depicts his younger self absorbed in reading as he walks away from what looks like a line of monumental buildings toward a subaqueous realm of fantastic fish and plants, all done in colors Matisse would have relished. And large histories, beyond the personal, are ever present in his art. These include repeated references to the Middle Passage of the trans Atlantic slave trade. In a few cases the subject of exile is directly named, yet it can be read obliquely everywhere in the show. Taken together, two small pictures, one of an unmanned boat, the other of a soaring seabird, might be asking: What is the difference between being cut adrift and flying free? "Drawings From America's Front Lines" at Postmasters finds Mr. Mumford back in the combat zone only this time the scenes are shockingly local and recent: New York in the midst of the coronavirus crisis, Black Lives Matter protests and campaign rallies for Donald Trump. A field hospital set up in Central Park for Covid 19 patients brings home the warlike trauma of dealing with the virus, as does a drawing like "Photojournalists Outside Wyckoff Medical Center, Brooklyn, NY, Apr. 7, 2020," an ink and watercolor work on paper depicting a scene of a virus hot spot. Other works, like "Anarchists Campsite, Lownsdale Square, Portland, OR, Jul. 25, 2020," and several drawings and watercolors of Trump rallies and supporters capture the tumult of our time. Rendered in pencil, ink and watercolor Mr. Mumford's drawings including texts from overheard conversations are reports from the field, but also vividly expressionistic. (He also works from photos taken with his iPhone.) Thousands of photographs of these events are circulating on the internet, but Mr. Mumford's drawings show what it means for an artist expert draftsman and commentator to bear witness and document history. MARTHA SCHWENDENER The wall mounted works that make up most of Manal Kara's exhibition at Interstate Projects offer an enjoyable kind of sensory overload. The arched ceramic frames are textured and bulky, evoking old stone windows, but with modern, often cryptic images and texts embedded in them. They enclose photographs printed on cotton and held in place with string looped through grommets, recalling the D.I.Y. aesthetic of camping gear. Those pictures have other, smaller fabric photos pinned to them. Kara, a self taught artist and poet who uses the pronoun "they," includes many photos of wildlife. Often, they seem to be drawing connections between the natural and man made worlds, as in "cherry grape blueberry (syntax error system shutdown)" (2020), where the coiled form of a snake echoes an image of a tire. The phrase "yesterday was here today" is written on the frame like a koan but maybe also a clever advertisement. After all, the tire image is part of a commercial sign. One conceptual key may be in the show's title, "The Viewing Room vs. the Adoring Gaze," and the news release, which comes from the artist's dream journal. It's a surreal, parodic script for an infomercial, narrating a journey from a series of clinical spaces, called "viewing rooms," to a field filled with cows "gazing intently with their huge beautiful fringed eyes." This exhibition is a product of Kara's own adoring gaze. The artist is modeling a way to look. JILLIAN STEINHAUER You have just a day or two left to catch Cheyenne Julien in her New York solo debut, "Phantom Gates and Falling Homes," at Chapter Gallery. (The online viewing room remains live through the end of the month.) I've been trying for weeks to articulate what's so exciting about how this young painter from the Bronx handles color, and her knack for including drips and unfinished but patently purposeful brush strokes. And my mind keeps coming back to a line I recently overheard in a children's cartoon: "A rainbow only comes out when it's rainy and sunny at the same time." The line goes especially well with a small painting called "Treading Water." When Ms. Julien began the piece, according to the gallerist Nicole Russo, it showed an apartment window filled with hand drawn thank you signs for essential workers. Later, in response to news of police officers destroying water bottles and other supplies at Black Lives Matter protests in Asheville, N.C., Ms. Julien overlaid the window with the arm of a heavily uniformed man stabbing plastic bottles with a knife. You can still see a rainbow on one of the signs, part of it through the officer's forearm. But the painting's two subjects don't synthesize: They're simply both happening at once.	N24News: A New Dataset for Multimodal News Classification	Art & Design
What's modern about Paul Taylor's American Modern Dance? This choreographer, now 85, has made a few superb works this century ("Promethean Fire" and "Beloved Renegade"), but he's essentially a 20th century choreographer. He's not an artist of whom we speak of his "late" period; since the 1980s he began making dances in the 1950s he hasn't changed or shown the least desire to want to try. He's still a master: "Dilly Dilly," his latest creation (Taylor Opus 144), is perfect as far as it goes, showing a feeling for genre that no other choreographer today could match. But it's also minor, harmless, forgettable. You don't need to see it; you don't feel he needed to make it. Just another Taylor premiere, it was the centerpiece on Tuesday of the David H. Koch Theater opening night of this year's three week Taylor season. "Dilly Dilly," for 11 dancers, is to seven folk songs as recorded charmingly by Burl Ives; my keenest pleasure came from listening to Ives's effortless legato, diction and calm. He makes all the songs sound like they're items of American heritage, though at least two began life in England and retain currency there ("Lavender Blue" and "Foggy Foggy Dew"). Do some homework, and you find that Ives was once jailed, in Utah, for singing "Foggy Foggy Dew." (Its words about a fair young maid, "the many, many times that I held her in my arms just to keep her from the foggy, foggy dew" and the son they had in consequence seemed indecent.) The Taylor dancers wear black cowboy hats and colored sleeveless shirts; the men are in black jeans. Though there are six men and five women, Mr. Taylor ingeniously makes us feel the ensembles are symmetrical affairs with the sexes in equal numbers. The folksiness is so fresh that there's no dash of condescension; the dancers deliver it with bright energy. We see the maid's clinging embrace in "Foggy Foggy Dew"; in "Mr. Froggie Went a Courtin'," we see frog jumps and a courtship told as if by cartoon strip. But we watch them wondering what trick Mr. Taylor has up his sleeve. Can this be all? The title "Dilly Dilly" comes from the refrain to "Lavender Blue"; Mr. Taylor, who is fond of providing quotations in the program, cites the American Heritage Dictionary to show that "dilly" is a shortening of "delightful." (There are other meanings: remarkable, extraordinary, silly, odd. In London, a "Dilly boy" was a rent boy frequenting Piccadilly.) None of this, alas, deepens Mr. Taylor's dance for us. This is a piece of mild Taylor Americana, and like another recent one, "American Dreamer" (2013, to Stephen Foster songs), it's disappointingly slight. On Tuesday, "Dilly Dilly" was sandwiched between two of his golden oldies, "Mercuric Tidings" (1982, to three movements from Schubert's first two symphonies) and "Esplanade" (1975, to five movements from two Bach violin concertos). It was good to see both again and good in both cases to hear the live playing of the Orchestra of St. Luke's, conducted by that seasoned Taylorian, Donald York. Here you can feel on how many levels Mr. Taylor's mind was engaged, how much he wanted to challenge his dancers, how much he had to say about human energy in all its variety, and how boldly he wanted to explore his music. "Mercuric Tidings" begins and ends with a tight, multilayered tableau. How much that contains! When the dancing starts, that nucleus begins to peel open, row upon row. Soon the stage seems full, and yet we can see the central seedpod has not finished spilling its contents. Energetically formal like its Schubert music, "Mercuric" is an inscrutable ceremony whose simultaneous geometries pass as satisfyingly and inexplicably as those of constellations in the sky. In an amazing slow movement, a series of three male female duets are each counterbalanced by one officiating lone woman and a corps of three; the spacing keeps changing, and the sense of harmonic tension never loses its fascination. "Esplanade," the most miraculous of dances, makes a lyric flow out of one expressive contrast after another. Stillness and movement, running and walking, joy and anguish, rushing forward and looking back, jumping high and falling splat: Your heart is brim full while you watch. Happy as I was to spend time with these dances again, I still must observe that some ingredients of the Taylor experience stay too constant for comfort. "I wish they'd put their shirts on," my companion said about the "Mercuric" men; and yes, the Taylor emphasis on beefcake grows wearier with the years. (And the colors of most of the "Esplanade" costumes have always been ghastly: those orange jeans!) Half of the company's 16 dancers have been with Mr. Taylor for more than 10 years now, and casting seldom brings surprises. Every Taylor follower has been waiting to see much more of the arresting Michael Novak since he joined the troupe in 2010; we're still waiting. The season, with a huge number of works and several premieres, continues through April 3. What surprises, if any, will it bring?	N24News: A New Dataset for Multimodal News Classification	Dance
The end is near for Jessica Lang Dance: The small but vibrant company founded seven years ago by the choreographer Jessica Lang announced Monday that it would close this spring. The company which has performed in New York at the Joyce Theater, the Brooklyn Academy of Music and Lincoln Center will disband in April after a season that will take it to 19 cities. Ms. Lang's choreographic career has been flourishing: She has created dances for American Ballet Theater, Alvin Ailey American Dance Theater and a production of Verdi's "Aida" performed at San Francisco Opera and Washington National Opera. But there have been signs that the company was struggling. Plans to open a 6,100 square foot dance complex in 2016 Long Island City, Queens, which were announced with some fanfare, came to nothing. Ms. Lang, who said in a statement that creating the company had been "deeply rewarding," did not respond immediately to an email or phone message seeking comment.	N24News: A New Dataset for Multimodal News Classification	Dance
Grandparents represent a bigger chunk of the population than ever before, according to new data from the Census Bureau. The number of grandparents in the United States rose to 69.5 million in 2014, up from 65.1 million in 2009, the bureau reported last week. The youngest baby boomers turned 50 in 2014, and the country's 75.4 million boomers make up an exceptionally large pool of potential grandparents. The number of grandparents has grown by 24 percent since 2001. That year was the first time the Survey of Income and Program Participation asked the question "Are you a grandparent?" of respondents who were at least 30 years old and who had a child at least 15 years old. In 2001, there were an estimated 56.1 million grandparents. "We would expect more people reporting to be grandparents because of the aging of the population," said Wendy Manning, a sociologist who is the director of the Center for Family and Demographic Research at Bowling Green State University.	N24News: A New Dataset for Multimodal News Classification	Health
It's been only 16 months since Zendaya took her final bow on the Disney Channel, but her new HBO series, "Euphoria," makes one thing clear: The parent approved portion of her TV career is already ancient history. In the series, debuting Sunday, Zendaya stars as Rue, a high school junior committed to numbing herself with vodka and whatever drugs she can get her hands on, after a failed stint in rehab. Between bouts of unconsciousness, she narrates a dark, graphically depicted world in which the local dealers have barely hit puberty, fentanyl is rampant and her classmates' sex is not only casual, but frequently documented. "It's 2019: Nudes are the currency of love," Rue explains in the first episode. Based on the Israeli series of the same name and executive produced by Drake, "Euphoria" is a rare foray into teen drama for HBO. The creator and showrunner Sam Levinson (son of the filmmaker Barry) drew on his own troubled adolescence to tell the story, which channels earlier raw teen tales like "Kids" and "Skins" while tackling contemporary realities like active shooter drills and revenge porn. She is confident the "Euphoria" audience is unlikely to overlap with Disney's target demographic. "I don't think any of my 8 year old fans know" that this show exists, she said, smiling. "If they do, I don't think their parents will let them watch it." Born in Oakland to schoolteacher parents, Zendaya (last name Coleman) landed her first Disney gig in 2010 at age 13. When she wasn't playing an aspiring dancer on "Shake It Up," and later a spy in "K.C. Undercover," she was busy building a slim but exciting resume. In "Spider Man: Homecoming" (2017), her deceptively small part as Peter Parker's sarcastic classmate Michelle led to a third act twist that unmasked her as the franchise's infamous love interest, MJ. Zendaya reignites the chemistry with her superhero co star Tom Holland in the forthcoming sequel "Spider Man: Far From Home." She also delivered a nimble, exuberant performance as a trapeze artist in the movie musical "The Greatest Showman" (2017). By mid 2018, after wrapping her eight year run on the Disney Channel with the "K.C. Undercover" finale, Zendaya found herself worried about her next project for the first time in almost a decade. Then she read the pilot script for "Euphoria." "I knew if I wasn't a part of this show, I'd be miserable," she said. At the Four Seasons in Beverly Hills , Zendaya, 22, collapsed on a couch. The stylish actress had spent a long day in maroon velvet stilettos, but she was still eager to talk about why she wanted this role so badly and whether she would be able to break Rue's more vulgar habits in time for the "Spider Man" press tour. These are edited excerpts from the conversation. Did "Euphoria" appeal to you because it was such a break from Disney? There was no strategic plan. After shooting "The Greatest Showman" and "Spider Man," I went back to my Disney show, which is kind of like going to college and then having to go back and do the same grade over and over again. Not that I didn't appreciate having a job. But it's like you turn a switch on and do it, and then you get turned off and go home. I wanted more. Upon talking to Sam and finding out that Rue is really an incarnation of him and his battles with addiction and depression and a multitude of other things that everyone deals with, it made sense why I connected with her. You don't do drugs. What do you have in common with Rue? I feel like she's a version of myself with different choices and circumstances. Rue is a good person, she just doesn't know it. She's in pain. There's something innocent and redeeming about her that reminds you that she's a human first and an addict second. Is the intent of the show to be deliberately provocative? I don't find it that shocking, to be honest. People will. I kind of accepted the fact that it would be polarizing. I found a little calm in that. Whether people like it or not, it's real. I'm telling somebody's story. Just because it's not happening to you doesn't mean it's not happening all the time, every day. It's hard for me to speak on addiction because it's not something I have dealt with directly. But I still had friends who were dealing with things, and I had to help them through it. Were you nervous to step into a role this dark and occasionally graphic? I was really nervous because I wanted to do well. It's like going from nothing to everything there were no steps in between. That's why people think it's such a stretch for me to play this character. There's a lot of people who probably think I can't do it because they don't truly understand my personality. And I get it: I'm a Disney kid. There's a lot to prove. Sam told me I was on a mood board he made for Rue, and I didn't believe him because I felt like there's no way he's seen anything that I've done. He took a risk on me, but he doesn't see it that way. He would always say, "Yo, Z, I'm not worried about you." I appreciate that. How did you come to trust Sam to handle your onscreen relationship with Hunter Schafer, who plays Jules, one of the first major transgender characters to appear in a high school drama? Anybody who meets or talks to Sam feels a sense of comfort around him. He's a very open book. I'm glad that he wrote himself as me because he could've written it as a white dude, and then I would never have the opportunity to play a character like this. He directs most of the episodes, but if he's not directing, we have all female directors, which is great. He's also very collaborative and allowed us to fuse our experiences and our feelings into the character. Sam and Hunter have had long, in depth conversations about life. And Hunter is an angel of a human. She's brilliant. It's not hard to be in love with her onscreen. Yeah, I talked to the director Jon Watts prior to auditioning, and he said she gets bigger as the thing goes on. I was like: "Dope. I'm here for the long game." I didn't know she was going to be the sarcastic introvert. She's a very guarded person and she doesn't let a lot of people in. In the first movie, we just saw her shell. We kind of explore the softer sides of her in this upcoming one. Now she has to be more vulnerable because she likes Peter. You pushed back against the Disney Channel's original plan for "K.C. Undercover" you wanted to be a producer, you wanted the title changed from "Super Awesome Katy," you wanted to feature a family of color. Did you feel Disney needed to develop more diverse female characters? Yeah, 1,000 percent. It was very necessary. It was either they did it, or I didn't do it. It's understanding your worth. If you're in a place where you can move the needle, then do it. I've been able to help show the young Disney kids other paths to go. So hopefully it makes it a little easier to make that kid to grown up transition that everybody puts all this emphasis on. Have you already noticed a change in the types of roles you're being offered? I still get the corny stuff. It's cool. I feel like I can do "Euphoria" and still have another world outside of it where I can do family movies and fun things like that. I'm trying to break the habit of using the F word now because I use it so much as Rue, and in life. I'm about to go on tour for "Spider Man." It's a wonderful family movie. I can't be dropping F bombs.	N24News: A New Dataset for Multimodal News Classification	Television
Adorned with hand carved sculptures of Hindu gods and goddesses, the seventh century stone and wooden temples scattered across northwestern India are marvels from an era when ancient kings ruled the Himalayas. But if you look carefully you'll notice many have tilted pillars, slanted rooftops and warped stone floors. To the average visitor these may seem like wear and tear from centuries of aging, but to archaeoseismologists they are telltale signs of massive earthquakes that once devastated the region. A pair of researchers from the Wadia Institute of Himalayan Geology used the damaged temples to better understand the range and extent of damage caused by a quake that struck a nearby district in 1905 and another that hit a more distant region in 1555. They say the marks imprinted by these disasters provide clues of potential temblors to come. The archaeoseismologists reported their findings Tuesday in the journal Seismological Research Letters. In it they wrote that the 1905 Kangra quake killed 18,815 people, and described the other in 1555 as "a destructive earthquake in Kashmir, which ruined towns, killed several hundred people, and changed the course of the River Vesha, a tributary of the Jhelum." Their work focused on temples in two towns, Chamba and Bharmour, which are in the state of Himachal Pradesh in North India, about 40 miles apart. The Chamba temples are about 30 miles north of Kangra and the Bharmour ones are about 40 miles northwest of the district. Both towns are about 90 miles south of Kashmir, which is a very seismically active region. This area has remained relatively quiet for some time, but powerful earthquakes of magnitude 7.5 or larger have ravaged the regions that surround it. One of the deadliest struck the eastern part of Kashmir in 2005, killing more than 85,000 people in northern Pakistan. The temples, which provide a look into the lives and culture of the ancient people of the Himalayas, are sandwiched between Kashmir and Kangra. Yet, they escaped the 1905 and 2005 earthquakes generally unscathed, and there were no evident signs of the quakes in the area's geological record. "The Chamba kings built many temples at different places during their long reign," Mayank Joshi, lead author of the study, said in an email. "Both earthquakes didn't generate any deformation and destruction in the Chamba area. This factor led us to study earthquake history of the area." By analyzing broken bricks, cracked walls and deformed doorsteps in the temples in both towns and then comparing that data with historical accounts of natural disasters, the researchers linked the earthquakes with damage in the ancient structures. They were able to tell the difference between deformation done by earthquakes and that incurred through old age. The tremors created damage with consistent patterns, like shear marks, that were seen on multiple pillars and walls. The damage in the unaffected temples they examined did not have similar patterns. They concluded that the 1905 Kangra earthquake damaged the Bharmour temples, but left the Chamba temples untouched. They also found that the 1555 Kashmir earthquake shook the temples in Chamba, but did not affect the ones in Bharmour. This latter finding helped provide a clearer picture of how far the historic 1555 earthquake was felt, improving upon the few reports that survived nearly 500 years after that event. Dr. Joshi suggested that because Chamba is surrounded by faults, the area has the potential to become active again. He added that because the findings show that the area had not experienced any major earthquakes in the last 461 years, it could be overdue for a catastrophic quake.	N24News: A New Dataset for Multimodal News Classification	Science
Sales continued to rise at American retail stores in April, an indication that the economic recovery was progressing. The Commerce Department said Friday that retail sales reached a seasonally adjusted 366.4 billion in April, a 0.4 percent increase that was slightly better than industry analysts expected. The sales figures coincided with the release of other indicators on industrial production, manufacturing and consumer confidence that also pointed to strengthening economic performance. But there were still signs of fragility. Much of the rise in retail sales was fueled by sales of building materials, which expanded 6.9 percent, while decreases were reported at several categories of retail stores. And the rate of overall increase was lower than in March, when sales expanded at the more robust revised monthly rate of 2.1 percent, the government said. Still, it was the seventh consecutive monthly increase, and the results were 8.8 percent higher than in April 2009. "The underlying message is that consumer spending is doing pretty well here," said Joshua Shapiro, chief United States economist for MFR Inc. Mr. Shapiro and other economists said the figures indicated that consumers would probably contribute positively to the gross domestic product in the second quarter. "But it is unclear where it is going to settle down," Mr. Shapiro said, adding, "although further out it will be labor market conditions which determine the underlying trend." The trend in retail sales growth could be affected by several factors. Spending has been influenced by temporary government stimulus plans. It is not clear how long interest rates will remain low. And much depends on the outlook for jobs. Recent data show that while the economy has been adding jobs, many of the jobless, especially the long term unemployed, are still struggling to find work. And some economists parsing the numbers of April's retail sales found the results tepid. "Outside of sales of building materials, there is not much to get excited about in this report," Dan Greenhaus, chief economic strategist for Miller Tabak Company, said in a research note. Sales of motor vehicles and car parts rose 0.5 percent. Excluding that category, retail sales in April still rose 0.4 percent. At health and personal care stores, sales expanded by 0.9 percent. But spending across a broad range of other categories fell. Retail sales were all down in sporting goods, electronics, hobbies, music stores, home furnishings, and grocery and department stores. "It is mixed, but I think the recovery is still on track," said Win Thin, a senior currency strategist at Brown Brothers Harriman Company. "I think we will see continued modest improvement." Consumer spending makes up some 70 percent of American economic activity, so any indications of how households are likely to spend are closely watched. The preliminary reading for May from an index on consumer sentiment was 73.3 points, up from April's 72.2. Analysts polled by Thomson Reuters, which distributes the results of the survey on consumer sentiment by the University of Michigan, had predicted a reading of 73.5 for May. Mr. Shapiro said even though the index figure was above the low in November 2008 of 55.3, the level was still depressed. "With household balance sheets still overleveraged, the key determinant of consumer spending growth going forward will be the pace of the recovery in the labor market," he said. New figures also showed that manufacturing activity was rebounding. The Federal Reserve said industrial production picked up for the second consecutive month, rising by 0.8 percent in April compared with a revised 0.2 percent increase in March. The increase was helped by a 2.8 percent rise in the production of construction supplies, according to the figures. Over all, industrial production has increased 5.2 percent since April 2009, the report said. The output of most major market groups, including construction, has risen, the report said. Consumer goods production expanded, with advances in appliances, furniture and carpeting. But those increases were slightly offset by declines in automotive products and home electronics. Manufacturing rose 1.0 percent and mining increased 1.4 percent, offset by a 1.3 percent decline in production by utilities, the report said. "The industrial sector is benefiting from increased domestic demand, a strong export expansion, and to an important extent from a cyclical inventory swing," said Daniel J. Meckstroth, chief economist for the Manufacturers Alliance MAPI. "We expect to see continued moderately strong growth in manufacturing activity this year as the industrial sector restocks and benefits from the economic recovery," he said.	N24News: A New Dataset for Multimodal News Classification	Economy
Tom Heinsohn, the Hall of Fame forward who played on eight N.B.A. championship teams with the Boston Celtics, coached them to two titles and became their passionate broadcaster for more than 40 years, died on Monday at his home in Newton, Mass. He was 86. Jeff Twiss, a Celtics spokesman, said the cause was renal failure, adding that Heinsohn had had multiple illnesses, including diabetes and chronic obstructive pulmonary disease, or COPD. Playing on the parquet floor of the old Boston Garden from 1956 to 1965, Heinsohn brought a superb shooting touch to the dynasty engineered by Coach Red Auerbach. He loved to shoot, most famously hitting flat trajectory jumpers, and he had a deadly running hook. Heinsohn was the N.B.A.'s rookie of the year in 1957, capping the season by scoring 37 points when the Celtics defeated the St. Louis Hawks for the first N.B.A. championship in their history. He was a six time All Star. Coaching a rebuilt team after the retirement of Bill Russell, who had become a player coach with the Celtics after revolutionizing the game with his defensive prowess at center, Heinsohn took Boston to N.B.A. championships in 1974 and '76. As the Celtics' TV color analyst, he bemoaned referees' calls that went against Boston while exulting, "That's the basketball I'm talking about!" when they scored off fast breaks the way the Celtics of his playing days had done. He gave the Celtics players "Tommy points" for hustle and toughness. Apart from his intensity behind the microphone, Heinsohn endeared himself to Celtics fans by showing a softer side, telling how "the redhead in Needham" would have reacted to particular plays a running tribute to his wife, Helen (Weiss) Heinsohn, who was being treated for cancer. (She died in Needham, Mass., in 2008 at 68.) Heinsohn found a serene world as an accomplished painter, pursuing his love of art while playing and coaching. His works, most notably watercolors of the New England seashore, were displayed in shows and at museums. Thomas William Heinsohn was born on Aug. 26, 1934, in Jersey City. After his family moved to Union City, N.J., he became a basketball star there at St. Michael's High School. In college Heinsohn was an All American at Holy Cross in Worcester, Mass., taking the Crusaders to the 1954 National Invitation Tournament championship as a sophomore and averaging 27.1 points a game as a senior. He scored 1,789 points in three seasons to surpass his future teammate Bob Cousy as the school's career scoring leader. The Celtics made Heinsohn a territorial draft pick (something no longer in existence), and he won rookie of the year honors at a milestone time for the team its first championship after the midseason arrival of Russell, who had played in the 1956 Summer Olympics in Melbourne, Australia, after leading the University of San Francisco to two N.C.A.A. titles. Heinsohn, 6 feet 7 and 220 pounds or so, had 23 rebounds to go with his 37 points when the Celtics won the 1957 N.B.A. championship, defeating the St. Louis Hawks, 125 123, in a Game 7 double overtime. He played at varying times with Russell, Frank Ramsey, Tom Sanders and John Havlicek up front, and Cousy, Bill Sharman, K.C. Jones and Sam Jones in the backcourt. But Heinsohn became the target of Auerbach's ire over his conditioning. In his memoir "Second Wind" (1979, with Taylor Branch), Russell said that Heinsohn had not always gotten the most out of his talent. "Though Red yelled at him for about an hour every day, it wasn't enough," Russell wrote. "Tommy should have been a much better rebounder than he was, and he never got into peak condition." But as K.C. Jones told Dan Shaughnessy in "Ever Green" (1990), "You couldn't intimidate Heinie 'cause he was too busy shooting the ball and thinking, 'My shot, my shot, my shot.'" Heinsohn got revenge on Auerbach when he turned a practical joke back on him, handing him an exploding cigar Auerbach had once given him one which the coach lit, only to have it blow up in his face. Heinsohn was president of the N.B.A. players' association when a pension dispute delayed the players taking the floor at Boston Garden for the start of the 1964 All Star Game. They did come out of their locker rooms, and the issue was eventually resolved. Heinsohn retired because of a foot injury when he was only 30 years old, having averaged 18.6 points and 8.8 rebounds a game. He was elected to the Basketball Hall of Fame in Springfield, Mass., in 1986 as a player and in 2015 as a coach. Coaching Celtics teams built around center Dave Cowens and guard Jo Jo White, along with veterans like Havlicek, Paul Silas and Don Nelson, Heinsohn had a string of winning seasons. In addition to winning two championships, he was the N.B.A.'s coach of the year in 1973, when the Celtics had a league best 68 14 record, though they lost in the playoffs to the Knicks, the eventual league champions. Auerbach, who put those Boston teams together as the general manager, replaced Heinsohn with Sanders in January 1978 when the Celtics were 11 23, but called it "the most traumatic experience in my 32 years in the N.B.A." He complained that the players had been around Heinsohn so long that they didn't seem to be listening to him any longer.	N24News: A New Dataset for Multimodal News Classification	Sports
The Upright Citizens Brigade comedy organization, which has been financially troubled in recent years, has announced an effort to diversify its ranks and remake itself, at least in part, as a nonprofit. The group's founders, Amy Poehler, Matt Besser, Ian Roberts and Matt Walsh, who control operations of the organization's training program and theaters, said that they have been seeking nonprofit status since February, and that they intend to pass control of their theaters to a new board "of diverse individuals." They revealed the outline of their plans in an email on Saturday addressed to the "U.C.B. community." The statement said that they want the board to address "the questions of systemic racism and inequality within the theaters," among other issues. The news comes less than two months after U.C.B. announced the closing of its two Manhattan locations a theater in Hell's Kitchen and a training center on Eighth Avenue after they had gone dark in response to the pandemic. U.C.B. still has two locations in Los Angeles, and has been operating online improv and sketch classes as part of its efforts to weather the pandemic's financial impact.	N24News: A New Dataset for Multimodal News Classification	Theater
The first year students in Juilliard's dance division already have much of what it takes, on a technical level, to become professional dancers. To be accepted into the program, a dancer has to show immense promise. But to watch the school's annual "New Dances" concert, featuring new works by four choreographers one piece per class is to see how four years of training can build confidence and nuance on top of great technique. That arc was on view in "New Dances: Edition 2016," which opened on Wednesday at the Peter Jay Sharp Theater with pieces by John Heginbotham, Katarzyna Skarpetowska, Pam Tanowitz and Matthew Neenan. The evening's performances evolved from sweetly enthusiastic but slightly subdued in Mr. Heginbotham's "First," for the first years, to fearlessly expansive in Mr. Neenan's "Walk Me Through," for the seniors. The concert challenges professional choreographers as much as it does dancers in training, requiring each to work with a large ensemble of roughly two dozen students. It was Ms. Tanowitz, with her piece for the juniors, "thunder rolling along afterward," who rose most stunningly to that task, with a strange, searing and thoroughly modern ballet that, I hope, will have a life beyond this weekend. (Her 2011 work for a different crop of Juilliard students, "Fortune," was revived at Fall for Dance in 2012.) "Thunder" gains much of its urgency from Clifton Taylor's set design, neon green mesh panels that hang on all sides of the stage, including, at first, the front. The opening image of a group of women teeming in the space enclosed by those partial walls startles in its suggestion of a secret, perhaps captive, society. (The men, less central on Wednesday, perform the lead roles on alternate nights.) As she's known to do, Ms. Tanowitz pushes these dancers to the brink of what's possible, assembling devilishly difficult steps that keep us and them, it seems in a state of curiosity and suspense.	N24News: A New Dataset for Multimodal News Classification	Dance
Until recently, XpresSpa was known for offering manicures, pedicures, massages and waxing services at 25 airports in the United States and around the world, where travelers with some time between flights could get themselves spruced up. But on Wednesday, the company began offering a rapid molecular coronavirus test, manufactured by Abbott Laboratories, that will return results within 13 minutes at Kennedy International and Newark Liberty International airports under the name XpresCheck. "We believe rapid Covid 19 testing at airports can play a major role in slowing the virus spread and decreasing the risk of new community outbreaks linked to travel as cases continue to rise throughout many states," said Doug Satzman, chief executive of XpresSpa Group, in a statement. The company's move comes as the number of people flying remains low on Tuesday the Transportation Security Administration screened about 590,000 people, compared with more than two million on the same date in 2019 whether out of fear of air travel or because the 14 day quarantine requirements in some states make travel unattractive. In recent weeks, airlines including United, Hawaiian Airlines and JetBlue, as well as airports, said they would begin offering coronavirus tests; with a negative test often meaning that the traveler can skip quarantine at their destination. As the travel industry grapples with how to get people traveling again, testing at the airport presents an opportunity to put people at ease about getting on a plane. No airline in the United States has suggested that it will require a negative test before boarding. In March, when the coronavirus took hold of the world, XpresSpa was deemed nonessential. The company speedily closed its spas. Mr. Satzman said that he was "feeling pretty helpless like a lot of people at home, distressed and thinking about how I could help." At the suggestion of the chairman of the company's board, XpresSpa started looking into whether it could shift into coronavirus testing. Although the company brought back most of its corporate staff who had been furloughed, including those who worked in construction design and human resources, most of its employees who worked at airports are still furloughed. Who should get a booster shot? It depends, Dr. Scott Gottlieb says. To some, the conversion of a business offering chair massages and mani pedis into a medical testing facility might seem like a stretch. But, "if 2020 has taught us anything, it's that businesses of all kinds have got to find ways to pivot in order to say alive," said Scott Mayerowitz, executive editorial director of the travel news site The Points Guy. "If you asked me last year if a series of airport spas where people went to relax and escape the stress of travel would be offering medical services in a year, I would have laughed. But now it feels like a smart business move." XpresCheck's Kennedy Airport clinic can test up to 500 people per day, and since August, Mr. Satzman said, many travelers opted to take both the PCR nasal swab test and the blood antibody test. At Newark Airport, the clinic can test up to 350 people a day. XpresCheck's clinics charge 75 for one test or 90 for both the antibody and the PCR tests without insurance. The new rapid molecular tests cost 200 and are not covered by insurance. The Abbott rapid coronavirus test, called the ID NOW, is fast and easy to operate, giving results in just a few minutes, but the test is less accurate than laboratory tests that use a P.C.R. technique. The test has not been cleared by the Federal Drug Administration, but it has been authorized by the agency for emergency use by laboratories and in patient care settings. Mr. Satzman said that a company like his offering testing is just one part of a larger effort, and in order for tests to be more widely available, airlines, airports and companies need to coordinate. "We are one piece of this to provide testing in the airport," he said. "We've been on the phone lobbying congressional offices and representatives from the White House, the F.A.A., T.S.A. urging funding for testing in airports," Mr. Satzman said. The International Air Transport Association, a global airline trade group, along with Airlines for America and the World and Airports Council International North America, requested in September that all international travelers be tested systematically before flights. That could make a coronavirus test an expected part of airplane travel, akin to having passengers take off their shoes and discard liquids before heading to the gate. XpresCheck plans to open at La Guardia Airport and at Boston's Logan Airport soon. Mr. Satzman said that the company is working to expand into other airports around the country. Follow New York Times Travel on Instagram, Twitter and Facebook. And sign up for our weekly Travel Dispatch newsletter to receive expert tips on traveling smarter and inspiration for your next vacation.	N24News: A New Dataset for Multimodal News Classification	Travel
David O'Brien, a certified financial planner, has tried to repair the retirement portfolios of several victims over the years. There was the high school science teacher who didn't realize she had been sold a variable annuity, where layers of incomprehensible fees devoured nearly 2.5 percent of her retirement savings each year. Then there was the woman fighting cancer, who was also sold a high cost annuity, but whose underlying investments were tied up in a money market type fund one that cost 1.5 percent annually. In many cases, he explained, brokers made their sales pitches where these people worked, which put them at ease. "They send their local representatives to meet with you and they make it seem like this normal thing you fill out the forms because you are retiring," said Mr. O'Brien, who works in Midlothian, Va. "And then a few years later, you meet with me and you don't even realize you were sold two variable annuities inside an I.R.A." Brokers are not necessarily required to act in their customers' best interest, even if they are advising on their retirement money. While that would seem to be a basic consumer protection, in Washington and on Wall Street it has proved to be wildly contentious. Amid fierce pushback from the financial services industry, the Labor Department, which oversees retirement plans, recently delayed releasing a revised proposal that would require a broader group of professionals to put their clients' interest ahead of their own when dealing with their retirement accounts. The department said it would release the proposed rule in January, according to its regulatory agenda, instead of this August. (Phyllis C. Borzi of the Labor Department, had signaled that it could miss the deadline.) "They have really been stymied by the financial industry, which is spending millions of dollars to fight this rule," said Karen Friedman, executive vice president and policy director at the Pension Rights Center, a nonprofit consumer group. "All the Labor Department is trying to do is modernize a rule that is out of date." The agency is trying to amend a 1975 rule, part of the Employee Retirement Income Security Act, known as Erisa, which outlines when investment advisers become fiduciaries the eye glazing legal term describing brokers who must put their customers' interests first. The rules are stricter for fiduciaries who handle consumers' tax advantaged retirement money compared to fiduciaries under federal securities law. But it is easy to avoid becoming a fiduciary under Erisa, consumer advocates say, because brokers must first meet a five part test before they are required to follow the higher standard: If the advice is provided on a one time basis, for instance, the rule does not apply. On top of that, the consumer and the broker must also "mutually agree" that the advice was the main reason for the investment decision. While a five month delay may seem inconsequential, it has been nearly four years since the proposed rule was originally introduced in 2010. It was rescinded the following year after criticism from the financial services industry and lawmakers. At the time, Ms. Borzi, who oversees retirement plans at the Labor Department, said that the agency wanted to take the time to get the rule right. "There is a point at which delay equates to surrender," said Mercer E. Bullard, an associate professor at the University of Mississippi School of Law and investor advocate. "There is a real concern." Jay Paul for The New York Times Opponents including the Securities Industry and Financial Markets Association, known as Sifma, which represents large Wall Street firms, and the Financial Services Institute, which includes smaller independent advisers contend that new rules could disrupt the way they get paid, and therefore make it difficult for them to serve smaller investors. But consumer advocates argue that those predictions are premature since nobody has yet seen the revised rules. More specifically, the Wall Street firms and brokers say they are concerned the new regulations will prohibit them from charging commissions, even though Ms. Borzi has said commissions will be permitted. "We think they won't adequately allow for commission based accounts and therefore investors will be hurt," said Ira Hammerman, general counsel for Sifma. "It's like, 'Just trust me. We will work it out.' " Fiduciaries under Erisa, as it's written now, cannot be paid in ways that would pose a conflict of interest. But the way brokers and insurance agents are compensated often contains potential conflicts: a broker might receive a higher commission for recommending one investment over another. And arrangements known as revenue sharing, where mutual fund companies share a portion of their revenue with the brokerage firm selling the fund, also provide opportunities for conflicts. Fund companies that pay more, experts said, might get a spot on the firm's list of recommended funds. "The real problem with revenue sharing is that it is an undisclosed, under the table payment from the broker to the adviser," said Professor Bullard, though he noted that not all arrangements were conflict ridden. The Labor Department did not return repeated calls seeking comment. But in an interview last November, Ms. Borzi said the agency would take a close look at these types of payments and others that might provide financial incentives to push certain products. She also said it was not the agency's intent to put people out of business and that the public would have time to comment on the rules before they were issued. "Our intent is to protect consumers from conflicted investment advice," she said. In March, Ms. Borzi confronted many of the arguments from critics of the rule at an event hosted by the Financial Services Roundtable, an industry trade group. "Here is what I don't understand," she said at the meeting, which is on YouTube. Why are people "so opposed to our even putting a proposal a first crack at a discussion proposal on the table?" There have also been repeated delays and strong pushbacks to broaden the fiduciary rule that covers all retail accounts, not just retirement accounts. Dodd Frank, the financial regulatory law that went into effect in 2010, gave the Securities and Exchange Commission the authority to propose a rule that would require brokers to act as fiduciaries but it did not require that the agency write any rules. (Brokers are currently required only to recommend "suitable investments," while professionals known as investment advisers must act in their customers' best interest). Four years later, the S.E.C. still has not said whether it will even propose a rule. In fact, Daniel M. Gallagher, a Republican commissioner at the S.E.C., said in March that he was not sure a majority of the commission believed a stronger rule was necessary. "It is still very much an open issue," he said at the event held by the Financial Services Roundtable. "It would be lovely to think these issues aren't political," added Barbara Roper, director of investor protection at the Consumer Federation of America, "but these issues are political." As Ms. Roper concluded, fiduciary duty won't necessarily stop "bad people from doing bad things. But it may provide something of a deterrent and it may increase the likelihood that investors will be able to recover damages."	N24News: A New Dataset for Multimodal News Classification	Your Money
Rabbi Adin Steinsaltz, a towering scholar of the bedrock Jewish texts who spent four and a half decades writing a 45 volume translation of the Babylonian Talmud and made it accessible to hundreds of thousands of readers, died on Friday in Jerusalem. He was 83. Shaarei Zedek Medical Center confirmed his death. A publicist for the Steinsaltz Center for Jewish Knowledge said he had had acute pneumonia. For centuries, the study of Talmud in 2,711 double sided pages, the record of rabbinical debates on the laws and ethics of Judaism heard in the academies of Babylonia (modern day Iraq) between A.D. 200 and 500 was confined mostly to yeshivas. There, students, young and old, hunched over dog eared volumes of Talmud, sometimes without teachers, would teach one another the meanings of what they were reading, largely in Aramaic, and argue the implications. Rabbi Steinsaltz's achievement was to take the Talmud out of this relatively exclusive sphere and, with a Hebrew translation, allow ordinary Jews, taking the Long Island Rail Road to work or gathering in a cafe in Tel Aviv, to study those texts on their own. The Hebrew edition has been translated by publishers into English, French, Russian and Spanish. Rabbi Steinsaltz, a rumpled, bespectacled figure with an unruly white beard, completed the entire Talmud in 2010, often working 16 hours a day. "He brought the Talmud into the 20th century," said Samuel Heilman, distinguished professor of sociology at Queens College specializing in Orthodox Judaism. Rabbi Steinsaltz embarked on his life's great work in 1965, when he was 27. His translation encompassed the ancient commentaries along the margins in the Talmud, written by revered figures like the medieval scholar Rashi. He also provided his own commentaries on the often labyrinthine text, added biographies of the various rabbinical commentators and offered explanations of Talmudic concepts. His work, he said, was intended to accommodate even beginners with "the lowest level of knowledge." President Reuven Rivlin of Israel called Rabbi Steinsaltz a "modern day Rashi" and a "man of great spiritual courage, deep knowledge and profound thought who brought the Talmud to Am Yisrael" the Jewish people "in clear and accessible Hebrew and English." Random House, its American publisher, translated and published 22 English volumes then stopped. Koren Publishers Jerusalem Ltd. has since 2009 been publishing the Steinsaltz English translations and completed the entire 45 volume set. The Steinsaltz edition of the Talmud was not the first English translation. Soncino Press, a venerable British firm, completed a 30 volume translation in 1952, but it did not have the line by line commentary that can sustain self study. In 2005, Art Scroll/Mesorah Publications of Brooklyn brought out a 73 volume edition that has become the most popular version for many Orthodox Jews, and for tens of thousands of others who participate in Daf Yomi, the seven and a half year challenge to complete a study of the entire Talmud by analyzing a page a day. Rabbi Steinsaltz was a disciple of Rabbi Menachem Mendel Schneerson, who died in 1994, and his Chabad Lubavitch school of Judaism, which embraces nonobservant Jews and proselytizes among them. That sometimes put Rabbi Steinsaltz at odds with more hard line Orthodox rabbis, including prominent ones, who treated him as a heretic and told their followers to spurn his works. Rabbi Steinsaltz, a prolific and wide ranging writer and a sharp observer of humanity, wrote more than 60 books on philosophy, mysticism, theology and even zoology. His study of kabbalah, "The Thirteen Petalled Rose," is considered a classic and has been translated into eight languages. Invited to impart some spiritual guidance to the staff of a magazine, The Jerusalem Report, in the early 1990s, Rabbi Steinsaltz gave lessons on "lashon hara," the Jewish injunction against speaking evil. He taught that while most parts of the human body had their limits arms could carry only so much weight, legs could run only so fast the tongue could do infinite harm and therefore was set in a cagelike jaw as a reminder to guard it. Surprisingly, he was raised in a secular household and was drawn to observant Judaism only as a teenager, when he studied with a Lubavitch rabbi. "By nature I am a skeptical person," he said in an interview with The Times a decade ago, "and people with a lot of skepticism start to question atheism." Rabbi Steinsaltz who adopted the additional surname Even Israel (Rock of Israel) at Rabbi Schneerson's urging that he take a Hebrew name was born on July 11, 1937, in Jerusalem in what was then the British mandate of Palestine. His parents, Avraham and Leah (Krokovitz) Steinsaltz, were active in a socialist group, and his father went to Spain in 1936 to help defend the leftist Republican government against Nationalist rebels led by Gen. Francisco Franco. He attended Hebrew University, where he studied chemistry, mathematics and physics, while also undergoing rabbinical studies at a yeshiva in the Israeli city of Lod. At age 24 he became a school principal; he went on to found several experimental schools.	N24News: A New Dataset for Multimodal News Classification	Books
There is a scene in Spike Lee's "Get on the Bus" that has always stuck with me. The 1996 film (available on Netflix) is about a group of Black men who take a cross country trip to the Million Man March. Among them are a biracial police officer and a former gangbanger turned Muslim. But the pair I always remember are Evan Sr. and Evan Jr. and their strained relationship. Evan Sr. was not very involved in Junior's life and Junior resents this. Trying to reconnect with his son, Evan Sr. thinks that the experience of traveling to and participating in the march will bring them closer together. There is a catch, however. Junior committed a petty crime, and father and son are literally chained together because the latter is on probation. De'Aundre Bonds captures a young man who is angry with his father and also eager to capture his attention. But as the parent, it's Thomas Jefferson Byrd who never left me. He embodies quiet strength touched with a bit of worry because he understands that while trying to be a good man now, he has failed his son by not being in his life. Near the end of the film, after Evan Sr. has removed the shackles from his son, a fistfight breaks out between two men, who have been squabbling on the bus for days. In the confusion, Evan Jr. escapes. Senior finds him in the woods and a heartfelt conversation ensues. "I am your father," Evan Sr. tells him. "And you are my son. I love you." After a pause, he says the words that made the scene so unforgettable to me even 24 years later. "And you are wanted." Maybe it was the fact that I was a son of a single mother whose father was not very involved in my life. Maybe it was the way the actor who spoke those words delivered them with breathless, earnest emotion. But I've not been able to shake it and still think about it to this day. How it devastated me at 15 and how it brought me to silent tears that I had to hide from my friends in the theater. A charismatic presence, Byrd was unforgettable every time he was on the screen. It did not matter if the film was great, like "He Got Game" or "Get on the Bus," or subpar, like "Brooklyn's Finest" or "Trois." With Byrd, you got the same high energy work. So memorable was his small role as Honeycutt, a blackface M.C., in Spike Lee's underappreciated satire "Bamboozled" (2000) that my friends and I spent the year after high school telling each other, and trying our best to embody, a truth Honeycutt delivered that resonated deeply with us. In more graphic terms, he made it clear that being Black, even if you're from the hood, is a beautiful thing. There are certain performers, often character actors or actresses, that I keep an eye out for. If they're in a film, I'll check it out just because they're in it. Louis Gossett Jr. is one. Regina Hall is another. After seeing him in "Get on the Bus" in 1996, Thomas Jefferson Byrd was at the top of that list. His work was as memorable as his talent was undeniable. He will be missed.	N24News: A New Dataset for Multimodal News Classification	Movies
A roundup of motoring news from the web: Infiniti announced this week that it would build engines for its European market Q50 luxury sedan at the company's plant in Decherd, Tenn. Production of the engine, a turbocharged 2 liter 4 cylinder designed by Mercedes Benz, is scheduled to begin June 26 and marks the latest development in a cooperative deal between Renault Nissan and Daimler. (Automotive News, subscription required) Cambodia isn't exactly the world's wealthiest country. The International Monetary Fund ranks it 147th out of 187 in terms of per capita gross domestic product, and according to the World Bank, average per capita income there is just over 1,000 a year. But it will now have a Rolls Royce dealership. Rolls Royce Motor Cars said Monday that it would open a showroom next month in Phnom Penh, the capital. (U.S. News World Report) GM Authority reported this week that General Motors had trademarked the "Zora" name. Since Zora is the first name of Zora Arkus Duntov, one of the engineers who worked on the development of the original Corvette, there is a likelihood that the name could end up on a special edition Corvette. (GM Authority) Elon Musk, chief executive of Telsa Motors, said Thursday that the electric automaker had plans to open an assembly plant in Europe. He said the company was waiting until sales reach 160,000 cars a year to make a move, and that if that number hit 500,000 a year, the company would consider factories in Europe and China. (Reuters)	N24News: A New Dataset for Multimodal News Classification	Automobiles
Moving to a city where you know no one is never easy. It is even harder if you are a recent college graduate and are leaving the comfort of a ready made community to start your career with your first grown up job. So how do you turn an unfamiliar place into one you can call home? There are easy ways to make the transition from stranger in a strange land to the leader of a (new) pack. You can leverage existing networks like fellow college alumni; use social media to meet others with common interests; throw yourself into tourist mode and explore; make friends with your co workers; and, above all, say yes to every invitation you get. What do you have to lose? "While I'm still young, I will go where there is work," said Ms. Behre, 22. "If there's ever a time to make a big leap, the early 20s is the time to do it." Ms. Behre grew up in Pennsylvania and went to college in New York City, so as a result of taking that big leap, she has had to build a new network in a new to her city. It is not an uncommon situation for a recent graduate to face. In 2016, 12 percent of adults between 22 and 24 with a bachelor's degree moved from one state to another, according to a recent study published in Educational Researcher. And while we might think of young adults as always being out and on the go, loneliness and isolation are not unusual in the demographic. In fact, young adults reported experiencing twice as many lonely and isolated days as late middle aged adults, according to a study published in Aging and Mental Health. Most college graduates, especially those who lived on campus, have had social structures built for them. Even if you don't buddy up with your classmates, you can still make friends in intramural soccer, bond over late nights at the college newspaper or by volunteering through a fraternity or sorority. Now, those who have moved to another part of the country or another country need to build those structures themselves. Just because a city is new to you doesn't mean you are starting with an entirely blank slate. Matt Sena learned that after he graduated from the University of Michigan and moved to New York City in May to pursue work as an actor. "People who graduated three years ago, I'm getting in touch with them right now," said Mr. Sena, 22, who grew up in Manhattan Beach, Calif. "A lot of people have done exactly what I've done before, so they can recommend jobs like catering." And if they are open to it, he said, he will often crash on their couches to experience different parts of the city, rather than just going back to the house he shares with roommates in Bushwick. When Melanie Mabry, 22, graduated from California Polytechnic State University, San Luis Obispo in 2016, she moved to Sydney, Australia. But she didn't go alone: She and a college friend got Australia Working Holiday Visas and moved there together, which gave them at least one connection while trying to make a home on the other side of the world. Together they have explored the country and made other friends together, which Ms. Mabry said has been easier than trying to strike out alone. Pairing up with other young adults also makes it easier to sight see and visit places that longtime residents might find old hat. Tapping into the local branch of a community built around one of your interests can help, too: a running club, an intramural sports league, a church, a crafting group. Even if you don't know anyone there, having something in common can open doors to new connections and friendships. Ms. Warnick, a writer who has researched place attachment, or the sense of connection that people sometimes feel with their towns, said that using college networks can help. But she warned against relying on them too heavily, especially if the people who are part of that network are on a campus far away and not where you currently live. "For someone who has just graduated from college and moved to a new town, the temptation might be to hop onto Snapchat and talk to your old friends, and never bother making new ones," she said. "That's almost guaranteed to make you feel isolated and alone in your new town." There's an App For That While making friends is important, Ms. Warnick said, so is forging connections with the physical place. "The friendship maybe isn't enough," she said, "which is why I tell people to also find ways to fall in love with your community." Ms. Mabry started doing this before she left for Australia. On Instagram, she followed people who lived in Sydney and other major Australian cities, and from there she created a list of places she wanted to go and things she wanted to see. Now, on Sundays, when public transit fares are capped at 2.60, Ms. Mabry and her friends take long train trips to see something new often something she discovered on someone's Instagram account. Matt Sena has been using the Meetup app to find like minded people doing things in New York that interest him too. He looks most often for meditation circles. He's also been going to open mic nights, and volunteers for a local political campaign. Even though he often goes by himself, he often clicks with people there, broadening his connections in and to the city. For a lot of recent grads, the job they moved to their new city for can provide an outline of a support system or at least a place to start. "It's always nice when work doesn't feel like work," said Kim Christfort, an author of Business Chemistry: Practical Magic for Crafting Powerful Work Relationships and national managing director of Deloitte Greenhouse. "So to the extent that you can connect with people and have some sort of relationship, it makes it easier to do your job." Ms. Behre has gotten to know her co workers at the Dallas Theater Center, and consequently Dallas itself, by meeting a very basic need. "A lot of it revolves around food, because the people who I work with we tend to go out for lunch," she said. Since the theater center has three locations, she and her co workers can explore three areas of the city through something they all do every day. "There's always a risk of mixing business and friendship," said Mrs. Christfort, of Deloitte Greenhouse. "There's a need to have good judgment about things and perspective." That means bearing in mind that not everyone at work is looking to make new friends, no matter how enthusiastic someone else might be. "A recent graduate needs to understand that they're going to be working with teams of people that are going to be very different," she said. If someone isn't open to a friendship, back off. It could be that things change over time. Ms. Mabry, who works for an Australian staffing agency and as a bartender, said that she recognized the limits of most workplace friendships, and the need to have friends outside of her job. "There's a difference between having friends at work and having friends that you're going to hang out with," she said. Being friendly with co workers is nice, but she said she doesn't rely on the idea of co workers turning into lifelong pals. Luke Rafter moved to San Francisco in 2016 after earning a master's degree in accounting at the University of Notre Dame. He made friends at work, but soon realized that he wanted to expand beyond his office. So in the last six months, he said, he has became a "yes man." If someone asks him to do something, he goes, no matter what. He also has sought out fun activities and invited people to join him. Sometimes he will meet friends of friends and then include them on his next invitation to do something, like attend a street fair or go hiking, so he is rarely alone on his adventures. He is also a regular at Feastly, a pop up dinner series in San Francisco. "It's a communal atmosphere, and the chefs talk with everyone at the meal," said Mr. Rafter, 25, adding that he has become friends with one of the chefs outside of the Feastly umbrella. "It's really fun to spend some time with people you wouldn't see on a normal day to day basis." Social media can also help with finding opportunities and like minded people in a new city or town, Ms. Warnick said, but meeting people in person is key to making the new place stick or be a better fit for however long someone stays. "We have all sorts of social networks that give us the illusion of social interaction and friendship without actual, real friendship," she said. "The only way to make friends is to put yourself out there. You're just going to show up and do it."	N24News: A New Dataset for Multimodal News Classification	Real Estate
LONDON At the root of Moody's decision to downgrade Britain's credit rating is a crucial economic reality: Britain has begun to trail its peers in Europe even bailed out euro zone economies when it comes to bringing down its budget deficit and making it attractive for foreigners to buy its exports. Prime Minister David Cameron and his increasingly jittery coalition government have made deficit and debt reduction a defining priority. In December, his powerful chancellor of the Exchequer, , warned that an austerity program that had already resulted in the elimination of tens of thousands public sector jobs would have to be extended for a year longer than planned, to 2018. But that same austerity program has contributed to long term economic malaise. On Friday Moody's became the first ratings agency to strip Britain of its prized triple A investment grade, reducing the country to Aa1. In its report, Moody's said one of the core factors behind its decision was the very slow pace of the British recovery. Mr. Osborne said afterward that Moody's decision was "disappointing news," but he promised not to let the downgrade deflect the government from its deficit cutting strategy. The challenge Mr. Cameron and Mr. Osborne face in turning around the economy and changing Britain's status as a fiscal and trade laggard was underscored by two statistics released Friday in a widely anticipated European Commission economic forecast for the European Union. The first is that despite presiding over one of the longest and highest profile European austerity campaigns, the British government will end this year with a primary deficit the purest measure of how much more a government spends than it receives in taxes of 4.3 percent of gross domestic product. That is by far the highest such figure in Europe and second only to debt ridden Japan among the world's developed economies. The second is that even though the pound has lost up to a third of its value against major currencies since the onset of the financial crisis, Britain this year will be the only developed economy in the world that will register a current account deficit that will be higher, at 3.1 percent of G.D.P., than it was in 2009. The current account balance is the broadest measure of a country's ability to sell its goods abroad. The larger the deficit, the more a country must borrow. All things being equal, a less costly currency should make it more attractive for foreigners to purchase a country's goods or invest in its assets. Export powers like Germany and China run large current account surpluses. Mr. Cameron has touted the benefits of having a flexible currency, free of the constraints of the euro and Britain may even hold a referendum on its continued membership in the European Union. But even euro zone countries like Spain, Greece and Portugal, which three years ago had gaping account deficits that drove them to the brink of collapse, have made dramatic improvements in this regard. The European Commission even sees Spain moving to a current account surplus this year. Britain's persistent and worsening trade gap illustrates a troubling inability to increase exports even though the government has made this a policy priority. In his first address to Parliament, the incoming governor of the Bank of England, Mark J. Carney, pointed out that since 2000, Britain's share of global exports had decreased about 50 percent the steepest decline among the world's 20 biggest economies. One explanation for the disappointing British record in narrowing its deficit and becoming more competitive is a surprising decline in productivity since the start of the crisis. Since their economies tanked, countries like Spain, Portugal and Ireland have become more competitive by laying off workers. That should set the stage for a more robust return to growth once the recession ends. In Britain, however, the opposite has been true: Despite stagnant economic growth, the British unemployment rate has remained relatively low, at just under 8 percent. In other words, Britain needs more workers to produce the same product which, in addition to keeping the economy from growing strongly, pushes up labor costs, making exports more expensive to foreign buyers. Kevin Spacey was ordered to pay 31 million to the 'House of Cards' studio after sexual harassment allegations. Netflix buys a visual effects company in a move to support its global ambitions. "Productivity is at the root of all of Britain's problems," said Robert Wood, an economist at Berenberg Bank in London who recently came out with a detailed report on the topic. Moody's highlighted the essence of the country's productivity problem on Friday, when it said that the expected British growth rate of 1 percent this year was far below the long term trend of 2 percent to 2.5 percent economic growth. In its report Friday, the European Commission projected growth of 0.9 percent in 2013, after no growth in 2012 and 0.9 percent in 2011. Economic stagnation has made it harder for the government to reduce the deficit because tax revenues are not increasing as much as had been projected. Mr. Osborne extended the austerity program in December because the government had missed one of its self imposed deficit reduction goals. Britain's austerity has included both tax increases and budget cuts. But the government led by Mr. Cameron has been reluctant to follow the example of the governments of those ailing euro zone countries that have taken a sharp knife to public sector salaries, pensions and other benefit payments. The most recent public finance figures for January show that public spending continues to increase in Britain, driven largely by social benefits. Those payments have risen by 6 percent over the past 10 months, with much of that figure driven by pension payments in addition to unemployment benefits. The Moody's downgrade and the continuing problems in the economy could prompt foreign investors who have thus far been heavy buyers of British government bonds to sell their holdings on the view that gilts no longer represent a haven in troubled Europe. Such an outcome is not guaranteed, of course. The United States lost its triple A rating in August 2011 and France lost its in November 2012. The reaction from the bond market has been a collective yawn. But the downgrade of Britain comes as the pound continues to slide. The currency has fallen more than 2 percent against the euro and nearly 4 percent against the dollar in the past two weeks after Bank of England officials said they were inclined to print more money in order to finance another program of bond buying in an effort to prod the economy into growth. As hedge funds and other major investors increase their bets against the pound, bond investors will have more incentive to sell their holdings, especially if more downgrades are in the offing.	N24News: A New Dataset for Multimodal News Classification	Global Business
Credit...Alexis Gross for The New York Times LOS ANGELES It's been quite a year for Noen Eubanks. Last September, he was a high school senior living in the suburbs of Atlanta, acting in high school plays and planning to study video game design one day. Like so many before him, he was also just trying to get through adolescence without being teased. Then, he started a TikTok account, posted a short video of a joke he wanted to show his older brother, and forgot about it. He came back later to find about 100 views a lot, he thought at the time. So he kept at it. "I lost my mind," he said. Today, he's got over 5 million subscribers and is living in Hollywood Hills, having been hired as the new face of Kyra TV, a Youtube media company with a Gen Z fan base, earlier this summer. He has a producer, who develops content and brand partnerships for him, a clothing line in the works (it will debut with a sweatshirt) and a salary. Next, Mr. Eubanks, 18, joked , he might "buy a country." "I just kind of went with it," he said. "Sometimes you just have to let go, because if you hold on to things you're basically fighting yourself." Like Instagram before it, TikTok has attracted the attention of brands and marketing teams that are eager to stay relevant and appeal to a new, younger audience. "TikTok is fast paced, it's funny," said Brian Salzman, the C.E.O. of RQ Agency, which builds relationships between companies and influencers who do advertisements for them. "For brands, it's just important to be part of that zeitgeist." To that end, more and more companies are hiring teenagers with large TikTok followings as, essentially, brand ambassadors. (Brands are hiring teenagers as consultants, too.) It is important to "not only understand the new and emerging platforms, but understand who is doing it right," Mr. Salzman said. There's the risk, of course, that TikTok may go the way of Vine, or other shuttered social media platforms. But Kyra TV hopes to avoid that fate by investing in talent in ways that make them influential regardless of their platform. The goal, said James Cadwallader, 29, a founder of the company, is to "dominate the world of video, particularly for Gen Z." Our critics went down the TikTok rabbit hole. Here's what they found. Founded in London in 2017 by four millennial men, Kyra TV produces two Youtube shows, "PAQ" and "Nayva," in which four hosts complete fashion related challenges each week. In one episode, the stars of "Nayva" must recreate the Instagram looks of the rapper Rico Nasty for under 100. Despite being based in London, most of Kyra TV's audience is in the United States, along with most of the guest stars the company would like to book, so it is opening a satellite office in Los Angeles later this year. For optimum content creation and because he moved across the country without family or friends to be in Los Angeles Mr. Eubanks spends a huge chunk of time with Kyra TV staff. At a photo shoot at the Airbnb they currently share, Mr. Cadwallader teased Mr. Eubanks about a stray hair growing from his chin. During a drive out to Joshua Tree for a company directed photo shoot, Mr. Eubanks called Mr. Cadwallader, who is a millennial, a "boomer" who is "just out of it." "It's all relative, mate," Mr. Cadwallader said. "Just give it five years. Then you're going to be older as well." The team throws out ideas for Mr. Eubanks concepts for videos, ways to advance his brand that he often rejects. "A lot of things I just know that they'll work or they won't work before they even go out," Mr. Eubanks said. "You can just feel it, you can just tell. Like, you'll watch it and you just know, is this something that people are going to want to watch or not?" Over the past year, Mr. Eubanks has learned to post in the early afternoon to catch teenagers and preteenagers as they get home from school. He spends six hours a day on the app (according to Apple's Screen Time tracking tool) to keep up with the latest trends. He has a natural understanding of Gen Z humor (ironic and, at times, fatalistic but always playful) that his millennial bosses admit they don't have. On the ride out to Joshua Tree, Mr. Eubanks explained a TikTok meme about "the ants." As with almost every TikTok meme, the concept falls apart with too much explanation, especially because the jokes on TikTok are constantly changing as they are copied, expanded upon and shared. But "the ants" boils down to something like this: The creator of the video mimics the act of discarding an item, like a piece of fruit, as if it were covered in ants. The next shot is of the same person pretending to be the indignant ant, scowling and waving its antenna. Teenagers around the country picked it up, iterating quickly and acting out random scenarios, like spraying sunscreen in Dr Pepper (to the chagrin of "the ants"). Mr. Eubanks said this particular meme worked because it reflected constancy in life. "There are some things that will never change no matter what happens they will always be the same, and it's always going to be something that we all have to deal with," he said. "You could live in Georgia, you could live here. No matter where you're at, there's going to be ants." Still, constancy is relative term for a digital generation. Almost as soon as the meme took over TikTok, it was gone. "If I wait three days and make a post about the ants, it could be dead," Mr. Eubanks said. How to Make It in America The company's revenue projected to be 10 million this year comes largely from branded content. (Kyra TV also raised 7.3 million in venture capital funding this year, said Devran Karaca, a founder who handles business and operations for the company.) In 2018 the company won a Digiday Award for best brand partnership for an episode of "PAQ" promoting Converse Fastbreak sneakers. In the 12 minute episode, Converse emails the show's four hosts to create a "commercial" for the new sneakers. The four young men set about shopping for outfits and scouting locations. The end result is goofy but fun: At one point during the ad (within an ad) one of the hosts drinks champagne out of the sneaker. While the company's headquarters will remain in London, it hopes the Los Angeles branch will give it more a ccess to the connections and resources it needs to dominate the 12 to 20 year old media market. "All of the biggest creators are here, all of the opportunities are here," Mr. Cadwallader said. "If I was an alien looking down on planet Earth with no understanding of the complexities of it, I would probably say this is the place you need to be." For Mr. Eubanks, the move to Los Angeles is a bit of a fresh start. Toward the end of last year, he went through what he called his "lowest low that I've ever gone to mentally." His relationship with his parents, divorced and both remarried, was strained; he didn't like his job ; his older brother Damon, his closest family member, had joined the Marines and was leaving for basic training; kids at school mocked him; and he was dealing with anxiety and self hate. On TikTok, though, he could explore his personal style and develop his sense of humor. "For the most part in person, people still weren't a fan of me, but my fans would reassure me that they do like what I'm doing and so I didn't care what everyone else was saying and it felt nice," Mr. Eubanks said. "I was thriving. I was doing what I wanted to, and people were enjoying it. There's no better feeling than that."	N24News: A New Dataset for Multimodal News Classification	Style
He was sentenced in September for drugging and sexually assaulting Andrea Constand, in his home outside Philadelphia in 2004. He maintained his innocence and in December his lawyers filed papers with the Superior Court that challenged the way the trial judge in the Montgomery County Court of Common Pleas, Steven T. O'Neill, handled parts of the case. For example, the lawyers contend Judge O'Neill wrongly ignored the testimony by a former district attorney who said he had promised never to prosecute Mr. Cosby and that he erred by allowing testimony from five other women who had accused Mr. Cosby of drugging and sexually assaulting them. While the Cosby appeal process will not move forward until Judge O'Neill issues his opinion, known as a 1925(a) Opinion, several legal experts said the seven months that have passed since Mr. Cosby's sentencing in September are not unusually long period of time in a case of such complexity. In a statement, Kevin R. Steele, Montgomery County district attorney, said, "Seemingly, the Superior Court did not need a Commonwealth response to the defense's motion, which was fraught with inaccuracies, before yet again denying the defendant's request for bail pending appeal." Mr. Cosby's spokesman, Andrew Wyatt, said in a statement that the defense had anticipated that the bail request would be denied and that the primary motive in filing it was to highlight that Judge O'Neill had yet to produce his opinion.	N24News: A New Dataset for Multimodal News Classification	Television
"My husband and I had decided life was too short," recalled Ginny McKinney, "so we went shopping to buy a travel trailer to take us into an early retirement." That was three years ago. "While standing in the fourth trailer that we were considering, he had a heart attack and died," she said. Dan McKinney was 62. Ms. McKinney was 59 and retired from her work as a medical assistant, although she was taking on occasional work to make a little extra money. Her husband was getting ready to retire from his post as a restaurant manager at the Ritz Carlton Club at the Aspen Highlands Ski Resort in Colorado. Like Ms. McKinney, one third of the women who become widows are under age 65, according to data from the Women's Institute for a Secure Retirement, known as Wiser, a nonprofit organization dedicated to women's financial education and advocacy. The Census Bureau reported in 2011 that the median age of widowhood was 59.4 for a first marriage and 60.3 for a second marriage. No one is ever prepared for such an event. But for many women, the road to financial hardship begins after their husbands die. Nearly a third of single women over age 75 are living in poverty, according to Wiser's research. Ms. McKinney is not one of them. The couple had some savings, and she was the recipient of his 150,000 life insurance policy. Nonetheless, the sudden loss turned her world upside down. "He carried my heart on a velvet pillow, and I was crushed," she said. One of her first moves after the funeral was to connect with a certified financial planner, Danielle Howard of Wealth by Design in Basalt, Colo., who made it clear from the start that Ms. McKinney needed to share responsibility for her finances and not leave everything to her adviser. "Some women are heads of households and managing it all," Ms. Howard said, "but probably 75 percent of women I've worked with just go, 'I am not good at math.' It is not a matter of being good with math, I tell them. You can use a calculator. You just need to be comfortable talking about it." Ms. Howard urged her client to increase her financial literacy. "That education is vital to getting your feet back on the ground," she said. Like most widows, Ms. McKinney is living on a lot less than before her spouse died. "The big picture look at widows is that there's almost always a loss of income," said Cindy Hounsell, the founder and president of Wiser. Women also generally live longer than men, making it even more important that they plan their finances carefully. For reasons she still doesn't fully understand, two weeks after her husband's sudden death, Ms. McKinney headed back to the travel trailer dealership to pursue the dream she had with her spouse. She bought a 15 foot Sportsmen Classic. "I took off for three months, driving a circle around Colorado," she said. "I went to places in the wilderness and on the top of mountains, where I could stand outside and scream at the sky, and scream at God for taking my man. And scream at him for leaving me." She also joined the Sisters on the Fly, a women's empowerment adventure group. "The group made me feel I wasn't a victim," she said. "I wasn't the only one who had gone through this." Locast, a nonprofit streaming service for local TV, is shutting down Capital One's chief executive was fined after being called a 'repeat offender.' Since her husband's death, Ms. McKinney has put tens of thousands of miles on her truck and trailer. "I've done a lot of driving, but I haven't done anything exorbitant," she said. "I didn't go around the world." Indeed, widows need to make their initial financial moves cautiously. "There's a sense of urgency to do something right after you lose a spouse, but I caution widows to recognize the psychological trauma and don't do anything hastily," said Eleanor Blayney, author of "Women's Worth: Finding Your Financial Confidence" and consumer advocate of the Certified Financial Planner Board of Standards. "Widows, in particular, have to be very careful about being taken advantage of by people who may or may not have their best interests at heart." One stumbling block for many widows is knowing where the money is. That often requires some sleuthing to locate savings accounts, brokerage accounts and retirement plans and identifying the proper online passwords. "The first step to piecing things together," Ms. Blayney said, "is digging out your joint tax returns for the past five years." "An ounce of prevention is everything," Ms. Blayney added. "Anticipating widowhood is tough, but the more financial information a woman can gather in advance of the loss of a spouse, the smoother it will be." That's easier said than done even when the death is not sudden. Five years ago, Joyce McCue, now 63, and her husband of 30 years, Richard, moved to McLean, Va., from Memphis for his job as vice president for Hilton International. Six months later, he learned he had throat cancer. He died a year after their move at the age of 55. Her spouse had a 2.5 million life insurance policy. But when it came to what to do with it and other family investments, she was at a loss. "I was always totally bored when we went to our financial planner," Mrs. McCue said. "I controlled the day to day finances. I paid the bills. I balanced the checkbooks. But he did the big picture stuff." She did have one thing in her favor: She knew how to control her spending. "Richard and I always teased each other," she said, "because my motto was always 'Do we need that?' and his motto was 'Let's get two.' " She hired a financial adviser, Eileen O' Connor, co founder of Hemington Wealth Management in McLean. "It was quite intimidating," Mrs. McCue said. "I felt like I was asking questions a kid in high school would." And, like Ms. McKinney, she joined a women's support group. "Widows are able to share and help each other with the challenges they're facing and resources," Ms. O'Connor said. "While I'd like to think I'm helpful to my widowed clients, I think they find as much support, or more, from peers that are going through the same ordeal." Most financial planners suggest that widows refrain from investing or spending any lump sum insurance or pension payout for at least six months and ideally a year. Some widows, however, overspend early after the death of a spouse. That's one mistake Ms. McKinney made. "If I had it to go over again, I would not take that life insurance in one lump sum," she said. "I would have had it divvied out. You're not thinking that first year." Among other things, she gave some large gifts to her adult children. "Somehow it felt like it might soften things, ease the pain however irrational it is," she said. An even more important decision is where to live. "That's an emotional one because the family home is often the locus of the marriage," Ms. Blayney said. "It's not just a financial decision; it is a very emotional decision." Ms. McKinney waited a year to sell the couple's 1,700 square foot home in New Castle, Colo., which sold for 260,000. "After I came back from my trip, I never moved back in," she said. "I realized I was living in my camper on the front curb and using my house as a really expensive laundromat. I didn't love the house anymore." After paying off the mortgage and upgrading to a 250 square foot travel trailer, she had 63,000 left. "For now, I draw from that for living expenses," she said, "so I don't touch my retirement savings." Like Mrs. McCue, Ms. McKinney found new life through sharing with others, writing a blog on Facebook for widows and forming fresh bonds with the women she met through Sisters on the Fly. "They're a hoot," she said. "I needed to have something joyful to look forward to and there they were."	N24News: A New Dataset for Multimodal News Classification	Your Money
The remains left behind in the preternatural ghostly "What Remains" at Danspace Project a collaboration between the choreographer and director Will Rawls and the poet Claudia Rankine have to do with the body and all of its vibrations. Here, four performers invoke states of willful persistence, spreading their bodies and voices across the stage until, as if drained from exertion, they exit one by one. The journey to get there? It's dark and elusive, sometimes frustratingly so. It feels long. The work, a co presentation of Danspace Project and the French Institute Alliance Francaise's Crossing the Line Festival, began as a project at Live Arts Bard. The idea was to examine the effect of surveillance on a human being. The artists narrowed the topic to focus on the black experience and spoke intriguingly about self surveillance in a New York Times article: The vigilance of watching your own tracks, especially in white society, in order to stay safe. Ms. Rankine's book length poem "Citizen" is an inspiration. In its most engrossing moments, "What Remains," with its eerie landscape of shadows and bodies, merges words and movement with a visceral, pungent force. The well cast quartet of Jeremy Toussaint Baptiste, Leslie Cuyjet, Jessica Pretty and Tara Aisha Willis cross the stage in jerky or smooth dips that curl their spines into swaying reeds. Their voices are just as important; sounds and words stretch into lingering, resonant melodies.	N24News: A New Dataset for Multimodal News Classification	Dance
When it comes to shows, fashion loves a venue metaphor: museums, art galleries, palatial chateaus buildings and exotic destinations of historic and cultural value to which only it has entree, the better to suggest the extraordinary values brands hope will be associated with their collections. This is never more true than during the cruise collections, which have become something of an arms race to see which name can go further, access the more inaccessible, or otherwise demonstrate their power and exquisite taste. A roll call of past locales, for example, would include: Blenheim Palace and Westminster Abbey in England, Paseo del Prado (Havana's main thoroughfare), and the Oscar Niemeyer designed Niteroi Contemporary Art Museum in Rio de Janeiro. Among others. So what does it say that Dior unveiled the first cruise collection by its artistic director, Maria Grazia Chiuri, in a place of arid emptinesss? To be specific: in the Upper Las Virgenes Canyon Open Space Preserve in the Santa Monica Mountains in California, where it was the first brand to ever have a show? To many, after all, the idea of wandering in the near desert even catwalking in the near desert, for that matter is inextricably entwined with the idea of expulsion: being forced away from one's home and left to fend for oneself until a new sanctuary is found (see: Exodus). Given the mixed reactions to Ms. Chiuri's collections thus far, from the fencing looks of her ready to wear debut to the navy workwear last season (which seemed to give most of her audience the blues), it was hard not to wonder if perhaps the choice of location was meant as a subtle suggestion that this was her own time in the wilderness. The designer, however, would beg to differ. "I was thinking about women, and nature," Ms. Chiuri said in a phone call before the event. (Most brands fly members of the press to their far flung cruise shows, acknowledging that traveling for what is essentially a 20 minute experience does not really make sense. But The New York Times does not accept press trips, so I had this experience remotely, at my computer.) She said the company's executives had told her they wanted to hold the show in Los Angeles why, she was not sure. But odds are, I would guess, it was because they were actually supposed to have a cruise show in Los Angeles two years ago, under the previous artistic director Raf Simons, but it was switched unexpectedly to the south of France, and this was the rain check. So from there she had thought of the remote environment, because "most people, when they think of L.A., think of Hollywood and celebrities, but there is another element to this city, which is the way you live in contact with the outdoors." Then Ms. Chiuri said, apropos of the place (which required guests to be shuttled in and wear flat shoes, and came complete with Dior Sauvage hot air balloons) but also the reactions to her work thus far: "People can like it or not like it, and I respect their opinions, but it's not possible to please everyone. I do what I feel is right for me." What is right for her when it comes to Dior has been, in part, heavy on grab bag feminism, and the cruise show on Thursday was no exception; Ms. Chiuri name checked Georgia O'Keeffe in her notes as well as Clarissa Pinkola Estes, author of "Women Who Run With the Wolves" (likewise an inspiration for Ms. Chiuri's debut), the Willendorf Venus, and Vicki Noble, author of "Shakti Women: Feeling Our Fire, Healing Our World." (Ms. Noble was due to be in the audience, along with Charlize Theron, Nick Jonas and Rihanna.) Also the Lascaux cave paintings and a Dior collection from 1951. All of which translated as more than 60 looks in earthy, sunset tones of brown, burnt umber, ocher, black and white, most topped by flat brimmed parson's hats in a nod to O'Keeffe, and finished with leather boots, midcalf sneaker boots or sandals. The entrance to the nature preserve may have been in Calabasas, which is Kardashian territory, but these were not Kardashian clothes. Instead, there were fluid day coats hand painted with a new kind of tarot, courtesy of Ms. Noble; sheer lingerie topped ball gowns of the kind Ms. Chiuri loves; elaborately embroidered denim; fringe and feathers and beading. There were simple shirtwaist dresses falling to midcalf and belted with thin strips of leather at the waist, smudgy Dust Bowl tartans, serape furs, suede and printed Bar jackets and black leather motorcycle jackets. The silhouette was loose, and walking easy. That freedom to stride may be, in fact, the most feminist part of Ms. Chiuri's Dior. Less so the visible Christian Dior banded undies. While Ms. Chiuri can be a little overliteral in her approach to a theme, which often seems to be both her starting point and her end point at times during the livestream I felt a bit as if I was watching an episode of Pocahontas meets "Westworld" at least there were no message tees (though there were buffalo: home on the skirts, if not the range). Instead, under the wide open skies, there were more ideas. The point, Ms. Chiuri had said earlier, was to provide as many different elements as possible of a wardrobe that could be mixed and matched by the individual as she saw fit. "Women," Ms. Chiuri said, "should be able to define themselves." In the face of very heavy heritage and expectations, she is trying.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
When the Louvre Reopens, It's Going to Be Quiet The Musee du Louvre in Paris is set to reopen on July 6 after a 16 week shutdown that has taken a 40 million euro toll on its bottom line. In a normal year, the world's largest museum hosts 10 million visitors in 925,000 square feet of space open to the public. When the museum reopens, 70 percent will be accessible, including the large galleries of French and Italian paintings, the sculpture courtyards and the Egyptian antiquities section. But with France's borders still closed to travelers from outside the European Union, visitor numbers will be a fraction of what they usually are in the peak summer season. While France was in lockdown, the museum was managed from home by its president, Jean Luc Martinez, a specialist in ancient Greek sculpture who has been in charge since 2013. He spoke to The New York Times by telephone in mid June. The following conversation has been edited and condensed: Reassuring the public. At the Louvre, it's fairly easy, because the spaces are gigantic, and thanks to online ticketing, we can control how many people come in. Visitors will be able to stand in line securely at the entrance, and masks will be mandatory for visitors aged 11 and over. What will it be like to visit the Mona Lisa? We renovated that gallery and inaugurated it last fall. We've introduced lines and a space between each visitor that will allow museumgoers to get closer to the painting. Until now, people would crowd around the Mona Lisa. Now, visitors will stand in one of two lines for about 10 to 15 minutes. Then each person is guaranteed a chance to stand in front of the Mona Lisa and look at her from a distance of about 10 feet. We want to make the encounter with the Mona Lisa a special moment. But you'll have far fewer visitors because of the pandemic. Yes. Normally, 75 percent of our visitors on average are from abroad. That percentage rises to 80 percent in the summertime. Of those visitors, 1.5 million are American, and 800,000 to 900,000 are Chinese. If Europe's borders with the rest of the world are not opened this summer, we will see an 80 percent drop in visitors. After the Sept. 11, 2001, terrorist attacks, we lost 40 percent of our visitors, and took three years to get back on track. After the 2015 terrorist attacks in France and elsewhere in Europe, we had another 40 percent drop, but everything normalized after a year. This time, we don't know what will happen. Our worst case scenario is that it will take us three years to get back to our normal visitor levels. How will you make up for lost ticket sales? In 2018, they brought in EUR87 million, around 100 million. We're working with the Ministry of Culture on a plan to guarantee the future of the Louvre. The Louvre and the Chateau de Versailles are particularly reliant on international tourism. And you already receive a large subsidy from the French government. We receive EUR94 million a year from the state, the largest contribution the French government makes to any French museum. We are lucky to be a state owned museum. People make fun of the French model, but it gives more solidity to centuries old institutions We had 1.2 million visitors, which works out to about EUR2.5 million in revenue. That's quite exceptional. Generally, exhibitions are loss making, which is not a word I like to use. They cost us money. The "Salvator Mundi," attributed to Leonardo, never made it to the Leonardo exhibition. Will we ever see it in Paris or at the Louvre Abu Dhabi? I can't answer that question. I had requested it for the Leonardo exhibition, and it never came. I hope that the painting will one day be on public view, because it's important for people to form an opinion. The museum is exactly the right place for works to be shown so that opinions can be expressed. What about demands for the restitution of objects from former French colonies? Has the Louvre received any of those? No, we have not received requests from former French colonies in that respect. The question of provenance and of the origin of the collections is at the heart of what we do at the Louvre, and not just because of the pressure generated by these debates. In 2021, the Louvre will put all of its collections online, and the question of provenance will have been examined in the process. Work has to be done on provenance and on the accessibility of the collections, both to researchers and to the general public. We also have to share, with the countries that these collections come from, everything that we know about them. Do you think historians will remember the coronavirus as the thing that killed off mass tourism? I don't think so. It's fashionable to say that right now. But the great palace museums such as the Vatican, the Hermitage and the Louvre will remain tourist sites. The word "tourist" is not a bad word. So you really think you'll get back to 10 million visitors a year? I think so, yes. Contrary to what some people think, the world after the coronavirus will not be that different from the world before.	N24News: A New Dataset for Multimodal News Classification	Art & Design
Theaters for Young Audiences Say They Need to Be More Diverse None A production of "The Watsons Go to Birmingham 1963" at the Chicago Children's Theater. The audiences at theaters for young people around the country are often quite diverse, reflecting the schools whose field trips fill the seats. But the programming and creative teams: not so much. A new study finds that about 80 percent of the shows presented around the country are by white writers, and 85 percent of the productions are led by white directors. Also of concern: Much of the industry's diversity is concentrated in a small number of productions about people of color, while the shows that dominate the industry's stages, generally adapted from children's books and fairy tales, have overwhelmingly white creative teams. The study, by the Center for Scholars Storytellers at the University of California, Los Angeles, was commissioned last year, well before the police killing of George Floyd in Minneapolis set off a wave of national unrest over racial injustice. That unrest, in turn, has prompted renewed scrutiny of inequities in many aspects of American society, including theater. "The numbers don't lie," said Idris Goodwin, the director of the Colorado Springs Fine Arts Center at Colorado College. Goodwin is a playwright who has written for young audiences and who previously ran StageOne Family Theater in Louisville, Ky. "In the world of theater, the efforts at inclusion have not been effective enough," he said. "What this report shows is that we've got to interrogate the ways white supremacy has built structures that keep whiteness pervasive." The study was commissioned by Theater for Young Audiences/USA, an organization representing about 250 theaters around the country that produce professional work for audiences ranging from infants to adolescents. (The casts are generally adults, and are paid; these are not youth theaters featuring unpaid children as performers.) The industry's willingness to study itself differentiates it from other segments of the cultural world, including nonprofit and commercial theaters for adults, that are generally studied by academics or advocacy organizations. "It's important to recognize the gains playwrights of color doubled over the last 10 years, which is a sign of progress," said Jonathan Shmidt Chapman, the Theater for Young Audiences executive director. "But we have a long way to go in terms of reaching equity across the field." The industry is fueled by titles familiar to children: During the 2018 19 season, the most produced show was "Elephant Piggie's 'We Are in a Play!'," based on a series of children's books by Mo Willems. "Our industry for a long time has relied heavily on book adaptations as a driver of ticket sales, so the problems are the same that exist in the book industry," Chapman said. "When we do invest in new work, we are far closer to reaching our goals." Among those investing in new work is the Chicago Children's Theater, which in recent years co commissioned Cheryl L. West to adapt two well regarded children's books, Matt de la Pena's "Last Stop on Market Street" and Christopher Paul Curtis's "The Watsons Go to Birmingham 1963." The theater's artistic director, Jacqueline Russell, said the new study sends a message to the industry, "making us question again where we're looking for our source material, and how we're putting together our seasons." The report also raises questions about why the most commonly produced work adaptations of fairy tales and well known titles has less diverse creative teams. "Possibly it is because the underlying intellectual property is written by white people, but that doesn't mean you can't hire someone of color to adapt it or direct it," said Yalda T. Uhls, the founder and executive director of the Center for Scholars Storytellers. The study compared the 2018 19 theater season to that a decade earlier, reviewing 441 productions at 50 theaters. Some of the key findings: None "Culturally specific productions," in which people of color were essential to the narrative, made up 19 percent of all productions. Playwrights of color wrote 69 percent of those shows, but only 8 percent of other shows. None Among playwrights whose work was produced at theaters for young audiences, 36 percent were women, up from 33 percent, while 20 percent were people of color, up from 9 percent. None There was gender parity among directors: 52 percent were women, up from 38 percent. But only 15 percent of directors were people of color, up from 10 percent. None There was also gender parity among actors: 52 percent were women, up from 45 percent. Among actors, 37 percent were people of color, up from 24 percent. The coronavirus pandemic poses a new challenge to the sector, as it has hobbled theaters financially. Chapman said there is a risk that theaters for young audiences will recover even more slowly than other theaters because schools might cut arts spending and be reluctant to resume field trips. There is also a risk that, once theaters for young audiences do reopen, they will rely even more heavily on familiar titles in an effort to sell tickets. But the events of this year, including not only the pandemic but also the unrest, could also inspire new plays. "We're talking with colleagues around the country about ways to commission new work that is reflecting the resilience of young people that we've seen over and over in this unusual year of 2020," said Julia Flood, the artistic director of Metro Theater Company in St. Louis. She said the study's findings were not a surprise, but should be a spur. "I think it's going to help galvanize the field," she added.	N24News: A New Dataset for Multimodal News Classification	Theater
Treasury Secretary Steven Mnuchin will have to testify regularly on who is benefiting from federal help. The Fed Got a Big Pile of Cash to Help the Economy. Who Will Benefit? As unemployment skyrockets and businesses struggle to cover rent and payroll, the odds are rising that short term layoffs turn into long term joblessness as employers shut down. At its worst, the United States could fall into an economic depression. The Federal Reserve is supposed to stand between America and that abyss. Congress earmarked 454 billion for Federal Reserve programs that are meant to keep credit flowing to businesses, states and local governments and while it remains unclear exactly how those funds will be used, the central bank has provided a rough road map. During troubled times, the Fed can lend more or less directly to companies and governments using its emergency authorities. Treasury Secretary Steven Mnuchin must sign off on the programs, and because the Fed is supposed to avoid taking on credit risk the Treasury Department backstops the programs with a layer of funding meant to absorb losses. That's exactly what the new 454 billion is meant to do: It will back up Fed lending programs that could extend more than 4 trillion worth of credit. While it is uncertain exactly who will benefit, the Fed and lawmakers have given America strong hints officials had already announced seven detailed lending programs, five of them backed with cash from an existing Treasury Department fund. Congress asked for two more in the legislation President Trump signed last week. If they work, the programs could touch almost every facet of economic life, helping households, small businesses, local governments and money market funds, where a lot of people park their savings, along with more obscure parts of Wall Street's financial plumbing. Here's what we know. Will the Fed help my family? Yes, but it's mostly indirect. The Fed is rolling out one lending program that gives eligible companies cheap loans in exchange for asset backed securities basically, bundles of debt built on newly issued credit card debt, student loans, auto loans and the like. By creating a big incentive, the program should make loans available and cheaper for consumers. That effort, announced March 23, is backed by 10 billion, so the new appropriation could allow for expansion in size and, potentially, in what collateral is accepted. In addition to its emergency programs, the Fed has slashed interest rates to nearly zero and is buying huge quantities of bonds, two policies that should help keep borrowing cheap for families that want to buy a new car or refinance their house. That's only mildly useful while much of America remains under quarantine, but it could help the economy bounce back once the coronavirus is under control. Will it help small businesses? Yes, but the Fed is not the key player here. Treasury and the Small Business Administration are in charge of overseeing Congress's primary solution for smaller companies, a program of 349 billion in loans that businesses with 500 or fewer employees can use to cover payroll and other expenses. Most, if not all, of those loans will be forgiven if the borrower retains its workers and doesn't cut their wages. The Fed will provide backup. The program that helps to support credit card and student loans also accepts bundles of business related loans, so it could help smaller companies access financing. And the central bank has promised another resource the Main Street Business Lending Program that officials say will help businesses that are too big to qualify for small business loans but too small to have easy access to capital markets. That was unveiled March 23, but the Fed has yet to detail how it will work or how much money will stand behind it. Eric Rosengren, president of the Federal Reserve Bank of Boston, told Bloomberg on Wednesday that it was in the design phase and that a rollout could be a "another couple" of weeks away. Ford and Rivian no longer plan to work jointly on electric vehicles. Elizabeth Holmes took the stand in her trial. Follow along with our reporters. Ken Griffin, head of Citadel, bid highest for a copy of the Constitution. The coronavirus response law instructs Mr. Mnuchin to ask the Fed chair, Jerome H. Powell, if he would consider a program that provided financing to banks to make cheap loans to companies with 500 to 10,000 employees. The Main Street program could check that box. Do big corporations get a lot of help? Big companies with solid balance sheets benefit in several ways. The Fed's emergency lending has an overarching goal: It is supposed to help markets function smoothly. Corporate debt has been rocked by the coronavirus spread. Companies found themselves in need of cash as restaurants closed, movie theaters went dark and tourism essentially dried up. But because they had become riskier and markets were in meltdown, fewer investors were willing to buy their bonds. The Fed has unveiled several programs to help. One supports a type of short term funding known as commercial paper, and another that buys company debt secondhand. A third program buys newly issued debt or makes direct loans to corporations. The programs go well beyond what the central bank did for companies in 2008, but all focus on investment grade debt. They mostly leave companies with shakier prospects out in the cold. Doing so avoids rewarding firms that have piled on debt while buying back shares or making acquisitions, but also deepens the rift between stable companies and their riskier counterparts. Could the Fed help my local government? The Fed has unveiled a couple of programs that are helping municipal bond markets by allowing banks to use some types of local debt as collateral for cheap loans. But officials have stopped short of buying local debt outright, and many lawmakers are urging them to think bigger. Designing a direct purchase program is no easy task for the Fed, because state and local debt markets are complicated and direct purchases could leave the Fed bolstering some places, like New York State, while leaving others, like Detroit, with little help. How big will this be? It could be well in excess of 4 trillion, but it might not. Treasury funding has been scaled up about 10 times so far, but some future projects are likely to be riskier, and any program catering to less safe companies might require more insurance from the Treasury Department. If that's true, the dollars can be leveraged fewer times. It could also be the case that America's banks and businesses do not demand 4 trillion in loans, in which case some of the pool could go untapped. Short answer: Mr. Powell himself probably doesn't know. The timeline hinges on how quickly the Fed can figure out America's needs, determine how best to meet them and set programs up. The initiatives are legally and practically complex, so they can take a while: The project that targets the commercial paper market was announced on March 17 and is still not operational. Others are already in action. Is it enough? That's the 4 trillion question. Because it is unclear how long the coronavirus is going to last, it is also unclear how much lending will be needed. Design could also matter a lot here: If the programs are poorly targeted or have too many strings attached and companies won't use them, even seemingly hefty programs might do little to help the economy. It's also unclear how the pie will be divided. So far, 30 billion in pre existing Treasury funding backs programs for big companies, 10 billion backs the program for households and small businesses, and 10 billion backs a program for money market mutual funds, which touch both big businesses and ordinary families. (One program, focused on the plumbing of the banking system, does not require Treasury backing.) "I will be watching your actions carefully," Senator Elizabeth Warren, Democrat of Massachusetts, warned Mr. Powell and Mr. Mnuchin in a letter on Tuesday.	N24News: A New Dataset for Multimodal News Classification	Economy
Historic preservationists around the country were dismayed that The Times would publish a broadside against preservation based on the complaints of one resident in one Washington historic district who was (initially) denied the right to place solar panels on his rooftop. First, the suggestion that historic preservation interferes with the ability of communities to respond to the climate crisis is untrue. Historic preservation is one of the most successful strategies for urban sustainability that any city can employ. Reusing existing building stock conserves energy and avoids the high environmental costs of new construction. And sustainability is but one benefit of historic preservation. A new report by PlaceEconomics elucidates 24 benefits of preservation, including jobs, environmental responsibility, affordable housing, economic stability and density not to mention preserving the uniqueness and livability of our neighborhoods. Finally, the goal of preservation is not to "freeze" properties in time, but to manage change in a way that preserves community character. It is an effective way to ensure the sustainability, livability and economic vibrancy of changing cities, and it can and should be a movement as dynamic as the places it saves. Let's not obscure the many benefits of historic preservation by repeating common misconceptions. Paul Edmondson Washington The writer is president of the National Trust for Historic Preservation. While I agree that we need to be sustainable and harness the power of the sun on as many buildings as we possibly can, even on historic ones, I take issue with the blanket statement "Historic preservation, in practice, is not about preserving history. It is about preserving the lifestyle of an affluent urban elite." I am an archaeologist and a historic preservationist and have worked in many different facets of the field. There is absolutely no way in which historic preservation is only about preserving the lifestyles of the affluent; historic preservation is about learning how people lived, how they built, how they decorated and ate and socialized. There is as much value in learning about the common tradesman as there is the affluent. That being said, I am not such a purist that I don't support the use of solar panels on private homes. I don't believe that they should be so visible that they take away from the general aesthetic of a historic district, but I have also seen ways in which they don't have to. It is unfortunate that Washington officials would be unwilling to budge for something so important for our collective future. On the other hand, people who can afford to live in historic districts generally do so because they like the aesthetic of living in a historic neighborhood. For the sake of saving the planet, I say, Let them ruin it for the purists. But if you can afford it (and you probably can), camouflage is greatly appreciated. I live in a local historic district that operates much as Binyamin Appelbaum describes, with a historic district commission of architects and aesthetic purists obsessing over minutiae, brushing off the urgent need for affordable housing and mobilization against the climate crisis, and safeguarding a sterile, static version of the past. It is a neighborhood that was spared from destruction by New Haven's infamous "urban renewal" bulldozers through the intervention of preservationists who understood the built environment as not just a collection of buildings but as a fragile ecosystem, and the mission of historic preservation as not just conserving architectural details but as stewarding the social and cultural fabric of intact traditional neighborhoods. It is troubling to see historic preservation turn away from this humanistic ethos into a set of arcane bureaucratic procedures that appear to the layperson as reactionary, elitist and contrary to social solidarity. "Putting people first" is the preservation ethos that saved my neighborhood from annihilation and to which I will always subscribe. Aaron Goode New Haven, Conn. The writer is co founder of Walk New Haven Cultural Heritage Tours. To say that historic preservation exacerbates global warming by obstructing change for the better is a reductionist stance for a field that has fought to revitalize and defend our nation's most treasured sites. If this position is to be taken seriously, then Binyamin Appelbaum must broaden his blame to encompass thousands of homeowners' associations that impose similar restrictions regardless of a building's pedigree. The larger question at hand is who decides what is worthy of preservation in the first place? The preservation process democratizes this vital question. Framing historic preservation as a detrimental regime serving the needs of the affluent is irresponsible. A more apt description is that preservation acts as a forum for communities to engage and negotiate our shared cultural resources. This rough and rowdy attempt to define preservation as an instrument of class conflict is as convenient as it is misguided. Are we honestly to believe that limits on renovation are causing the proliferation of tent cities? Could there be other factors aside from preservation at fault? If only my window choices had that much power. Binyamin Appelbaum sets up a straw man in order to advance an attack on preservation that has been mounted in recent years by a number of developers and economists. His neighborhood in the Capitol Hill District has some of the toughest zoning regulations in the country and is not at all reflective of the rather weak or nonexistent protections in most of the country. In centering his argument on solar panels, Mr. Appelbaum seeks to try tug at environmentalists' heartstrings, when, in fact, preservation has been shown to be far greener than new construction. It is the very nature of the Capitol Hill District's historic character that has made it such a desirable and therefore expensive place to live. Indeed, those cities that preserve and maintain their historic character count among the most desirable places to live. Here in upstate New York, Hudson and Troy have experienced a booming revival thanks to their beautiful architecture and human scale, while Albany, which for generations has been only too happy to demolish any building, no matter how important, remains far behind. Maintaining the character of walkable neighborhoods that support local businesses has everything to do with preservation of a habitable planet, and those who do not care about the urban environment are much the same as those who do not care about the natural environment. Of course, the requirements that landmarks preservation commissions impose on buildings in historic districts can seem nit picky, but preserving the charming character is one of the things that keeps a neighborhood like mine, Greenwich Village, from turning into a generic Midtown. When tourists come here, they are looking for the quaint Village they've seen in movies or read about, which is fading away. We are currently in the midst of fighting to protect the historic buildings that provide affordable housing from being demolished so that hotels, office towers and luxury high rises can rise in their stead.Apartments in many of these high rises remain unsold or are owned by investors who don't live there. As for environmental changes, like solar panels, there are ways to integrate them into historic buildings. I know of several instances in which New York's Landmarks Preservation Commission permitted structural changes to historic townhouses as long as they weren't visible from the street. Nine years ago, our large co op building had to replace our bronze window frames with aluminum ones to restore the look of our building when it was constructed in 1954, but at the same time we installed green roof plantings and a cogeneration system, and switched from heating oil to natural gas. Yes, you can preserve history and still have progress.	N24News: A New Dataset for Multimodal News Classification	Opinion
In Indiana, Missouri and Pennsylvania, President Trump used the same promise to sell the tax bill: It would bring jobs streaming back to struggling cities and towns. "Factories will be pouring into this country," Mr. Trump told a crowd in St. Charles, Mo., in November. "The tax cut will mean more companies moving to America, staying in America and hiring American workers right here." The bill that Mr. Trump signed, however, could actually make it attractive for companies to put more assembly lines on foreign soil. Under the new law, income made by American companies' overseas subsidiaries will face United States taxes that are half the rate applied to their domestic income, 10.5 percent compared with the new top corporate rate of 21 percent. "It's sort of an America last tax policy," said Kimberly Clausing, an economist at Reed College in Portland, Ore., who studies tax policy. "We are basically saying that if you earn in the U.S., you pay X, and if you earn abroad, you pay X divided by two." What could be more dangerous for American workers, economists said, is that the bill ends up creating a tax break for manufacturers with foreign operations. Under the new rules, beyond the lower rate, companies will not have to pay United States taxes on the money they earn from plants or equipment located abroad, if those earnings amount to 10 percent or less of the total investment. The Republican vision for the tax plan was to make the United States a more competitive place to do business. Supporters contend that the new rules do not encourage companies to locate overseas. Rather, they say, slashing the corporate rate will make it more attractive to set up shop at home, since many other advanced economies now have higher taxes. And manufacturers do not simply follow their accountants' advice. They consider taxes, but they also look at an array of other factors, including the local talent pool and transportation network, when deciding where to build a new plant. Before the tax overhaul, companies had to pay the standard corporate tax on the money they earned abroad, with a top rate of 35 percent, but only when they brought that income back into the United States. Many corporations responded by keeping their profits abroad indefinitely. A record 2.6 trillion was in offshore accounts as of 2015, according to the Joint Committee on Taxation, a congressional panel. Republicans argued that the system deprived the American economy of investments that could have financed new ventures and hiring at home. Ford and Rivian no longer plan to work jointly on electric vehicles. Elizabeth Holmes took the stand in her trial. Follow along with our reporters. Ken Griffin, head of Citadel, bid highest for a copy of the Constitution. It also meant that many multinationals effectively paid no American tax on their overseas earnings. The new bill, supporters point out, will prevent that from happening on such a large scale in the future. "It's a vast improvement from what was on the books," said Ray Beeman, a tax lawyer at Ernst Young who worked on a tax reform proposal that was a precursor to the current law when he was counsel to the House Ways and Means Committee, under Republican leadership, from 2011 to 2014. To prevent an exodus of businesses from the United States, the law establishes a minimum tax rate of 10.5 percent every year. Companies will get credit for up to 80 percent of the taxes they pay to foreign governments. But if the total still comes to less than 10.5 percent of the income they earn abroad, they have to make up the difference with a check to the American government. So while companies will now have to pay some tax in most cases, wherever they operate, they will pay much less on what they make abroad than at home. "Having such a low rate on foreign income is outrageous," said Stephen E. Shay, a senior lecturer at Harvard Law School and a Treasury Department official during the Reagan and Obama administrations. "It creates terrible incentives." Mr. Shay said the new rule could make a big difference for small and medium size companies, which make up a vast majority of American businesses. When those companies used to ask him whether to open offices abroad, he advised against it if they needed to bring their cash home. Such companies, Mr. Shay said, now have no reason to resist the temptation to shift some of their operations abroad, since they would end up paying half the rate they would pay in the United States. Some companies may not want to leave the comforts of home for a cut in their tax bill. Plants are expensive they can cost more than 1 billion to buy and to outfit with the necessary industrial machinery. Manufacturers also gravitate toward stable, affordable locales where they can reach their customers easily and hire skilled workers. "You may prefer to stay in the U.S., with the protections of our legal system, our infrastructure and our labor force," said Steven M. Rosenthal, an expert at the nonpartisan Tax Policy Center. On the other hand, for the biggest makers of cars and machines the kinds of companies that Mr. Trump promised to lure back to the United States a few percentage points in tax savings can be valuable. "There are lots of great retail markets out there," Mr. Rosenthal said. "The new rules might yet encourage jobs and factories to be shipped offshore."	N24News: A New Dataset for Multimodal News Classification	Economy
With ultramarathons across the country canceled, Michael Ortiz has continued his quest to run 100 100 mile races in 100 consecutive weeks on a treadmill. To hear more audio stories from publishers, like The New York Times, download Audm for iPhone or Android. The first time Michael Ortiz ran 100 miles inside his 960 square foot Brooklyn apartment was the hardest. He laid out a roughly rectangular 40 foot cardboard track around the rugs on his living room floor and ran 13,200 laps on it. To save his knees from so many turns, Ortiz stopped every mile and reversed direction. "It wasn't really running," he said. "It was more like fast shuffling." It took him nearly 60 hours. Three days later, Ortiz ran another 100 miles in his apartment, this time on a new treadmill that he'd ordered. When he finished, he took a shower, ate, slept five hours, then stepped back onto the treadmill and ran a third 100 miles. Friday, Ortiz began his seventh 100 mile confinement run in six weeks. Many of us have slumped in the face of the coronavirus pandemic, tugging on generous pants and carbo loading in front of the TV. Then there are the stalwart few, itching to exercise, who have made the most of cooped up living. Some people have competed in virtual triathlons atop stationary bikes. A British man ran a marathon in his backyard. And then there is Ortiz, a 36 year old financial executive and recreational endurance athlete. Since late 2018, Ortiz has been on a quest to complete 100 runs of 100 miles in as many weeks, with at least one run in each state. Ortiz was 68 weeks along, driving through Utah for his next race in Nevada, as other races announced cancellations because of the coronavirus pandemic. Though his race was still scheduled, Ortiz decided return to New York, worried about the possibility of having the virus while being asymptomatic and contributing to the virus's spread. Once home, Ortiz realized he needed to get creative if he wanted his quest to continue, so he came up with his "Indoor 100" series. By his fourth 100, Ortiz built in altitude, climbing 29,029 vertical feet the equivalent of Mount Everest on the treadmill. To keep cool, he arranged four fans around him, and switched on a dehumidifier and two air conditioning units, set at 60 degrees. He runs ideas for his next runs past Laura Knoblach, a Boulder, Colo. based endurance athlete he is dating. After his Everest treadmill climb, he tossed out the idea to run back down to sea level. Knoblach countered by suggesting he run to the deepest spot on Earth, the Mariana Trench, 36,201 feet below sea level. Knoblach is Ortiz's enabler in feats of masochism: Last November she shattered the world record in the double deca ultra triathlon, an event that is the equivalent of 20 full length triathlon races, run consecutively: 48 miles of swimming, then 2,240 miles of cycling, then 524 miles of running. Treadmills don't normally tilt downward, so Ortiz propped the rear of the machine on several rolls of toilet paper until it reached a nearly 7 percent downhill grade. He said that the cardboard track run was his toughest, mentally, but the Mariana Trench replica was the hardest, physically. "You're constantly braking, using your braking muscles your quads and your calves. When I finished it, honestly, it was hard to walk." Afterward, he staggered to a bath of Epsom salts. He gives himself these different challenges to avoid repetitive, overuse injuries caused by so much treadmill running, but also to keep in shape for the hill and dale of real world runs and to break up the monotony. Ambitious ultrarunners might run one or two 100 mile runs in a year, at most, said James Varner, the founder of Rainshadow Running, which organizes trail races around the Pacific Northwest. What Ortiz is doing, running one every couple of days, including on a treadmill, "It's completely out of the normal universe of what ultrarunners do," Varner said. "It's like going from Magellan to the astronauts." A person doesn't run 100 miles through the mountains, or on a treadmill, without a certain single mindedness, and Ortiz acknowledges that he is a hard driving man. But that drive took on a different character in recent years. His brother, David, and running, changed everything. Ortiz grew up in Manhattan public housing, in a close family made closer by having seven people shoehorned into one apartment mother, grandparents, two mentally disabled aunts, and David, the older brother he worshiped. As boys, the brothers kept their heads down, trying to avoid trouble. Michael only tried running as a senior at St. Agnes Boys High School to pad his college applications, when a teacher organized a cross country team. It was not love at first lace up. The team was awful and Ortiz struggled. He remembers the day the team ran eight miles eight miles! through Riverside Park. He thought he was going to die. The runs were hard but what they gave the young Ortiz were intimations of a greater world out there, and how a strong drive could carry a person far into that world. Michael poured himself into books and school, encouraged by his family and especially by David who had enrolled at the State University of New York at Binghamton. When Michael decided he would follow his brother there, David, knowing what Michael could do, pushed the younger brother to reach higher. "Don't limit yourself." So Ortiz spent his nights writing and rewriting essays, applying to all the Ivy League schools. He was accepted into Princeton, and made another discovery: You can place limits on yourself or you can decide to push past them. Ortiz graduated from Princeton and eventually went to Wall Street, making a quick rise to a vice presidency at Morgan Stanley where he put in 70 hour weeks and worked to get rich. David took a different route. He worked as a clothing store manager, cared for their aunts, and eventually, he and his wife moved to San Diego where they trained for a marathon. That impressed Michael. The brothers didn't always understand each other. Michael told his older brother to travel less and to save more money. His brother chided him that he was limiting himself, again, and reminded Michael that the point of life isn't to chase dollars. "You've got to enjoy life more. You've never even left the country." Then David was struck by a car and killed while biking to work in 2012. He was 29. As Michael absorbed the sudden loss, he also heard the echo of his brother's grab life by the collar advice. At the wake, "The one thing that everyone had to say about him was that he lived his life," Ortiz recalled. "And I thought, 'Man, if I die tomorrow, what are people going to say about me? Here's Mike. Pretty good guy. He worked all the time, even weekends.'" In 2013, Ortiz began running on the weekends, short jaunts to get to know the neighborhood, letting traffic determine his route. The weekend runs became a ritual. He looked forward to them after long work weeks. The runs got longer. In 2015 Ortiz ran the New York City Marathon, and soon his first ultramarathon, a race longer than 26.2 miles, at 37 miles. Then came a 50 miler. In August 2016 he ran his first 100 mile race. One 100 miler became two. Two became many. By late 2018, Ortiz was on a quest to run a 100 miler roughly the distance from New York to Philadelphia for 100 consecutive weeks. He'd sometimes fly to a race on Friday night, log 100 miles, then grab a redeye to be back at his desk by Monday morning. Ortiz, who also competes in decathlons, triathlons, stair climbs and obstacle racing, considers himself a middle of the pack runner, but has slowed his pace so he can recover faster for the next run. His personal best time in a 100 mile race is 22 hours, 42 minutes. He finishes many runs in his 100 week project in 30 to 36 hours. He live streams his runs "to show people we can adapt to a changing situation" and be creative in the face of adversity, he said. Ultra athletes, family, friends and strangers have tuned in to watch him, and to cheer him, and to ask him questions. The interactions keep him buoyed and engaged during the long hours. To accommodate the occasional rest, Ortiz has laid down an air mattress thin as a cracker, uncomfortable enough to prevent too long a lull beside the treadmill. He sometimes watches the Netflix drama "Ozark" or CNBC on a nearby TV. Ortiz lost his job in a downsizing in his unit just before the pandemic. So sometimes, during a run, he slows the treadmill to a walk so he can do a job interview. An interviewer recently asked him to name his spirit animal. "A gazelle," he replied. "If I didn't do this thing, I wouldn't have the friendships I have now. I wouldn't know the people that I know now. I wouldn't have the outdoor experiences I've had," Ortiz said. He would not have met Knoblach. "I think that was what my brother was trying to tell me."	N24News: A New Dataset for Multimodal News Classification	Sports
LOS ANGELES The Academy of Motion Picture Arts and Sciences has once again decided to use its honorary Oscars to emphasize inclusion, announcing on Wednesday that statuettes would go to Agnes Varda, a French New Wave director, and Charles Burnett, an independent filmmaker known for his portrayal of the African American experience. Joining Ms. Varda and Mr. Burnett at the academy's Governors Awards on Nov. 11 will be the actor Donald Sutherland and Owen Roizman, a cinematographer whose credits include "The Exorcist" and "Network." The academy's 54 member board, which represents about 8,400 members, picked the recipients in a vote Tuesday night. John Bailey, the academy's president, said in a statement that the awards "reflect the breadth of international, independent and mainstream filmmaking and are tributes to four great artists whose work embodies the diversity of our shared humanity." The academy chose not to bestow honorary Oscars dedicated to philanthropy and producing, both of which are given intermittently. The Jean Hersholt Humanitarian Award was last given to Debbie Reynolds in 2015. The academy's Irving G. Thalberg Memorial Award for producing last went to Francis Ford Coppola in 2010.	N24News: A New Dataset for Multimodal News Classification	Media
"It is a paradox of democracy," the historian Jill Lepore recently wrote, "that the best way to defend democracy is to attack it, to ask more of it, by way of criticism, protest, and dissent." If she is right, then the post Cold War decades, when democracy's triumph seemed indisputable, left it alarmingly defenseless. In 1989, when Vice President Dan Quayle nonsensically remarked that "I believe we are on an irreversible trend toward more freedom and democracy, but that could change," we all dutifully relished the gaffe. But he turns out to have been right. What once seemed foreordained has mysteriously slipped our grasp. And not only have democracy and capitalism fallen into disarray worldwide, the uncritical idealization of democracy and capitalism after 1989 is at least partly responsible for our current woes. At the end of the Cold War, democratic capitalism suddenly became synonymous with modernity. To be modern meant to adopt Western values, attitudes and institutions. Imitating the West was almost universally judged to be the fastest route to freedom and prosperity. The major divide in the world was no longer between the "Free World" and Soviet Communism but between exemplary Western democracies and their struggling emulators in the East and South. The tacit assumption, at the time, was that the East would undergo a radical "transition" while the West would be cryogenically frozen in its victory laurels. At this time, American constitutional lawyers had little time to reflect critically on their own democracy, so busy were they ghostwriting constitutions for the new democracies in the East. In the 1990s, the geopolitical stage seemed set for a performance not unlike George Bernard Shaw's "Pygmalion," an optimistic and didactic play in which a professor of phonetics ("the West"), over a short period of time, succeeds in teaching a poor flower girl ("the Rest") to speak like the Queen and feel at home in polite company ("to become a liberal democracy"). But the radical makeover did not play out as expected. It was as if instead of watching a performance of "Pygmalion," the world ended up with a theatrical adaptation of Mary Shelley's "Frankenstein," a horror story about a man who decided to play God by assembling human body parts into a humanoid creature and fell victim to his own misguided experiment in self duplication. Turn of the century confidence in the global spread of liberalism has been shattered, two decades later, by a global backlash against it. But how did the East's zealous wish to imitate the West, which was matched by the West's keenness to export its beloved political and economic models, contribute to the current crisis? We argue that seeing democratization after the Cold War as a troubled and troubling process of political imitation helps us understand three critical ways in which an unjustifiable over idealization of capitalism and democracy in the early years after the end of the Cold War helped bring about the wave of authoritarian and xenophobic anti liberalism currently engulfing our world. First, a crisis in the Western model itself such as the financial shipwreck of 2008 was bound to destabilize those countries in the West's periphery that had committed themselves to copying Western style liberal democracy. This explains why even countries that survived the Great Recession economically unscathed were politically destabilized by it. Poles attracted to illiberal populism did not start to question democracy and capitalism because they saw their economic prospects deteriorate. In fact, over the previous three decades, Poland's GDP has tripled. The country has not undergone a recession since 1992, social inequality has declined and a majority of people report being satisfied with their lives. Nevertheless, many Poles and other East Europeans were shocked at the deepening crisis of democracy and capitalism in the West, especially after 2008. An important reason for the unforeseen appeal of illiberalism in the East was therefore the shocking crisis of liberalism within the West that they once idolized. Radically restructuring a country's political and economic system by imitating Western models had another pernicious, unanticipated effect. Imitation is necessarily an asymmetrical relationship between a superior model and its inferior imitators. Over time, this implicit moral hierarchy was bound to incubate feelings of humiliation, dispossession and resentment. Many citizens in the replica democracies of the East began to feel that their own cultural and religious traditions were being disparaged by an obligatory conversion to foreign attitudes, values and institutions, including secularism and multiculturalism. A public embittered by the West's treatment of its Eastern neighbors as second class Europeans began rallying to populist demagogues who posed as defenders of authentic national identities. Their signature slogan was: "We don't want to be copies! We want to be ourselves!" Resentment against democratization as imitation has proved particularly toxic in Central and Eastern Europe where democratization coincided with the process of European integration, which in practice meant that voters could vote political parties in and out of power but that laws and policies never changed since they were set in Brussels. Third, the three decade Age of Imitation that began in 1989 inflicted serious damage on liberal democracy in the West by putting to sleep the self critical faculties of its leading politicians and political commentators. Busy trying to democratize others, Western policy elites became complacent toward the failures and deficiencies of free market democracy in their own societies. This uncritical idealization of the state of democracy at home was the direct result of the West's preoccupation with democratizing others. It is not by accident that the National Endowment for Democracy, a symbol of America's commitment to democracy worldwide, has no mandate to work on problems within the United States. (Though this is also the reason it still enjoys bipartisan support.) This failure to look inward made efforts to export American style democracy into an easy target for charges of hypocrisy. The West's one sided focus on the struggle for democracy abroad made Western advisers shy away from discussing the ongoing struggle for power within democracies themselves. Liberals who overemphasized individual rights and voluntary market exchange, spoke about "power" only when discussing authoritarianism, genocide or corruption. Otherwise, their message has seemed to be that, if the government does not abuse its authority, the asymmetry of power relations characteristic of every society is of negligible importance. Taking hold in the two decade heyday of liberal hegemony following 1989, this sanitized image of liberal democracy has become the favorite straw man of illiberal politicians today, including the president of the United States. It explains why they repeatedly insist that all relations in society are power relations, that right doesn't matter, that politics is a zero sum game, that there are no impartial institutions and that fraud is just a clever way to win elections. This cynical perspective, which has now gained a receptive audience worldwide, represents a backlash against the excessive promises made by liberals after 1989. "Democracy promoters" insisted, unrealistically, that politics and economics, with a little good will, could easily become a win win game, that periodic elections guarantee that citizens will control politicians, and that impartial institutions could overcome the unfairness associated with asymmetries of power in society. The ease with which these illusions were dashed was another factor opening the door for the steamrollering of illiberal forces to political power. Western style democratic capitalism has many well known virtues. But having been put on a pedestal for post Communist countries to admire and emulate, it lost all critical distance to itself, dismissing sensible warnings, for instance, about the downsides of military interventionism abroad and economic deregulation at home. By defining democracy as the ideal state of society and the only possible path to prosperity, the post 1989 consensus paradoxically undercut the most basic advantage of democratic governments. Democracies are not and cannot be "satisfaction machines." They do not produce good governance the way a baker turns out doughnuts. What democracies offer dissatisfied citizens is the right to do something about their dissatisfaction. That is why a chastened democracy, having recovered from its unrealistic and self defeating aspirations to global hegemony, remains the political idea most at home in the current age of dissatisfaction. Ivan Krastev is a contributing opinion writer, the chairman of the Center for Liberal Strategies and a permanent fellow at the Institute for Human Sciences in Vienna. Stephen Holmes is a professor of law at New York University. They are the authors of "The Light That Failed: A Reckoning." The Times is committed to publishing a diversity of letters to the editor. We'd like to hear what you think about this or any of our articles. Here are some tips. And here's our email: letters nytimes.com. Follow The New York Times Opinion section on Facebook, Twitter ( NYTopinion) and Instagram.	N24News: A New Dataset for Multimodal News Classification	Opinion
When the architect/designer Ogden Codman Jr. built himself a splendidly self indulgent 40 foot wide limestone mansion on East 96th Street in 1913, he built it to last, and it did. It outlasted him Codman, the celebrated co author, with Edith Wharton, of "The Decoration of Houses," a turn of the last century home decor bible, relocated to Paris in the 1920s and several subsequent owners, eventually becoming the Manhattan Country School. Something similar happened at 39 East 67th Street, where the architect Ernest Flagg took a nondescript 1877 brownstone and in 1904 transformed it into a Beaux Arts limestone palace and literary salon of sorts for Helen and Arthur Scribner, of the publishing dynasty. It was a sophisticated destination, with leaded glass windows and marble fireplaces, but after its owners' deaths, the house was sold in 1951 and chopped into apartments with a suite of medical offices as the anchor tenant. The 1905 mansion at 57 East 64th Street, a 14,000 square foot limestone chateau designed by C.P.H. Gilbert for the oft married heiress Arlene Tew to display her high end Francophile taste, more recently served as the New York headquarters of an Italian clothing company. But all four of those historic buildings, and several others of their ilk and vintage, are sharing a potential turn back the clock moment: Besides being for sale to the highest (preferably cash) bidder, they will likely undergo the exacting transformation necessary for a return to their original use as privately owned residences. "It's like a return to the Gilded Age," said Sharon Baum of the Corcoran Group, who, along with her Corcoran partner, David H. Enloe, and Timothy Sheehan of CBRE Group, listed the Codman mansion. The catalyst that has put these mansions and townhouses back in play is the steady escalation of incredibly wealthy buyers, many of them foreign, intent on acquiring one of a kind homes that offer a level of privacy impossible to find at the city's most exclusive co ops and condos. Several of the sellers are foreign as well: France, Senegal, China and Burkina Faso. "As the superluxury market has gained strength, at the same time, debt burdened foreign governments in the aftermath of the financial crisis are looking for ways to cut costs or generate cash," said Jonathan J. Miller, the president of Miller Samuel, an appraisal firm. "So we see the trend toward consulates maybe receding and the conversion of mansions to single family homes returning." The former Scribner residence on 67th Street is among the candidates for reclamation. It was just listed for sale at 22.5 million by James and Anna Hall of Stribling Associates. "This change is reflective of what's happening in the micro economy of New York," Ms. Hall said, "where we're seeing a new breed of affluent, and often younger, buyers who have zero interest in being subjected to the rules and limitations presented by a co op board. There's an autonomy that comes with owning a free standing property. A townhouse or mansion is almost like a piece of art and there are buyers who appreciate that history and want to be part of it." 46 East 66th, until recently owned by the Republic of Senegal and now under renovation. The Scribner property will require a substantial renovation, but boasts customized newer features like a top floor glass conservatory. The seller inherited the property and has "no interest in being a landlord," Ms. Hall said. "We envision two possible end users, an investor/developer or a buyer interested in turning it into their own residence, which we feel represents its best and highest use." No. 57 East 64th, which according to its co listing broker, Paula Del Nunzio of Brown Harris Stevens, is the sole Gilbert designed house on the market in New York at this time, is listed for 44 million. Another of Ms. Del Nunzio's listings, the 1903 Charles Ogden mansion, currently the School for Practical Philosophy, on a pristine residential block at 12 East 79th Street, is for sale for 51 million. A circa 1870s townhouse at 52 East 64th Street is on the market for the first time since 1970, listed at 17.75 million by Deanna Kory and Ileana Lopez Balboa of the Corcoran Group. As a brownstone it was Miss Edward's School in 1878, but after a serious limestone upgrade by the architect Frederick Sterner in 1916, it became a rental with high profile tenants like Ethel Barrymore. The lower floors were for many years the site of a well known veterinary facility, the Park East Animal Hospital. The veterinarian, Dr. Lewis H. Berman, whose celebrity canine clients included Andy Warhol's dachshund, Truman's Capote's bulldog and Lauren Bacall's papillon, was renting the first floor for his business and a third floor apartment for his family when the townhouse was put on the market "with me in it" in 1970. He scraped together 5,000 in cash, obtained two mortgages, and became its owner/landlord, an arrangement that lasted until recently, when he moved his business to a larger space to "ensure the legacy of my animal hospital." Dr. Berman said it was his hope that 52 East 64th, a historic house on a historic block, would find a buyer who, as the listing suggests, would embrace "a rare opportunity to convert back to a spectacular single family house." A graceful 1902 limestone townhouse at 9 East 89th Street that since 1981 has served as the headquarters of the New York Road Runners Club is listed at 24.75 million by Massey Knakal Realty Services, which anticipates a residential buyer. "Selling the building is a natural next step for our organization," said Mary Wittenberg, the president of the Road Runners, which is moving its offices to Midtown. After spending decades doing duty as schools, embassies, consulates, nonprofit headquarters, apartment houses and the like, these and a few other important and irreplaceable buildings, most already designated as landmarks, have returned to the market virtually simultaneously, with virtually identical marketing plans. The various brokerages entrusted with the listings are advertising them as ripe for conversion to what they were in the beginning: beauteous, commodious and expensive single family residences. "For 10 or so of these important properties to come on the market at the same time, that matters a lot," said Gregory J. Heym, an executive vice president and the chief economist for Halstead Property and Brown Harris Stevens. "It's a seller's market like we haven't seen in a while." Trophy townhouses are back in favor again with home buyers, according to Paul J. Massey Jr., a founding partner of Massey Knakal, for a number of reasons: "The value of townhouses designated for some type of commercial or nonprofit role and the value of purely residential townhouses used to be more in line, " he said. "But in the past few years there's been a growing schism between what they might sell for, with residential use commanding the higher premium. Some of the organizations that own these homes are shifting their mission, or downsizing." Residential customers, he said, are doing the opposite: They want large homes with grand interior space, "great old details," and expansion potential. None Testing the Limits: Only three of New York's 25 tallest residential buildings have completed safety tasks required by the city. The Downside to Life in a Supertall: 432 Park faces some significant design problems, and other luxury high rises may share its fate. Luxury Developers' Loophole: Soaring towers are able to push high into the sky because of a loophole in the city's labyrinthine zoning laws. An Evolving Skyline: The high rise building boom has transformed the city's skyline in recent years. Its impact will echo for years to come. Hidden Feats: Our critic looks at some supertall N.Y.C. buildings and how the ingenuity of engineers helped build landmarks. Ms. Baum and her co brokers marketed the former Codman mansion at 7 East 96th on behalf of the board of the Manhattan Country School. The original price was 23 million, cash only, but the mansion, which possesses that rarest of Manhattan amenities, a curb cut and interior courtyard with a garage, set off a bidding war and ultimately went to contract for considerably more than the asking price, according to Ms. Baum. She said the mansion's next owner is what is known as an angel buyer: a woman who plans to fully restore it, a megamillion dollar undertaking, and eventually move in, yet has agreed to let the school remain in place for two years while it finalizes its relocation and expansion plans. "The demand for these homes is much higher than the supply," Ms. Baum said. "Very few prewar mansions are still left; what we have are all there's ever going to be. "From a buyer's viewpoint, it's very much like an art auction," she added. "This particular Matisse may not come up for sale again during your lifetime. The same sentiment applies to many of these mansions. They are one of a kind and not replaceable." To find the same square footage in a condo or co op would, real estate agents say, approach the prohibitively expensive if not the impossible. "One surprising thing in general is just how few single family homes there are in Manhattan, less than 2,000," said Mr. Heym, the economist. "Inherently there is a very limited supply to begin with, so when the opportunity to acquire one arises, especially one of decent size, their scarcity can be a motivating factor. Their locations tend to be in the most coveted neighborhoods. They also receive a more favored tax treatment than co ops and condos. "And when an institution or nonprofit decides the time is right to downsize or cash in their equity and the next user is a homeowner, well, it means we're creating one more unit of housing in a borough that badly needs it, right?" (Mr. Heym was only partly joking.) The Road Runners Club, behind a tree at 9 East 89th Street. The phenomenon might be described as a nouveau form of recycling, albeit on a grand and exclusionist scale. With prices ranging from 13 million (the Tracy Mansion in Brooklyn, listed by Marc Wisotsky and Jackie Lew of Halstead Property following the retirement of Anil and Hannah Sinha, career Montessori educators who had owned it for four decades) to more than 50 million, these rarefied mansions and townhouses are not destined for inhabitation by aspirational DIYers. Their asking prices don't mention renovation and restoration, expensive and time consuming undertakings that can rival the actual sales price. The current crop of qualified buyers has one quality in common with most of the original owners of these mansions, said Ms. Del Nunzio of Brown Harris Stevens. "There is definitely an 'I will be the king of my own castle' attitude out there. And there are folks willing to spend 50 million or more to be the kings of their castles, where they feel like they can control everything and not have to answer to a co op or condo board. At most, they answer to the Landmarks Commission and buildings department." Seekers of instant gratification within this stratospheric niche of homeownership, though, are advised to look elsewhere. Very few of these behemoths are in turnkey residential shape. One exception is 46 East 66th Street, the longtime home to the Republic of Senegal's ambassador and the site of the nation's formal functions. The building, a circa 1890 landmark, has undergone a three year restoration by HJ Development and will come to market later this year as a six bedroom, seven bath luxury townhouse priced at 28 million. The developer, in an off market deal, paid around 14 million in cash to acquire the 25 foot wide property, which in 1919 gained a neo Georgian brick facade by the society architect Mott B. Schmidt, and a smaller townhouse at 268 East 68th Street, which Senegal had used as offices. Both are being marketed as single family homes, the first foray into that genre by the developer, whose previous focus was commercial to condo conversions, often in historic districts. "To take a century old building and totally reimagine and restore the interior and return it to the single family residence it once was is a little like a surgeon going into someone's body and performing major surgery," said Ian Fishkin, the in house counsel and acquisitions adviser at HJ Development. "We're catering to the 1 percent at East 66th and Madison, but there is definitely something charming about owning your own home with your own front door and backyard at a significant address."	N24News: A New Dataset for Multimodal News Classification	Real Estate
LONDON Sophia Kokosalaki, a widely admired London based clothing designer who drew on her Greek heritage in highlighting classical silhouettes and artful drapery, died on Sunday in London . She was 46. Her death was confirmed by Antony Baker, her partner and the managing director of her brand, Sophia Kokosalaki. No cause was given. Over more than two decades Ms. Kokosalaki became one of the most prominent Greek designers of her generation, respected by such star peers as Alexander McQueen and Kim Jones for her balancing a cutting edge feminine look with ancient Greek, Minoan and Byzantine motifs. She had earlier been a forerunner of a new wave of European fashion designers who moved to London to study, then stayed to set up their businesses . "After Sophia came a stream of Europeans as integral to London's fashion cultural renaissance in the 2000s," Sarah Mower , Vogue.com's chief fashion critic, said in an email, "including Roksanda Ilincic, Marios Schwab, Peter Pilotto, Mary Katrantzou and Marques Almeida." In a signal honor, Ms. Kokosalaki was chosen to be chief clothing designer for the summer Olympic Games in Athens in 2004. Ms. Katrantzou, a fellow Greek designer who also works in London, said in a statement that she was " eternally grateful to Sophia for making us all feel proud to be Greek and communicating the values of our culture far beyond our borders." Ms. Kokosalaki was born in Athens on Nov. 3, 1972, to Vasilios and Stella (Leonidaki) Kokosalakis . Her mother was a journalist, and her father was a civil engineer. Initially wanting to be a writer, Ms. Kokosalaki studied literature at the National and Kapodistrian University of Athens, but all the while, she later said, she had been resisting an internal call to pursue a career in fashion. When she was 3 she had started drawing dresses with price tags, she said, and at 11 she had taken notice of how people dressed. "Back then in Greece we're talking the mid 1990s it wasn't considered serious to do fashion," she told the London newspaper The Evening Standard in 2010. "In England, you have art colleges and you take it seriously. But the examples I had growing up were few, and they weren't necessarily inspiring. Being a designer was a last resort. It was not the thing you did if you were a model academic." Ms. Kokosalaki decided to move to London, where she earned a master's degree at Central Saint Martins College of Arts and Design. Among her professors was Louise Wilson, then the kingmaker of British fashion. She graduated in 1998 and debuted her first woman's wear collection at London Fashion Week a year later. Her blend of draping and plisse with rock star energy gave birth to an aesthetic that would be her signature. "Sophia was the first designer to emerge from Central Saint Martins who fused a European heritage classical drapery, Hellenic folk craft with a minimalist sense of how that could be worn on the street or in a club," Ms. Mower said in a tribute to Ms. Kokosalaki that was published in Vogue. Ms. Mower recalled watching Mr. McQueen then one of the most revered designers in the world shouldering his way through crowds outside Ms. Kokosalaki's show in 2002 to see her new work. After a stint as a guest designer at the Italian leather company Ruffo Research, and after winning the new Generation Designer prize at the Fashion Awards in Britain in 2003, she was given an even more distinguished accolade: the appointment as chief designer of the 2004 Olympics. A source of immense national pride, the Games marked the return of the Olympics to Athens, where the modern competition began in 1896. Ms. Kokosalaki dressed the more than 7,000 performers and athletes for the opening and closing ceremonies of the Games, creating clothes to represent different periods of Greek culture and art. She also designed the uniforms for the Games information attendants and officials . Two years later she was made creative director of the Parisian fashion house Vionnet, as part of a turnaround effort by the brand's new owner, but the appointment lasted only a year. In 2007, her own brand by then worn by celebrities like Jennifer Connelly and Kirsten Dunst was bought by the Italian fashion conglomerate Only the Brave, run by Renzo Rosso. But that association, too, was short lived. Ms. Kokosalaki bought her label back two years later.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
The New Guinea Singing Dog, a dingo like animal with a unique howling style, was considered extinct in the wild. But scientists reported Monday that the dogs live on, based on DNA collected by an intrepid and indefatigable field researcher. Their analysis, published in Proceedings of the National Academy of Sciences, showed that the dogs are not simply common village dogs that decided to try their chances in the wild. The findings not only solve a persistent, though obscure puzzle, they may shed light on the complicated and still emerging picture of dog domestication in Asia and Oceania. Claudio Sillero, a conservation biologist at Oxford University and the chair of the canid specialist group at the International Union for the Conservation of Nature, said that the study confirms the close relatedness between Australian and New Guinea dogs, "the most ancient 'domestic' dogs on earth." James McIntyre, president of the New Guinea Highland Wild Dog Foundation and the researcher whose forays in the field were central to the discovery, first searched for New Guinea Singing Dogs in the forbiddingly rugged highlands of the island, which is split between Indonesia and Papua New Guinea, in 1996. He was taking a break from studying intersex pigs in Vanuatu, but that's another story. Mr. McIntyre has degrees in zoology and education, and has worked at the Bronx Zoo and other zoos, private conservation organizations and as a high school biology teacher. There are highly inbred populations of the dogs in zoos, and some are kept as exotic pets. But for more than a half century they remained elusive in the wild until 2012 when an ecotourism guide snapped a photo of a wild dog in the highlands of Indonesia's Papua province. It was the first seen since the 1950s, and Mr. McIntyre set to work. He received some funding from a mining company, PT Freeport Indonesia. The company, which has a history of conflict with the local population over environmental and safety issues and murky connections to the Indonesian military, operates a gold mine in the highlands near the wild dog sightings. In 2016 he spent about a month searching and captured 149 photos of 15 individual dogs. "The locals called them the Highland wild dog," he said. "The New Guinea Singing Dog was the name developed by Caucasians. Because I didn't know what they were, I just called them the Highland wild dogs." But whether they were really the wild singing dogs that had been considered extinct was the big question. Even the singing dogs kept in captivity were a conundrum to scientists who couldn't decide whether they were a breed, a species or a subspecies. Were these wild dogs the same as the captive population? Or were they village dogs gone feral recently? In 2018, Mr. McIntyre went back to Papua and managed to get DNA from two trapped wild dogs, quickly released after biological samples were taken, as well as one other dog that was found dead. He brought the DNA to researchers who concluded that the highland dogs Mr. McIntyre found are not village dogs, but appear to belong to the ancestral line from which the singing dogs descended. "For decades we've thought that the New Guinea singing dog is extinct in the wild," said Heidi G. Parker of the National Institutes of Health, who worked with Suriani Surbakti and other researchers from Indonesia and other countries on analyzing the DNA samples that Mr. McIntyre returned. "They are not extinct," Dr. Parker said. "They actually do still exist in the wild." The highland dogs had about 72 percent of their genes in common with their captive singing cousins. The highland dogs had much more genetic variation, which would be expected for a wild population. The captive dogs in conservation centers all descend from seven or eight wild ancestors. The 28 percent difference between the wild and captive varieties may come from some interbreeding with village dogs or from the common ancestor of all the dogs brought to Oceania. The captive, inbred dogs may simply have lost a lot of the variation that the wild dogs have. Their genes could help reinvigorate the captive population of a few hundred animals in conservation centers, which are very inbred. Elaine A. Ostrander of the N.I.H., a co author of the report, says the finding is also significant for understanding more about dog domestication. The New Guinea Singing Dogs are closely related to Australian dingoes and are also related to the Asian dogs that migrated with humans to Oceania 3,500 years ago or more. It may be that the singing dogs split off around then from a common ancestor that later gave rise to breeds like the Akita and Shiba Inu. "They provide this missing piece that we didn't really have before," Dr. Ostrander said. Laurent Frantz, an evolutionary geneticist at Queen Mary University of London who studies the domestication and evolution of dogs and was not involved in the research, said the paper makes clear "that these populations have been continuous for a long time."	N24News: A New Dataset for Multimodal News Classification	Science
The French breakdancer Anne Nguyen combines years of dance battle experience with an avid interest in geometry fields not as unrelated as they may sound in her works for par Terre Dance Company, the Paris based troupe she founded in 2005. As part of the Crossing the Line Festival, presented by the French Institute Alliance Francaise, she's making her New York debut with two projects that consider the hip hop dancer's complex relationship to space. After four performances of "Graphic Cyphers," featuring an army of New York street dancers at sites in the Bronx and Times Square (through Sunday, Sept. 25), Ms. Nguyen heads to Gibney Dance in Lower Manhattan with "Autarcie (....): a search for self sufficiency" (Thursday, Sept. 29, through Saturday). While the protean "Cyphers" moves the audience around and through the dancers, "Autarcie," for four women, finds possibilities in the limitations of a stage. The "game of strategy," as Ms. Nguyen calls it, is interpersonal and mathematical. (crossingthelinefestival.org.)	N24News: A New Dataset for Multimodal News Classification	Dance
In one of Hollywood's first significant responses to the potential worldwide threat of the coronavirus, the producers of the James Bond movie franchise said on Wednesday that the release of the latest film in that long running spy series would be delayed until November. The movie, called "No Time to Die," had previously been scheduled to open in April. In a statement, the film studios MGM and Universal and the Bond series producers Michael G. Wilson and Barbara Broccoli said that "after careful consideration and thorough evaluation of the global theatrical marketplace, the release of 'No Time to Die' will be postponed until November 2020." The statement said that the film's British opening had been pushed to Nov. 12 and its release in the United States had been delayed until Nov. 25. Through its United Artists venture with Annapurna Pictures, MGM is responsible for the American distribution of "No Time to Die" and Universal the international distribution. "No Time to Die," the 25th canonical entry in the Bond franchise, marks Daniel Craig's fifth and final appearance as the debonair secret agent, and the film's release had been highly anticipated. It is the first Bond film since "Spectre," which grossed more than 880 million worldwide when it was released in 2015, and the budget for "No Time to Die" has been reported at 250 million.	N24News: A New Dataset for Multimodal News Classification	Movies
Julie Orlick, a filmmaker and tintype photographer, moved into a Bushwick building filled with artists a year and a half ago. "Being a part of a solid arts community in Brooklyn makes me feel productive," she said. By the time Julie Orlick moved into her Bushwick, Brooklyn, apartment a year and a half ago, she had been hanging around the place for years. The three story building is populated by artists and musicians who hold performances and shows there. The residents are a tight knit group that Ms. Orlick became part of a few years ago, after attending a show with a friend. "When I lived in L.A., I knew a lot of people into the D.I.Y. scene, and it felt really good to meet this whole community of artists," said Ms. Orlick, 30, a filmmaker, photographer and professional baker who moved to New York from her hometown, Los Angeles, a little over seven years ago. "It felt like very old school, cheap New York," said Ms. Orlick, who found her way in by taking over the room of a friend a spacious, high ceiling spot overlooking the backyard that rented for 700 a month. "I'd known the last two people who have resided in this room, and I had the most friends in this apartment. It seemed perfect." Occupation: An artist who makes 16 millimeter films and tintype photography; also a pastry chef at Bakeri, in Greenpoint, Brooklyn What she doesn't spend on rent: "As soon as I have enough money to buy film," she said, "I'll do it, then shoot it, then wait a few weeks to get money to develop it." Where she works on her films: Mono No Aware, a nonprofit cinema arts organization based in Downtown Brooklyn. "I use their Steenbeck to edit my work," she said. "I teach workshops with them; they've hosted screenings of my work and helped me reach wider audiences." On the building: "Being a part of a solid arts community in Brooklyn makes me feel productive, always ready to collaborate with someone and make art consistently, which is very important to me." On New York: "The amount that everyone has to struggle, the intensity of the city, brings and keeps a specific type of person here. It's inspiring; everyone is really passionate. A lot of times I've felt like I wanted to go back to L.A., but New York has this spell. I just keep falling harder and harder in love with it." At the time, Ms. Orlick was renting a studio with a shared bathroom in Bedford Stuyvesant, Brooklyn, and paying even less, but her room was too small to work in and she was eager to live in an artistic community. She was also excited about using the building's shared basement space, where she has shot and shown her films. Ms. Orlick set up a work space in her room as well, but because of the conditions required for film production and development, she uses it more for creative side projects. There is a table where she makes zines and hats her latest obsession that hang on her walls, alongside vintage hats, drawings, watercolors and a puppet she made at a puppetry class in the Czech Republic. "It has been really nice to be immersed in the community and to experiment with my art," she said. And the relatively affordable rent has allowed her to keep her bakery shifts she works as a pastry chef in Greenpoint, Brooklyn to four days a week, which gives her three days a week for her art. Most of her artist friends outside the building, she said, pay closer to 1,000 a month. It can also be a lot of fun: "Hopping around from room to room, running into friends on every corner, having tea, impromptu dinners, writing poetry, barbecues in the spring and summer, yelling at friends in the backyard from the second floor, climbing down the ladder to hang out." But living, collaborating and hanging out with the same people so much of the time can be challenging. Especially because, to offset rent increases over the years, all the apartments in the building have taken on additional tenants, converting living rooms and large closets into bedrooms. Ms. Orlick's apartment, for example, is a four bedroom that houses six people, with one in the living room and another who pays 400 to live in a closet with a loft bed. A kitchen is the apartment's only communal gathering space. The close quarters combined with close friendships and artistic relationships can be trying. "It can be easy to get caught up in the drama here talking about people, romantic situations," Ms. Orlick said. "I definitely wanted to distance myself from that. The fact that I have a nice, comfortable room helps. I also have my own friends and my own hangout nearby, Molasses Books. That's my secret." But lately, she has started to think that her time in the building might be nearing a natural end. Last year, the landlord raised the rent 3 percent, bringing her share to 720 a month. It is an increase she can handle, especially because it prompted her to ask the bakery for a raise, which she got, but tenants have been told that 3 percent annual increases will be standard from now on. As the rent creeps up, it's hard to imagine that the building will remain the gathering place for cash strapped, experimental artists that it has been. "The whole point is that it's cheap," Ms. Orlick said. "If it keeps going up, I might as well live in a place with a living room." And what at first charmed her a laissez faire attitude toward cleaning, impromptu performances in the basement, things like having a litter of kittens underfoot from the street cat a roommate rescued have started to make the space seem chaotic and disorganized. "There'll be loud music coming from the basement, people outside in the backyard at all hours," said Ms. Orlick, who wakes up at 4 a.m. to get to the bakery in Greenpoint. "I've mostly come to accept it; it's kind of like a punk lullaby. But sometimes I think about moving to Ridgewood and not knowing anyone." She continued: "A few years ago, I did a film, theater and music piece, all centered around the scene, and it felt very good. But now when I think of New York City as a whole, it's so much more than this. It's been really helpful, but I do want to grow, make new friends." If she does decide to leave, Ms. Orlick takes comfort in knowing that someone will happily take her place someone like her, who will be charmed to live among creatives in a still comparatively cheap (if somewhat cramped and, at times, chaotic) apartment.	N24News: A New Dataset for Multimodal News Classification	Real Estate
An Uber self driving car on 5th Street in San Francisco in March 2017. Uber stopped testing its autonomous vehicles in the city earlier this year. SAN FRANCISCO After Dara Khosrowshahi took over as Uber's chief executive last August, he considered shutting the company's money losing autonomous vehicle division. A visit to Pittsburgh this spring changed that. In town for a leadership summit, Mr. Khosrowshahi and other Uber executives were briefed on the state of the company's self driving vehicle research, which is based in Pittsburgh. The group was impressed by the progress its autonomous division had made in testing driverless cars in Pittsburgh and in Arizona, according to three people familiar with the ride hailing company, who were not authorized to speak publicly. They left the meeting energized, convinced that Uber needed to forge ahead with self driving cars, the people said. But days after the summit, one of Uber's autonomous cars struck and killed a woman who was pushing a bicycle across a street in Tempe, Ariz. Video from the March 18 collision showed a distracted safety driver failing to react in time as the vehicle barreled into the pedestrian, Elaine Herzberg. The accident threw Uber's autonomous vehicle efforts into flux, immediately forcing the suspension of its self driving car tests in cities including Tempe, Pittsburgh and Toronto. Months later, Uber's executives are divided over what to do with the autonomous business, according to the people familiar with the company. While one camp is pushing Mr. Khosrowshahi to seek partnerships or even a potential sale of the unit, known as the Advanced Technologies Group, a rival contingent is arguing that developing self driving technology is crucial to Uber's future, the people said. The internal debates are unfolding at a time when many companies can ill afford to pause on autonomous technology given stiff competition from carmakers and other tech companies. In recent months, top engineers have left Uber's self driving project for lucrative opportunities elsewhere. Uber's self driving cars recently returned to the road in Pittsburgh but with human drivers at the wheel, meaning employees are driving around like any other motorist except their vehicles are carrying hundreds of thousands of dollars in technology. The issue of whether to retain or sell A.T.G. is complicated by Uber's stated intention to go public by the end of 2019. The company, valued at 62 billion, has racked up billions of dollars in losses since it was founded in 2009 and needs to persuade investors that it can eventually create a sustainably profitable business. The self driving efforts, which have been losing 100 million to 200 million a quarter, do little to help that case. And Mr. Khosrowshahi has been shedding money losing businesses since he joined Uber. At a meeting in Pittsburgh on Aug. 8, according to a person briefed on the event, Mr. Khosrowshahi did not address what he would do with the self driving efforts but told employees there that it "is a big time hardware manufacturing, software problem at scale. Lots of tech companies out there are going after this problem, but I think there are very few companies who are taking this on end to end at scale the way we are." In a statement, Uber said: "Right now the entire team is focused on safely and responsibly returning to the road in autonomous mode. That's our No. 1 objective, and we have every confidence in the work they are doing to get us there." Uber first made its interest in self driving cars public when it hired about 40 researchers and scientists from the National Robotics Engineering Center at Carnegie Mellon University in 2015. At the time, the company's chief executive was one of the founders of Uber, Travis Kalanick, who had decided to bet big on self driving vehicles. He wanted to prepare Uber for a future when fleets of driverless cars could move passengers efficiently and safely around the clock. In 2016, Uber acquired Otto, a self driving truck start up whose founders had decamped from Google. The deal later spurred a trade secrets theft lawsuit from Google's onetime self driving car unit, Waymo. The case briefly went to trial this year, generating headlines and embarrassing revelations, before Uber settled with Waymo in February. In its rush to get on the road with driverless cars, Uber also ran afoul of regulators. The company started testing its autonomous vehicles in San Francisco in 2016, without a permit from California's Division of Motor Vehicles. The state agency ordered Uber to apply for a permit, but the company refused, saying permits were not necessary since safety drivers were monitoring the cars. The D.M.V. ultimately revoked the registrations for the 16 self driving cars that Uber was testing in the city. By early this year, Uber's self driving division was preparing to ramp up development, pushing its testing cars in Arizona to tally more miles. The goal, according to internal documents reviewed by The New York Times, was for Uber to win regulatory approval to start testing a self driving car service in Arizona before the end of this year. But the crash in March the first known fatality involving a pedestrian and an autonomous car altered everything. Since then, Uber has steadily narrowed the scope of its autonomous vehicle operations. In May, Uber announced that it was shutting its driverless testing hub in Arizona and laying off 300 employees. A day later, preliminary findings from federal regulators investigating the crash confirmed what many self driving car experts suspected: Uber's self driving car should have detected a pedestrian with enough time to stop, but it failed to do so. Uber has begun a safety review and plans to publish its assessment in the coming months. Mr. Khosrowshahi has started to subtly de emphasize the company's role in developing driverless technology. At a conference last year, he said it was a "huge advantage" for Uber to have its own autonomous technology while operating a global ride sharing network. But this May, Mr. Khosrowshahi said that while Uber needed to have access to autonomous technology, it aimed to be "neutral." He said Uber would be open to licensing its own technology or building around alternatives from other companies a stark contrast to the company's previous approach of owning and operating the entire self driving "stack" of technology and hardware.	N24News: A New Dataset for Multimodal News Classification	Technology
It is a drug that reduces levels of LDL cholesterol, the dangerous kind, as much as statins do. And it more than doubles levels of HDL cholesterol, the good kind, which is linked to protection from heart disease. As a result, heart experts had high hopes for it as an alternative for the many patients who cannot or will not take statins. But these specialists were stunned by the results of a study of 12,000 patients, announced on Sunday at the American College of Cardiology's annual meeting: There was no benefit from taking the drug, evacetrapib. The drug's maker, Eli Lilly, stopped the study in October, citing futility, but it was not until Sunday's meeting that cardiologists first saw the data behind that decision. Participants taking the drug saw their LDL levels fall to an average of 55 milligrams per deciliter from 84. Their HDL levels rose to an average of 104 milligram per deciliter from 46. Yet 256 participants had heart attacks, compared with 255 patients in the group who were taking a placebo. Ninety two patients taking the drug had a stroke, compared with 95 in the placebo group. And 434 people taking the drug died from cardiovascular disease, such as a heart attack or a stroke, compared with 444 participants who were taking a placebo. "We had an agent that seemed to do all the right things," said Dr. Stephen J. Nicholls, the study's principal investigator and the deputy director of the South Australian Health and Medical Research Institute in Adelaide. "It's the most mind boggling question. How can a drug that lowers something that is associated with benefit not show any benefit?" he said, referring to the 37 percent drop in LDL levels with the drug. Two other drugs in the same class as evacetrapib, known as CETP inhibitors, have also failed: One, which lowered LDL levels by only 20 percent, had toxic side effects. The other raised HDL levels but did not lower LDL levels at all. Cardiologists thought evacetrapib, a safe and potent drug, would be different. "All of us would have put money on it," said Dr. Peter Libby, a Harvard cardiologist. The drug, he said, "was the great hope." Evacetrapib acts by siphoning cholesterol out of HDL, a cholesterol carrying scavenger protein, so the cholesterol can be discarded in bile. Statins, in contrast, pull cholesterol from the other major cholesterol carrying protein, LDL, into the liver, after which it can be discarded. It seemed logical that evacetrapib, by ridding the body of cholesterol in HDL and lowering the amount of LDL proteins, would work to protect against heart disease. Researchers have hypotheses, but no one is certain what went wrong. "It may be that the LDL level is less important than how it gets changed," said Dr. Paul Thompson, a cardiologist at Hartford Hospital. "But we don't know that." Dr. Steven Nissen of the Cleveland Clinic added, "These kinds of studies are wake up calls." Cardiologists still have high hopes for a new class of cholesterol drugs, known as PCSK 9 inhibitors, that cause LDL to plummet to levels never seen in drug treatments. One reason for their optimism is that these drugs have the same end effect as statins: They cause liver cells to draw out cholesterol. These drugs are being tested in large clinical trials to see if their effects on LDL levels translate into reduced incidences of heart attacks, strokes and death. The Food and Drug Administration has approved the drugs based on their LDL lowering effects for a number of patient groups, including those at high risk for heart disease who report painful muscle aches or weakness when they take statins. The PCSK 9 inhibitors can cost more than 14,000 a year, while statins can cost just pennies a day, so determining what portion of patients are truly statin intolerant has become an important question. A second study presented at the cardiology meeting on Sunday and published online in JAMA, the Journal of the American Medical Association revealed just how vexing the issue is. The study, directed by Dr. Nissen and paid for by Amgen, a pharmaceutical company, included more than 500 people with extremely high levels of LDL cholesterol who had tried two or more statins and had reported aching or weak muscles so severe that they said they absolutely could not continue taking the drugs. The participants were randomly assigned to take either a statin, atorvastatin or a placebo for 10 weeks. Then those taking a statin were switched to a placebo for 10 additional weeks, and those taking a placebo were switched to a statin. The result: Less than half of the patients seemed to be truly unable to tolerate statins, and complained of muscle pain only when they were taking the drug. A quarter of the patients reported muscle problems with a placebo. And nearly one in 10 had muscle issues with both the statin and the placebo. That indicated that 57 percent of patients actually could tolerate statins. Researchers then randomly assigned the remaining 43 percent to take either Amgen's PCSK 9 inhibitor, evolocumab, or another cholesterol lowering drug, ezetimibe, which is often taken by statin intolerant patients but has never been shown to reduce heart disease risk when taken without an accompanying statin. The patients tolerated both drugs. The statin tolerance results were not a total surprise. Smaller studies had indicated that most patients who said statins caused muscle aches actually could tolerate the drugs. But this was the largest such study and raised a real question about how to treat patients who are at high risk of heart disease and say they cannot or will not take a statin because of intolerable side effects. "We don't know how to assess these patients," said Dr. Robert Eckel of the University of Colorado. No lab test can pick out the truly statin intolerant from those who feel muscle pain that may be caused by something else. "That is a major, major problem," said Dr. Thompson, the cardiologist at Harford Hospital, who led a smaller study that came to a similar conclusion about statin intolerance. Dr. Daniel Rader, a cardiologist at the University of Pennsylvania, would like to give patients who say they cannot tolerate statins a clinical trial in which the patient is the only participant. He would give the patient either a placebo or a statin for a few weeks and then switch the pills. That way the doctor and the patient could get an idea of whether the patient's muscle pain was really caused by statins. Wendy Todd, a patient of Dr. Daniel Soffer, also of the University of Pennsylvania, was surprised after she entered a statin intolerance study. She had already tried at least three statins, including atorvastatin, the one being tested, but always developed flulike symptoms and cramps in her legs so painful she could barely walk. But she had no such effects when she took atorvastatin during the study, without knowing if it was the drug or the placebo. She was astonished, but accepted that she was not actually intolerant to the drug. She began taking it when the study ended. It does not bother her now. Ms. Todd said she liked Dr. Rader's idea about an individualized trial for patients like her. "I would opt for that," she said.	N24News: A New Dataset for Multimodal News Classification	Health
If you're headed to college this fall, you've no doubt planned to pack your laptop, your bedding and your favorite music. But have you figured out your health insurance? The Affordable Care Act is offering more health coverage choices to young adults, including college and graduate students, said Jen Mishory, deputy director of Young Invincibles, a nonprofit group focused on economic issues affecting young Americans. "There's going to be options out there to compare and contrast and figure out," she said. For starters, if you're under 26 and your parents have health insurance that offers coverage for family members, the law allows you to stay on their plan in many cases. The government says more than three million people have already gained coverage as a result of this provision, which took effect in 2010. It applies even if you are financially independent, and whether you are single or married. Costs are going up, though, as some plans now charge an additional premium for family members added to the plan. College students have to consider other twists, too. Suppose your parents' plan requires that you use a local network of doctors, but you're attending school out of state. Martin Rosen, co founder of Health Advocate Inc., which helps workers navigate their health benefits, said you should review your parents' plan before relying on it for coverage during college. If it is a health maintenance organization or preferred provider plan and you seek care out of network, he said, "you're going to have less coverage, or you'll pay more money for it." In that case, you may want to consider a health plan offered by your college. While student plans have until January to provide the full menu of "essential" health benefits mandated by the Affordable Care Act, many colleges are already offering plans that meet the requirements, said Jennifer Haubenreiser, the immediate past president of the American College Health Association. It's important, however, to check specifics. Self insured college plans those in which the school pays claims directly, instead of hiring an insurance company to do so don't have to meet the law's essential benefits requirement, said Sara Collins, a health insurance expert at the Commonwealth Fund. But again, some colleges are meeting them anyway. Northeastern University in Boston, for instance, says that even though it is self insured, its health plan will include benefits that "meet or exceed" the law's requirements. While benefits in student plans are expanding because of the law, premiums are increasing, too, said Stephen Beckley, a college insurance consultant in Fort Collins, Colo. The average annual premium for a student plan at a private four year college is now about 2,200. So for comparison, you may want to look at policies available on the new exchanges in October, to see if you can find a cheaper plan. States are starting to approve insurance plans for their exchanges, and some premium estimates are lower than had been expected, but final financial information isn't available yet. Coverage purchased on the exchange would start in January. If you already have school coverage for the fall, the ability to switch plans in midyear depends on your school. Some colleges offer only annual enrollment, while others allow students to withdraw at the end of a semester if they can acquire comparable insurance, Mr. Beckley said. Jillian Foster, 29, who will attend New York University as a graduate student this fall, is uninsured and says she will evaluate her health plan options later this summer. She is too old to stay on her parents' plan, but is looking forward to having some sort of basic coverage again either through her college, or perhaps through an exchange, if the coverage is less expensive. "My budget is quite tight," she said. Many private four year colleges automatically enroll students in their health plans, but allow students to opt out if they are covered under a comparable plan. One possible advantage of school plans is that they typically are considered an education cost for financial aid purposes, so their cost often may be wrapped into a student's aid package, Ms. Haubenreiser of the college health association said. If you're wondering about your options, here are some questions to consider: 1. Can I choose between my parents' plan and the exchanges? If you're financially dependent on your parents, and qualify for coverage under their health plan, you're generally not eligible for subsidized coverage on the exchanges, Ms. Collins said. 2. How can I get coverage on the exchanges at a minimal premium? The exchanges will offer "catastrophic" plans for young people, which offer preventive care but carry low premiums, but have higher out of pocket costs. There's a question, however, about whether such plans will meet some colleges' minimum coverage requirements, Ms. Haubenreiser said. 3. Aside from my parents' plan and the exchanges, are there other low cost options? One possibility may be Medicaid, the federal state insurance program for low income people. Traditionally, Medicaid coverage has been limited to children, pregnant women and the disabled. But under the health care law, some states are expanding eligibility to cover low income adults. "It's not impossible that some students could qualify for Medicaid," Mr. Rosen said.	N24News: A New Dataset for Multimodal News Classification	Your Money
She may have first become famous as an actress, but these days, Jessica Alba, 35, is equally well known as a founder of the Honest Company, a Los Angeles based brand selling nontoxic personal care and household products. Now the company, which some retail analysts have valued at 1.7 billion, is expanding its range of products in travel friendly sizes there are more than 50 options in the line, and more are in the works and is also planning to sell them at kiosks in airports in the United States. The initiatives are personal for Ms. Alba, who says she is on the road several times a month, sometimes with her two young daughters in tow, and appreciates the convenience of products in travel sizes. Below are edited excerpts from an interview with her. Q. In 2015, Honest introduced nine automated kiosks in a handful of airports in the United States that sold some of the company's travel size products, but these kiosks are now gone. Can you tell us about your plans to bring them back? A. We tested the kiosks last year as a new retail strategy and worked with a third party vendor to launch them. They were very well received, and we are working on a strategy to roll them out at airports nationally.	N24News: A New Dataset for Multimodal News Classification	Travel
A beauty and wellness communications agency has signed a three year lease for a 2,847 square foot space on the sixth floor of this 12 story 1897 office building in the SoHo Cast Iron Historic District. The firm received two months of free rent for its build out. The space, featuring 11 and a half foot high open ceilings, wood floors and an exposed brick wall, is to also have a new pantry, as well as new air conditioning, by the time the tenant moves in next month. New York Models Management, a modeling agency, previously occupied the space.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Only three wolves a male, a female and a 9 month old pup remain in Isle Royale National Park in Michigan, where wolves have been studied for nearly 60 years. Researchers first noticed their numbers declining in 2009, possibly because of inbreeding. The population will probably not recover naturally, biologists have concluded. The pup appears to be sickly, with a constricted waistline, hunched posture and a deformed tail. The wolves prey on moose, whose population is on the rise. More than 1,000 have been spotted on the island.	N24News: A New Dataset for Multimodal News Classification	Science
Despite his victory Tuesday night in the New Hampshire primary, Bernie Sanders still faces an uphill climb to win the Democratic nomination and if successful could well lose to President Trump this fall. Yet even in defeat, the first self declared socialist in American history to have a realistic chance at both prizes is likely to achieve a different kind of victory, one few actual presidents ever have: transforming the ideology and program of a major party. In fact, those candidates who manage to shift the party decisively are often not the ones who win the White House itself. In 1896, William Jennings Bryan, running as a Democrat against William McKinley, traveled the nation denouncing "the money power" and defending the rights of labor. Despite his loss that year, and in two subsequent races, his party embraced the pro regulation, antimonopoly, pro union stand of this eloquent politician called "the Great Commoner." The resulting policies did much to elect Woodrow Wilson to the White House twice (with Bryan as his secretary of state from 1913 to 1915) and Franklin Roosevelt four times. In 1988, Jesse Jackson thrilled crowds with denunciations of the "economic violence" committed by big corporations that moved factories to lands where labor was cheap and unions impotent. Nearly three decades before Bernie Sanders decided to run for president, Mr. Jackson, the leader of what was then the National Rainbow Coalition and the first black candidate to win millions of votes, was vigorously preaching the same gospel of national health insurance, jobs for all and higher taxes on the rich. Just one Republican insurgent has wielded such influence after his run for the White House ended in defeat: Senator Barry Goldwater. But his campaign may have been the most consequential of them all. In 1964, Goldwater had the temerity to advocate rolling back the welfare state built by Franklin Roosevelt and his successors, and he accused liberal Democrats of weakening the nation's resolve in the Cold War. He was also one of just six Republican senators to vote against the Civil Rights Act that year. But Goldwater's 20 point loss to Lyndon Johnson failed to discourage his conservative admirers. They went on to build a mighty movement that captured the Republican Party in 1980 and has never let go. While the Republican right has, often grudgingly, acquiesced to federal enforcement of civil rights, it continues to emulate Goldwater's blend of laissez faire economics and support for a robust national security state. All these partisan rebels had something in common besides their prophetic influence. Each stirred great enthusiasm among voters but also met stiff resistance within their parties, a major reason none came close to taking the White House. All were protest candidates against the party establishments of their day, and the establishments fought back. In 1896, conservative Democrats loyal to the outgoing incumbent, Grover Cleveland, condemned Bryan's talk of bashing big business and even mounted a third party ticket they knew would help the Republican nominee. In 1972, the A.F.L. C.I.O., headed by George Meany, blasted McGovern as "an apologist for the communist world" whose delegates were "kooks and nuts." After McGovern was nominated, the labor body, the indispensable pillar of the New Deal coalition, refused to endorse anyone for president. The decision broke a tradition of backing Democratic nominees that stretched back almost four decades. At the 1964 Republican convention, Goldwater's "extremist" admirers loudly booed his moderate critics, and the intraparty bitterness provoked many lifelong Republicans to vote for Johnson that fall. For his part, Jesse Jackson, despite winning over a thousand delegates in 1988, came in second for the nomination to Michael Dukakis, whose bland rhetoric and cautious promises contrasted sharply with his rival's rousing style and left wing policies. In his acceptance speech that summer, Dukakis declared: "This election isn't about ideology. It's about competence." That line not only failed to win him enough votes to prevent the Republicans, under George H.W. Bush, from winning a third straight easy victory. It also betrayed a fundamental misunderstanding of how major changes have always occurred in our country. Americans who are seriously disenchanted with an incumbent president or his party tend to be moved more by a serious candidate who offers a sharply different alternative, one based on a set of moral convictions, instead of merely a sense of who might be a more efficient administrator of the existing order. Such voters are usually most numerous among the young. After their candidate loses, the fervent hopes he (and someday, she) inspired continue to motivate followers to convert their party to the same ideas and chart a path to future victory. Since he began running for president five years ago, Senator Sanders and his supporters have nudged Democrats to take stands to the left of where the center of the party was when Barack Obama moved out of the White House. Every remaining candidate for president now endorses either Medicare for All or a robust public option, doubling the minimum wage, much higher taxes on the rich, legislation to facilitate union organizing and a transition to an economy based on sources of renewable energy. Even if the delegates in Milwaukee this summer choose a different nominee, they will surely endorse such policies and make them central to the drive to make Donald Trump a one term president. So whatever his electoral fate, the socialist from Vermont who is pushing 80 is likely to be remembered as a more transformative figure than many politicians who won an election but whom most Americans were quite glad to put behind them. Mr. Sanders wants to be the next Franklin Roosevelt but if he can't, better to be the next William Jennings Bryan or Jesse Jackson than the next William Howard Taft. Michael Kazin, a professor of history at Georgetown and a co editor of Dissent, is writing a history of the Democratic Party. The Times is committed to publishing a diversity of letters to the editor. We'd like to hear what you think about this or any of our articles. Here are some tips. And here's our email: letters nytimes.com. Follow The New York Times Opinion section on Facebook, Twitter ( NYTopinion) and Instagram.	N24News: A New Dataset for Multimodal News Classification	Opinion
It is almost impossible these days to see billowing orange smoke in a densely wooded forest and not feel portents of doom. Especially when the smoke is accompanied by a deep atonal voice intoning, "To be human is to hide away." It was almost impossible, in other words, to watch the Burberry spring 2021 show performed and filmed live in Buckinghamshire, England, streamed on Twitch with special guest hosts, conceived in conjunction with the artist Anne Imhof and the musician Eliza Douglas and complete with black suited and shaded G men, white clad dancers moving in ritualistic rhythm and models standing around them in a circle like a Grecian chorus of would be Cassandras and not think immediately of the wildfires strafing the American West, poisoning the air and blotting out the sun. Not to mention climate change and the dystopian future we may have wrought. Simply consider the comments from the Twitch crowd, which included: "Is someone getting sacrificed?" "Yeah, this is definitely a cult" and "Drugs?" Perhaps that was also because it was close to impossible, through the small screen and camera angles, to really see the clothes. Which, it turned out, were not about the ominous at all. At least according to Mr. Tisci, who hopped on the phone afterward to explain his thinking. They were actually about "the love affair between a mermaid and a shark" and about "regeneration." Admittedly, there's some danger in that story line sharks! but the collection was entitled "In Bloom." It was meant to be fancifully mythic in nature (no pun intended). The striped orange and black knits and rubberized tangerine anoraks and overalls? The outfits of a lighthouse keeper! The aquatic blue trench coat cutaways? The ocean! The silver and crystal body con cocktail frocks? The mermaid's tail! And the whole narrative was apparently illustrated in the prints, which were meant to mimic the naivete of a child's drawing, from wiggly fish to big blue eye. Up close and in still photographs, the clothes looked kind of rigorously cool, save for some trying too hard cutouts around the torso (shark bites?), especially the spliced and diced outerwear and the spangled fishnet vests, button up shirts caught just so beneath. They would have stood perfectly well would have been better, in fact on their own, without all the arty ambience of the performance. The fact is that no matter a designer's "inspiration," once the clothes are out in the world their meaning lies in the eye of the beholder, not the mind of the creator. If ever a show and a collection illustrated the gulf between intention and interpretation, this Burberry ... visual experience (?) was it.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
PARIS The authorities here said on Monday that the French film director Luc Besson would face no charges after a nine month inquiry into an actress's accusations that he had raped her. An official at the Paris prosecutor's office, who spoke on the condition of anonymity in line with official policy, said that "numerous investigations" by the Paris police couldn't show that Mr. Besson, 59, had coerced the Dutch Belgian actress Sand Van Roy into unwanted sex. Ms. Van Roy, a 31 year old actress who filed a police complaint against Mr. Besson in May and a second one in July, accused him of raping her on at least four occasions, and said he once injured her "to the point of bleeding." In an interview with The New York Times in July, she described a two year long "abusive" relationship with Mr. Besson and said she was afraid to turn down his advances out of fear that it would hurt her career. According to the first complaint, Ms. Van Roy told the police in May on the day after the sexual contact that she said made her bleed: "I'm afraid he might kill me, he is a psychopath."	N24News: A New Dataset for Multimodal News Classification	Movies
The iO theater, a mainstay of Chicago's comedy scene and part of the foundation of modern improvisation, is closing permanently, its owner said. "This pandemic has made the financial struggle too difficult and I can't even see the light at the end of the tunnel at this point," Charna Halpern wrote in an email that was posted on her Facebook page on Wednesday. "Over my 40 years, I have met many struggles to keep going and I did it to keep a place for my community to have stage time. But at this point in my life, I can't continue the struggle to stay open." On Thursday, Halpern, who created the theater with Del Close, architects of a style of comedy that influenced Tina Fey, Amy Poehler, the filmmaker Adam McKay ("The Big Short") and legions more, confirmed that she was not planning to reopen iO after the pandemic subsides. On top of the closure of the theater's four performance spaces during the coronavirus quarantine, Halpern said, she couldn't afford the taxes. "The county is continuing to make us pay property tax," she said in an interview over email. "The mantra from the city is 'We are in this together' but the county mantra is 'You're in this alone.'"	N24News: A New Dataset for Multimodal News Classification	Television
Meet this year's two Maries: Maria Kashvili, left, and Alex Grayson, 11 year old students at the School of American Ballet, have been cast in City Ballet's "Nutcracker." Friends and classmates at the School of American Ballet, Maria Kashvili and Alex Grayson both 11 and born one day apart share the role of Marie in New York City Ballet's production of "George Balanchine's The Nutcracker" This will be Alex's first time in the part; it's Maria's second. But they're both "Nutcracker" veterans: Maria started out as the Bunny, and Alex was first an Angel. When Maria got the news the first time, she was speechless: "I started getting chills," she said. "Is this really happening? Is this a dream?" Only two girls are chosen for this prized role, made even more famous by Jill Krementz's "A Very Young Dancer," a 1976 photographic look at the life of a ballet student who played Marie. In the ballet, Marie is given the gift of a Nutcracker by the magical Herr Drosselmeier at a holiday party. At night, the toy turns into a prince; together, Marie and the Prince battle mice, brave a snowstorm and end up in the Land of the Sweets, where the Sugarplum Fairy awaits. About 40 percent of the students in the School of American Ballet's children's division two casts of 64 dance in "The Nutcracker." Rehearsals last eight and a half weeks. And while appearing in the production, which runs Nov. 24 Dec. 31, is extracurricular, it gives the students at the school affiliated with the company a valuable chance to learn exactly how class work can lead to the stage. Being a good student is one thing. But Maria and Alex are something more they're exceptional Maries, the kind that don't come along every year. They have the ability to execute their steps and the dramatic imagination to play a girl (and not a ballerina girl) who finds herself in an enchanted world. Students don't audition for the role; they are chosen by the artistic staff. Dena Abergel, the children's ballet master, said she was lucky to have two dancers so fit to play Marie. "They're trained enough and they're musical enough that they have the intelligence balletically to do it," she said. "But they also still have that youthful innocence, which is essential for this role." They also have entrance and exit wings to memorize, props to deal with and a bed that they must attach to a hook so that it slips off the stage like, well, magic. Before Marie and her Prince fly away in a sleigh, they must make sure to hand the wand to the Sugarplum Fairy. "If we don't," Maria said, "the Sugarplum Fairy will have no magic." In the end, no one knows better how hard Alex is working than Maria. (And that goes both ways.) "You're under a lot of pressure since there are like 3,000 people watching you," Maria said. "But once you've practiced it so many times and you really get to know the part, you enjoy yourself and you forget about the audience and really blend into the story." And they do practice it so many times. They train and rehearse six days a week and then, of course, there's school. (They're in sixth grade.) But they don't seem to find juggling both a struggle or a sacrifice. Maria broke down what she called a "normal day": "I wake up, I go to school, I leave a little bit early to get here. I take ballet classes. Sometimes I stay here if I have a late rehearsal. After that I go home, usually finish up my homework. I have dinner and then I fall asleep." Maria lives in Rego Park, Queens she was discovered by the School of American Ballet at a community audition. And Alex lives in Greenwich Village. She auditioned for the school after her mother noticed, as Alex put it, that "I would stop by every reflective surface on the way home and do some sort of dance thing." In the girls' down time, they like to relax which sometimes means even more dancing, but at home. And they listen to music. Maria prefers classical and a little bit of jazz. Alex has a thing for David Bowie. Each morning, she wakes up to the same Bowie song. "It has a bad word in it," she said. "It's on 'Hunky Dory.'" (It was easy enough to figure out: "Queen Bitch.") We chatted after the girls' rehearsal edited excerpts from the conversation are below but their dancing day wasn't over: They still had an evening class. To help get them back into their bodies, who better to send them off than David Bowie? I played Alex's wake up song on my laptop, and she gave a hearty whoop. Maria laughed in delight as her friend, arms outstretched, spun away. With a tandem "Bye!" they slipped through the door stealthily, gracefully and in giggles. MARIA KASHVILI I like to steal some of the snow. I have a whole collection of souvenirs from "The Nutcracker." I have Polichinelle pompoms. Little jingle bells that fell off of one of the Candy Cane costumes. A little feather from a soldier's hat. They're in my jewelry box. How do you like being spun on the bed? MARIA It's very nauseating. You get kind of dizzy. Do you ever feel like you're going to fall off? Sometimes those bed spinners go a little crazy. MARIA I finally told my bed boys to take it easy. And then they made it even faster! And sometimes when it spins around especially fast, I feel like I'm going to fall off into the orchestra pit. I've never been on a roller coaster, and I never want to. How do you feel about your princes? Is it strange to dance with a boy? MARIA It's kind of weird. But I got used to it since I've had to dance with so many boys over so many performances. ALEX I'm not really bothered by it because as long as I'm friends with the person who I'm working with, it's not that awkward. The first year in the party scene, Ms. Abergel said, "And now you're going to have to hold hands with the boy," and everyone went, "Ewww!" It got easier. Are you exhausted by the end of the run? ALEX I'm more exhausted during the run and then I kind of just relax at the end. It's sad at the end, but it's also kind of nice because I'm so tired and kind of stressed out during the performances. But then it feels good. MARIA Well, it is kind of hard. But in the end you really feel like you've had an accomplishment. And when you are onstage, you don't really think if your leg is hurting or if you're nauseous and you want to throw up. You forget all your troubles. All the tiredness goes away.	N24News: A New Dataset for Multimodal News Classification	Dance

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