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While the country responds to the Covid 19 pandemic, mass transit employees continue to show up day after day to ensure that emergency medical workers and other critical personnel can do their jobs for the people of New York. That's why it's so disheartening to watch as some in Washington use mass transit funding as political currency. Mass transit continues to be the lifeblood of New York, even as the frenetic city hits pause to ensure our collective health and safety. We are in uncharted waters. Ridership has sunk to never before seen lows: subway ridership down by a startling 76 percent, buses by 62 percent, Metro North by 94 percent and the Long Island Rail Road by 71 percent. In a normal year, farebox revenue constitutes nearly half of the M.T.A. annual budget about 8 billion. That's on top of more than 6 billion in state and local taxes dedicated to the M.T.A. that is likely to evaporate in the inevitable downturn. Additionally, our top priority is the safety of our customers and employees, and we expect the aggressive disinfecting efforts undertaken to protect them to total over 300 million on an annualized basis. The scale of the operating budget deficits the M.T.A. and other agencies face is unprecedented. This is an extraordinary time calling for extraordinary measures. Congress needs to get that message that it's crucial that the coronavirus relief package include at least 25 billion in funding for mass transit to ensure that the M.T.A. and systems across the country not only continue to operate through the crisis, but also serve as the catalyst for economic growth once the pandemic subsides and the country's pulse begins beating again.	N24News: A New Dataset for Multimodal News Classification	Opinion
"Play with the feet!" Karina Elver called out to a group of dancers running through the tricky pas de six from "Napoli," an 1842 ballet by the Danish choreographer August Bournonville. "Stop!" she cried before offering a little lecture. "This is not the Russian style, no showing off!" she said. "Remember for Bournonville, you are always very calm. Remember you are sweethearts together, very loving." The sweethearts, among them a few hulking men in point shoes, nodded seriously, some sketching out the movements again for Ms. Elver's approval. "Better," she said. It could have been any rehearsal for any ballet company that takes points of choreographic style seriously. The Bournonville technique developed at the Royal Danish Ballet in the first half of the 19th century is particularly difficult for any dancer not brought up in that tradition. The Trocks, as they are known, are performing the "Napoli" pas de six on one of two programs in a two week run at the Joyce Theater. They have come a long way since 10 men put on tutus and a show at a Manhattan social center in 1974. Today, every one of the company's 16 dancers is a proficient technician who can dance on point, a demanding (and painful) aspect of ballet training that men can usually happily ignore, since conventionally it is only women who dance impractically on the tips of their toes. Reviews in recent years have routinely pointed to the excellence of the Trocks' dancing. The men, Brian Seibert wrote in The New York Times in 2012, are "good enough technically, stylistically that you want them to be better." But how good can the dancers be before they cease to be funny? And in an age when drag is a mainstream phenomenon, can the Trocks continue to depend on the silly jokes and visual incongruities, the vaudeville humor and slapstick physicality? Can a work like the "Napoli" pas de six, which demands speed, coordination, grace and delicacy, be stylistically correct as well as amusing? There is no way to perform Bournonville's work adequately, Ms. Elver said after the rehearsal, without being a good dancer. "It's logical once you get it, but at first it's like patting your head and rubbing your stomach," she explained. "There is fast leg and footwork, but a very soft upper body and a lot of epaulement, the twisting of the body that makes the shape of the movement really beautiful." Mr. Dobrin said that the company's process was to learn a piece first, then "junk it up." The dancers, who tend to be funny, he said, are encouraged to bring in their own brand of comedy and ideas. "Then we shape it," he said, "so that it doesn't go into excess and retains some dignity. We want to be sure that knowledgeable people are looking at something that is academically correct." The difficulty for the Trocks is to find a balance between correctness and the broad humor that has been the company's stock in trade. Tipping the equation further are newly prominent ideas about gender fluidity. "The level of dancing is now so high that we're less and less inclined to laugh and more and more likely to ponder the ambiguities of a male dancer who can actually be convincing as Odette, Giselle, Paquita," Robert Gottlieb wrote in The New York Observer in 2009. Mr. Dobrin said that he was very aware of the change of mood around gender issues. "There was something interesting about being part of a movement that was not widely accepted and felt underground and slightly subversive," he said, speaking of the 1980s, when he joined the company. "The Trocks of today are of different mind set, as they are guys in their 20s and 30s and grew up in a different time. This is something completely normal for them in terms of their place in society." Now, he said, drag is important, but not the most significant element in a Trocks performance. What is vital is to keep the comedy alive through a homage to ballet and the ballerina. The Trocks' ability to find the essence of a style, a mannerism or a tradition is their great strength, Ms. Elver said: "Of course you know it's men, but they have the grace and open hearts. A lot of companies today, it's just dancing, no face, no feelings. They show their passion, they really love ballet itself."	N24News: A New Dataset for Multimodal News Classification	Dance
For artists, writers and composers, a prestigious residency was coveted. But the extra isolation during the pandemic can inspire or wear. Alone With Their Muses, Artists in Retreat Wonder if It's Too Much EAST HAMPTON, N. Y. When Eric Haze was 10 years old, he and his sister posed for Elaine de Kooning in her downtown Manhattan studio. It was 1972 and it had been arranged through a colleague of his father. In between sittings, the artist, who painted John F. Kennedy, Berry Gordy and Pele, and was married on and off to Willem de Kooning, gave Mr. Haze brushes and told him to paint. She also taught him how to stretch canvasses. Within a few years he moved from abstraction to graffiti, which fascinated Ms. de Kooning, recalled Mr. Haze, 59, who grew up in Manhattan. She told him that artists have to follow their muses in each moment. By the early 1980s, he became part of Soul Artists, an influential New York City graffiti collective, and exhibited alongside Keith Haring and Jean Michel Basquiat, both friends, at MoMA PS1. He showed at the Tony Shafrazi Gallery, and later sent his graphic nonfigurative paintings around the world. Rejecting a life of total artist isolation, he formed a thriving design business with clients including the Beastie Boys, Public Enemy and LL Cool J. In recent years he has designed clothes and spaces for Nike and the Standard Hotel. And in 2013 he married Rosie Perez, the actress, and led a highly collaborative and social life. But all that changed when he started his artist's residency at the Elaine de Kooning house in December. "I came out here with the goal of relearning how to paint," he said from a studio with a massive window wall looking out at the barren woods in East Hampton. Dozens of his freshly painted views of the studio in shades of gray contrasted with Ms. de Kooning's old color saturated portrait of Mr. Haze and his sister on one wall. His own earliest abstract canvasses in rich hues, painted as a child under her tutelage, stood out on another. Over the course of months, with many nights of painting through dawn, "going down a rabbit hole and ending up in such a pure state," he said, he could feel Ms. de Kooning's spirit she died in 1989 guiding him to paint people, starting with himself. "But it wasn't until now that I felt I deserved to paint Elaine," he said. "These last few weeks alone I really turned a corner." Many people have turned all kinds of corners in the weeks since quarantine began, facing isolation with nothing but their own inner creative resources to help shape their days. For many artists, writers and composers who have been rewarded prestigious residencies to isolate themselves in remote places and sometimes in punishing climates, it is a coveted situation. But if, as Matisse put it, "creativity takes courage" the extra isolation during a pandemic can start to wear away at even the most stoic artists. His long days are, at least, softened by the presence of his partner, the artist Coady Brown, who is also a fellow. (They're called "bedfellows.") But the usual community interactions and events like readings have been canceled. Dune walks and potluck dinners made with local clams are out for now too. "The group of residents this year was very social, but now they're isolated," said Richard MacMillan, the organization's executive director, who decided to keep things running through the quarantine months. Many residency programs have not the Studios at MASS MoCA, the Vermont Studio Center, Ucross in Wyoming, the American Academy in Rome and Watermill Center, among others, shut down. So did Yaddo in Saratoga Springs, N.Y. "It just didn't seem like it would be Yaddo without the meals together and the fellowship," said Elaina Richardson, the president of the storied artist retreat who had to find flights home for residents and even accommodations for those who had sublet their apartments. "I mean what were we supposed to do leave a picnic basket outside everyone's door?" In fact, the MacDowell Colony in Peterborough, N.H., now closed, has always done just that to allow its artists to stay alone with their thoughts during the day. Susan Choi, who won the 2019 National Book Award for her novel "Trust Exercise," was a MacDowell resident in 2017. "You can't even claim to have to make yourself lunch, so what choice do you have but to work?" she observed. Madeleine George, a playwright, was one of the first residents at MacDowell to leave early this spring. She found the colony both "exceptionally isolated and like Kennedy Airport with international artists coming and going." The last week before closing, residents were served all their meals in their cottages with no opportunity for the typical mingling at breakfast or dinner. "I found the leave taking wrenching," said Ms. George, who is married to the playwright Lisa Kron, "but handled with exceptional grace and care for all." Meanwhile, a handful of residency programs Djerassi in California and Bemis Center for Contemporary Arts in Nebraska among them were able to remain open into April and even beyond with new rules to keep things safe. "The last month became extremely distracting with all the news," said Paolo Arao, a Brooklyn artist who just returned from a three month residency at Bemis. "But Nebraska had very few Covid cases, so it felt safer than home." The Elaine de Kooning House residency seems especially well designed for sheltering in place. It hosts just one artist Mr. Haze the past few months with a single staff member on the other side of the building who left meals and fresh baked cookies. "Eric often works through the night while I am up during the day," Katherine McMahon, the director of programming, said in early April before the artist left to go home, "which is helpful in the age of self quarantine to minimize interactions." She would wave and chat from a safe distance when Mr. Haze, often in a daze from his painting marathons, stepped outside splattered in paint for a cigarette before going back to work. "I promised my wife I'd quit when I get home," he said at the time. "But right now, it would be too distracting and take me out of the zone." Ms. Perez, who had been on her own in their Brooklyn townhouse, accommodated him, even when he went on to prolong his stay past early April as originally planned, into mid April. "I tell myself that I have to let him be and that he is in such a special moment that I don't want to crush it by pressuring him," she said last month, noting that she often is away to work for long periods. "My whole family doesn't understand it." She added that their phone conversations had been inspiring because he was thinking about his life more intensely and that she had never seen him so happy except on their wedding day. On an early April Wednesday, as the pandemic was raging in New York City with reports of constant sirens, an open door to Ms. de Kooning's former studio let in the sound of birds and tree branches creaking in the wind. Mr. Haze sat on a stool in front of a self portrait he'd only recently completed of his sultry younger self, leaning against a car, cigarette in hand just like Ms. de Kooning in the portrait on the other side of him. Across his studio, his collection of Clorox wipes and surgical gloves ("I have boxes of them and plan to give them away to friends like bottles of wine," he said) were dwarfed by tubes, buckets and cans of paint, rags, thinner and brushes of every size. "I brought enough supplies out here to paint through the apocalypse," he said. To his left his large painting of Ms. de Kooning painting President Kennedy, and his interpretation of the one she painted of him and his sister as children, created a hall of mirrors effect that spiraled back decades, bringing the past into the present. Nearby, a portrait of his grandfather as an immigrant boy was in progress. His time alone in residence, he said, inspired him to remember him vividly as he did all kinds of people from the past. "Elaine has been a spiritual guiding force in these months and I've really fallen in love with her since I started coming out here," he said. "Even my wife knows it."	N24News: A New Dataset for Multimodal News Classification	Art & Design
Environmentalists disagree over whether outdated oil rigs off the coast of Long Beach, Calif., can become an addition to the marine ecosystem. EUREKA OIL PLATFORM OFF CALIFORNIA COAST Eight miles off the coast of Long Beach, Calif., the oil rig Eureka, which has stood here for 40 years, is a study in contrasts. From a distance, it looks like just another offshore platform, an artifact of the modern industrial landscape. But beneath the waves, the Eureka and other rigs like it in the area are home to a vast and thriving community of sea life that some scientists say is one of the richest marine ecosystems on the planet. "They are more productive than coral reefs, more productive than estuaries," said Milton Love, a professor of marine biology at the University of California Santa Barbara. "It just turns out by chance that platforms have a lot of animals that are growing really quickly." Scientists and divers have been aware of the abundant life here for years, but a 2014 paper that Dr. Love co wrote, published in Proceedings of the National Academy of Sciences, confirmed what many experts had already suspected: that most of the life was actually created at the rig rather than having come from other parts of the ocean and settled around the massive concrete pylons. "For some of these major economic species like the rockfishes, there's no question that there are more of them out in Southern California waters because the platform is there," Dr. Love said. Here are more fascinating tales you can't help but read all the way to the end. None Getting Personal With Iman. The supermodel talks about life after David Bowie, their Catskills refuge and the perfume inspired by their love. A Resilient Team for a Broken Nation. With the Taliban in control, what, and whom, is Afghanistan's national soccer team playing for? The Fight of This Old Boxer's Life Was With His Own Family. A battle among Marvin Stein's family over his fortune broke out, and he suddenly found himself powerless to fight for himself. This insight is adding momentum to efforts to convert some of these rigs into artificial reefs once they are decommissioned. Blue Latitudes, an organization founded in 2014 by two young scientists with degrees from the Scripps Institution of Oceanography in San Diego, is trying to increase awareness of the value of rigs as permanent homes for sea life. "I think it's time for us to step outside the box and think creatively about the resources we have," said Amber Jackson, an oceanographer and conservation biologist who co founded Blue Latitudes with Emily Callahan, a marine scientist. "To lose these ecosystems just because they are on an oil platform structure, I feel, is shortsighted." "It's seen as something which benefits the oil industry, and opposing the oil industry is the role taken by many environmental groups," said George Steinbach, the executive director of the California Artificial Reef Enhancement program, a nonprofit advocacy organization funded by the oil industry. The Eureka, owned by the Houston based oil company Beta Offshore, is one of 27 oil rigs off the California coast. Several major oil spills have occurred since they were built half a century ago, giving rise to a passionate environmental movement that has long advocated complete removal of the rigs. "People here have been waiting for these oil platforms to go away," said Linda Krop, an environmental lawyer with the Environmental Defense Center, an advocacy group based in Santa Barbara, where several offshore rigs can be easily seen from shore. Ms. Krop disagreed that the science is settled on the role of the rigs in fostering marine life. Regardless, she said, leaving the rigs up would be tantamount to rewarding polluters with the windfall of not having to pay to remove them. "When they built those platforms, that was a cost that they took into effect," she said. An enormous oil spill in 1969 released 80,000 to 100,000 barrels of crude, leaving a slick over 40 miles of coastline and killing thousands of animals. The spill was national news and gave rise to powerful anti drilling movement here. Subsequent spills have hardened opponents' resolve. In 2015, a pipeline owned by Plains All American Pipeline sprung a leak that released 3,400 barrels of crude into the ocean, fouling several newly created marine protected areas. "It was like deja vu all over again," said Kathryn Phillips, the director of Sierra Club California. "I saw what it looked like, what it smelled like, and it was heartbreaking." But over the last decade or so, divers and scientists have discovered that the rigs harbor an unexpected bounty of life. Just beneath the surface at the Eureka rig, sea lions prowl in the crystal clear waters; half a dozen species of rockfish and bright orange Garibaldi swim in the swift currents; and florid carpets of invertebrates and crustaceans cling to the rig's pylons. "It's the most amazing diving that I've ever done," said Ashleigh Palinkas, a San Diego based conservation biologist who came out to dive the rigs last October. "It's like an oasis. The structure itself is really impressive. It gives you a sense of total weightlessness." Over the last few years, word has spread about the pleasures of diving the rigs. In 2014, Ms. Jackson and Ms. Callahan started advocating to allow oil companies to keep large sections of many of the rigs in place after they are no longer functioning. The process of removing a rig and cleaning the site, known as decommissioning, is complicated and expensive, and includes plugging and cementing wells to make them safe. A total decommissioning means the removal of the entire structure. In a typical rigs to reefs effort, only the top portion of the rig is removed, usually to a depth of about 80 feet, so that they don't pose any risk to ship hulls. The rest of the rig remains in place as a haven for sea life and for recreational diving or fishing. California has a law that allows rigs to be converted into reefs. In 2010, then Gov. Arnold Schwarzenegger signed a bill to allow partial decommissioning of rigs, but it immediately encountered resistance from some environmental groups that considered it too favorable to the energy industry. Companies never took advantage of the law anyway, industry experts say, in part because they found the law's requirements too byzantine and onerous. Another reason was that until recently, oil prices were high enough to justify keeping the rigs in place. But that may be changing. And an amendment to the 2010 law, seeking to streamline the approval process, was introduced in the California legislature last year and will be debated this year. "I think with the current oil price scenarios, there is an opportunity to try and establish a workable rigs to reefs program," Mr. Steinbach said, adding that many rigs were nearing the end of their productive lives, raising questions about their ultimate fate. The potential savings to the oil industry from converting all of the rigs off California to reefs, rather than removing them, could be more than 1 billion, by one estimate. But under the law, oil companies would be required to put at least half of the money they save into state coffers to fund conservation programs. That has some groups here speaking out in favor of the rigs to reefs program. "Nobody wants to see more oil spills," said Mary Gleason, the lead scientist for the Nature Conservancy in California. "But in some cases it may make more sense and have more environmental benefits if we could do a partial decommissioning and use any cost savings to fund more ocean conservation and management, and fill some of the important funding gaps we have in the state to manage ocean resources."	N24News: A New Dataset for Multimodal News Classification	Science
Flu season is here, and there are at least six types of vaccine to choose from. It's worth studying the options to determine which is likely to protect you the most . What to Know About Getting a Flu Shot This Year, No Matter Who's Paying When I went to a pharmacy in Brooklyn to get a flu shot last year, I was presented with a choice: one vaccine with three different strains of the flu virus for about 30 or, for just 10 more, four strains. It sounded vaguely like a late night television infomercial. I stood at the counter, confused. Didn't I want every strain? I thought that one new vaccine was developed each year and that it was more effective some years than others. What was I missing? As it turns out, the choice I was given was not unusual . Until a few years ago, the typical flu shot included three strains of the virus in what is known as a trivalent vaccine: two strains of influenza A, one of influenza B. Now, more flu shot makers are adding a second B strain to create a so called quadrivalent vaccine that provides a bit more protection. The more strains the better, right? I paid for the additional B strain. The vaccine experts I spoke with later said that was a good choice for me, but that didn't mean it would be better for everyone based on what's available now. The Centers for Disease Control and Prevention said it did not prefer one vaccine over another. Its guidelines are based largely on age and other characteristics (like pregnancy or chronic illness). This year there are at about six types of vaccine. Whether your employer or insurer pays for it, or you do, it's worth studying the options to determine which is likely to protect you the most . How serious is the flu? There were more than 80,000 flu related deaths in the United States last winter. P eople older than 65 accounted for nine out of 10, but the flu also killed 180 young children and teenagers, according to the C.D.C. Despite the risks, according to C.D.C. estimates, only 37.1 percent of adults 18 or older were vaccinated last flu season, down 6.2 percentage points from the year before, and 58 percent of children 6 months to 17 got at least one shot. What types of vaccine should I get? The type of shot you should get is generally based on your age. Older people often have weaker immune responses to the vaccine, so experts suggest those 65 and older get either a high dose shot, which has four times the regular dosage, or a shot with adjuvant, an ingredient that boosts immune response. These special formulations are 3 to 10 percent more effective for those 65 and older, said Dr. Paul Offit, a professor of pediatric infectious diseases at Children's Hospital of Philadelphia. Both are currently offered only in trivalent formulations . Anyone else 6 months to 64 may be better off getting a quadrivalent shot, experts said. Quadrivalent vaccines are in wide use between 114 million and 124 million of the 163 million to 168 million doses projected to be available for the current flu season, according to the C.D.C. but don't hold out for one. "It is more beneficial to get covered with the trivalent vaccine, rather than wait or search for the quad," said Dr. Frank Illuzzi, chief medical officer at CityMD, an urgent care chain . For younger people, including children afraid of needles, the nasal spray vaccine, which has live but attenuated, or weakened virus es, may be a good option, said Dr. Gregory Poland, director of the Mayo Vaccine Research Group. The spray, available in a quadrivalent formulation this season, is approved for peop le 2 to 49 who are not pregnant. The C.D.C. did not recommend the spray during the past two seasons because it was ineffective the two years before that. But the formulation was changed, and it is back on the list of recommended options for those in the appropriate age range (if they don't have certain medical conditions). The American Academy of Pediatrics said it recommended the shot as its first choice, however, for children. Do I have to worry about the effects of any ingredients? In the past, people with egg allergies had to take special precautions when getting flu shots because many of the viruses used in vaccines are grown in eggs. As of the 2016 17 flu season, those with a history of "egg allergies of any severity" may receive any licensed flu vaccine appropriate for their age group, the C.D.C. says . Those with a history of severe allergic reactions more than just hives should get the vaccine in a medical setting. Some people worry about whether flu shots contain thimerosal, an additive containing ethylmercury that is no longer used in any children's vaccines. Thimerosal is still used to help prevent the growth of germs in vaccine vials that contain multiple doses. Vaccine experts, and the C.D.C., say this use is safe. But because many flu shots are single dose, thimerosal is often not an issue for adults, either. Effectiveness varies each year. Because it takes at least six months to make and distribute the shots that become available in September, scientists have to make their best guess about which strains will circulate, and thus what to include in a vaccine, well in advance. During that time and even while vaccines are being produced the circulating viruses can mutate, lessening the effectiveness of the chosen vaccine. It's an imperfect science. "We do the best we can," said Dr. Offit, who also sits on the Food and Drug Administration advisory committee that recommends which strains to include. "But you are trying to predict what is going to happen six months from now." Sometimes, he said, the experts guess wrong. In the 2014 15 season, the vaccine was only 19 percent effective. Last flu season, the overall vaccine effectiveness against both influenza A and B viruses was estimated to be 40 percent. In other words, it reduced your risk of having to seek medical care for the flu by 40 percent, according to the C.D.C. Will I have to pay for my vaccine? Most people with health insurance that complies with the Affordable Care Act are entitled to a flu shot without a co payment or coinsurance. Be sure to check with your insurer; it may require you to get a shot from your doctor or specific providers. Medicare beneficiaries' flu shots are covered under Part B; beneficiaries pay nothing as long as the doctor or other provider accepts Medicare. Medicaid covers flu shots for children and young adults through age 20. Adults eligible for Medicaid are also generally covered, though that can vary by state. If you're not covered, prices vary depending on the type of vaccine. Walgreens said that more than 90 percent of the customers it vaccinates are covered by insurance. Those who are not can expect to pay 40.99 for a quadrivalent shot, while both options for those 65 and older the high dose shot and the one with adjuvant each cost 69. 99 .	N24News: A New Dataset for Multimodal News Classification	Your Money
With hundreds of Africans dying from the outbreak of Ebola, some activists have said it is wrong that extremely scarce supplies of an experimental drug went to two white American aid workers. But others wonder: What if the first doses of the drug which had never been used in people and had not even finished the typical animal safety testing had been given to African patients instead? "It would have been the front page screaming headline: 'Africans used as guinea pigs for American drug company's medicine,' " said Dr. Salim S. Abdool Karim, director of Caprisa, an AIDS research center in South Africa. A history of controversy about drug testing in Africa is just one of the complexities facing public health authorities as they wrestle with whether and how to bring that drug and possibly other experimental ones to the countries afflicted with Ebola. Who should get such a scarce supply of medicine? Health workers? Children? The newly infected who are not yet as sick? There are virtually no remaining supplies of the drug, called ZMapp, that was used to treat the two Americans, United States officials say. And even a few months from now, according to various estimates, there may be no more than a few hundred doses. The World Health Organization, which on Friday declared an international health emergency on Ebola, will convene a meeting of ethicists early next week to discuss this delicate and difficult predicament involving the drugs. The United States government is also forming a group to consider these issues, said Dr. Anthony S. Fauci, the director of the National Institute of Allergy and Infectious Diseases. At least two of the countries affected by the Ebola outbreak, Liberia and Nigeria, have asked for the drug, according to a spokesman for the Centers for Disease Control and Prevention. A perception in the region of unfairness in distributing the medicine could undermine the already shaky willingness of some Africans to trust the Western relief efforts. Dr. Armand Sprecher, a public health specialist for the aid group Doctors Without Borders, said it was unfortunate that the first doses went to white Americans "because it confirms all the suspicions people have." But, he said, he did not foresee that perception as undermining the relief effort, adding that if effective drugs were available, it could bolster the effort's credibility and give people an incentive to seek medical care. "At the moment, our big problem is finding the patients in a timely way and convincing them to come to the treatment center," he said. "If you don't have a carrot to hang out there and bring people in, then you can't contain it." Other experimental medicines might be available, but also probably in small amounts, like one from Tekmira Pharmaceuticals that has so far been tested only in healthy volunteers. Tekmira said Thursday that the Food and Drug Administration had determined the drug was safe enough to be tried in infected patients. ZMapp is reported to have helped the two aid workers, Dr. Kent Brantly and Nancy Writebol, who were initially treated in Liberia and are now at Emory University Hospital in Atlanta. But experts said it was too soon to conclude that it was truly effective. Dr. Brantly on Friday released a statement from his isolation room at the hospital, saying, "I am growing stronger every day." ZMapp is being developed by Mapp Biopharmaceutical, a nine person company in San Diego that was doing animal studies with a view to beginning human safety testing next year. But plans are now changing to help make the drug available faster to patients. According to federal officials, ZMapp was given to the two Americans because Samaritan's Purse, the aid organization that employed Dr. Brantly, found out about it and asked for it, not because of any favoritism to Americans. Still, Maina Kiai, a human rights activist in Kenya, said the seeming inequity was discussed on the sidelines of the summit meeting of African leaders held in Washington this week. "You've got to balance the compassionate use aspect with trying to figure out whether it works," Dr. Fauci said. Doing such a study in the midst of an outbreak could be difficult, especially in parts of Africa with limited medical infrastructure. If the outbreak is not extinguished soon, there would be enough drug for only a small percentage of infected people. Some bioethicists said health care workers should be among those given priority. They can best understand the risks of taking a drug not yet tested in people and give informed consent. Offering doctors and nurses priority can encourage them to undertake the grave dangers of caring for people with a deadly, contagious disease. And if they get better, they might go back to caring for patients. "I think there are very special commitments that we must make ethically to the health care providers that are willing to go in and serve," said Nancy Kass, a professor of bioethics and public health at Johns Hopkins University. Others say more recently infected patients would be more likely to be helped by the drug. A senior official at the Food and Drug Administration said priority might go to those who had access to other supportive care because they were most likely to benefit. But that could mean that the limited supplies might go to relatively privileged Africans. This, of course, assumes that people will want the drug. That might not always be the case because of suspicions about health care in general and Western pharmaceutical companies in particular. Many patients stricken in the current outbreak are fleeing rather than going to clinics. "There are just an awful lot of Africans who are afraid of the health care system right now," said Dr. G. Kevin Donovan, director of the Pellegrino Center for Clinical Bioethics at Georgetown University Medical Center. Northern Nigeria has a history of resisting the campaign to eradicate polio, for example, with rumors circulating that vaccinations are a plot to sterilize Muslim women. At least nine polio immunization workers were shot to death there in February 2013. There have been some controversies over testing of drugs in Africa and other developing regions, with critics saying that participants are exploited or not treated properly and that they help develop drugs that if on the market, might not even be affordable in poor countries. ZMapp would be provided free in studies, and it is too early to say how much it would cost if it ever got to market. Pfizer settled charges and lawsuits that accused it of improprieties in testing an experimental antibiotic during a 1996 meningitis outbreak in northern Nigeria. Eleven children in the trial died. Five were given Pfizer's drug, and the others received a comparator drug. Pfizer denied any wrongdoing and said the deaths were from the disease, not its drug. Arthur L. Caplan, director of the division of medical ethics at NYU Langone Medical Center, said that in the end, experimental drugs against Ebola were likely to make little difference in the current outbreak, and that resources would be better spent trying to stamp out the epidemic using quarantines and other public health measures. "Morally, everyone is keenly interested in who should get the drug," he said. But the most important moral question is, "What is the best thing to do to bring that outbreak to a close? And I don't think it's drugs."	N24News: A New Dataset for Multimodal News Classification	Health
Shifting the use of the WIC funds toward more healthful foods appeared to affect the entire shopping cart, including the foods shoppers purchased with their own money. A year after the changes took effect, the amount of sugary and other unhealthful drinks purchased by beneficiaries dropped by nearly 25 percent, while purchases of foods made from whole grains and fruits and vegetables went up by about 5 percent, according to research by the Rudd Center for Food Policy and Obesity at the University of Connecticut. "Overall, lower income families were buying more healthful food as a result of the changes the government made," said Tatiana Andreyeva, an associate professor at the University of Connecticut and director of economic initiatives at the Rudd Center. "There's always so much skepticism about any government initiative, but here, not only did it work, it didn't cost us any extra money." To study the program's impact, Professor Andreyeva and Amanda Tripp of the Yale School of Public Health used point of sale data from an unnamed supermarket chain with more than 60 stores in New England. The supermarket has a loyalty card program that collects data on each purchase and how it is paid for. The researchers looked at purchases made by 2,137 households in Connecticut and Massachusetts that used WIC on a regular basis to buy groceries. About half of those households also received support through the Supplemental Nutrition Assistance Program (SNAP), commonly known as food stamps. The study compared purchases from January to September 2009, before the changes in WIC went into effect, to purchases made from January to September 2010 after the restrictions were imposed.	N24News: A New Dataset for Multimodal News Classification	Well
Credit...Andy Haslam for The New York Times "Your George W. Bush came here two years ago and not a person recognized him." "No one knew who he was." "Would they have known Nelson Mandela?" "No. No one here would have seen TV. No one here thinks beyond Omo." I was speaking with Lale Biwa, a member of the Karo people, in Ethiopia's Omo Valley. We were surrounded by low, circular huts made from sticks, with pitched grass roofs, in his home village of Dus, on the banks of the Omo River. A woman, heavily adorned in beads and bracelets, ground sorghum on a large stone in the nearby shade. Men, some carrying AK 47s, sat in clusters. Small naked children scampered past. Goats and cattle roamed freely on the dusty flood plain. There was no electricity, no running water, no cars. Mr. Biwam, who guesses his age to be "about 40," looked around. "It is a good place," he said. "The people are true." I had come to the Omo Valley with the innovative tourism entrepreneur Will Jones to get a view into the lives of some of Africa's most traditional tribes. "I'm particularly interested in the Omo," Mr. Jones told me. "It's an at risk ecosystem, with at risk communities. But it is still a very wild place." Mr. Jones was born in Nigeria of English parents, raised in East Africa and educated in England. "When it came time to put on a suit and go into town," he said, "I came back to Africa." This southwestern corner of Ethiopia is home to seven primary tribes who coexist with varying degrees of peace. The land is largely dry savanna, with the Omo River cutting a nearly 475 mile long swath down to Lake Turkana on the Kenya border. The discovery of human remains dating back nearly 2.5 million years prompted Unesco to dub the Lower Valley a World Heritage site in 1980. But today the Omo is a region on the precipice. The Ethiopian government has recently completed the third of five proposed dams upriver. The dams threaten to alter the lives of the communities that have inhabited this valley for millennium and depend on the river's moods for survival. "This was the second year in a row that the flood crop failed," Mr. Jones told me. "It is the only time anyone can remember that the river never rose." With Mr. Biwa as our guide, we headed to a small village inhabited by the Hamar people. The Hamar, numbering 45,000 throughout the valley, are known to be pastoralists. The village was overflowing with cattle. As in Dus, the dwellings were simple, built of sticks and grass, and well ordered. Young men tended cattle while a woman skinned and butchered a goat with the help of her toddler, who hung pieces of the animal on a fence beside an AK 47 and a belt of ammo. "The AK 47 has replaced the spear," Mr. Jones said. Mr. Biwa nodded. "As long as you have AK, you are respected," he said. "Your family feels safe and proud. Someone with no AK, people look down on them. If you do not have AK your family will go to someone who does." They were American made, I was told, gathered during the war in neighboring Sudan. But they are not cheap," Mr. Biwa said. "How much do they cost?" I asked. Beside firearms, I witnessed few other accommodations to the contemporary world in the Omo. Yet for a place so far off the grid, news traveled fast throughout the valley. While in the Hamar village we heard word of a nearby bull jumping ceremony. The bull jump is a ritual initiation to manhood for both the Hamar and Karo communities. We headed east. When one young woman turned away from me I noticed fresh welts on her bare back, dripping blood; she seemed unaware and continued to dance. Then I saw her approach a young man, stand close in front of him, and blow her horn in his face. She began to jump up and down, her bells clanging, her horn blaring. The young man bent to the ground and picked up a long switch and raised it over his head. The woman blew her horn more insistently, then suddenly stopped. She stared at the young man. He struck her with the whip, which snapped around her body and lashed across her back with a sharp cracking sound. She did not flinch. She lifted her horn, blew it in his face and danced away, fresh blood rising on her back. The same performance was repeated again and again by many of the young women. Their backs were covered in old scars and new welts, yet none of them displayed any outward signs of pain. As the sun was setting, a dozen bulls were led to a clearing and aligned flank to flank. The women clustered together and began jumping, their bells ringing out, their horns blasting. Others began to chant. Suddenly a naked young man leapt up on the back of the first bull and raced across the spine of each. He jumped down after the last bull, but then he was up again, racing across their backs in the other direction. He repeated the back and forth exercise three times. If he fell it would be a disgrace he would carry for life, Mr. Biwa had warned me. But the youth never faltered the next morning he would awake a man, able to sit among the elders. The women continued to blow their horns and the celebration continued on into the night. We drove away under a moonless sky, the Southern Cross hanging low, silence filling our car. The next morning we headed up river to a small village of the Nyangatom people. Relations between Karo and Nyangatom have long been strained. Intertribal conflicts over cattle rustling and grazing land have kept the valley bristling with internal strife for decades, passed down from generation to generation, Mr. Biwa said. We passed large crocodiles cooling themselves on the muddy banks, their jaws resting open. Black and white colobus monkeys leapt from branches of fig trees. A dugout canoe sat unattended on the riverbank. A Goliath heron lumbered into the air. In time the heavy foliage lining the river thinned, then grew sparse. Thirty foot cliffs began to rise up and the landscape turned parched. Ahead, on the west bank, bony cattle were drinking from the river, kicking a choking dust high into the sky and across the sun, casting everything in an eerie patina. Atop the cliff, two men stood sentry. One had an AK 47 slung from his shoulder; the other wore what in a more urban setting might have been called a hipster hat. The tribes wore a mishmash of clothing brightly colored traditional wraps, animal skins and adornments, mixed freely with Chelsea football jerseys, rakish caps and fatigue shorts creating an all too apt picture of Africa's disparate influences, all vying for dominance. The men on the cliff greeted us with stares, and we set out across the arid land. Distant hills of Kenya were visible to the south. Three young girls with water jugs balancing on their heads silently caught up with us. One carried the designs of scarification small, raised scars created by rubbing charcoal in deliberately administered cuts, causing the skin to welt in intricate patterns. They made this two mile walk to and from the river twice daily in Africa carrying water is women's work. At the outskirts of the village, a half dozen expressionless men loitered. The tallest sported a vaguely military looking beret, worn at a jaunty angle, and an AK 47. The rest held long sticks. Some wore rubber sandals made from scavenged truck ties; the others were barefoot. Many Nyangatom are seminomadic and this village appeared haphazardly thrown together, as if built in a rush, without care. There was no central meeting area, no sense of organization. Children did not rush to greet us. We huddled with the men in the scant shade of a scraggly date tree. Cigarettes were passed around and smoked. In time, more than a dozen women emerged from the honeycomb shaped dwellings that looked as if they could neither contain nor shelter life. One old woman began to chant, then just as suddenly stopped. All wore heavy ropes of beaded necklaces piled high and were wrapped from the waist in once colorful cloth, and several held small children. Fatigue hung in the blistering heat. It would have been difficult to imagine daily life clinging closer to the edge of existence. "The cradle of mankind is no Garden of Eden," Mr. Jones said softly as we tracked back cross the barren land to the boat. Back down the river, the mood was more celebratory a ceremony was underway in Dus. Two hundred men from Mr. Biwa's Karo community were gathering in a large semicircle on a bluff above the river. Seating was arranged from the youngest to the most senior elder. I was offered a spot in the dirt much too far along the timeline for my liking. A bull was being roasted over an open fire in the center of the gathering. Three men with machetes hacked the animal to pieces. Chunks of meat and fat, clinging to large bones, were deposited onto small beds of leaves before the assembled. A part of the animal I couldn't identify was dropped in front of me. The old man beside me with heavily pierced ears and a pointed stick protruding below his lower lip offered me his knife. He watched as I sliced into the mysterious blob, then grinned as I put it in my mouth. Just beyond the circle a dozen hooded vultures gathered. When the entire animal had been consumed, one of the elders got up and began to speak. "He is making a prayer for the river to rise," Mr. Biwa told me. Finally, the three men who had carved the bull sliced open the only remaining part of the animal. They reached in and produced globs of warm dung and dispersed them. Each man began to spread the excrement over his legs and across his chest in a commitment to protect those they love. Afterward, I slipped away. But hours later, in the dusk, I walked back alone from our camp and entered the village again. As was usually the case, a small child was the first to greet me. The light was fading quickly, as it does near the Equator. A group of men huddled near the Parliament and Ceremony House, but otherwise the village was quiet. The small boy shadowed me and I began to hear a loose kind of chanting. I turned toward the sound. There was a soft breeze in the gloaming; the heat was finally off the day. Then the unmistakable register of an AK 47 rang out. I leapt into the air. My head snapped in all directions, looking for the origin of the gunfire. Was I going to be shot as an intruder in the night? My young companion laughed at me. He looked directly up into the sky, indicating the direction of the shot. I tried to smile, and, more slowly now, continued toward the sound of the crowd. My small friend reached up and took my hand. The voices became more insistent. It was nearly dark. Then I heard it again this time, a rapid barrage of gunfire. Then another. The boy smiled in reassurance. I dropped his hand and beat it back to the campsite. The next morning, as we loaded the boat for our trip farther downriver, I learned that a village elder had died suddenly and the gunfire had been part of the mourning process. From fishermen at Turkana we learned that not far upstream, numerous Daasanach communities had begun to gather for a Dimi ceremony. They had come from miles away for an event that happens only every few years and lasts several weeks culminating in the act of female circumcision. We left the boat and were immediately confronted by two dozen teenage boys, each with a bow and arrow. After an initial standoff, they happily showed us the sharp tips of their weapons. We carried on across land littered with the bones of what I assumed to be cattle, through heat so intense it was difficult to breathe. The earth shimmered and huts began to materialize on the horizon. The Dimi gathering was in the early stages; only a handful of families had arrived. Outside the temporary huts were poles hung with leopard skin cloaks and ostrich plume hats for men, and colobus monkey capes for women. The skin of several people who came to greet us was already painted yellow in preparation for the dancing that would accompany the coming ceremony. Back by the boat I encountered a man with his entire chest and stomach covered in the well ordered markings of scarification. "This is to indicate that he has killed in battle," Mr. Biwa explained. The man glared at me. When I extended my hand to shake his, he broke into a toothsome grin. On our last evening, the sun was hazy near the western horizon over Sudan. I walked into the village behind our site, and then kept walking to the next village, and the next. Children began to follow. Soon their numbers were more than a hundred, the bolder ones shook hands, some touched my hair then ran away giggling. Eventually I began to chase them the boogeyman to their delighted screams as the sun fell. On the way back, on the outskirts of our campsite, I came upon an old man setting fire to a dead tree near a clearing. In the morning I told Mr. Biwa what I had seen. "It was a prayer," he said. "A prayer for the river to rise." We climbed into our boat and headed back upstream on a river that was unlikely to do so.	N24News: A New Dataset for Multimodal News Classification	Travel
Just how music obsessed is Hillary Kerr, the 37 year old founder of a lifestyle focused digital media company in Los Angeles? She can tell you what song was playing five years ago on the jukebox at the bar where she somewhat randomly met the man who became her husband. It was "These Days," the version sung by Nico, the German singer songwriter made famous by Andy Warhol and the Velvet Underground. Actually, the song had been playing just before she met Jonathan Leahy, now 38, on that December night in 2011 at the 4100 Bar in the Silver Lake district of Los Angeles. Ms. Kerr can't remember exactly what was playing when they met because at that moment she was jumping up and down "like Tigger," as she put it. In answering the usual what do you do questions, Mr. Leahy told her he was a music supervisor for "Girls," the HBO show created by and starring Lena Dunham. That was enough to get Ms. Kerr bouncing. Now he is a music supervisor with Aperture Music and is joined by Manish Raval and Tom Wolfe in being responsible for the music on "Girls." The team has also worked on films including "Trainwreck" and television series such as "New Girl." In addition, Mr. Leahy is the music supervisor for "Survivor's Remorse" on Starz. Ms. Kerr grew up in the La Jolla section of San Diego, graduated from the University of Southern California in 2000 and eventually made her way to New York, where she took a job as an assistant at Elle magazine. In 2005 she moved back to the West Coast, to Los Angeles, and with a fellow Elle alum, Katherine Power, created a company best known for its website, Who What Wear, which casts an eye on celebrity culture and fashion; it now has 13 million monthly unique visitors. Ms. Kerr and Ms. Power also started the Who What Wear clothing and accessories line sold at Target. It was nine months after their initial meeting that Mr. Leahy emailed Ms. Kerr. He had a friend who wanted to get into the fashion industry. Ms. Kerr, Mr. Leahy and his friend met for a long, boozy brunch. They began to email and text a bit. "There was banter," Ms. Kerr said, but neither knew the interest or intention of the other. A few months later, she texted to ask if he could help her score a ticket to see the band Lord Huron. Mr. Leahy happens to be a friend of Ben Schneider, the band's lead singer, and had an extra ticket. "This was one of those moments where the universe conspires to make you seem cooler than you actually are," Mr. Leahy said. He and Ms. Kerr met up at the show. That is when Mr. Leahy and Ms. Kerr moved into the ambiguous "mixtape era," in which for months they emailed and texted each other with coy "are we just friends or what" texts revolving around music. For example, Ms. Kerr was visiting New York and texted Mr. Leahy a request for "walking around SoHo music." He sent her a link to "Love Me Again," by John Newman. It has a club vibe but romantic lyrics. "I wanted to read into it," Ms. Kerr said, but she figured (correctly, it turns out) that her new friend was a bit of a clueless guy who didn't spend much time thinking about how a woman might react to such a song being shared with her. Another time he emailed her a link to a Fleetwood Mac version of "Need Your Love So Bad." After listening to it, Ms. Kerr said, "I called my friend Katie." "At that time," she continued, "I just referred to him as 'the supervisor.' She knew I had a crush on him. She said, 'How can it not mean something?'" Mr. Leahy acknowledged that it might be difficult for a person to think he was not sending Ms. Kerr a message with this song. "I sort of thought, 'Maybe it's too much.'" But he shared it with her anyway. (This is the same man who sent her the song "BedBedBedBedBed, Vacationer Remix," by Deleted Scenes, "during the friend phase," Ms. Kerr said.) Ms. Kerr played the game, too. She made Mr. Leahy a mix CD (handwritten liner notes and all) that she titled "Feynman Diagrams for All," after Mr. Leahy told her in a text conversation that he thought the idea of Feynman diagrams in which physicists map out the interactions of subatomic particles was romantic. On the mix, Ms. Kerr included the Mazzy Star song "I've Been Let Down." It was "a bit of an Easter egg of my actual feelings," she said. Around this time, Ms. Kerr texted Mr. Leahy a photo of the drink menu from a bar, the Roger Room. She had focused on a drink named for the song "Christmas Card From a Hooker in Minneapolis," which happens to be Mr. Leahy's favorite Tom Waits tune. "This made me rethink things a bit," he said, adding, "Hillary Kerr was clearly not to be trifled with." In early 2014, Mr. Leahy invited her to a Bleachers concert. The band's lead singer is Jack Antonoff, who is Ms. Dunham's boyfriend. Ms. Dunham was at the concert as well, and on meeting Ms. Kerr, she said, "I've heard so much about you." Ms. Kerr and Mr. Leahy shared their first kiss that night. He proposed to her on Polihale Beach in Kauai, Hawaii, on Jan. 1, 2016. On Dec. 10, 125 friends and relatives gathered in Palm Springs, Calif., at the Colony Palms Hotel, which was opened in 1936 by the reputed mobster Al Wertheimer and whose poolside guests have included Frank Sinatra, Ronald Reagan, Kirk Douglas and Zsa Zsa Gabor. Ms. Kerr walked down a grassy aisle in a mountain framed courtyard wearing a structured lace Reem Acra dress, strapless with a bustier and a full skirt. Four musicians played "Once, With Feeling," an instrumental song Mr. Leahy wrote for Ms. Kerr. Just minutes into the cocktail reception, a few of Ms. Kerr's best friends descended upon her. Jen Atkin, the celebrity hairstylist and social media star, started fussing with the flower she had sewn into the bride's hair. Joey Maalouf, the celebrity makeup artist who is a creator of the get your makeup done at home service the Glam App, whipped out a tube of lip gloss and reapplied it to the bride's pucker. He had done her makeup. "The look we went for is sickeningly stunning and perfect," he said. After a romantic first dance to Solomon Burke's "If You Need Me," Mr. and Mrs. Leahy (she will use her maiden name professionally) settled into several hours of serious dancing to songs spun by a D.J. And before they left for their Hawaiian honeymoon, Mr. Leahy completed his first important act as husband. He pulled together many of the songs that could be considered the soundtrack to their romance and made his wife a mixtape. Flora The bride and groom were married under a white birch trellis, because white birch is the state tree of New Hampshire, where Mr. Leahy grew up and where his parents, Richard and Marie Leahy, reside. The structure was wrapped in white peonies, Sahara roses and camellia greens. Readings Mr. Leahy's family is Roman Catholic; Ms. Kerr's parents, John and Carole Kerr, are more spiritual than religiously observant. Many of the guests had an artistic bent. The bride and groom planned accordingly. Marshall Goldsmith, an executive coach, author and lifelong family friend of Ms. Kerr, officiated. Friends and relatives stood to read poems from James Kavanaugh and Mary Oliver, as well as a passage from the Supreme Court's 2015 ruling legalizing same sex marriage. "A little Catholic priest, a little lesbian Pulitzer Prize winner, a little equal rights for all," Ms. Kerr explained after the ceremony.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
The guidelines issued by the New York City Department of Health "strongly recommends against testing persons with mild illness who can be safely managed at home, unless a diagnosis may impact patient management." But in the case of professional sports franchises, they often have existing relationships with medical centers as well as their own team doctors. On March 18, a week after the season had been suspended, a spokesman for the Knicks said: "We have been following the recommendations of local and national health officials and continue to monitor our players closely. As of now, with our players remaining asymptomatic, none of them have been tested for Covid 19. We will remain in close contact with health officials and the N.B.A. and N.H.L." A Knicks spokesman declined to comment on Dolan's test. In the statement, the team said Dolan continued to oversee business operations.	N24News: A New Dataset for Multimodal News Classification	Sports
Days after announcing that his show would be off the air for several weeks, the host of CBS's "The Late Show With Stephen Colbert" made a surprise appearance on Monday, delivering a 10 minute monologue from his bathtub. "Welcome to my bathroom. I'm your host, Stephen Colbert," he said at 11:35 p.m. "You're watching a very special social distancing edition of 'The Late Show.'" Surrounded by bubbles, Mr. Colbert was dressed in a dark suit, sporting facial scruff and wearing AirPods. A toilet was visible in the background. Like his fellow late night hosts a group that includes NBC's Jimmy Fallon, TBS's Samantha Bee, HBO's John Oliver and Comedy Central's Trevor Noah Mr. Colbert said last week that his show would suspend production until at least March 30 to guard against the spread of the coronavirus. "I wish I could stay onstage to share this uncertain moment with you, but I don't do this show alone, and I have to do what's best for my staff," Mr. Colbert said on Thursday. "Hope to be back soon." From his bubble bath on Monday, Mr. Colbert brandished a container of Head Shoulders shampoo and a slice of a pear and almond cream tart he had made. He also grabbed a can of Goya beans that he said he had been hoarding. "There's literally hundreds of beans in this can," he said. "One of them has to be magical. That's just math." 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 monologue had the rapid fire cadences of the lines he usually delivers from the stage of the Ed Sullivan Theater in Manhattan. It included video clips of President Trump's Monday news conference, with commentary. The host also mocked Mayor Bill de Blasio's Monday visit to a Y.M.C.A. gym, which had been the subject of much ridicule on social media. "Come on, Mr. Mayor. Don't you know that during an epidemic, it's fun to stay at your h o m e," he said, to the tune of the vintage Village People hit "Y.M.C.A." "'Cause if you don't, we'll be d e a d." After the monologue, Mr. Colbert turned to a piece taped last week featuring a "Late Show" producer and his mother learning about coronavirus. The rest of the show comprised segments from a February episode. When the late night shows went on hiatus, some observers lamented that the hosts would not be around to add comfort, humor and a skeptical voice to the national discourse as they had during earlier times of crisis. David Letterman's return to CBS six days after the Sept. 11 terrorist attacks in 2001 was a landmark in the genre's history. Mr. Letterman along with Mr. Fallon on NBC also broadcast episodes without a studio audience in the aftermath of Hurricane Sandy. Veteran late night producers have also noted that moments of crisis give hosts a chance to break the rigid formats of their nightly shows. Mr. Colbert, who has the most watched show in late night, did not have any competition on Monday. ABC showed a repeat of "Jimmy Kimmel Live!," a night before "Nightline" temporarily takes over the 11:35 slot. New York's NBC affiliate, WNBC, went with the local news until midnight, pushing a repeat of "The Tonight Show Starring Jimmy Fallon" to early Tuesday. But Mr. Colbert's bathtub monologue could signal weeks of do it yourself comedy from late night entertainers. Two of his competitors were not entirely absent on Monday. Mr. Fallon posted a 21 second original song dedicated to hand washing to his Twitter account. And in a short video posted on YouTube, the TBS host Conan O'Brien sanitized a jigsaw puzzle by boiling its pieces while singing "Happy Birthday to You" in various accents. When asked if Mr. Colbert would be back with a new monologue on Tuesday, a CBS spokeswoman declined to comment.	N24News: A New Dataset for Multimodal News Classification	Media
LOS ANGELES Some will watch "Hell or High Water" at the Cannes Film Festival in mid May and see diversity. Gil Birmingham, one of its stars, is a Native American, of Comanche ancestry. Others will notice political currency. A contemporary Western set in Texas (and shot in New Mexico), the film finds brothers played by Chris Pine and Ben Foster settling scores with a bank, and perhaps the 1 percent, over a mother's reverse mortgage gone wrong. But cineastes may spot something else. That might be depending on your critical sense, and tolerance for West Texas humor one of the top diner or deli scenes in movie memory, right up there with the chicken salad sandwich order in "Five Easy Pieces" and Meg Ryan's faked orgasm at a deli in "When Harry Met Sally."	N24News: A New Dataset for Multimodal News Classification	Media
Alcohol based hand sanitizer can be found in schools, offices, restrooms and restaurants and is great for cleaning hands in public places. But most of us would never think of drinking it. But the products also contain a stronger concentration of alcohol than beer, wine and most hard liquors, and can be easily abused. The issue gained national attention recently when a former Wells Fargo banker admitted to swigging hand sanitizer at work to cope with the stress of working at the bank. A recent "Saturday Night Live" sketch also included a joke about the practice. Ingestion of hand sanitizer can cause alcohol poisoning and even death, and the vast majority of those exposed are children under 6 who drink it by accident after finding it in the home or a parent's purse or bag. It's less common for adults who can buy alcohol legally to deliberately ingest hand sanitizer, unless they are in an institution like a hospital or prison where alcohol is not allowed, are trying to commit suicide, or are alcoholics who can't obtain alcohol any other way or are trying to hide their drinking. The problem appears to be on the rise. Last year the nation's poison control center received 19,729 reports of exposure to hand sanitizer, up from 17,821 reports in 2011. But most exposures are accidental and the vast majority involve children who may have just licked their hands after rubbing hand sanitizer on them, tasted it by accident or inhaled it. Only 1,394 of last year's incidents involved intentionally swallowing the liquid, according to the American Association of Poison Control Centers. There were two deaths. Teenagers who can't buy alcohol legally and are looking for a "high alcohol content thrill" are known to occasionally abuse hand sanitizer, said Dr. Anthony F. Suffredini, a physician who wrote a paper describing the case of a 17 year old hospital patient who became acutely ill after putting hand sanitizer into his feeding tube while being treated for other medical problems. The boy required mechanical ventilation to assist with his breathing and dialysis to rid his blood of the alcohol. "This young man, who was from the South, mentioned that among his circle of friends, who were all underage, if they couldn't find alcohol any other way, this was one of the ways they tried to get high," Dr. Suffredini said. A 2012 study by Dr. Suffredini that examined trends in hand sanitizer incidents from 2005 through 2009 reported an increase in the number of youngsters and adults who said they deliberately drank hand sanitizer. The number of children ages 6 to 19 who said they had deliberately swallowed hand sanitizer more than tripled, to about 350 in 2009, up from just over 100 in 2005. Meanwhile, the number of adults over 20 who said they deliberately drank hand sanitizer increased to just over 200 in 2009, up from about 60 in 2005. While the numbers are small, Dr. Suffredini said he suspects most incidents do not get reported. "Not everyone will report it and unless someone gets really ill, they won't go to the emergency room, and even then, the emergency room may not report it as a true poisoning," he said. Doctors say the case of the Wells Fargo banker, reported in The New York Times, was particularly unusual. The banker, Angie Payden, of Hudson, Wis., said she started drinking hand sanitizer in the bathroom while working at Wells Fargo to cope with the intense pressure to open unnecessary bank accounts, which was causing her to have panic attacks. Containers of hand sanitizer were kept throughout the bank, she said, on bankers' desks, behind the tellers' counters and in the restroom. Ms. Payden said she drank the hand sanitizer before meeting with clients, and eventually worked up to drinking "at least a bottle a day" and realized she was "completely addicted." "It's interesting, because it's not something you hear a lot," said Alexander Garrard, a toxicologist who is director of the Washington Poison Center in Seattle, commenting on Ms. Payden's account. "Hand sanitizer is not usually something people will resort to." The reason most people shy away from it? "It just doesn't taste good," Dr. Garrard said. "Nobody who's not an alcoholic is going to say, 'You know what would be really good right about now?' " and suggest hand sanitizer. Purell hand sanitizer has added unpleasant tasting ingredients to its products to make them even less palatable, said Samantha Williams, a spokeswoman for GoJo Industries, which makes Purell. She noted that published studies show the benefits of using hand sanitizer, including reduced infections in hospitals and fewer missed work and school days. One appeal of drinking hand sanitizer may simply be that it's easier to conceal, either from parents or from one's boss, said William Eggleston, a clinical toxicologist at Upstate New York Poison Center and an assistant professor of emergency medicine at Upstate Medical University. "If someone sees a little bottle of hand sanitizer in your purse, nobody's going to think twice," Dr. Eggleston said. "If they see a minibar bottle of vodka in your purse, it will raise questions. So I can see why someone would choose something like this in a high stress environment." A study of 385 teenagers who ingested hand sanitizer in Texas between 2000 and 2013 reported that most of them said they drank it by accident, and only 18 percent said they ingested it deliberately. More than 60 percent were boys, and the average age was 15. About 5 percent suffered serious medical outcomes including vomiting, abdominal pain, nausea, throat irritation and drowsiness. Consuming hand sanitizer can be particularly dangerous, both because the alcohol content is so much higher than in other sources of alcohol, and because some formulas use isopropyl alcohol, or rubbing alcohol, which is extremely potent, Dr. Garrard said. "You will be more impaired, with a smaller amount," he said, which can lead more rapidly to alcohol poisoning. Deaths are rare and unusual enough to be written up in the medical literature: In one paper, published in 2013, physicians from the University of California, San Diego, described the death of a 36 year old man who showed up at the emergency room extremely intoxicated. Though he appeared to be less intoxicated some four hours later and left, he apparently went into the bathroom of the waiting room and started drinking hand sanitizer. Doctors attempted to resuscitate him after he was found not breathing, but he never regained consciousness and died a week later. The Food and Drug Administration announced recently that it is studying the safety and efficacy of hand sanitizers and has asked manufacturers for information about the active ingredients, including ethanol or ethyl alcohol and isopropyl alcohol. The agency is interested in gathering more data on the long term safety of daily use of these products by pregnant women and children.	N24News: A New Dataset for Multimodal News Classification	Well
Last month, Alexandra Shulman, 59, editor in chief of British Vogue and architect of the magazine's glittering centenary celebrations last year, shocked the fashion world by announcing that she was stepping down after 25 years. The news broke during Paris couture week when hundreds of industry insiders sit next to one another for hours on end, waiting for shows to start or at dinner parties so speculation on possible successors immediately went into overdrive. Now almost a month later, with the group reunited for the ready to wear season, the chatter shows no signs of abating. "I call it the 'fashion week caldron,'" said Imran Amed, founder and editor of Business of Fashion, an industry news website. "It is the time of year when all rumors germinate and a story can reach fever pitch. And let's face it, fashion folk really like to gossip." Still, word that Ms. Shulman will leave the job this summer set off the same levels of breathless conjecture usually reserved for the hirings and firings of A list designers at top tier fashion houses. It is an unusual response for a media masthead opening, and one that highlights the state of flux in the glossy magazine industry. Ms. Shulman's announcement came a month after the death of the celebrated Vogue Italia editor Franca Sozzani, so two of the three longest serving Vogue editors will be gone (Anna Wintour, editor of American Vogue since 1988, is the third). New editors were installed last year at Vogue Spain, Vogue Brazil and Vogue Arabia. But the top job at British Vogue is one of the most visible in the Conde Nast publishing empire. It is also one that rarely comes up for grabs. "As I said to Alex herself this week, this is the sort of job that only comes up once every 25 years," Mr. Amed said. "This isn't just about taking on the mantle of Vogue. It is a role with huge influence and power; you become a de facto spokesperson for the entire fashion industry." A number of names are now in the frame, with industry watchers placing odds on contenders. Katie Grand, editor in chief of another Conde Nast title, Love magazine, and a consultant to a raft of big name brands such Marc Jacobs and Louis Vuitton, was widely touted early on, though many have highlighted that the job would bring inevitable conflicts of interest with her lucrative commercial relationships. The British Vogue deputy editor, Emily Sheffield, may have a fighting chance to succeed her longstanding boss, especially because she is also the magazine's associate digital director, a handy title to have at a time when technological upheaval is rattling the foundations of the magazine business. Also in the mix are two contenders from the American branch of Conde Nast: Sally Singer, creative digital director at Vogue, and Edward Enninful, fashion and style director of W magazine. Meanwhile, Jo Ellison, the Financial Times fashion editor and a Vogue alumna, apparently has several fans among the newer faces in the Conde Nast boardroom. That could count for a lot, given the shake ups underway in the international division. "The timing is really interesting given the management reshuffle at Conde Nast," said Jane Martinson, who leads The Guardian's media coverage. Days before the news of Ms. Shulman's exit became public, Nicholas Coleridge, Conde Nast International's president of 26 years, announced his decision to step aside and take on the role of chairman. Wolfgang Blau, now Conde Nast International's chief digital officer, will become its president, and Albert Read, the publisher's general manager, will take over as managing director of Conde Nast Britain. They are to assume their new roles on Aug. 1, while Ms. Shulman is to depart in June. So the clock is ticking. But word on the front rows of the New York and London shows has been that the search for Ms. Shulman's heir is far from complete. Several advertisements for the position have been published in recent weeks the better to attract non fashion or foreign candidates at a time when British Vogue's voice must have more cross generational and cross border appeal than ever before if it is to survive. The application deadline is Feb. 26. Possible contenders for the British Vogue crown A loyal and longstanding deputy to Ms. Shulman, Ms. Sheffield, sister in law of former Prime Minister David Cameron of Britain, is said to be the front runner among those on the magazine's masthead. A former features editor of British Vogue, Ms. Ellison left the title in 2014 to become the fashion editor of the Financial Times. She is said to be highly admired by some executives in Conde Nast International's boardroom. Ms. Grand, a co founder of Dazed and Confused, is now editor in chief of Conde Nast's Love magazine, published twice a year. She is affectionately known as Katie Grand a Minute, thanks to her ability to command eye wateringly high consulting rates from big name clients such as Miu Miu, Louis Vuitton, Marc Jacobs and Loewe. Marcy Swingle for The New York Times Ms. Massenet, a former fashion journalist, founded the luxury e commerce site in 2000 and left it in 2015. She is now the chairwoman of the British Fashion Council, and her next role has been the subject of endless debate among fashion insiders. Perhaps a long shot in the Vogue race, her name has been raised consistently. Ms. Martin's is another name in the frame. Editor of the magazine The Gentlewoman since 2010, she was an editor in chief of SHOWstudio from 2001 to 2008 and chairwoman of the Fashion Imagery department at London College of Fashion from 2008 to 2011.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
"Women are supposed to be very calm generally," Charlotte Bronte wrote in "Jane Eyre," her 1847 novel, "but women feel just as men feel; they need exercise for their faculties, and a field for their efforts." Women have always had to deal with uphill battles, but as heroines go, Jane Eyre has more than her fair share. Read the book if you haven't; reread the book if you have. As for seeing Cathy Marston's balletic rendering of "Jane Eyre"? This production, originally created for Northern Ballet in 2016 and opening on Tuesday at American Ballet Theater, takes an admirable feminist stance. But its unrelenting grimness and monotonous choreography give that point of view little room to grow and add nothing to the poetry and page turning drama of Bronte's novel. The wan lighting by Brad Fields and bleak sets and costumes by Patrick Kinmonth don't help to illuminate the story or the choreography. On the bright side, it's not hard to relate to the torment endured by Young Jane, a character played with cold relish by Catherine Hurlin. The ballet is told in flashback. It begins after the adult Jane (Devon Teuscher) has fled Rochester (James Whiteside). To make her appear ravaged by the wind, she is shuffled among a collective of D Men inner demons who follow her from scene to scene and often, as men are wont to do, get in her way. St. John Rivers (Aran Bell) discovers her limp body and rescues her.	N24News: A New Dataset for Multimodal News Classification	Dance
It takes more than big names to win games in the W.N.B.A. The New York Times is talking to players across the league who are making an impact in their own way. Off the bench or in the starting lineup, it doesn't matter. Allisha Gray is going to play her game. Gray, a fourth year guard for the Dallas Wings, is scrappy, a solid threat on both ends of the court and not afraid to dive for a loose ball. She can shoot the 3, pull up from midrange or knock down free throws. Whatever the game needs, she's got it to give. The 2017 W.N.B.A. rookie of the year, Gray is lighting it up, but in a most unconventional way. After three years as a starter, she has found herself in a new role a reserve coming off the bench. "Whatever helps the team, that's what I want to do," she said. "I can see the game unfold in front of me before I get in." The role reversal has not affected Gray, who has been just as productive, if not more. In the season's first game, against the Atlanta Dream, she finished with 19 points and began to relish her role as "bench leader," powering the Wings' second unit for several games and helping them become fifth in the league in points off the bench. But then there was a plot twist: She was moved into the starting lineup because the team was getting off to slow starts. And Goggle Lish which is what she has called herself since she was poked in the eye and started wearing goggles continued to perform. She set single game career highs in 3 pointers made (five) and points (22) while starting, and is now the team's second leading scorer with 12.1 points per game. The New York Times talked to Gray about how her game has evolved, her greatest achievement and how she became a gamer. This interview has been condensed and lightly edited for clarity. How have you evolved from your rookie of the year season to Year 4? I think just my feel for the game. I know my first two years in the league everything was kind of, like, fast paced and I was still learning different kinds of ways to score. I'm to the point now where the game has really slowed down for me to where I'm able to read screens more, read cuts, if someone is overplaying me. What's the best part of your game? I honestly can't pinpoint just one part of my game. I think I'm an all around player, so I do things on both ends of the court offensively and defensively. You're in great shape this season and it shows on the court. What's your secret? It's really no secret. Just getting in the gym and putting in the extra work. I mean, the game gives you what you put into it, so if you're in the gym extra it helps. I know this off season I was in the gym with John Hollmon of S.T.A.T. Pro and I was literally in the gym five days a week. So, you're a bona fide gamer. How did that happen? I grew up with two brothers one older and one younger than me and with brothers they play video games so it was a way to bond with my brothers. They didn't play with baby dolls and stuff. I had to play by myself. At the time I was the only girl my little sister came a couple of years later but at the time, the only way I could bond with my brothers was to play video games. Tell us about playing in the NBA 2K tournament earlier this year. It was fun. I teamed up with Aerial Powers and Alexis Jones and we played in the NBA 2K tournament. Aerial streams on Twitch and she got me into Twitch, so during the pandemic when we had stay at home orders I started streaming on Twitch as well. I love playing video games. I've been playing video games forever, so it's just a hobby. It's something fun to do. What do you consider your greatest achievement? Winning the national championship at South Carolina. That was one of my main goals when I transferred to go to a school to compete for a national championship. To have a coach like Dawn Staley, I knew that playing for her would not only help me achieve that goal but also develop me as a player to ready me for the W.N.B.A. When and where are you your happiest? I'd have to say when I'm at home chilling and with my family and my boyfriend. Those are people that truly understand me as a person and they don't see me as Allisha Gray the athlete they see me as Allisha Gray the person. They're the ones that treat me like a human so I'm at my happiest when I'm with them because they really understand and get me. I can talk to them about stuff as a person. What is your most treasured possession and why? I'd have to say my national championship ring. Not too many people have national championship rings. Those things are pretty rare. Tell us about how you're keeping your hair up in the "Wubble" the W.N.B.A. bubble. First you had braids, then an Afro and now twists. It's just two strand twists, a natural hairstyle. I can't keep the braids in my head forever. I'm just trying to switch it up sometime. Let your hair breathe. I get my hair done in the hair salon here in the Wubble, and there are friends in the bubble who know how to do hair as well. What is your day like in the Wubble? My day consists of when I come home, back to my hotel room, I'm on Xbox either playing 2K or Call of Duty. I don't really watch TV like that. I'm either playing video games if I'm not on the basketball court, or if I'm not playing video games, I'm on the basketball court.	N24News: A New Dataset for Multimodal News Classification	Sports
There's a lot meant to freak out audiences in "The Grudge," the horror reboot that opened Jan. 3. One of them is the sound of peacocks. The birds don't appear in the film, but their startling squawks can be heard, in digitally altered form. "They're beautiful, but the way they sound is pretty unsettling," said Taylor Newton Stewart, 41, one half of the composing duo behind the film's soundtrack. "It sounds like a cry for help." Since 2014, Stewart and Andy Grush, who call themselves the Newton Brothers, though they are not related, have specialized in music in the key of fear. Their compositions have accompanied and augmented the terror of demonic possession ("Ouija: Origin of Evil"), crazed killers ("See No Evil 2," "Hush"), childhood trauma ("Oculus," "Gerald's Game") and all manner of ghastly apparitions ("Before I Wake," "The Bye Bye Man"). Their last soundtrack, for "Doctor Sleep," was like an aural haunted house: pounding heartbeats, creaking doors, ominous chants and a low dirty drone that suggested evil lurking behind every door. When they started collaborating in 2011, they didn't plan on their composing careers revolving around the stuff of nightmares. And the work, they'll freely admit, can exert a psychological toll. "Being in a dark room staring at dark imagery for a long time, it does get to you," Stewart said in a joint phone interview. "Sometimes you need to step aside and go watch 'Finding Nemo' with your niece." In the aughts, Stewart and Grush, 45, mainly worked, separately and sometimes uncredited, on other composers' scores: Grush, a self professed "classical music nerd" and pianist, was as an orchestrator; Stewart, the son of an opera singer, a synthesizer programmer. Meeting through mutual friends, they decided to forge their own composing careers, figuring they could cover more musical ground that way. Sure enough, as a duo, they moved adroitly through scoring projects, from tense political drama to action thriller to college sex comedy. But even though they remain open to working in any genre, after the success of "Oculus" (2014), directed by Mike Flanagan, they were pegged as maestros of menace. They became Flanagan's composers of choice, too, having scored six of his horror films so far, including "Doctor Sleep," as well as the Netflix series he created, "The Haunting of Hill House." "Andy and Taylor understand the role of music in a film on a profound and instinctual level," Flanagan said in an email. "They see beyond the score, and see the film itself as a symphony, and then refine their score so that it fits in harmony with all of the other elements. They create elaborate, terrifying and even gorgeous music. And they have never once repeated themselves." For the composers, scoring for horror is a license to get weird. They dabble in everything, including 12 tone and microtonal music music that lives in the uncomfortable cracks between the more familiar musical notes and punch the air alt rock. (The end credits of "The Grudge" are set to "We Get What We Deserve," all blistering guitars and hell raising vocals, a collaboration with the Los Angeles grunge rock band Dead Sara.) In a single soundtrack, their lush orchestral pieces mingle with more deranged impressionistic soundscapes. They are keen investigators of exotic and unconventional instruments, too. For "Ouija," they employed the waterphone, whose otherworldly shimmer was also used to sinister effect in "The Exorcist." For "Doctor Sleep," they sought out a nearly 100 foot tall Aeolian harp, an instrument performed by the wind rather than a human player, while the persistent drone in that soundtrack was supplied by the Hurdy Grande, a bulky contraption invented by experimental composer Paul Dresher. As with the peacocks, some of their most compelling sonic textures are derived from noninstruments. Scores have involved the sounds of bees, flies and hummingbirds, the bleat of a foghorn and the hum of an air conditioning unit. "I'll take a mallet and hit a microwave door for inspiration," Grush said. "You just start making noise and wait to hear what happens." Back in the studio, these found sounds undergo merciless surgery through Soundtoys and other audio software: slowed down, stretched, warped, chopped up and digitally mutilated beyond recognition. "It's about trying to come up with something that you've never heard before," Stewart said. "Not knowing what it is makes it scary. It's like when you're a child and you hear some weird sound, and your mind starts to think something's out there. It's the combination of the unknown factor and your mind wandering to what it could be, trying to explain the anomaly." As a listening experience, "it's not going to work as a concert piece," Grush said. "But it does serve the film." There are tried and tested horror film music tropes too, of course. Shrieking violins suggest some fast approaching threat, while bow sticks striking their strings evoke fraying nerves or an inundation of tiny insects; and chaotic percussion simulate the protagonist's heart racing panic. The Newton Brothers use familiar techniques like these sparingly, tactically. "If you're making a scary scraping sound, you shouldn't make that same scraping sound for a while. Even something uncomfortable becomes comfortable when you expect it," Grush said. "So we're constantly changing the sounds, the tempo, the rhythm of things so you can't get too comfortable with anything." Silence and space are important, too. A slow creeping melody or an unresolved chord progression is a surefire way to leave an audience on edge. "Scary or emotional moments are more effective when there's a bit of a pause and a moment to breathe," Stewart said. "Too much music lessens the impact when a big moment finally comes. And a moment of silence beforehand can let you really scare the bejesus out of somebody." But a truly effective horror score also includes musical moments that express a character's vulnerability. It's not just the stabbing shower scene violins that made Bernard Herrmann's "Psycho" score effective, but the way their churning strains revealed the anxieties of Janet Leigh's character early on. The horror is most horrifying when the audience is invested in the human drama.	N24News: A New Dataset for Multimodal News Classification	Movies
TROY, N.Y. It's a little off the New York City radar, but one of the country's most invigorating hubs for performance and what's fashionably called "time based" visual art has been operating here for a decade now. The mission of the Curtis R. Priem Experimental Media and Performing Arts Center known as Empac at Rensselaer Polytechnic Institute is more scholarly than ticket sale oriented. But when it puts on a public facing show, it knows what it can do. On Saturday, as part of its 10th anniversary celebration, Empac wrapped up a three day series of performances with a demonstration of its unusual capabilities, namely the high tech "dome" of speakers that surrounds listeners in its main concert hall. Olga Neuwirth's 2008 "Lost Highway Suite" has its roots in her 2003 opera, based on the psycho noir David Lynch film. The integration of electronic and acoustic sounds has always been a part of her approach to the film. (Ms. Neuwirth categorizes her "Lost Highway" as "a video opera.") The instrumental suite, lasting approximately 40 minutes, requires live electronic processing of six soloists, drawn from a larger chamber ensemble, here the International Contemporary Ensemble. Pumping out those multichannel electronics is a job that might normally be handled by just a few speakers. (The CD version of the full opera was mixed for 5.1 surround sound systems.) Empac's 64 speaker dome which made a vivid impression at its Spatial Audio Workshop last year works at another level of density. Unlike movie theater systems, in which the directionality of a spatially separated mix is always broadly perceptible, an "ambisonic" array like this one can have a hypnotic, hard to track power that ideally suits this Lynchian work.	N24News: A New Dataset for Multimodal News Classification	Music
This article contains spoilers for Season 8, Episode 3 of "Game of Thrones." The Night King was a terrifying figure. He could raise the dead. He had strange, devilish horns on his head. But a lot of the fear he inspired came simply from what we didn't know about him. He didn't speak, save in the form of horrific corpse art installations that were rather hard to decipher. Only very late in the "Game of Thrones" arc did we finally learn that his purpose was to bring about an endless night and to erase humanity's biggest memory download, the Three Eyed Raven. Still, he took his sweet time in approaching Bran Stark in Sunday's episode, making some fans wonder why. Vladimir Furdik, the Slovakian actor and stuntman who played the Night King, called from Budapest to share what it was like shooting the Battle of Winterfell. Following are edited excerpts from that conversation. Read our recap of Season 8, Episode 3 of "Game of Thrones." What did you think when you finally got to see the finished versions of your pivotal scenes? The Night King's confrontation with Dany, with Arya ... I was actually on set all day, every day. I did every part of the battle because I was helping choreograph the fights from beginning to end, every kill. I wasn't just Night King, you know? Everything that happens in this episode, I was close behind the camera or the sound man to help them. And then when you see someone in the monitor, you can say to the director, " Miguel Sapochnik , have them put their head down!" When I saw it on the TV, I said, "Wow, this is amazing." Especially the end, with the music and the slow motion it took my heart, you know? I was like, I feel cold. Have you seen any of the fan reaction? No, no, no, no, no. I would like to. There are a lot of fun ones out there. For instance, Jimmy Kimmel did a bit about how he thought the Night King and Bran had some very interesting romantic chemistry. There was a long moment where the Night King and Bran gaze at each other. People were wondering what was going on between them. Ah! That moment, that was very different because Isaac Hempstead Wright and I are very good friends. And we were joking many times, you know? And I remember a couple times when they said, "Action!" he gave me a look, and he smiled! He smiled through his eyes! And I tried to hold it back. I said to myself, "Don't smile, don't smile." And then I said to Isaac, "Please don't smile because then I'll smile!" And mess up on camera! We were worried about laughing! I remember there was rain, and so a couple of times I held my umbrella over him. And he said, "Somebody should take a picture of you holding the umbrella." He posted that on Instagram: "Here's a still taken from the alternate Episode 3 ending in which the Night King becomes Bran's carer and they both live happily ever after." So what was it like shooting your death scene? Every time they killed me it will be in my brain forever, you know? This was a very hard shooting day, I remember. It really wasn't easy for me and for Maisie Williams , to just sell the moment, you know? And it was cold. It was raining. She was on the wire, in a harness, and she did the jump many times. She was so tired. When I turn, to grab her, this was also difficult for me to grab her at exactly the moment she's jumping. When I hold her under the jaw, and we look at each other, I could feel she was full of emotion. I can tell you, it was a strong moment between me and her. Not just because we did it so many times. But there was something on the set, when they said, "Action!" and I grab her and we look at each other. It was so strong. I cannot tell you how strong. Was there ever anything about the Night King that confused you? Or that you wanted more information about? I think that what the showrunners David Benioff and Dan Weiss did was very clear, so I completely understood what they wanted. I think maybe at the beginning of the season, they might have thought he would fight more with his sword, but everything from David and Dan was clear.	N24News: A New Dataset for Multimodal News Classification	Television
The El Greco painting lent to the Detroit Institute of Arts, "St. Francis Receiving the Stigmata," now hangs in the reopened museum's medieval and Renaissance galleries. It was a chance to borrow a rarely seen El Greco for a museum that had only a single painting by the old master. So the director of the Detroit Institute of Arts courted a wealthy Dallas collector to arrange for a loan of the painting, "St. Francis Receiving the Stigmata," and it now hangs in the reopened museum's medieval and Renaissance galleries. That coup, however, has set off a whistle blower complaint, filed with the Internal Revenue Service and the Michigan attorney general, asserting that conflict of interest rules to prevent self dealing have been skirted. The wealthy Dallas collector, it turns out, was the director's father in law. The director, Salvador Salort Pons, said that his family's interest in the painting was properly disclosed and that he followed a procedure approved by the institute's board of directors for borrowing works. "It's a common practice for American museums to engage collectors and patrons asking them to loan paintings," he said in an interview. But his answers have failed to satisfy the museum employees who filed the complaint at a time when other concerns, including ones about Mr. Salort Pons's management style and about DIA's treatment of its Black employees, are roiling the institute. They say that a lack of transparency surrounding the artwork cloaked a situation that could financially benefit the director and his family, since a painting's exhibition in the institute could burnish its value. "A museum official (or close relative) who loans an object to the museum for display then sells it after exhibition would likely earn an enhanced price for the object," said Greg Stevens, director of the Institute of Museum Ethics at Seton Hall University. "And it would also cause the appearance of impropriety to arise namely, that the museum used its prestige, resources, and reach to enrich the official." The institute said it had engaged a Washington law firm to review the museum's loan procedures and policies to ensure that they had been followed. The bond between museums and wealthy collectors is one of the essential relationships of American museums. Without the generosity of such patrons museums could likely not afford the art that enhances the visitor experience. So, museums routinely engage in all manner of relationship building they hope will lead to collectors gifting money or major works. Mr. Salort Pons said that was his ultimate goal when he implored the collector, Alan M. May, a retired real estate investor, to lend the El Greco. The late 16th century painting, valued at 5 million in the museum's internal database, shows the young saint standing alone in a wild landscape. Praising its "dynamic image of ecstasy," Mr. Salort Pons said the work surpasses in quality the institute's existing El Greco, "Madonna and Child," which was donated in 1970 by a Detroit collector. (Damaged by a repaint, it has not been exhibited for decades.) "When I heard that he bought this painting, I called him and said you need to lend this to the DIA because it's an amazing painting," he said. In the case of the St. Francis painting, both Mr. May and Mr. Salort Pons informed the institute's chairman, Eugene A. Gargaro, about the plan to lend it to the institute, and Mr. Gargaro approved the loan. "If it's disclosed to me, then it's disclosed to the whole board," Mr. Gargaro said in an interview. The work was also listed in the usual loan agreement issued for incoming works of art and was known to a circle of staff members who deal with borrowed artworks, Mr. Salort Pons said. The El Greco was the second painting he had borrowed from his father in law. In 2010, Mr. Salort Pons borrowed a 17th century painting valued at 500,000, "An Allegory of Autumn," attributed to the circle of the French artist Nicolas Poussin. It was a painting that would help explain Poussin's influence; Mr. Salort Pons, who was then a curator, said he sought the approval of Graham Beal, who was the director at the time. Mr. Beal said in an email that the loans of such paintings to the institute's galleries represented "a hole that the curator in charge hoped the loan might fill permanently in the fullness of time." "The loan(s) from Alan May was/were totally above board and benefited the DIA as much, if not more, than the lender," Mr. Beal said. The institute's own guidelines say that family loans can benefit the museum but "exhibition can enhance the value of the exhibited object and care should be used to achieve objectivity in such cases." Whistleblower Aid, a nonprofit law firm in Washington representing the staff members, said Mr. Salort Pons did not take nearly enough care. He should have recused himself completely, and have formally informed the entire board as well as the public about any family interest. This chimes with what some ethics experts believe. Ideally, museum experts say, if a work is borrowed from a family member, the director should also justify why the work is joining the museum's collection. Whistleblower Aid said Mr. Salort Pons ran afoul of these guidelines because the paintings are owned by a family trust and his wife is a beneficiary. "At best, Salort Pons exercised poor judgment by entering into an opaque arrangement that financially benefits his father in law and wife," said John N. Tye, founder of Whistleblower Aid, which has previously worked on high profile cases including the whistle blower complaint about President Trump's dealings with Ukraine. He declined to say how many institute staff members were involved in the complaint. The Spanish born Mr. Salort Pons, 50, joined the institute in 2008 and became director seven years later, after a turbulent period when the institute was saved by the infusion of nearly a billion dollars from foundations, private donors and the state of Michigan. A deal for an annual property tax increase paid by three Michigan counties continues to support its annual 38 million operating budget. Five years into his directorship, the issues with the paintings are part of a larger pattern of dissatisfaction with Mr. Salort Pons's leadership, according to several current and former staff members. The broader complaints describe a less than collaborative management style, sidelining of senior staff members, and frustration that Mr. Salort Pons is undermining the institute's emphasis on community outreach and education for which it prides itself. They also complain about a certain deafness on race at a time when questions about systemic racism are coursing through the country's cultural institutions. His tenure in Detroit has coincided with Mr. May's growing involvement. Mr. May became a member of the institute in 2009, and has since become an involved presence, traveling with curators to art world events a perk often extended to important collectors. He said that he believed his loans were handled properly. "As a philanthropist, I can assure you that my sole motivation was to enrich the museum experience to its visitors and to help provide learning opportunities for students and art lovers," he said. He has donated conservation equipment to the institute and has given paintings to other museums like the Dallas Museum of Art and the Boston Museum of Fine Arts. But he has yet to donate a work to DIA, though he said he may donate a painting from his collection in the future. The painting attributed to the circle of Poussin stayed at the institute until 2012, and has now returned to its owner. Mr. Salort Pons said he was encouraging his father in law to keep the St. Francis painting at the institute for much longer. "I would like it to stay forever," he said.	N24News: A New Dataset for Multimodal News Classification	Art & Design
Preservationists of the 1950s who sought to save the Jefferson Market Courthouse of 1877 had no landmarks law to back them up. They labored on the romantic Victorian's behalf for almost 10 years, inventing strategy and recruiting allies as they went along. The delicate, multicolored tower at the Avenue of the Americas and 10th Street is hard to look at now with fresh eyes, but for those just discovering New York's history in the mid 20th century, it was manna a wild, competing series of masses, materials and colors, one loud "Look at me!" statement. The super High Victorian Gothic courthouse, designed by Frederick Clarke Withers, escaped demolition in 1910 when the planner Charles R. Lamb suggested clearing out the cobweb of streets in the West Village to create a new court center. Like many grand visionary ideas, this one sank like a stone. The courthouse was next to a public market and a jail, both demolished in the 1920s for the Art Deco Women's House of Detention, which by the '50s was known for the inmates shouting out the windows at husbands, boyfriends and passers by. For people who lived within half a block, this didn't disturb the peace; it destroyed it. Neighbors clamored for its destruction. The taint of the House of Detention, a crisp although hardly surpassing structure, clung to the courthouse, even though by the 1950s it was a civil defense office. So in 1956, when the architect Vito P. Battista estimated the cost of converting the House of Detention into something else, he also included the price tag for redoing the courthouse astronomical, he said. In that year the stars began to align in favor of the courthouse's demolition. Its proximity to the House of Detention, and the lack of a plan for its reuse, would seem a death knell for any preservation project. But the same year The New Yorker seemed to chime in for saving it, calling the courthouse "a dingy, invincibly romantic confection" and lamenting that "this is a city notoriously careless of what it possesses." But the magazine acknowledged the typical mid 20th century point of view that the building was "a comic blunder." Into this fray came Edgar T. Hussey, the president of the West Side Savings Bank, who proposed in 1958 clear cutting the site for an apartment house, a 500 seat theater and a community center. The Village Independent Democrats were on a similar page, proposing an art center with a large plaza in 1959. Things became ominous when the city offered the building for sale, although The Village Voice wryly noted that demolition would at least solve the problem of the local group that had been trying to restart the tower clock: "Several years of concentrated effort has availed them nothing but 2:30 in the afternoon." That group had been formed by Margot Gayle, a Democratic activist and Village resident who foresaw that if she could get the clock going again, the building would look more respectable the broken clock theory of landmark protection, if you will. With the help of Mayor Robert F. Wagner Jr., the clock started keeping time again in 1961. Ms. Gayle told me in 1994 that the clock project was just the "opening gambit" in a drive to save the building, an effort she said began in 1959, and she occupiescenter stage in all histories of saving the courthouse. There may be more to be written, though, because in 1959 The Voice reported that a three man committee, Stanley B. Tankel, Whitney North Seymour Jr. and Robert C. Weinberg, was working to preserve the old building. Certainly many shared the burden and the credit. In the meantime, the New York Public Library needed a new branch in the Village and had been backed by the city into a corner Jefferson Market's corner. The library wanted a nice new flat roofed box, and the old courthouse promised nothing but trouble. But the person doing the pushing was Mayor Robert F. Wagner, who in 1961 had been brought around by Ms. Gayle, Mr. Tankel and others. With the mayor's help, 729,000 came through in 1963, but not without a parting shot from the Sixth Avenue Association's executive directory, Millard Henlein, who made a last ditch appeal to the Board of Estimate in favor of demolition as part of the redevelopment of the West Village. When the revived Jefferson Market Library opened in 1967, Ada Louise Huxtable called it "an architectural Horatio Alger story" in The New York Times. "Essentially, enough stubborn, sentimental, highly articulate, politically shrewd people cared for its homely virtues," she said, and were willing to band together to rescue a doomed structure without the force of law. As it happened, the landmarks law came into being in 1965, but it appears no one ever nominated Jefferson Market Courthouse. Real protection came in 1969, when it was designated a part of the Greenwich Village Historic District, a development that Margot Gayle and the others in 1959 probably never foresaw.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Global warming is already disrupting the planet's weather. Now it is having an impact on the courts as well, as adults and children around the world try to enlist the judiciary in their efforts to blunt climate change. In the United States, an environmental law nonprofit is suing the federal government on behalf of 21 young plaintiffs. Individuals in Pakistan and New Zealand have sued to force their governments to take stronger action to fight climate change. A farmer in Peru has sued a giant German energy utility over its part in causing global warming. And while the arguments can be unconventional and surprising, some of the suits are making progress. Last month, a federal magistrate judge in Oregon startled many legal experts by allowing the lawsuit filed on behalf of 21 teenagers and children to go forward, despite motions from the Obama administration and fossil fuel companies to dismiss it; the suit would force the government to take more aggressive action against climate change. The ruling by the magistrate judge, Thomas M. Coffin, now goes to Federal District Court to be accepted or rejected. "It is the first time a federal court has suggested that government may have a constitutional duty to combat climate change, and that individuals can sue to enforce that right," he said. Other legal scholars were skeptical that the case would progress much further. "The constitutional claims are novel, to say the least," said David M. Uhlmann, a former federal prosecutor of environmental crimes who teaches law at the University of Michigan. "I have a hard time seeing the case succeeding in the Supreme Court, if it gets that far, and it may not even survive review in the Ninth Circuit." The young plaintiffs, led by the environmental law nonprofit Our Children's Trust, argued that the Obama administration and the administrations before it had ample evidence of the risks of climate change and "willfully ignored this impending harm." Victoria Barrett, one of the plaintiffs, from Westchester County, N.Y., said that older generations had ignored the threat to the planet even as the scientific evidence of warming became undeniable. The current plans and efforts to battle climate change are not enough, Ms. Barrett, 17, said, adding that her generation, with its passion and social media tools, would make a difference. "We want our children to look back in the textbooks and say, 'Oh, our parents' generation they really fought for us,' " she said. The lawsuit calls for the courts to order the government to stop the "permitting, authorizing and subsidizing of fossil fuels" by, for example, canceling plans for projects like a liquefied natural gas export terminal in Oregon and "to develop a national plan to restore Earth's energy balance, and implement that national plan so as to stabilize the climate system." Julia Olson, the executive director and chief legal counsel for Our Children's Trust, helped form the organization in 2010 in collaboration with the iMatter Youth Movement, then known as Kids vs. Global Warming. In an interview, Ms. Olson said the goal was to pursue action against climate change in the courts as a human rights issue, and in the name of young people. "Most of them can't vote," she said, "and they don't have the money to lobby." Youth oriented climate groups put out calls for volunteers, and Ms. Olson found herself with more than enough enthusiastic young activists willing to be plaintiffs. The organization is financed in part by individual contributions and institutional funding from groups like the Rockefeller Brothers Fund, which contributes heavily to environmental causes. An earlier federal suit from Our Children's Trust failed in 2012; the organization is also pursuing several lawsuits at the state level and collaborating on a number of international suits. It scored a victory in Washington State recently, when Judge Hollis R. Hill of King County Superior Court ordered the State Department of Ecology to develop an emissions reduction rule in response to a legal challenge from Our Children's Trust. As for the federal case, Ms. Olson said, "We are optimistic that the decision will affirm the findings and the recommendations and put us on a track to a trial." The Our Children's Trust suit is part of a wave of citizen actions to take on climate change. In Pakistan, Ashgar Leghari, a law student, sued the government last year over delays in carrying out a national climate change policy that could help reduce the heavy floods and droughts that threaten the country's food and energy security, as well as the Leghari family's farm. A court ordered the Pakistani government in September to form a climate change commission to address what Justice Syed Mansoor Ali Shah said "appears to be the most serious threat facing Pakistan." In November, the farmer in Peru, Saul Luciano Lliuya, sued the German utility RWE for its proportional contribution to global climate change. The effects of increasingly extreme weather such as drought can make farming a more precarious proposition, but Mr. Luciano's fears are focused on Palcacocha Lake, which sits above his town and farm and is being filled to overflowing, he said, by meltwater from nearby glaciers. "We could see the glaciers melting," he said. "They were disappearing year by year. Somebody has to be made responsible." An engineer he knew put him in touch with the environmental group Germanwatch, which found him a German lawyer. While it might seem bizarre for a farmer in Peru to sue a utility in Germany, Noah Walker Crawford, an adviser to the group, said Germany's laws seemed auspicious for such a suit. "It would be quite difficult to sue in the U.S. or Saudi Arabia," he said. The German courts have accepted the case, but a representative of the company, Klaus Peter Kress, said, "RWE does not see a legal basis for this type of claim." In New Zealand, a law student, Sarah Lorraine Thomson, said she had been inspired to take legal action by the Our Children's Trust suit and a 2015 decision by a court in the Netherlands that ordered the Dutch government to take more forceful action to reduce greenhouse gas emissions. "Hearing about those cases was a kick in the butt they were just ordinary people, too I felt that I really had no excuse," Ms. Thomson wrote in an email. Her lawsuit against the New Zealand government has been filed, but no hearing date has been set. Ms. Olson of Our Children's Trust said that the cases in the United States and abroad "build on one another." Xiuhtezcatl Martinez, a 16 year old high school student and hip hop artist from Boulder, Colo., who became a plaintiff in the Oregon case after getting involved in one of the state lawsuits sponsored by Our Children's Trust, said that because "climate change is really the defining issue of our time, there is no lawsuit of greater importance happening anywhere in the country." If this suit fails, he said, he expects new ones will be filed. "The evidence will only get stronger," he added. Some of the arguments in the Oregon lawsuit surprised legal experts, and cases that extend rights in innovative ways tend to be long shots. A lawsuit brought against fossil fuel companies and utilities by the citizens of Kivalina, Alaska, a coastal town battered by climate forces, was dismissed by the United States Court of Appeals for the Ninth Circuit in 2009. But courts do blaze new paths, establishing rights to, for example, same sex marriage. "Most novel arguments crash and burn, but some soar," Professor Gerrard said. "It's often hard to predict in advance which is which."	N24News: A New Dataset for Multimodal News Classification	Science
On Wednesday, Novavax, a Maryland based biotech company, said it would begin human trials in Australia in mid May for its vaccine candidate. Novavax is one of more than two dozen companies that have announced promising vaccine programs that are speeding through the early stages of testing unlike ever before. Also on Wednesday, the stem cell company Mesoblast said it was starting a 240 patient clinical trial, supported by the National Institutes of Health, that would test whether cells derived from bone marrow could help patients who developed a deadly immune reaction to the coronavirus. In normal circumstances, development of new vaccines and treatments would take years. But the pharmaceutical industry is racing to compress this timeline with the support of nonprofit organizations, government agencies and regulatory authorities. Novavax said its vaccine candidate had stimulated a powerful immune response in lab and animal experiments, producing antibodies that could fight off the coronavirus. While a final product that would be widely available is still a year or more away, the Novavax effort is one of many that is ready to be tested in people. A vaccine made by the biotech company Moderna is already in a clinical trial, which started March 15. Another one, developed by Inovio Pharmaceuticals, was injected into the first adult volunteers on Monday. The health care giant Johnson Johnson expects to start clinical trials in September, and has received a nearly 500 million partnership via a division of the U.S. Department of Health and Human Services. And experimental vaccines developed by researchers at the University of Pittsburgh and Baylor College of Medicine in Houston are also waiting for permission from the Food and Drug Administration to begin testing in people. "We're all trying to do something which we have almost no precedents for, which is accelerating a vaccine in the middle of a pandemic," said Dr. Peter Hotez, who is a co director of the Texas Children's Hospital Center for Vaccine Development at Baylor College of Medicine. There is no approved treatment for Covid 19, the illness caused by the coronavirus, and researchers and doctors are testing a host of therapies in a desperate bid to save the lives of people who have few other options. President Trump has aggressively promoted two old malaria drugs, which have shown only limited evidence of working as treatments for the coronavirus. He has pushed for the drugs' broader use in patients without the more rigorous clinical trials typically used to evaluate treatments. But Mesoblast is taking a more standard approach, testing the cell therapy in 240 patients at more than 20 medical centers around the country, which are part of the Cardiothoracic Surgical Trials Network, a program created by the N.I.H. Patients will be randomly divided into groups that will receive the therapy, and those that will get a placebo. Researchers said the trial could yield initial results within months. While many people who are infected with the coronavirus experience mild symptoms, others develop a severe case when their immune systems go into overdrive and begin attacking the body's organs, which is called a "cytokine storm." This can set off something called acute respiratory distress syndrome, which damages the lungs and is often deadly. Several other treatments are also being tried to calm this storm and reset the immune system. Dr. Silviu Itescu, chief executive of Mesoblast, said the company decided to test its treatment in these Covid 19 patients because its product had shown good results in children who developed a similar deadly immune reaction called acute graft versus host disease, in which the body's immune cells can attack healthy cells after receiving a bone marrow transplant. Their treatment is currently being reviewed by the Food and Drug Administration for use in that disease. "We put two and two together and said, 'We think we've got something that is safe and could have benefit,'" Dr. Itescu said. Another stem cell company, Athersys, has said it is also planning a study of stem cells in coronavirus patients with advanced respiratory distress syndrome, but is not as far along. Nine coronavirus patients at Mount Sinai Hospital in New York have received the Mesoblast treatment on an emergency basis, and doctors there said the initial response was promising. Six patients were removed from ventilation and others were being weaned off or had remained stable a welcome development when most patients who need ventilator support do not survive. But Dr. Itescu said that even though the treatment was promising, it was still not clear whether it would work, or whether the early promise was merely anecdotal. Although many drugs are being tried outside of a formal study, he said, "We do think this is the right way, and a randomized, controlled trial is the only way you are going to know whether an approach works." Virginia's new lieutenant governor elect says she won't force vaccines. Pfizer said on Thursday that it would begin testing an experimental drug, as well as its rheumatoid arthritis treatment Xeljanz, in clinical trials against Covid 19. Xeljanz, also known as tofacitinib, is an anti inflammatory medicine and could dampen the immune system in patients with the severe respiratory syndrome. But the company warned that research was still in its early stages and that Xeljanz should not currently be used in patients with serious infections. Still, a vaccine would be the best way to stop further spread of the coronavirus because it enhances the immune system's natural defenses. Of course, many companies are also struggling with ways to partner with manufacturing ventures to produce enough vaccine so that it will be widely available. More than one million people around the world have already been sickened by the coronavirus. For public health experts and those on the front lines, a vaccine can't come soon enough. "If you could only have a vaccine, just imagine you could walk out your door confident that you were not going to get sick," said Dr. Gregory Glenn, the president for research and development at Novavax. "Because of that, everyone is very motivated and working to move things quickly." Novavax has worked on experimental vaccines for both SARS and MERS, which are closely related to the new coronavirus. The company also has vaccines for the seasonal flu and respiratory syncytial virus, which causes colds, in the last stages of clinical trials. When Chinese scientists posted the genetic sequence of the new coronavirus in January, researchers at Novavax started working on recombinant technology to make a synthetic version of the virus. Researchers used a baculovirus to carry bits of genetic material from the coronavirus into cells. Baculoviruses typically infect insects, so they cannot replicate and cause illness in humans. "We never use the real virus," Dr. Glenn said. "But we can fool the immune system to think it's been attacked." By combining the recombinant vaccine with an adjuvant, or substance that increases immune stimulation, Novavax was able to achieve a high neutralization titer in preclinical tests a measure of the protective antibodies that can block the virus. The company hopes to see a similar effect after giving more than 130 healthy adults two doses of the vaccine. Results of the trial, which will be conducted in Australia, are expected around July. Moderna and Inovio are pioneering a different approach. Moderna uses RNA technology, while Inovio has developed DNA technology to package the genetic code of coronavirus spike proteins, which make up the crown around the virus and help it latch on to cells. This approach has the advantage of being able to move to trials faster than vaccines that require the production of viral proteins or a weakened version of the actual virus to induce an immune response. But the technology is still unproven. There are no approved RNA or DNA vaccines for any disease. Dr. Hotez's team and Johnson Johnson, on the other hand, are relying on technology that is more similar to Novavax's approach because it has been used successfully to create other vaccines in the past, including one for Ebola that has been registered in Europe and is used in the recent epidemic in the Democratic Republic of Congo. Some countries already have the manufacturing capabilities that will be needed to scale up vaccine production, and that will keep costs low if everything goes well. "It's not very sexy, but it's a reliable approach," Dr. Hotez said. "We know that it works." For now, the first stage of clinical trials for each potential coronavirus vaccine must focus on how safe or toxic the vaccine may be at different dose levels. Researchers will collect the medical histories of volunteers participating in the trials and track their antibody levels, liver enzymes and other indicators of emerging side effects. One concern is that the vaccines may inadvertently cause a phenomenon known as disease enhancement, in which vaccinated people develop more severe inflammation and disease than those who have never been vaccinated. Studies of early SARS and MERS vaccines noted this troublesome complication in some animal models. "If everything looks good and the vaccine appears to be safe, then we'll go on to trials with much bigger numbers and look at the vaccine efficacy," said Dr. John Ervin, who is leading the Inovio clinical trial in Kansas City, Mo. In parallel, companies are planning to continue further animal testing, as well as investing in manufacturing capacity both in the United States and abroad. They will need millions of doses for additional clinical trials and even more if a vaccine eventually goes to market. Companies also have to be prepared for the possibility that some candidates will fizzle out or that demand for a vaccine will decrease by the time one is ready for widespread use. But industry experts are not waiting for this to happen. "The virus is racing through crowded urban areas and slums in certain countries," Dr. Hotez said. "How do you do social distancing in those places? You don't." "We are building out a road map for how we work as a country for the next two or three years," he continued. "That's roughly the time frame that we saw for the 1918 flu pandemic and that's probably likely for Covid 19."	N24News: A New Dataset for Multimodal News Classification	Health
A Renault spokeswoman, Rie Yamane, would say only that Mr. Tavares was leaving "in order to pursue other personal projects." Mr. Ghosn, 59, will temporarily take over the functions of chief operating officer, Renault said. Ms. Yamane said that the Renault board would meet soon to decide how to proceed, but that no date had been set for a meeting. A spokesman for Mr. Tavares said he would not be available for comment. Mr. Tavares, 55 and a native of Portugal, has been credited with turning around Renault's Japanese partner, Nissan Motor, but he is leaving at a time when the company, based in Boulogne Billancourt near Paris, is struggling because of a prolonged slump in the European car market. Both General Motors and Ford are due for a changing of the guard soon. The G.M. boss, Daniel F. Akerson, is 64, while Ford's chief executive, Alan R. Mulally, is 68. Ford and General Motors did not immediately respond to requests for comment. A person with direct knowledge of the matter, who spoke on the condition that he not be named because he was not authorized to comment publicly, said Mr. Tavares would not be going to General Motors. According to his Renault biography, Mr. Tavares, who had served in the No. 2 job since July 2011, is a highly skilled racing driver. He studied engineering at the elite Ecole Centrale in Paris before joining Renault as a test driving engineer in 1981. He moved steadily up the ranks, spending significant time abroad working for Nissan in the United States and Japan.	N24News: A New Dataset for Multimodal News Classification	Global Business
Mice that live in the basements of New York City apartment buildings even at the most exclusive addresses carry disease causing bacteria, antibiotic resistant bugs and viruses that have never been seen before, a new study from Columbia University finds. Researchers collected feces from more than 400 mice captured over a year in eight buildings in Manhattan, Brooklyn, Queens and the Bronx. The team then analyzed the droppings for bacteria and viruses. The viruses included nine species that had never been seen before and others that have not been known to cause human disease, according to the study, published Tuesday in the journal mBio. But in a second study focused on bacteria, the researchers detected some of the most recognizable disease causing pathogens, including Shigella, Salmonella, Clostridium difficile and E. coli. The scientists also found antibiotic resistant bacteria like those that have become nearly untreatable at area hospitals. It's unclear whether the bacteria on the mice pose any health threat to people or have caused any human disease. But for centuries, rodents have been linked to illnesses like the Black Death. "They are a potential source of human infection," said Dr. W. Ian Lipkin, the epidemiologist at the Mailman School of Public Health at Columbia who was the senior author on the study. "The real message is that these things are everywhere." The mice appeared to be healthy, and Dr. Lipkin said he presumes that they are carriers of the bacteria but are not affected by them. Dr. Lipkin said it was not clear whether the mice were getting the antibiotic resistant bacteria from people say, by eating food contaminated with the feces of someone taking antibiotics or whether the bacteria developed resistance after mice ate discarded antibiotics. It would be nearly impossible to conduct research directly linking a mouse pathogen with a human disease, said Charles Calisher, a professor emeritus at Colorado State University, who was not involved in the new studies. The source of patients' infections are rarely investigated, and they are not usually asked about their contact with mice, he said. "These are not simple things to investigate," Dr. Calisher said. Peter Daszak, who heads the EcoHealth Alliance, a nonprofit that researches emerging diseases around the world, also described the research as difficult. It's crucial to identify and trace these microbes, he said, to help understand how they are transmitted and how, if necessary, to protect ourselves from the diseases they may carry. "If we don't know where they originate, we can't identify what's driving them and then we can't control it," said Dr. Daszak, who was not involved in the research. No one knows, for example, whether antibiotic resistance genes emerged in hospitals, in cities or in rural areas. This research is particularly important to do in New York, Dr. Daszak said, because the city is a destination for people from all corners of the world. "New York is a major at risk place for pathogens," he said. "We're certainly on the front line for emerging diseases."	N24News: A New Dataset for Multimodal News Classification	Science
Jerky treats have also caused pet deaths. Since 2007, the F.D.A. has counted about 580 pet deaths, nearly all dogs, connected to chicken, duck and sweet potato jerky treats, nearly all of which were imported from China. It is not clear if the new regulations could have prevented the deaths because the F.D.A. is not sure yet what the hazard is. The agency had received more than 3,000 complaints about the jerky over five years. The reports involve more than 3,600 dogs and 10 cats. One sickness associated with the treats, an illness of the kidneys known as Fanconi syndrome, appears to be concentrated more in smaller dogs, the agency said. The proposal is open for public comment for 120 days. If passed, it would regulate the production of feed for millions of farm animals, including cows, pigs and chickens, as well as pet food. In all, there are about 78 million dogs and 86 million cats as household pets in the United States. Much like regulations proposed for human food this year, the rules would require makers of animal food sold in the United States to develop a written plan to prevent food borne illnesses, like salmonella, and to put it into effect. Producers would need to put protective procedures into place at critical points in the production process where problems are likely to arise. For example, for canned dog food, producers might have to set up a system to monitor whether the food has been cooked long enough at the right temperature, said Michael R. Taylor, deputy commissioner for foods and veterinary medicine. They would also need to keep records to document it.	N24News: A New Dataset for Multimodal News Classification	Health
LANCE ARMSTRONG may have been stripped of his seven Tour de France titles and barred from Olympic sports for life after a report from the United States Anti Doping Agency detailed how he used performance enhancing drugs to win cycling races and coerced teammates to do the same. But he is still a rich man, with an estimated net worth of 125 million. Independent advisers and lawyers say he is likely to hold on to most of that wealth though he may have to give up an estimated 3.9 million in prize money he won in the Tour and pay some hefty legal bills. Most of Mr. Armstrong's money came from his sponsors: Nike, Anheuser Busch and smaller brands like FRS, an energy supplement, and Honey Stinger, a maker of organic waffles. They have all dropped him, but it remains to be seen what damage, if any, the brands will suffer, particularly the smaller ones. Then there is the United States Postal Service, which paid tens of millions of dollars to sponsor Mr. Armstrong's team for six of its seven Tour de France titles and now looks naive, at best, for continuing to finance his racing while accusations of doping swirled around him. Still, it is generally the case that no amount of wrongdoing by athletes will force them to forfeit the money they were paid by sponsors. The worst that typically happens is that their contracts are voided. David B. Newman, a partner in the law firm Day Pitney, said it was rare for a sponsor to try to get back money from an athlete who had violated the terms of a contract. Most contracts include a provision barring the use of performance enhancing drugs. Mr. Newman said that a sponsor who wanted to test the contract could demand its money back, but that Mr. Armstrong, who has vehemently denied doping, could simply refuse and argue that none of the accusations against him had been proved. "They'd have to spend a lot of money to prove these allegations," Mr. Newman said. "From a return on investment, you'd spend a lot of money on lawyers and lawsuits, and more publicity can't help your product." He added, "They don't walk away happy, but they'll say, better to cut our losses now." When asked what Mr. Armstrong would do if his sponsors sued him for damages, Tim Herman, one of his lawyers, said, "We don't have a plan for that, because I do not expect that to happen." For a big company like Nike, which has weathered plenty of controversy with its athletes it dropped the quarterback Michael Vick after he accepted responsibility for his role in a dogfighting ring and pleaded guilty to federal conspiracy charges in 2007, but re signed him last year, and it kept Tiger Woods on after his marital scandal in 2009 the loss of Mr. Armstrong is no big deal. But I expected more anger from smaller companies like FRS, which makes an energy drink that was closely associated with Mr. Armstrong. Mr. Armstrong's image, until recently, was featured prominently in the company's advertising. "It's awfully difficult to not be very disappointed, having believed in all aspects of the relationship," said Carl Sweat, chief executive of FRS. "Two years ago, before any of this was out, it would have been a different conversation. He helped us build our brand." In other words, the negative publicity is hurtful because the brand is well known now, but the company realizes how much Mr. Armstrong, who resigned from FRS's board but continues to have an equity stake, helped it get there. Mr. Sweat said the company was now using Tim Tebow, the New York Jets quarterback with a squeaky clean reputation, as its main pitchman. There are two areas, though, where Mr. Armstrong is at risk of losing a little or a lot of money. The case against him that is getting the most attention is being pursued by SCA Promotions, a company in Dallas that insures potentially costly but unlikely events, like a prize for a hole in one in a golf tournament. In 2004, Mr. Armstrong sued the company for not paying him a 5 million bonus for winning his sixth Tour de France title. SCA said it would not pay because of accusations of doping that had come out in a book by two sports reporters. In 2006, though, the company settled the suit and paid Mr. Armstrong 7.5 million, including interest and fees. "There is no revisiting that," Mr. Herman said. "If everyone who had settled a case finds out something later on and they want to renegotiate or relitigate, the system would break down. The point is, the agreement is unequivocal. There is no going back." Still, SCA said it intended to do just that. Jeffrey Dorough, SCA's corporate counsel, said the firm was sending a letter to Mr. Armstrong demanding that he return 12 million the 7.5 million and an additional 4.5 million it paid for a previous victory. "It is inappropriate for him to keep any bonuses that were contingent on him being the champion of the Tour de France," Mr. Dorough said. "We're hoping he'll respond to our letter." But there is one way the company could cause problems for Mr. Armstrong, and that is by deposing him as part of a lawsuit. "In any deposition, if he would deny the usage of performance enhancing drugs, he would open himself up to criminal prosecution for lying under oath," said Andrew Stoltmann, a lawyer in Chicago who has represented professional basketball, football and baseball players. "Prosecutors love high profile obstruction of justice cases to serve as a deterrent for lying under oath." The biggest threat to Mr. Armstrong's wealth is a False Claims Act lawsuit against him and Tailwind Sports, the limited liability corporation that owned his team. The Wall Street Journal reported in late 2010 that Floyd Landis, a former teammate of Mr. Armstrong's and another Tour de France winner who was stripped of his title over doping, had filed a whistle blower lawsuit under the False Claims Act asserting that the government the Postal Service, in this case had been defrauded. The suit remains sealed while the Justice Department decides whether to act on it. Such delays are common, said Michael Sullivan, head of the whistle blower practice group at Finch McCranie, a law firm in Atlanta. And the Justice Department has great latitude on how long it can take to bring a suit, if it ever does. Mr. Sullivan said the government would not have to prove that Mr. Armstrong used the Postal Service's money to buy performance enhancing drugs for his team. "You could simply say they were making false statements to get the money from the U.S. government," he said. "You could say they were doping, knew they were prohibited from doping and went ahead with it anyway." He said these cases were usually settled for double the damages. But he added that the negotiations would probably center on what the Postal Service paid Mr. Armstrong's team versus what it got in return. Mr. Herman, Mr. Armstrong's lawyer, seemed prepared for this line of argument. He said that from 2001 to 2004 the Postal Service paid Mr. Armstrong's team 32.27 million and received a return on its investment of 103.63 million. He cited what he said was a study commissioned by the Postal Service on the indirect benefits from the relationship. "You have an annual return on investment of 320 percent," he said. "I hit my knees every night hoping someone defrauds me like that." Patricia Licata, a spokeswoman for the Postal Service, said in an e mail: "The Postal Service has not sponsored a professional cycling team since 2004. We are aware of the allegations concerning Lance Armstrong and other riders in the Usada report and have no further comment concerning the matter at this time." Still, it is easy to see how double damages for the entire sponsorship period, along with legal fees, could erode Mr. Armstrong's wealth. (Whatever the government recovered, Mr. Landis would be entitled to 15 to 25 percent, as well as his own lawyer's fees, as long as he was just a participant in the doping and not one of the ringleaders.) Mr. Herman said he expected many people to try to sue Mr. Armstrong. I imagine this group could include the dozens of cyclists, spouses and trainers whom Mr. Armstrong is said to have bullied into silence. That could chip away at his wealth, too, but Mr. Herman intimated that he did not think these people would have much success because Tailwind, the corporation that owned the team, was "the contracting party." This is another way of saying that Mr. Armstrong put a layer of legal protection between himself and the money. And if nothing else, it shows that he has had good legal counsel over the years.	N24News: A New Dataset for Multimodal News Classification	Your Money
MARK A. WIEDER began playing chess at age 8. Now the owner of a consulting firm in New Jersey, Mr. Wieder, 65, played competitively throughout high school and college. According to the United States Chess Federation, he is among the top 5 percent of federation members age 65 and older. During the last two summers, Mr. Wieder has flown to Missouri to spend four days at the Chess Club and Scholastic Center of St. Louis watching even better players compete. "It's like sending your brain to the gym," he said. Mr. Wieder plays in tournaments in Ridgewood, N.J., and at the Marshall Chess Club in New York's Greenwich Village, where he's eligible for a reduced rate senior membership of 225. He said he hoped to eventually join tournaments abroad once his children were on their own. As people age, ways to keep the mind sharp are becoming one of their latest obsessions. A Brain Health Research study released in 2014 by AARP found that those questioned believed maintaining mental acuity (37 percent) was second only to a healthy heart (51 percent) in sustaining a healthy lifestyle. While many older people are attracted to mind challenges and computer games, others like Mr. Wieder embrace competition in tried and true games like bridge, poker and chess. "Computer games don't offer the same opportunity for social engagement," said Cynthia R. Green, founder and president of Memory Arts, a company in Montclair, N.J., that provides memory fitness and brain training to organizations. Research released in 2014 from the University of Wisconsin Madison found that "participants who engaged in cognitive activities like card games have higher brain volume, in specific regions, compared to peers who played fewer or no games," said Ozioma C. Okonkwo, an assistant professor of medicine at the university and the study's senior author. Calculating how many older people play these games seriously is difficult. Many play recreationally with friends at home or in community and senior centers. But there is evidence from associations devoted to tournament play that senior interest in competition as a way to sharpen their skills is growing as well. Peggy Kaplan holds the designation of Grand Life Master, the highest level of achievement in bridge. Matt Nager for The New York Times The American Contract Bridge League, based in Horn Lake, Miss., estimates that 95 percent of its more than 167,000 members are over 55. About 12,000 new members join annually. The United States Chess Federation, based in Crossville, Tenn., says its membership has grown to 85,000, from 75,000, in the last five years, and the number of those over 55 increased to 16,300 from 14,500. Membership rates range from 40 to 122. And participation in the main World Series of Poker event in Las Vegas by those 50 and older increased to 4,193 players in 2015, from 2,707 players in 2009. Buy ins to the various World Series of Poker competitions vary, from as little as 75 at satellite tournaments to as much as 10,000 for some competitions. Typically, the top 10 percent take home some winnings. While tournament poker is limited to states where gambling is legal, like Nevada and New Jersey, an avid bridge player can play at some 3,300 local clubs or travel to three day sectionals and seven day regional events, all under the auspices of the American Contract Bridge League. Locast, a nonprofit streaming service for local TV, is shutting down Capital One's chief executive was fined after being called a 'repeat offender.' The group also conducts three 10 day annual tournaments called the North American Bridge Championships, each held in a different city. This year 5,000 participants descended on New Orleans in the spring and 6,500 signed up for a summer event in Chicago. The fall competition is wrapping up this weekend in Denver. The tournaments offer group rates for lodging and sightseeing. Players compete for master points, not cash. Peg Kaplan, 64, a real estate agent who lives in Minnetonka, Minn., registered for all three bridge tournaments this year. She holds the designation of Grand Life Master, the highest level of achievement, having earned 10,000 master points. "You never stop learning," she said. "There are all sorts of people I would have never met or known, if not for bridge." Ms. Kaplan said she usually stayed at a tournament hotel for convenience, at times socializing past midnight, but she forgoes tourist attractions. She goes to the tournaments "to compete and see friends," she said. Margaret Mitchell, 66, who recently retired from a financial service company, has about 2,400 master points and takes a more restrained approach to competition. For the Chicago tournament Ms. Mitchell, of Minneapolis, stayed at a friend's condominium in nearby Evanston, Ill., and played for four days. At regional events, she enjoys meeting with people she has competed against before. But it's the constant challenge of the game that excites her most. "You're building a language for use at the table, a combination of positive and negative inference, determining a line of play and how well you interpret the language of bidding," she said. Denise C. Park, research director at the Center for Vital Longevity at the University of Texas at Dallas, says competition allows participants to engage with opponents and respond to strategy. "There is value in being matched with an opponent at the appropriate skill level," she said. Stephen Zolotow, 70, considers himself a professional games player, but the Las Vegas resident notes that there are drawbacks to the organized competitions. In duplicate bridge tournaments, "the games are very regimented," he said. "You play on their schedule." (In bridge he has amassed about 2,500 master points.) For those who want to avoid the confines of organized competitions, online play is an attractive alternative. In chess, one of the largest sites is the Internet Chess Club, with 30,000 users. It offers chat rooms, message centers and paid instruction with teachers. It also live streams most top events. "If they are a chess addict, this is chess heaven," said Martin Grund, vice president for online operations for the Internet Chess Club, which is based in Pittsburgh. "They won't miss any major tournaments." The website bridgebase.com draws 100,000 daily users. The flexibility is appealing to players like Ms. Kaplan. "You can get online, play at any hour of the day and night, anywhere in the world," she said. "Everything you do in real life." She estimates she plays from 45 minutes to three hours, four to five evenings a week. Wendeen H. Eolis, 71, founder of Eolis International Group in New York City, a legal recruiting and legal management consulting firm, was the first woman to finish in the money at the main event World Series of Poker, in 1986, and is considered a pioneer in bringing more women into the game. She has stepped away from the intensity of competing at the highest levels but is confident that the benefits endure. "Negotiation is a way of life," she said. As for Mr. Wieder, he looks forward to playing chess as long as he can. "Age plays almost no part in chess," he said. At a recent tournament he was paired against an 11 year old opponent. The game was a draw.	N24News: A New Dataset for Multimodal News Classification	Your Money
Lionel Essrog people also call him Brooklyn, and sometimes Freakshow is a New York gumshoe, plying his trade in the 1950s. The Dodgers are still in Brooklyn, though Walter O'Malley is threatening to move them to California. The cars are boxy, the men wear fedoras, steam rises from the manhole covers and jazz wafts through the air. But Lionel, played by Edward Norton, who also wrote and directed "Motherless Brooklyn" (loosely adapted from Jonathan Lethem's novel of the same name) is tenderhearted rather than hard boiled. He has some problems with his brain, a condition he likens to living with "an anarchist" who happens to be relentlessly detail oriented. (Lethem specifies Tourette's syndrome; the movie doesn't hazard a diagnosis.) Lionel's physical twitches and tics are often accompanied by bursts of wordplay that are more poetic than profane. They are sometimes played for comedy, though not in a cruel way Norton is as protective of the character's dignity as Lionel is solicitous of the vulnerable souls who come his way and sometimes mined for morals. "Name it, claim it, shame it!" Lionel spouts involuntarily during a late showdown with the chief bad guy. That could serve as a tag line, with "it" referring to the abuses of power that Lionel finds as he tries to unravel an especially vexing case, one involving him and everyone he cares about. The buzzing mind that has cursed him with social awkwardness has also blessed him with a photographic memory and superior powers of pattern recognition, so he is able to piece together a puzzle that stretches from the city's meanest neighborhoods to its pinnacles of privilege and authority. Admirers of Lethem's novel may find themselves puzzled by what Norton has done with it. He has moved the action backward in time and dramatically expanded its scope, replacing modesty, irony and charm with earnest, sometimes overstrained ambition. But filmmakers don't owe literary works their reverence, just their intelligence, and "Motherless Brooklyn" is a very smart movie, bristling with ideas about history, politics, art and urban planning. Norton's taste in collaborators and themes is impeccable. The musical score, with its Elmer Bernstein echoes, is by Daniel Pemberton, and is supplemented by Wynton Marsalis's fresh, precise interpretations of period appropriate jazz classics. The big cast, playing a sprawling cross section of the metropolitan population, is a remarkable collection of talent. The actors glide in and out of moments that are by turns intimate, absurd, frightening and poignant. The autumnal images were gathered by the great cinematographer Dick Pope. I'm trying to postpone saying why it doesn't all quite work. Lionel is one of a handful of shamuses Bobby Cannavale, Ethan Suplee and Dallas Roberts play the others known as Minna's men. Frank Minna (Bruce Willis), their boss, rescued them from an orphanage when they were young, and trained them to be private detectives. A meeting with some unsavory clients goes wrong and Frank ends up dead, leaving behind his business and a widow (Leslie Mann) who seems less than entirely heartbroken. It's up to Lionel to figure out what happened. A trail of clues, hunches and accidents leads him down a rabbit hole of political intrigue and double dealing. He finds himself mixed up with equal housing activists (Gugu Mbatha Raw and Cherry Jones), a jazz trumpeter (Michael Kenneth Williams), a Harlem nightclub owner (Robert Ray Wisdom) and a wild eyed ranter (Willem Dafoe). Somehow it all connects to Moses Randolph (Alec Baldwin), the unelected power broker and master builder who runs the city with a ruthless hand and absolute confidence in his own vision. Randolph, played with the bullying dynamism that is Baldwin's finest, strongest note, is traced over the likeness of Robert Moses, a storied and polarizing figure in New York history. Norton places him, plausibly enough, at the center of a tale of large scale malfeasance and personal vice that suggests a variation on "Chinatown." Postwar New York real estate takes the place of Depression era Los Angeles water as the all consuming obsession at the heart of the story. Lionel is the little guy who sticks his nose where it doesn't belong and sniffs out the corruption of the big shots the racism, petty cruelty and sexual depravity underneath the grand conspiracies. His decency is the axis on which the story turns, and also the movie's principal flaw. Lionel goes into battle without the armor of cynicism that most movie private eyes before him have worn; instead, he is clad in a righteousness that is ultimately hard to distinguish from vanity. "Motherless Brooklyn" devotes a lot of time to explanation, which may be necessary given the intricacy of the plot, but which turns into a lecture after a while. A fable of power dissipates in a fantasy of rescue. Lionel evolves a little too conveniently from misfit to paladin, from ally of the marginal and oppressed to their would be savior. He's a kind of noble answer to the Joker, another beleaguered city dweller who explains his strange behavior with reference to a neurological condition. The high mindedness of the movie, its showy conviction that its heart is in the right place, dulls some of its political insights. And its grandiosity undermines the ragged pleasures of the genre. Norton seems to have decided that the best way to celebrate Lionel's underdog scrappiness was to build a monument in its honor.	N24News: A New Dataset for Multimodal News Classification	Movies
In the village of Cook's Bay, on the remote side of the remote island of Erromango, in the remote South Pacific nation of Vanuatu, 1 month old Joy Nowai was given shots for hepatitis and tuberculosis that were delivered by a flying drone on Monday. It may not have been the first vial of vaccine ever delivered that way, but it was the first in Vanuatu, which is the only country in the world to make its childhood vaccine program officially drone dependent. "I am so happy the drone brought the stick medicine to Cook's Bay as I don't have to walk several hours to Port Narvin for her vaccines," her mother, Julie Nowai told a Unicef representative. "It is only 15 minutes' walk from my home." Even paradise can be tough on vaccinators. Vanuatu is an archipelago of 83 volcanic islands. Many villages are reachable only by "banana boats," single engine skiffs that 12 foot waves sometimes roll over or smash into cliffs. Other villages are at the end of mountain footpaths that become bogs when it rains, which it does a lot. Also, many vaccines need refrigeration, and most villages have no electricity. For those reasons, about 20 percent of Vanuatu's 35,000 children under age 5 do not get all their shots, according to the United Nations Children's Fund. So the country, with support from Unicef, the Australian government and the Global Fund to Fight AIDS, Tuberculosis and Malaria, began its drone program on Monday. It will initially serve three islands but may be expanded to many more. In the future, that expansion may run into some unusual turbulence Vanuatu is one of the few places where "cargo cults" are still active, and the drones match their central religious dogma: that believers will receive valuable goods delivered by airplane. That will have to be handled carefully, a Unicef representative said. Unlike military drones which fly high and sometimes fire missiles commercial drones must venture in low, dodge trees, land gently and even return with payloads, such as blood samples. Since 2016, Zipline, a California company, has piloted more than 8,000 flights over Rwanda, delivering blood for transfusions. Its drones are launched by catapult and do not land at their destinations, but fly low overhead and drop their payloads by paper parachute. Zipline has plans to start delivering vaccines in Rwanda within weeks and in Ghana early in 2019. Emergency drops of rabies vaccine for children bitten by dogs will be the first priority, said Dr. Seth F. Berkley, chief executive officer of Gavi, the Vaccine Alliance, which joined the package delivery company U.P.S. in supporting the Rwandan effort. Since last year, Unicef has run a "drone test corridor" in the southern African nation of Malawi to test delivery of humanitarian supplies, including vaccines. But this is the first commercial contract for routine childhood vaccines. Swoop Aero, an Australian start up, will be paid only for shipments that arrive safely, Unicef said. Swoop won the contract after proving its drones could fly 30 miles over islands and land within a six foot target circle. The drones can hold just over five pounds of vaccine, ice packs and a temperature monitor to prove the vials stayed cold in flight. As the drone arrived on Monday after a 25 minute flight, Cook's Bay villagers did a welcoming dance around it waving banana leaves. Vanuatu is "the perfect environment for this," said Sheldon Yett, Unicef's Pacific islands representative. Its population is small and widely spread out, the government is enthusiastic, and there are "no issues with crowded skies," as in bigger island countries like Indonesia, he said. But "we don't want to over promise," he added. "We want to start slowly." Miriam Nampil, the 55 year old nurse who gave the shots, lives in Port Narvin, a coastal town whose clinic has a solar powered refrigerator. "This drone will change my life," she said through a translator. "Normally, I must trek about two hours over the mountain each way, and the vaccine carriers are heavy." Round trip by boat is about 70 too much for the health ministry budget, she said, and only safe on calm days. With its eight foot wingspan, the white Swoop drone resembles a robot albatross. But it lacks that bird's calm, ghostly floating flight pattern. Instead, it shrieks with the enraged buzz of a disturbed hornets' nest as it shoots straight up in the air and zooms off at speeds of up to 60 miles an hour. It can maintain 500 feet of altitude in the hot tropical climate and can handle rain and 30 mile an hour gusts, said Eric Peck, a former Australian Air Force pilot who founded Swoop with Josh Tepper, a drone racer and robotics expert. The drone will soon be doing 80 mile round trips, Mr. Peck said, and because it communicates with the Iridium satellite network, it can be piloted from anywhere in the world and will fly even if local cell networks go down, which happens frequently. Eventually, he said, Swoop will train local pilots and help the health ministry build its own drones by attaching mail order engines to carbon fiber wings that can be produced on a 3 D printer. To introduce Vanuatu's drone era, nurses are meeting local villagers, and national aviation officials invite them to watch test flights. "We need to make sure people aren't spooked by a buzzing thing in the sky descending on them," Mr. Yett said. "We want to make sure some kid with a catapult doesn't shoot it down." Swoop's drones are fairly hardy, Mr. Peck said. In Australia, aggressive wedge tailed eagles have knocked large mapping drones out of the sky, but Vanuatu has no birds of prey that big. Another issue that will require gentle handling: Vanuatu still has adherents of the John Frum movement, one of the South Pacific cargo cults whose adherents pray for valuables arriving from the sky. The cults date back more than 100 years, but reached their zenith during and after World War II. Islanders whose ancestors had been kidnapped by whites to work on plantations in Australia and Fiji watched "silver birds" flown in by the Japanese and American militaries disgorge vast amounts of "cargo" food, medicines, tools and weapons which was sometimes shared with them. Like the Science Times page on Facebook. Sign up for the Science Times newsletter. The legend spread that the cargo was gifts from the ancestors, but that it had been intercepted and stolen by the foreigners. After the war ended, the cults built airstrips and model planes to lure the "birds" back. John Frum, a messianic figure, is sometimes portrayed as a black American sailor or sergeant ("John from America") whose symbol is a red cross like that on military medical tents and whose return will trigger an apocalypse, deliver vast piles of cargo, and make whites and Melanesians change places in the power hierarchy. On Vanuatu's Tanna Island, the Frum movement was so powerful that it spawned a political party. During the 1970s independence movement, it opposed the creation of a national government and espoused a return to traditional Melanesian customs. The health ministry plans to eventually fly drones on Tanna, which may provoke unpredictable responses. "We'll go gingerly, very carefully, introducing people to the technology and looking at their reactions," Mr. Yett said. But the right people to do that "are local leaders, not Americans with fancy degrees," he said. "Our goal isn't to put our thumb on the scale of local belief systems; it's to make sure kids are immunized."	N24News: A New Dataset for Multimodal News Classification	Health
Can you project your voice? Memorize dates? Respond to questions while walking backward? If yes, you might just have a chance of becoming a college tour guide. This is one of the most sought after jobs on campus, for its spirit, prestige and (sometimes) paycheck. So don't be fooled by the casual cheeriness of the 20 year old leading your spring break tour. He or she has gone through a rigorous selection and training process. At Vanderbilt, of almost 500 who applied last year, only 12 percent successfully made it through the three rounds of individual and group interviews. Lehigh admissions officers and veteran guides interview applicants from across a lecture hall. The idea is to test whether the applicants can project their voices over a 25 foot distance.	N24News: A New Dataset for Multimodal News Classification	Education
The agonizing tale of the coronavirus outbreak on the carrier Theodore Roosevelt starting in March led to the infection of hundreds of crew members, an emergency stop in Guam, the removal of the ship's captain and the resignation of the acting Navy secretary. But while the Navy and civic leaders in Guam struggled to quell the spread of the virus, naval officials and researchers at the Centers for Disease Control and Prevention began a medical investigation into the outbreak, the results of which were released on Tuesday. The study found that, among a few hundred service members who volunteered to be tested and questioned about their experiences onboard and while in Guam, more than a third had enough functioning antibodies to the coronavirus to indicate they could have some protection against the virus, at least for a limited time. Some were still showing the presence of neutralizing antibodies, which block the virus from binding to cells, three months after the onset of symptoms.	N24News: A New Dataset for Multimodal News Classification	Health
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. President Trump's childhood home in Forest Hills, Queens, is on the market. Seth Meyers talked about what he might expect to find there and what he would not want to see. "President Trump's childhood home in Queens, N.Y., is currently on sale for almost 3 million. And it still has all the original teeth marks on the lead painted window sills!" SETH MEYERS "According to The Wall Street Journal, one of the bedrooms features a sign pointing to the spot where he was likely conceived. It's sort of a map, for any time travelers looking to save the world." SETH MEYERS	N24News: A New Dataset for Multimodal News Classification	Television
Jenny Offill's second novel, "Dept. of Speculation," charts the course of a marriage through curious, often shimmering fragments of prose. Offill is a smart writer with a canny sense of pacing; just when you want to abandon the fragmented puzzle pieces of the novel, she reveals a moment of breathtaking tenderness. Here for instance is the narrator remembering the early days of her relationship: "I bought a warmer coat with many ingenious pockets. You put your hands in all of them." Details like this cast welcome light on the couple's history and intimacy. First, we are part of the marriage and then we are studying the marriage from a distance as things begin to fall apart. There is an infidelity and an excruciating period of indecision and self doubt as the wife, as she is now known, tries to assess her role in the marriage coming apart, and as she determines the right and proper shape for her anger.	N24News: A New Dataset for Multimodal News Classification	Books
Over the last four years, Donald Trump has redrawn the lines of decency, statesmanship and altruism so that now the page is blank, devoid of moral red lines that shouldn't be crossed. He is pushing us to the brink by deliberately declaring: "There won't be a transfer, frankly. There will be a continuation." Listen to him! Defy him! He is testing America's response. If there isn't a loud mass response decrying his willful rejection of the Constitution and our legal voting rights, we give him the go ahead to carry out his plan. This is the time to protest, to yell "not on our watch," for newspaper headlines to shriek about the danger, for us to get out in the streets and stop him and his accomplices. This is not the time to politely urge the better angels of Republican senators to show themselves. They tore off their angel wings four years ago. Rage now, or it will be too late! Donald Trump once again refuses to commit to our democratic election process as, for example, he dismisses ballots, strangles the post office and stokes white supremacist violence. He continues to fuel Covid 19 deaths by arguing from his bully pulpit against what scientists and governments worldwide recommend.	N24News: A New Dataset for Multimodal News Classification	Opinion
PHOENIX Three years ago, Kate Rogers was caught in the Bay Area struggle. She paid the astronomical rents. She did the crushing commute. She lived the frustration of always thinking about money even though she was a well paid professional in the booming technology industry. And then, just like that, the stress went away. All she had to do was move to Arizona. "I didn't want to have to decide between picking my son up at school and being successful at my job," said Ms. Rogers, who runs the Phoenix area offices of Weebly, a San Francisco company whose software makes it easier for regular people to build websites. "In San Francisco, that would not have been possible." As start ups across San Francisco and the Silicon Valley try to contend with high salaries and housing costs, many are expanding to lower cost cities in the West and employing more people like Ms. Rogers. For Phoenix, which is about a 90 minute flight from San Francisco, the Bay Area's loss is its gain. At the end of last year in the Bay Area mega region including both the San Francisco and San Jose metropolitan areas there were 530,000 tech and engineering jobs, a 7 percent increase from a year earlier. Phoenix has about one fifth as many tech jobs, but the total grew 8 percent from a year ago, according to Moody's Analytics. "The Bay Area's explosive growth is almost too much for the region," said Jackson Kitchen, an analyst at Moody's Analytics. "They are bidding up wages so high that companies are saying, 'Let's expand to Phoenix or Boise or Salt Lake City where wages and real estate are that much cheaper.'" Indirectly, of course, this is also good for the Bay Area's tech cluster, allowing companies to grow faster and make jobs more appealing. By expanding to Arizona, for example, Weebly was able to turn freelance customer service representatives into full time employees. The company's Scottsdale, Ariz., office has Silicon Valley perks like catered lunches and a massage room, along with some local touches, like a "No Weapons" sign to remind employees that open carry laws do not extend onto company property. Housing is much cheaper. The median home price in the Phoenix metropolitan area is 221,000, according to Zillow. In San Francisco, it is 812,000. For Ms. Rogers and others, that is a far bigger perk than an extra vacation or a raise in California. Instead of renting a rundown house in Redwood City and commuting an hour or more to work, she now lives 10 minutes from the office in a house that is twice the size with mortgage payments that are half the cost of her California rent. Netflix buys a visual effects company in a move to support its global ambitions. 15 minimum wage for federal contractors will take effect Jan. 30. "When I had a kid, it forced the decision for me," Ms. Rogers said. Hordes of young dreamy entrepreneurs still flock to the Bay Area each year in search of venture capital. Silicon Valley is to tech entrepreneurs what Hollywood is to actors, and the region continues to significantly outpace the nation in creating engineering jobs. But as companies grow and add large numbers of sales and customer service jobs, "it's less about survival and having everybody in the same room," said Lawrence Coburn, chief executive of DoubleDutch, a San Francisco maker of software for live events that recently laid off a quarter of its staff to try to become profitable sooner. This year, the company opened a downtown Phoenix office with sales and customer service jobs. "San Francisco is a terrible place for entry level people," Mr. Coburn said, because the infrastructure and housing are "failing." Kate Rogers, director of people operations for Weebly, at its offices in Scottsdale, Ariz. Caitlin O'Hara for The New York Times Local economic development agencies and real estate developers are doing what they can to keep the movement going. Take, for instance, the downtown Phoenix offices of Gainsight, a Redwood City company whose software helps companies track and retain customers. In November, Gainsight opened its 12 person Phoenix office, with modernist touches like exposed ceilings and concrete floors in the hallways, along with the crammed desks and open floor plan favored by tech companies. The only private spaces are a handful of conference rooms, including one that has a Ping Pong table and is decorated with posters with famous quotes by luminaries including Mother Teresa. Most of the building's floors have a more traditional layout full of offices and carpet. But the building's owner, Ironline Partners, renovated the more open floor with an eye toward software companies, of which there are now three, including Gainsight. "Since those guys moved in, we've blown out the entire 15th floor and the entire fifth floor to do more of the same," said D. J. Fernandes, an architect at Ironline Partners who designed the spaces. The Bay Area has never been especially cheap, and tech companies have a long history of moving their more expensive and labor intensive functions to second tier cities where land and labor are less expensive. Intel, the semiconductor giant, was founded in the Silicon Valley in 1968, and by 1979, it had manufacturing facilities outside Portland, Ore., and Phoenix. But as the latest exodus gathers steam, these outlying cities hope some of the higher paying engineering jobs will start moving as well. "We don't want to be San Francisco's back office we need more creators here," said Scott Salkin, a founder and the chief executive of Allbound, which is based in Phoenix, makes sales software and has offices down the hall from Gainsight's. Chris Camacho, chief executive of the Greater Phoenix Economic Council, says better paying jobs will follow, since companies prefer to expand in cities where they already have offices. That has been true for Intel, which over the last few decades has added a number of different positions to its original manufacturing hubs. This is why part of Mr. Camacho's strategy is to focus on Bay Area start ups just as they reach a growth spurt. "The reality is all of these companies are going to hit a pain point once they hit more than 50 employees," he said. But while Phoenix is recruiting companies, its technology scene lacks some crucial elements. Mr. Salkin, from Allbound, said he still flies to the Bay Area once a month for networking or other events. "We're doing amazing things here," he said, "but we've got a way to go." Mr. Salkin added that for technology companies, which hire people from all kinds of backgrounds, Arizona's socially conservative politics can be a form of cultural baggage. For example, the former governor, Jan Brewer, signed one of the nation's toughest immigration laws in 2010, and same sex marriage was illegal until a federal court overturned a voter approved ban in 2014. In San Francisco, "you can come from any walk of life and feel pretty much accepted and safe," Mr. Salkin said. "You struggle to say that here right now. I think that's changing, but it has not been the case in Arizona, and I think that's a big thing."	N24News: A New Dataset for Multimodal News Classification	Economy
WASHINGTON President Trump is using the prepandemic economy to make a case for his re election, highlighting time and again that unemployment rates fell to record low levels for Black and Hispanic workers in 2019, and that wages were climbing steadily under his watch. He is also seeking to convince voters that he is rapidly returning America to that prosperous place following waves of pandemic wrought job loss fostering what he labeled a "Super V" rebound on Sunday and that Joseph R. Biden Jr. would "destroy" the economy if he wins in November. But Mr. Trump's story line about his economic track record, particularly what he showcased during his Republican National Convention speech last month, leaves out a crucial detail. Lucky timing and a patient Federal Reserve were pivotal in driving the strong labor market of the late 2010s, economists said. The Trump administration's tax cuts and higher government spending temporarily nudged the economy, but the trade wars cooled it off, so the administration's track record was mixed. That complicated reality is unlikely to stop Mr. Trump from laying claim to the successes of the 2018 and 2019 job market. But voters who want to understand what drove such strong hiring and growth might be better off looking at the actions of the Fed and its chair, Jerome H. Powell, whom Mr. Trump nominated in late 2017 and then spent more than a year attacking on Twitter and in speeches. By retaining his predecessor's patient approach to rate increases and then stopping them altogether as inflation, which the central bank tries to keep under control, hovered at low levels Mr. Powell's Fed helped to keep the longest economic expansion in United States history chugging along. The stretch of unbroken growth pushed unemployment to its lowest level in 50 years, prompting companies to cast a wider net for employees, pulling long sidelined workers back into jobs. "Both monetary and fiscal policy were stimulative, and it did lead to a strong labor market," said Stephanie Aaronson, a former Fed researcher who is now at the Brookings Institution. Very low inflation "has given policymakers the latitude to try new things." That matters as more than a talking point: It could fundamentally shape the post pandemic economy. The Fed has signaled that it intends to leave rates low to push unemployment down again, which could help return the labor market to strong levels. But the challenges posed by business closures and job reshuffling mean that elected officials, who have taxing and spending powers that the Fed lacks, may prove crucial to the speed and scope of the rebound. "The single most important thing we can do here is to support a strong labor market," Mr. Powell said in late August remarks. "That is more of an all governmental society project," and "to wait to the eighth and ninth year of the cycle to get those results we can do better than that with other policies." To be sure, it is easy to overstate how strong conditions were before the pandemic struck. About 83 percent of adults in their prime working years were in the labor force at the start of 2020, which was a marked improvement but still down from an 84.6 percent high in the late 1990s. Inequality prevailed. Wage growth had picked up from the expansion's early years, but it remained shy of historical records. But there is no doubt that the prepandemic job market was robust. Unemployment had declined to 3.5 percent, its lowest level in half a century. Prime age workers who had dropped out of the labor market were surprising economists by applying for jobs. Unemployment for Black and Hispanic workers hit record lows, and pay was picking up for those who earned the least. Now, the pandemic recession has thrown millions out of work, hitting disadvantaged groups especially hard. Black unemployment stood at 13 percent in August, for instance, compared to 7.3 percent for white workers. Mr. Trump is already taking a victory lap as the job market begins to heal, calling the rebound "the fastest labor market recovery from an economic crisis in history" during a Sunday news conference. But about half of the people who have lost jobs since February remain unemployed. Economists have warned that the return to full strength could become a grinding process, and Mr. Powell has said that some workers may struggle to return to jobs. Understanding the policy mix that helped make the labor market so strong in 2019 will be critical to putting the United States back on track for another robust period of growth. 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. Some of the policies pushed through by Mr. Trump and lawmakers did help to bolster economic growth, which can drive hiring, economists said. The government was spending more freely, and the administration's signature tax cuts, passed in late 2017, seem to have delivered a fleeting jolt to the economy. Economists at the University of Pennsylvania's Penn Wharton Budget Model say that the Tax Cuts and Jobs Act helped growth to jump to about 3 percent for 2018, but the effect faded as growth returned to 2.2 percent in 2019. "We don't project any material impact on growth from T.C.J.A. in 2019 or going forward," said Alexander Arnon, a senior analyst at the Penn Wharton Budget Model, a research center that analyzes and predicts the effects of tax and other policy changes on the federal budget. Data make it clear that the administration's policies were not the whole story. A chart of employment gains over the expansion show that they continued with remarkable consistency, month over month and year after year, starting from around 2010. The jobless rate slowly and steadily dropped. And people gradually trickled back from the labor market's sidelines. Much of the improvement seems to have been driven by a long, steady economic expansion, creating a self sustaining cycle in which workers got hired, spent more and fueled demand that created more jobs. Fed policy helped to enable the progress. Starting under Mr. Powell's predecessor Janet L. Yellen, the central bank chose to lift interest rates at a historically slow pace, treading carefully to avoid crashing the expansion while also trying to avoid runaway inflation. Mr. Powell, who assumed the Fed chair in February 2018, raised rates four times during his first year still a much slower pace than in prior business cycles before pausing in early 2019 as markets gyrated. Under his watch, the central bank allowed the unemployment rate to fall to recent lows without trying to offset that change, and even lowered interest rates in the second half of 2019 to help sustain the expansion amid Mr. Trump's trade war, which included steep tariffs on Chinese goods. Mr. Trump himself was publicly pushing for rate cuts, viewing that as a way to make the economy take off like a "rocket." He regularly criticized Mr. Powell for the 2018 rate increases and then the slow pace of 2019 rate cuts. The president implied that Mr. Powell was an "enemy" and called the Fed chair and his colleagues "boneheads" for not pursuing easier monetary policy sooner. But the Fed sets rates independently of the White House and consistently ignored his advice. When it did move, it neither did so at the speed the president sought, nor by using the emergency monetary tools that he wanted. The good news for the post crisis recovery and rebound is that the Fed is likely to again let unemployment fall sharply. In an update to its long run framework in late August, the Fed officially signaled that it will no longer raise interest rates because of a low unemployment rate alone, effectively codifying the practice adopted last year. The bad news is that the central bank is low on ammunition to prod the economy. It was able to cut interest rates by only 1.5 percentage points when the pandemic started, compared to cuts that totaled about 5 percent during the prior two recessions. Relying too much on low rates could make for another very gradual recovery one like the last long expansion, which took nearly a decade to really pull workers in from the sidelines. "We really need it to be broader than just the Fed," Mr. Powell said of post pandemic labor market policies, speaking at the Kansas City Fed's conference in late August. Mr. Trump and his allies are correct in arguing that leadership from the White House could matter enormously. Government taxing and spending will be paramount to the strength of the coming business cycle. "President Trump and a President Biden would pursue different fiscal policy paths," said Michael Strain, who studies economic policy at the American Enterprise Institute. "There might also be differences in how they pursue the public health situation."	N24News: A New Dataset for Multimodal News Classification	Economy
One exception is a solo for Thomas F. DeFrantz. He nearly trips as he runs, as if exhausted by trying to escape. When he goes into his misalignment, tilting and twisting slowly, he looks like he's grooving, perhaps in pleasure. Yet this pleasure is haunted by a ghost of pain, some internal disturbance that surfaces before long. I strained to detect such complexity elsewhere. The six other dancers, a diverse group that includes Ms. Westwater, have varying levels of articulation and thrust. Mainly, they move independently, apart, coming and going as if by whim, so it registers as a change when they pair off or line up or synchronize briefly. They touch one another tangentially, someone's head resting on someone's shoulder for a moment; or two people embrace, at once collapsing onto each other and holding each other up. The interest of all this, formal and human, is continually undermined by Ms. Westwater's method. The willful disorganization drains energy like a self sabotaging leak. It's telling that the climax of the piece, if it has one, involves the dancers drifting off one by one, to crowd around the pianos and assist in an accumulation of hammered notes. That's beautiful (as is the subtle visual design by Seung Jae Lee and lighting by Roderick Murray), but it concedes the greater power of the music. And that imbalance, the work's ultimate misalignment, continues into a coda in which M. Lamar takes over at the piano, offering his own brilliant and ghostly echo of Eastman's sound while the dancers return to what they did before or nod off in their chairs. Spatially, music is peripheral in "Rambler." In almost every other way, it's the central draw.	N24News: A New Dataset for Multimodal News Classification	Dance
Baker Mountain in Maine doesn't crack the top 100 list of New England peaks. But it certainly has stage presence. A full third taller than the two mountains on either side of it, and twice as wide, Baker looms large on its home turf. Last summer, as I sipped a mug of morning coffee at the edge of a wooden dock on Little Lyford Pond in the heart of the Maine North Woods, I admired this mountain's girth. It ate up the view across the glassy pond, a dark evergreen covered mass that disappeared into a low ceiling of rain clouds. Wisps of those clouds swirled and rolled around the mountain's edges, as if a Greek god were up there stirring the soup. This mountain had mystique. Admittedly I was a bit giddy because my plan that day was to summit the mountain. But I am not alone in my first impressions. "People get superexcited once they see it from the pond. And they immediately want to go to the top," said my guide, Casey Mealey, back at the dining hall for the Appalachian Mountain Club's Little Lyford Lodge. "The adventurous ones, they want to go all the more once they find out there's no trails up it." Last year, the Appalachian Mountain Club purchased Baker Mountain and its surrounding 4,300 acres of former timberlands, filling in a doughnut hole of private ownership in the conservation group's more than 70,000 acre Maine Woods Initiative to preserve the 100 Mile Wilderness region (so called because it encompasses what's considered the 100 wildest miles of the Appalachian Trail). Amenities like marked hiking trails are in the works but a couple of years off. So for now, Baker is only for experts at backcountry trekking. It's a 10 mile hike from the Little Lyford Lodge just to get to the base, then a bushwhacking climb to the top, all with only a GPS unit and/or map and compass for guidance. I had a day set aside in a family vacation to do this, so I had hired Mr. Mealey to show me the way. As I finished a breakfast of baked eggs and cheese at the Little Lyford dining hall, Mr. Mealey slapped a handful of bacon slices between two pieces of toast and announced he was ready to go. Outside we were met by Steve Tatko, the mountain club's land manager, who was joining us. Turns out Mr. Mealey had never been up on Baker, so he asked Mr. Tatko, who had spent time on the mountain when surveying it for the purchase, to come along. In effect, my guide needed a guide. Mr. Tatko was a slight fellow with circle wire rim glasses, quite the contrast to Mr. Mealey with his dark beard and shoulder length hair. But as I jumped into a pickup truck with them, it was clear the two native Mainers shared a deep love of these woods. "You're going to have a great time today," Mr. Tatko told me during the bumpy ride along a logging road. "We had some world class adventure racers go up there, and they told us it was some of the toughest conditions they'd ever encountered." Mr. Tatko had plotted a shortcut, driving to within a mile of the top then hiking a 1,000 foot ascent up Baker's spine of three lesser ridges. We pulled into a cutover clearing on the side of the mountain (the Appalachian Mountain Club has a sustainable logging plan to guide the forest back toward its native state), and loaded up our daypacks. White throated sparrows were flitting about the curtain of spruce and fir trees at the edge of the cut, whistling their song of boreal wilderness "Oh sweet Can a da, Can a da!" I was giddy again as I looked up at the big hump of Baker, now just visible among the clouds. "I bet there are probably two or three parties that do this every year, tops," Mr. Mealey said as we set off. We weren't far into stomping through the bush when we got our feet wet stepping across rivulets of icy clear water. "People don't think of a mountain as being crucial to trout, but this one is," Mr. Tatko told me. The water flowing off Baker forms the headwaters for the West Branch of the Pleasant River, an important spawning area for wild Maine brook trout. Suddenly, more water entered the scene, this time from above. The sullen gray clouds had opened up, and the two guides and I hurriedly donned and cinched up our rain gear. We slogged on, pushing through tree branches. Mr. Mealey spiced up the bushwhacking by pointing out moose droppings and bear scat. Mr. Tatko, who stopped every few minutes to consult his GPS unit, pointed out a small heart shaped tree leaf and announced that we had entered the Heartleaved Birch Subalpine Forest zone, a rare type of forest found only above 2,700 foot elevations in Maine. A girdled scar in the bark around a birch trunk, he said, was made by a chain from the last logging harvest in these woods in 1949. Then things got really thick. Our pace slowed to a crawl as we gingerly high stepped among trees downed by wind and strewn about like scattered matchsticks. Each wet, slippery log offered another chance for a wrenched ankle. The bushwhacking got bushier, and Mr. Mealey showed me a freestyle swimming like technique that involved putting my head down and digging with my hands into the spruce branches to pull myself through. Somehow this day hike had become full body exercise. We stopped for a snack of trail mix and apples, and I checked on a bloody spot where a jagged branch had punctured my sock. Mr. Mealey offered me a few wood sorrels, tiny clover looking plants of the forest floor that deliver a bright citrus flash on the tongue, then we punched back into the thicket, this time stepping softly on a lush bed of pillowy moss that glowed bright green. "The loggers never made it up here," Mr. Tatko said. "This is virgin forest." Twenty minutes later we arrived at another patch of fallen trees, where Mr. Tatko announced with a stream of rainwater pouring off the peak of his jacket hood that on a clear day we'd have a spectacular view of Mount Katahdin. He brightened up when we found a moose stomped trail that looked as if it led to the top. Indeed we soon arrived in a grove of stunted spruce trees no taller than the tops of our heads, and there was no more uphill to be had. The GPS read 3,521 feet. "We're here!" Mr. Mealey cheered. Mr. Tatko explained that this spot offered a stunning panorama of Moosehead Lake, but again the view was hidden behind a bank of leaden clouds. As a consolation prize, I looked down on the lesser summits along the ridgeline at wisps of breakaway clouds swirling and eddying against protruding rock walls. Again I enjoyed the ethereal cloud play along the flanks of Baker Mountain, this time from above. There was no center stage for this summit, no signpost to pose beside for pictures. So the guides and I snapped a couple of selfies huddled among the dwarf spruces, exposing our iPhones to the downpour for a few moments. The day was becoming a washout. Mr. Mealey was a bit disappointed as he had hoped to find a makeshift trail register in an old coffee can that he had heard rumors about. But there was no evidence anybody had ever been here. Summit achieved, we'd started down, when something orange flashed through the brush. Pushing through the branches, we found a twin cluster of spruce trees festooned with orange, blue and yellow surveyor's flagging, the brightly colored plastic strips whipping in the breeze like Tibetan prayer flags. Expert hikers often use these strips in the backcountry to find their way back out, but here they had made a makeshift shrine. Cradled in the nook of the double spruce was a white plastic PVC container. "The coffee can!" Mr. Mealey exclaimed. Sure enough, it held a notebook and a pen. "Gatorade bottle leaked so we had a start a new book" read one entry. Another spoke in a true Mainer's verse: "Coulda been worse." The dates listed in the entries were for about two to three parties a year. Mr. Tatko's guess was spot on. The man, 63 year old Andy Martin of Tucson, was a peakbagger a member of a cult of enthusiasts who collect prominent peaks the way birders build a life list. He had read about Baker Mountain on peakbagger.com, a storehouse for people looking to summit prominent mountains. Another peakbagging website defines "prominent peaks" as "the highest free standing mountains that have a noticeable separation between them and nearby higher peaks." Looking through the notebook, Mr. Martin recognized a friend and fellow peakbagger who beat him here by a few years. Then he took a plastic baggie of gray dust from his backpack and sprinkled a pinch on a spruce. "This is Jack Longacre, founder of the Highpointers Club," Mr. Martin said. Mr. Longacre had asked his friends to spread his ashes on mountain summits. Now he resides atop the high point in every state and several other peaks across the continent. We chatted a bit longer. Mr. Martin explained that his GPS unit had a low battery so he shut if off and tried walking in a straight line, only to get the unnerving feeling that was walking in circles. "I am actually not a bad navigator out West, when the sun is shining and I'm not wrestling Christmas trees," Mr. Martin said. I lent him an extra compass from my daypack so he could get back down to his truck on the opposite side of the mountain. We shook hands and parted. My guides were still shaking their heads in gobsmacking disbelief as we restarted our descent.	N24News: A New Dataset for Multimodal News Classification	Travel
No matter how much free time you have this weekend, we have TV recommendations for you. Come back every Friday for new suggestions on what to watch. This Weekend I Have ... 15 Minutes, and I Want Something Poppy Ryan O'Connell created and stars in this semi autobiographical series that is basically "Shrill" but about a disabled gay man. He's learning to accept himself, his sexuality, his cerebral palsy and his ... codependency with his mom. Ryan is a blogger, so he and his new BFF at work have zingers for days, but the show has plenty of sweetness to balance its snark. At eight 15 minute episodes, it feels scant, but "Special" packs in an impressive amount of character richness and development, and it doesn't waste time.	N24News: A New Dataset for Multimodal News Classification	Television
Facing severe financial losses as a result of the pandemic, the American Museum of Natural History announced on Wednesday that it would cut its full time staff by about 200 people, amounting to dozens of layoffs, and put about 250 other full time employees on indefinite furlough. The staff of roughly 1,100 employees will be reduced by about 20 percent, according to a statement from the museum. That figure includes 68 layoffs, 70 voluntary retirements and other workers whose contracts are expiring. The museum projects a budget deficit of between 80 million and 120 million for the remainder of this fiscal year, which ends on June 30, and the next fiscal year. "These actions are gut wrenching," Ellen V. Futter, the museum's president, said in a statement, "but we are compelled to make them to protect the museum and its mission of research, science education, caring for our collections, and providing access for visitors." Among those furloughed and laid off will be administrative staff members in almost all areas of the museum, including events, exhibitions, all operational areas, education and scientific departments, said Anne Canty, a spokeswoman for the museum. Most employees who work directly with visitors, school groups and evening programs will be furloughed beginning on May 16. Several museum curators were among those who took the retirement option.	N24News: A New Dataset for Multimodal News Classification	Art & Design
Late one night on Second Avenue, the Belgian choreographer Anne Teresa De Keersmaeker practiced walking and turning in the studios of New York University's Tisch School of the Arts. To the music of Steve Reich and Bach she couldn't decide which to use she played around with permutations of these elemental steps, adding a spiraling torso or swinging arms on top of precisely placed feet. Ms. De Keersmaeker recalled this scene in a recent phone interview, speaking from Brussels, where her company, Rosas, is based. She was 20 at the time of those rehearsals, and the year was 1981. Her nocturnal studies were the start of "Violin Phase," a section from what became her celebrated "Fase, Four Movements to the Music of Steve Reich," one of four works that Rosas is performing at the Lincoln Center Festival, starting on Tuesday. Ms. De Keersmaeker is largely responsible for transforming Brussels into the European dance mecca that it is today. But she still has a fondness for New York. "When I come to New York, it would be exaggerated to say I feel like I'm coming home," she said. "But it was extremely important to me at that point in my life, in my developing as an artist, to be in that city." If it's not quite a homecoming, her Lincoln Center presentation, at the Gerald W. Lynch Theater at John Jay College, through July 16, is a milestone. New York is the final stop on a three year tour of Ms. De Keersmaeker's early works, created from 1982 to 1987. One of those, "Bartok/Mikrokosmos" (1987), has never been seen in New York. Two others her signature "Rosas Danst Rosas" (1983) and the more obscure "Elena's Aria" (1984) last came to New York in the mid 1980s, though "Rosas" has reached dance enthusiasts through the 1997 film version by Thierry De Mey. (Its brush with pop culture in 2011, when Beyonce borrowed scenes from that film for her "Countdown" video, gave the work even greater exposure, albeit without the artists' permission.) Though their moods vary from the stark euphoria of "Fase" and the brashness of "Rosas" to the almost obstinate slowness of "Elena's Aria" the four works share a lucid rigor, the directness of a strong willed young artist saying, as Ms. De Keersmaeker often does, "This is my dancing." She described the pieces, collectively, as "the very beginning, where somehow I taught myself how to choreograph literally the first steps." She created all four for herself and other women, exploring movement "of a very specific character," she said, "that I think was more linked to the female body." "It can seem reductive," she added, recalling those early rehearsals, "but I was trying to find movements that I liked." Statements like that can seem simple compared with the structural and emotional complexity of Ms. De Keersmaeker's work. If one thing distinguishes her oeuvre, it's the rich, intoxicating friction between human architecture and expression, between what the critic Anna Kisselgoff, extolling "Rosas" in The New York Times, called "apparently neutral formal elements and flagrantly strong emotions." The choreographer Eleanor Bauer, who studied at Ms. De Keersmaeker's school, P.A.R.T.S., and has performed with Rosas, elaborated on that tension: "Her work is always very thought through in relation to music and time and space," she said. "The structure is very firm. But there's also a human, even romantic, basic thrust inside of what she does. She has a very emotional and even mystical relationship to form." Ms. De Keersmaeker, 54, grew up in Wemmel, Belgium, and studied at Mudra, the dance academy founded by the choreographer Maurice Bejart. That institution dominated what was, at the time, an otherwise sleepy dance landscape in Brussels. But through European festivals and her year at Tisch, Ms. De Keersmaeker discovered the work of American postmodernists in dance, theater and music: Trisha Brown, Lucinda Childs, Steve Reich, Robert Wilson, all of whom she cites as influences. (She and Mr. Reich will give a talk after Tuesday's performance, moderated by the dance critic Deborah Jowitt.) Chris Dercon, director of the Tate Modern in London, which presented "Fase" in 2012, was living in Brussels when Ms. De Keersmaeker burst onto the scene. In a phone interview, he recalled the who's that girl? curiosity surrounding the choreographer and "her entourage." He saw her first piece, "Asch," in 1980, followed in 1982 by "Fase," her trailblazing entree into European experimental dance. "She was one of the first to perform something in between dance and expressionistic theater," Mr. Dercon said, adding that she was also an exceptional administrator and educator. A desire for sustainability and considerations of legacy may have led to the early works project. Dance stays alive through the doing of it, and Ms. De Keersmaeker said that she felt ready to transmit the four pieces to a new generation. The Lincoln Center casts will include both young and seasoned company members. Ms. De Keersmaeker herself, a petite and potent dancer, will appear in "Fase," "Elena's Aria" and the first night of "Rosas." "Sometimes I'm surprised by the physical intensity of them," she said. Cynthia Loemij, who joined Rosas in 1991, said that of the four, "Rosas" is the most intense: "It's an almost two hour piece, with just four women. It feels like a mountain that you have to climb over." Often noted for its feminist undercurrents, the work made an impact on Ms. Loemij when she first learned it at 21. "I felt like, O.K., these are strong women who have their way of performing, and they're standing behind what they're doing, and they're demanding being listened to." But Ms. De Keersmaeker had nothing political in mind. "It was definitely not a choice or a strategy or design to make whatever kind of feminist statement," she said. "I think that kind of mood it's just my very nature."	N24News: A New Dataset for Multimodal News Classification	Dance
Four episodes in, understanding what "The Alienist" does and doesn't do well is a walk in the park. Well, it involves a walk in the park, at least. The stroll in question is taken by Sara Howard. Tasked by Commissioner Roosevelt with delivering John Moore's purloined sketchbook to Dr. Lazlo Kreizler whom she would otherwise as soon avoid, after his callous inquiries about her father's suicide Sara finds the doctor people watching in a local park. The person he's watching, specifically, is a mother who once drowned her two young children in the bath. Protected from prosecution or institutionalization by her family fortune (sound familiar?), she now pushes an empty baby carriage around the park, doting on an infant only she can see. Empathizing with such a person is a bridge too far, Sara tells Kreizler. But the doctor points out that while the drive to kill may be alien to Miss Howard, the societal pressures faced by all women "to marry, to have children, to smile when you feel incapable of smiling" are as familiar to her as they are to the murderous mother. "Society formed her," he states bluntly, suggesting that everyone has the "raw materials" to become a killer, lacking only the external spark to make them "combustible." It's a provocative payoff to an earlier exchange between Sara and Kreizler, which seemed like simple black comedy at the time: Angry at the doctor for his attempts to glean insight into murder by probing her own psychology, Sara sneers, "I don't believe I have it in me to kill a child." Kreizler smiles reassuringly and says, "You might surprise yourself," as if he's encouraging her to apply for a promotion or run a 5K. If only "The Alienist" had the same faith in its audience's ability to understand the complexities of its characters' minds that Kreizler has in Sara's. Take the sequence in the park. It's not for the ages dialogue, but the writing is certainly clear in its emotional and intellectual intent (Daniel Bruhl and Dakota Fanning's characteristically restrained performances make the gruesome details of their exchange even more memorable.) But the end of the sequence lays aside the scalpel and breaks out the sledgehammer: As Sara contemplates Kreizler's sad tale, children sing a schoolyard rhyme about putting a baby "in a bathtub to see if he could swim," while a close up practically immerses us in the waters of a nearby fountain. It could hardly be less subtle if the script had called for Ms. Fanning to turn to the camera and say, "Get it?" More such unsubtle material abounds. In the opening scene, Kreizler visits a former patient, now a professional dominatrix, seeking insight into the connection between pleasure and pain. In keeping with the show's depiction of sex workers as both insatiable and lacking savvy, the dom comes onto the doc like a wolf in a Tex Avery cartoon. No doubt his discomfort is supposed to be revealing. But the insights offered in the scene are meager, or at least simplistic, even for its era. ("The man who enjoys defiling women is usually dominated in his daily life," she tells him, "while man who enjoys being beaten is probably a bully.") Likewise, at his institute, Kreizler comes across a boy who's in a funk because his parents didn't visit him that week. He peps the boy back up with a bit of unorthodox therapy, suggesting that the boy kick a ball for a while. "Let's pretend it's someone special," Kreizler says. "Who would you choose it to be?" The boy chooses his mother. After the boy leaves, Kreizler punts the thing himself, effectively begging us to wonder whose head he imagines kicking. Considering his frustrations with local law enforcement, the triangle of tensions between him and John and Sara, his inability thus far to stop the killer, and even the story Roosevelt tells about almost coming to blows with Kreizler in college, there is no shortage of prospects, including his own. The better question, perhaps, is whether insights like these are very interesting. And yet the episode still manages to entertain, in part because the investigation is picking up steam. Thanks to a piton left behind at one of the crime scenes, the Isaacson brothers discover that the murderer is able to make his seemingly inexplicable locked room escapes and scale the tall buildings because he's an experienced climber. In another scene, Moore pursues his clue about the killer's "silver smile" to a dentist, where he learns from a patient whose slurred mid operation speech is helpfully translated by the dentist himself that silver discoloration is a common side effect of a then common treatment for syphilis: mercury salts. In addition to possibly accounting for the killer's increasingly unhinged behavior, this revelation leads to one of the hour's funniest exchanges, when Moore bursts into Kreizler's house to share the news: "Syphilis!" "I beg your pardon?" And if Kreizler's interviews with his patients and his needling of Sara and Moore are at times overwrought, they do lead him to a key insight into the killer's mind: Their suspect is "eroticizing a past trauma," inflicting pain in a way that both reflects and alleviates some pain that was inflicted on him. As if in acknowledgment of the team's progress, the killer finally shows his silver toothed face in the final shot of the episode, flashing his telltale grin at a bunch of kids at a candy shop. (From this we can surmise that continued attempts by Chief Byrnes to persuade the killer's society matron mother, Mrs. Van Bergen, to spirit her son out of the city have been unsuccessful.) But he remains hidden for his flashiest move of all: luring Kreizler's entire crew to a restaurant under false pretenses, so he can observe their horrified reactions to a taunting letter he sent the mother of one of his victims. It's a tense scene that makes skillful use of the core cast's natural abilities they all have great "uh oh" faces and cribs liberally from a similarly horrendous letter sent by real life serial killer Albert Fish. Among the highlights? The killer is a bigoted xenophobe who has been eating the flesh he removes from his victims "roasted with onions and carrots," no less. For a rare moment, the show trusts us to hear the message loud and clear, without further need for explication. The facts and the faces tell us all we need to know.	N24News: A New Dataset for Multimodal News Classification	Television
The road to Broadway was paved with compromise for Sholem Asch's "God of Vengeance." Though this early 20th century Yiddish play had dazzled Greenwich Village audiences in 1922, the show's producers worried that it might be too provocative for the less bohemian folk of Midtown; a pivotal love scene between two women was deleted from the script, much to the distress of members of the company. "I would not be ashamed to be arrested for acting in the play I believe in," one of them says in "Indecent," Paula Vogel's heartfelt ode and elegy to a landmark of modern drama. "I am ashamed I acted in this sham I don't believe in." Almost a century later, no whiff of scandal or self censorship attends Rebecca Taichman's production of Ms. Vogel's thoughtful evocation of the life and times of "God of Vengeance," which opened on Tuesday night at the Cort Theater. First staged at the Yale Repertory Theater in 2015, "Indecent" arrives on Broadway as one of the season's most respectable and respectful plays. Yes, that notorious scene that never made it to the main stem, even in the licentious Jazz Age, is fully rendered here and not just once but in an assortment of fuguelike variations, performed with grace by Ms. Lenk and Adina Verson. The dominant note of this erotic encounter isn't prurience, though; it's piety. "Indecent" is, above all, decent, in the most complete sense of the word. It is virtuous, sturdily assembled, informative and brimming with good faith. The territory it covers in its one hour and 45 minutes is immense. "Indecent" presents a thorough history of Asch's masterwork, from its inception in Warsaw in 1907 to the World War II era, when it was performed as an act of artistic affirmation in an attic in the Lodz ghetto of German occupied Poland. Yet the ardor that must have informed the writing and early performances of "Vengeance" only occasionally blazes forth in "Indecent," which was created by Ms. Vogel and Ms. Taichman. Both women have described being deeply affected by their discovery of Asch's play in their youth. And you can sense how seriously they take their responsibilities as 21st century curators of its reputation. Such conscientiousness has its downside. For all its resourceful stagecraft which includes the fluent use of period and original pastiche song (overseen by Ms. Gutkin and Mr. Halva) and dance (by David Dorfman) "Indecent" can be deflatingly earnest in its dialogue and timeline exposition. The production begins with grave lyricism, with the suitcase toting ensemble seated upstage, clad in earthen hues that blend into the shadows. (Emily Rebholz did the costumes, and the black hole of history set is by Riccardo Hernandez.) When they rise, they shake cascades of ashes from their sleeves, a haunting evocation of a past of persecution and flight. Such dreamlike images abound in "Indecent," which has been artfully lighted by Christopher Akerlind and features projections by Tal Yarden, which orient us as to the time, place and language spoken in the scenes that follow. Much of the emotional focus is provided by our narrator, Lemml (a sweetly somber Richard Topol), Asch's protege and stage manager. "We have a story we want to tell you," he says to us, as an onstage surrogate of sorts for Ms. Vogel and Ms. Taichman. "A story about a play. A play that changed my life." And what a play it turned out to be! Written by Asch when he was in his 20s, "Vengeance" told the story of a bourgeois brothel owner (played by the great Yiddish theater actor Rudolph Schildkraut, here embodied by Mr. Nelis) whose daughter falls in love with one of his whores. Not only did "Vengeance" present a physical relationship between women as natural and even purifying, but it also concluded with a desecration of the Torah by Mr. Schildkraut's character. Small wonder that the Warsaw literary circle to whom Asch first introduced his play urged him to burn it. Asch speaks of the necessity of Jews' showing "ourselves as flawed and complex human beings." One of his actresses in New York says: "We are the first generation that gets the chance our parents never got. To tell our stories." "Indecent" is not shy about explicitly stating and repeating its big themes. Though the hard working performers change characters often, their dialogue remains much the same. And there is little room for the subversive pull of conflicting subtext, of which Ms. Vogel has made adroit use in other works, including her Pulitzer Prize winner of 20 years ago, "How I Learned to Drive." Her latest show is most moving when it approaches its material sideways. The musical numbers summon entire cultural climates with atmospheric efficiency. Tableaus like those of people waiting anxiously in line first at Ellis Island and later in a concentration camp echo with quiet impact. And that fabled scene in the rain, though perhaps repeated once too often, captures the ecstatic sense of wonder that Ms. Vogel has described feeling in reading "Vengeance" for the first time. "Indecent," a major playwright's long awaited Broadway debut, may not inhabit the lightning struck stratosphere of the play it portrays. But it offers heartening evidence that four decades in the theater have not jaded Ms. Vogel. "Such fresh energy and sincerity," the Schildkraut of "Indecent" marvels after meeting the young Asch. The same might be said of Ms. Vogel, who transmits the theater struck sense of wonder of the girl who first read "God of Vengeance."	N24News: A New Dataset for Multimodal News Classification	Theater
I CAN ONLY DRAW WORMS Written and illustrated by Will Mabbitt. Maybe Mabbitt can't draw many things, but boy, can he conceive and execute a witty, surprising, maximum fun picture book. Oh, and this one doubles as a counting exercise. Having announced that worms are his entire repertoire, Mabbitt proceeds to wrangle 10 neon bright ones onto the pages, with hilarious difficulty. They're so hard to tell apart. And poor worm No. 8: "It's not true that if a worm is cut in half it makes two worms," we learn. "It makes two half worms." 32 pp. Penguin. 14.99. (Ages 3 to 5) THE SUN SHINES EVERYWHERE Written by Mary Ann Hoberman. Illustrated by Luciano Lozano. If you're as picky about rhyming picture books as I am, you'll be excited that the former children's poet laureate Hoberman, whose meter never falters, has created this clever ode to the sun and its globe spanning, life giving power. With Lozano's cheerful art, the pages fly by, dropping tidbits of geoscience and empathy building name checks of far off places: "Some children live in Paris / And others live in Rome. / Some children dwell in New Rochelle / And some call China home." (But why no mention of Africans?) 32 pp. Little, Brown. 17.99. (Ages 3 to 7) Can marshmallows be exquisite? That's the word that leaps to mind for this new picture book from Watkins ("Rude Cakes," "Big Bunny"), which is full of irresistible handmade figures and precisely detailed diorama art. With their delicately penciled on faces and outfits, the marshmallows in this world are everyday folks: "They go to school most mornings / and learn to be squishy / and how to stand in rows," and they live in houses and celebrate birthdays. Like all Watkins's books, this one has wonderfully compact language and an ending that surprises, with a rousing, wholehearted imaginative leap. It turns out even humble marshmallows can and should dream big. 40 pp. Chronicle. 16.99. (Ages 3 to 7) 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. Robinson's first book as both author and illustrator is a gentle, wordless wonder that follows a little girl and her cat after they find a portal into another world. There, children and pets encounter mirror versions of themselves wearing different colored clothes, so you can tell which is which. Robinson's geometric precision combines with his flat out adorable collaged characters to make for a unique kind of enchantment. You'll find yourself rotating the book to try to put the story's sophisticated puzzle together. 32 pp. Atheneum. 17.99. (Ages 3 to 8) A STORY THAT GROWS Written and illustrated by Gilles Bachelet. This nifty bedtime book from the esteemed French illustrator Bachelet has a parent child pair of creatures on every spread. Each kid is in a species specific crib, ready to hear a story that takes off in an appropriate direction: The ostrich's story "hatches," the snail's story "takes ... its ... time." The creatures, who include a truck and a Martian, are not named this book asks for, and will reward, intense visual reading from young listeners, as they pore over the gorgeous, kooky bedrooms, filled with hilarious customized beds and toys. 32 pp. Eerdmans. 16. (Ages 3 to 7) Elliot's funny story is told in animal sounds and onomatopoeia ("Mooo!" and "Boing!"). One by one, unruly animals join a pig in his bathtub. Pig looks distraught, then angry, until he creates a tub clearing moment (think unidentified bubbles) and enjoys his bath in peace. The delicacy and subtlety of the art only adds to the frisky humor. 32 pp. Gecko. 16.99. (Ages 3 to 7) THE LITTLE GUYS Written and illustrated by Vera Brosgol. The little acorn capped creatures in Brosgol's ("Leave Me Alone!") latest gem think they're "the strongest guys in the whole forest" there are so many of them, after all. Marching and climbing together, they try to dominate bigger animals. As they try to yank a berry from a baby bird's mouth, they crash to earth. Chastened, they climb back up to feed the whole nest. What a fantastic message: not just "teamwork," but actual community. 40 pp. Roaring Brook. 17.99. A GREEN PLACE TO BE The Creation of Central Park Written and illustrated by Ashley Benham Yazdani.	N24News: A New Dataset for Multimodal News Classification	Books
Sometimes, it's refreshing to mix up your surroundings, rearrange the furniture and shuffle the art. But few people have the flexibility that Kathy and Steven Guttman do. "We're always moving something," said Mr. Guttman. The Guttmans frequently rotate works from their collection of more than 1,000 objects of contemporary art and eclectic design among their four homes in the United States and France. Of course, it helps to own an art storage company that handles the shipping, installation and inventory. Mr. Guttman, a real estate developer, created the company, Uovo, five years ago to cater to collectors' needs. "We wouldn't even have Uovo if it wasn't for our addiction to collecting," he said. Having Uovo "allows us to consider things that maybe we wouldn't otherwise consider like big, big works or more difficult pieces of sculpture," Mrs. Guttman said. In their SoHo apartment, that includes an oversized diptych painting by Amy Sillman, a large off kilter ceramic sculpture by Arlene Shechet and a floor to ceiling framed knitted piece by Rosemarie Trockel. "It couldn't come in and had to be taken apart and stretched here on site," Mr. Guttman said.	N24News: A New Dataset for Multimodal News Classification	Art & Design
On a spring afternoon at Michigan State University, 15 law students are presenting start up proposals to a panel of legal scholars and entrepreneurs and an audience of fellow students. The end of semester event is one part seminar and one part "Shark Tank" reality show. The companies the students are describing would be very different from the mega firms that many law students have traditionally aspired to work for, and to grow wealthy from. Instead, these young people are proposing businesses more nimble and offbeat: small, quick mammals scrambling underfoot in the land of dinosaurs. A few of them talk of outsourced services for larger law firms. Karen Francis McWhite pitches one to help homesteaders claim properties for their own. Another would help immigrants file their taxes, an essential but frightening step to gaining citizenship. The tagline, delivered by its advocate, Giavanna Reeves: "Filing taxes should not make you feel blue when you've got a green card in line." The Entrepreneurial Lawyering Startup Competition, a showcase of the university's Reinvent Law Laboratory, is not an activity many practicing lawyers would recognize. But it might be the kind of broadened curriculum many of today's students need. "Legal education has been stronger on tradition than innovation," said Joan W. Howarth, dean of the Michigan State law school. "What we're trying to do is educate lawyers for the future, not the past." MATTHEW RUSSO and fellow students presented ideas at Michigan State's Entrepreneurial Lawyering Startup Competition. His pitch: a one stop shop for law and accounting services. Fabrizio Costantini for The New York Times Like a number of law schools looking to the future of a challenging profession, this school is pushing its students to understand business and technology so that they can advise entrepreneurs in coming fields. The school wants them to think of themselves as potential founders of start ups as well, and to operate fluidly in a legal environment that is being transformed by technology. Michigan State professors don't just teach torts, contracts and the intricacies of constitutional law. They also delve into software and services that sift through thousands of cases to help predict whether a client's case might be successful or what arguments could be most effective. They introduce their students to programs that search through mountains of depositions and filings, automating tasks like the dreary "document review" that was once the baptism of fire and boredom for young associates. One of the founders of the Reinvent Law Laboratory is Daniel Martin Katz, an associate professor with expertise in big data and powerful computing and their applications to legal studies. He hopes to give his students a leg up in a job market that seems increasingly bleak, and to help them become "T shaped," by which he means having deep knowledge the downward swipe of the letter T as well as a broadened set of abilities. So providing them with information on seemingly arcane subjects like data analytics can be a career builder. "Analytics plus law gets you into a niche," he said. The program is partly funded by the Kauffman Foundation, which supports entrepreneurship education. With the marketplace shifting, schools have increasingly come under fire for being out of touch. Catherine L. Carpenter, vice dean of Southwestern Law School in Los Angeles, tracks curriculum across the country. She said schools are trying to teach their students to run their own firms, to look for entrepreneurial opportunities by finding "gaps in the law or gaps in the delivery of services," and to gain specialized knowledge that can help them counsel entrepreneurs. At Indiana University's law school, Prof. William D. Henderson has been advocating a shake up in legal education whose time may have come. "You have got to be in a lot of pain" before a school will change something as tradition bound as legal training, he said, but pain is everywhere at the moment, and "that's kind of our opening." He advocates putting more technology and practical training into the curriculum to adapt to a field that is less about "expensive, artisan trained lawyers" and more about providing legal services at lower cost. Bill Mooz, a visiting professor at the University of Colorado law school, has started a four week summer boot camp called Tech Lawyer Accelerator to provide, as he put it, "all of the things they don't teach you in law school and they don't teach in law firms but which you need to be effective in today's world." Students are brought up to speed on tech tools designed to make legal services more efficient. They hear lectures from companies like Adobe and NetApp. After the four weeks, they spend the rest of the summer, or even the following semester, working directly for a company. Mr. Mooz calls the program "drinking from a fire hose." DAIN BARNETT proposed Law Spark at the competition. It would provide technical support developers, product designers to law related tech start ups. Fabrizio Costantini for The New York Times At Northwestern Law, Daniel B. Rodriguez, the dean, is expanding clinical education while using faculty members with technical and business experience to instruct in "the law/business/technology interface." Law school, he said, used to be a refuge for students who "might be math phobic, who don't do numbers." But the practice of law increasingly requires lawyers to understand the work and strategy of their clients, whether that means reading a spreadsheet or going even further. "That doesn't mean you need to have a Ph.D. or a master's degree in math to become a lawyer," Mr. Rodriguez said. "It doesn't actually kill you, but makes you stronger, to have a background in statistics." And, he said, "Not to be too jargonistic, but big data analytics have pervaded many aspects of the management world, and lawyers need to have some facility with that." The Northwestern program stresses teamwork, though the lecture format is still a big part of the program. He noted, with a reference to the law school classic "The Paper Chase," that "Kingsfield hasn't gone away." These programs might be especially important for schools that aren't in the top education tier, to combat the "very elitist" attitudes of the legal employment market, said Brian Z. Tamanaha, a law professor at Washington University in St. Louis. "Will it be enough for them to pick the M.S.U. grad over the Michigan grad, to name a local competitor? That remains to be seen." Another skeptical law professor, Paul F. Campos of the University of Colorado, said he finds Michigan State's approach "admirable" but declared himself amused by the focus on tech. "The irony here is that these new technologies are destroying traditional legal jobs!" KACIE KEFGEN suggested a service to help develop playbooks for education administrators, who have to make tough decisions with legal consequences, often without time to consult a lawyer. Fabrizio Costantini for The New York Times Mr. Campos's blog, Inside the Law School Scam, was harshly critical of legal education. (He discontinued it last year, writing: "I've said what I have to say, at least in this format.") Now, he says, "The fundamental problem remains that we're putting out way, way too many lawyers or, should I say, people with law degrees, given the number of entry level jobs." For the students at Michigan State, the opportunities outweigh the risks. While none are likely to become expert programmers, they believe their training will get them a job at firms that need someone who can communicate with the geek contractors. "This is the worst time in the history of legal education to go to law school," said Patrick Ellis, a recent graduate. "I am not top of my class, not at a top 10 law school, but I'm confident I'm going to have a meaningful career because of this program." The winner of the start up competition at Michigan State was Stand'n, a blend of social media's friend tracking features and apps to connect people and firms with legal services on short notice. The student behind the idea, Andrew Johnston, called it "kind of like an Uber for lawyers." Law firms, he explained, could use the service when they need an attorney to fill in for them at routine court appearances and depositions. The idea brought him 2,000 from the judges. After the competition, Mr. Johnston told me he had not heard of Lawyers on Call, a company that already provides such services, though not with an app. He was not deterred. He asked the name again, and wrote it down. Dean Howarth said she had bumped into one of her more conventional law school colleagues who had seen the gathering and wondered if it was that law school staple, the moot court competition. "I said, 'No, it's a start up competition.'" Ms. Howarth said with a smile, adding, "I had no idea if he had a clue as to what that would be."	N24News: A New Dataset for Multimodal News Classification	Education
It's not just the snow that is plentiful in ski country this season, so, too, are the offerings from an industry that is hustling to attract millennials and Gen Xers who have proven to be less interested in skiing and snowboarding than their parents. Mid way through the season, here are some of the newest developments affecting skiers and riders in the western United States. Many old chairlifts are being replaced, and new ones are opening up fresh territory. In Colorado alone, said Chris Linsmayer, a spokesman for the nonprofit trade group Colorado Ski Country USA, 11 lifts have been installed or replaced since the start of the 2018 19 season. "Guests have come to expect quick lift times and comfort, and the ski areas are spending with that sort of capital investment," said Adrienne Saia Isaac, director of marketing and communications for the National Ski Areas Association. A new 15 million gondola at the Steamboat Ski Resort in Colorado moves people from the base nearly 38 percent faster than the old one, said the resort's spokeswoman, Loryn Duke. In California, the new 11 million Treeline Cirque quad chairlift at Alpine Meadows has a mid station where the previous lift ended, and then continues with a 1,300 foot extension. Woodward Park City in Utah opened in December, offering year round sports and activities, and a "humanpowered" backcountry ski area opened in Northern Colorado this month. At Bluebird Backcountry at Peak Ranch, people pay 50 for access to 300 acres of open and gladed terrain. (Another 1,200 acres can be accessed by hiring a guide.) Ticket holders skin up, but have the amenities of a traditional ski area with rentals, lessons, ski patrol and a warming hut. It will be open just 15 days (mostly weekends) between Feb. 15 and March 15. The base and the basics It's also easier to get to some areas, and to get outfitted once there. American Airlines has started nonstop service on Saturdays from Philadelphia International Airport to Colorado's Eagle County Regional Airport for the winter, making it more convenient for some travelers to get to Vail, Beaver Creek and other places. Colorado's new Snowstang bus service on winter weekends offers an affordable way to get from downtown Denver to Loveland Ski Area, Arapahoe Basin and Steamboat. Taos Air charter service now flies to Taos, N.M., from California's Hawthorne Los Angeles and Carlsbad San Diego airports. Colorado's new Snowstang bus service on winter weekends offers an affordable way to get from downtown Denver to Loveland Ski Area, Arapahoe Basin and Steamboat. Alta, Solitude and Brighton joined Snowbird in Utah on an app called R.I.D.E. (Reducing Individual Driving for the Environment) to encourage car pooling by offering incentives. And winter outerwear is now available for rent at Big Sky Resort in Montana and dozens of other resorts. That makes it easier for those who don't want to haul suitcases, or invest in expensive outerwear. At the base of Peak 9 in Breckenridge, Colo., the new Gravity Haus hotel and social club recently opened "for the modern adventurer." It has 60 rooms, a co working space, a trampoline and a Japanese inspired bathhouse. In Jackson Hole, Wyo., the extreme sports filmmaker Teton Gravity Research moved into the travel industry with the debut of the T.G.R. branded Continuum hotel. There's also a lot happening in Aspen, Colo., where a new W hotel and the Snow Lodge pop up restaurant open until April and backed by the owners of the Surf Lodge in Montauk, N.Y. both ooze a party vibe. The W is the city's first luxury hotel in 25 years. The slope side property has 88 guest rooms, ranging from a two bedroom suite with a circular bed and D.J. booth to rooms with bunk beds sleeping up to eight people. An underground cocktail bar is decorated to commemorate Aspen's former Red Light district, and the roof deck, open year round, boasts a heated pool, fire pits, dance floor and another D.J. booth. Utah's Deer Valley Resort and Cooper in Colorado are among the recent converts to R.F.I.D. technology, a change that allows a guest to keep their lift ticket in their pocket, rather than have it scanned. The technology can help reduce lift line bottlenecks and allows a single pass to be used at multiple resorts, said Oliver Suter, head of marketing and sales for Axess AG, a provider of ticket and access management systems. It also collects data. That's useful for resorts, and tracking the stats can be fun for skiers and riders; so much so that it has started to gamify skiing and snowboarding.	N24News: A New Dataset for Multimodal News Classification	Travel
The sensorial effect of dance has much to do with the way performers inhabit a stage, be it spookily, generously or, in the case of the Zurich choreographer Simone Aughterlony, deviously. "In Disguise," part of Zurich Meets New York: A Festival of Swiss Ingenuity and performed at the Kitchen on Tuesday night, takes place on a pink floor strewn with pieces of wood and rope, moss, knives and axes. Along with the Berlin performer Antonija Livingstone they met while dancing in Meg Stuart's company, Damaged Goods Ms. Aughterlony creates scenarios that rely on props to conjure both ambiguous and obvious references to gender and sex. The opening image, with its flashes of steel on pink, is curious enough, at least at first; a program note says, "The nature of an artificial aftermath is on display." The sound artist Hahn Rowe, surrounded by instruments and other noisemaking materials including Bubble Wrap as well as a computer, also occupies the stage with the dancers, who begin to separate from one another. Ms. Aughterlony occupies herself near a wood pile at the back of the stage, while Ms. Livingstone whittles a tree branch with a knife in the front. It's as if they're lost in the woods or have abandoned themselves to it. Little by little, their clothes come off; Ms. Aughterlony slips out of her shirt to chop wood, and Ms. Livingstone, more naked than not throughout, uses two pieces of wood as skates. She slides forward awkwardly and then rubs moss onto her crotch. The more they use the objects as fetish instruments it's no surprise that the branches turn out to have phallic connotations the less the performers reveal in this exploration of abnormality. It hardly matters how many times Ms. Livingstone rubs herself against a tree trunk or struggles to chop wood; both the body and the blade are little more than design elements.	N24News: A New Dataset for Multimodal News Classification	Dance
The Grolier Club recently renovated its ground floor exhibition hall where the show "French Book Arts: Manuscripts, Books, Bindings, Prints, and Documents, 12th 21st Century" is now on view. The Grolier Club, a redoubt of bibliophiles on Manhattan's Upper East Side, has no shortage of stately, book lined interiors that scream or at least murmur quietly "serious collectors here." But the true spirit of the place might be found in an unassuming closet on the fourth floor containing an alarming, nearly floor to ceiling jumble of crumpled papers practically exploding out of weathered wooden crates. It's a remnant of the vast private library of the 19th century British bibliomaniac Thomas Phillipps and, for the unprepared, a startling reveal akin to the first sight of Norman Bates's mother in "Psycho." "This is what happens when you are a fanatical book collector," Eric Holzenberg, the club's director, said on a recent morning. Last month it celebrated the centennial of its Georgian style building and the renovation of its ground floor exhibition hall with a week of events, including a talk by Carla Hayden, the Librarian of Congress. And starting Jan. 22, the club will offer public lectures and exhibition tours during Bibliography Week, an annual event that attracts collectors, scholars and other bookish people from all over the world for shoptalk and general kibbitzing. The club, which has roughly 800 members, is named for Jean Grolier, a 16th century French high official and book collector known for commissioning exquisite bindings. The Latin motto on his bookplate "Io. Grolierii et Amicorum," or "belonging to Jean Grolier and his friends" represents the ethic of sharing and sociability the club embodies. Many of the exhibitions are drawn from members' own collections, which include incunabula (books from the first half century after the introduction of movable type in Europe around 1455) and fine bindings, but also science fiction, zines, punk rock ephemera, bookmarks, valentines. One member even has a sideline in printed paper sleeves for coffee cups. "The universe of printed matter is enormous," Mr. Holzenberg said. "It includes the high and the low, the beautiful and the ugly, the significant and the really, really insignificant. There's a lot of value in a big enough collection of really, really insignificant objects. It can tell you something really interesting." As a collection of people, the club has historically exhibited a distinct pattern: male, older, white, well heeled, often bowtied. Sarah Funke Butler, a private curator, said the number of women and younger people had increased since she joined 13 years ago. "The top hat to high heel ratio has really leveled off," she said. The metaphor may be fancy, but members' tastes often are not. "I think what's new is a growing realization that a collection does not have to be expensive to be a collection," Ms. Butler said. The Grolier was founded at a moment when machine printing and automated type production were degrading the quality of printed books, which in turn fueled an interest in fine printing. The newly renovated exhibition hall, designed by Ann Beha Architects as part of a 4.6 million overhaul, subtly reflects our own era's similarly mixed feelings about technology and tradition, marrying warm wood paneling with high tech display cases and, at one end, a large digital display screen. (Mr. Holzenberg confessed initial fear that an older member might see it "and fall over dead, or kill me.") Artful illumination gives visitors a better glimpse of the shelves of books lining the (inaccessible) balcony, hinting at the atmosphere of the grand library on the third floor. "It pulls the books right down into the center of the room," said Bruce Crawford, the club's current president (and a collector of Dickens and other 19th century authors). On the way up to the members only spaces , Mr. Holzenberg offered me a quick look into the second floor gallery, where a half dozen members were installing "Two American Poets: Wallace Stevens and William Carlos Williams," a new exhibition drawn from the collection of Alan M. Klein, a member and lawyer. I made the mistake of tsking that no one was wearing gloves. "Never gloves!" several people exclaimed at once. They compromise the grip, as it turns out, increasing the risk of dropping or tearing something. Up in the library (open to researchers but not the general public), Meghan Constantinou, the club's librarian, opened a not so secret door concealed in a bookshelf. It opens to a staircase that leads to more shelves holding some of the library's collection of more than 150,000 bookseller, auction and private library catalogs, as well as over 40,000 books about books. Ms. Constantinou, a collector of women's bookplates, had pulled out one of the oldest printed books in the collection: a copy of Flavius Joseph us's "The Jewish War," published in 1470 by a Rhineland printer named Johann Schussler (no known relation to this reporter, alas). George Fletcher, a bowtied former curator at the Morgan Library Museum and the New York Public Library, stepped out from a nook, as if from central casting, to give a potted history of bookmaking in the 15th century, when movable type was still new. In this period, printed and manuscript books coexisted, sometimes bound together in the same volume, Mr. Fletcher explained, showing the place where handwritten pages of another text took over from Schussler's printed pages. One floor up, there was a peek at the "Dutch kitchen," an ersatz fantasy of a colonial New Amsterdam tavern, built in the Grolier's previous quarters in the 1890s, when a fad for such interiors swept New York's clubs. And then it was on to the Phillipps Room, home to the spectacularly messy closet, as well as a (very neatly kept) collection of material relating to the mad collector, including a lock of his hair. If generous Jean Grolier is the Dr. Jekyll of book collecting, Phillipps is its Mr. Hyde. The illegitimate son of a rich cloth merchant, he was one of the first manuscript collectors to branch out from fine illuminated manuscripts and collect parish records, family genealogies and other humble but historically important material. (He is a focus of "Bibliomania," an exhibition that just opened at Yale University's Beinecke Library.) Phillipps was also, Mr. Holzenberg said, "a total failure as a human being": irascible, cheap, scatterbrained, bad at Latin, rabidly anti Catholic, horrible to his children, and so generally disagreeable that it was hard to get his book loving friends to cooperate with him. When he died in 1872 , his manor house was so crammed with papers and books that it took a century to sell it all off. The stuff in the closet (carefully preserved behind glass) is a remnant that had floated from private collector to private collector, still in Phillipps's own crates, until the Grolier bought it in 2003, for about 10,000. So is the closet meant as a warning? Or an inspiration? French Book Arts: Manuscripts, Books, Bindings, Prints, and Documents, 12th 21st Century (through Feb. 2) and Two American Poets: Wallace Stevens and William Carlos Williams (through Feb. 23)	N24News: A New Dataset for Multimodal News Classification	Art & Design
The rapper Future scored his sixth No. 1 album in less than four years, matching Elton John's early 1970s chart run and bringing an apparent end to the music industry's post holidays sales doldrums. Future's new album, "The Wizrd" (Freebandz/Epic) its full title is "Future Hndrxx Presents: The Wizrd" opened with the equivalent of 126,000 sales in the United States, which includes 144 million streams and 15,000 copies sold as a full album, according to Nielsen. Since Future's album "DS2" in July 2015, all six albums he has released including "Evol," "Future," "Hndrxx" and "What a Time to Be Alive," with Drake have gone to No. 1. According to Billboard, that matches a feat last seen on the chart with John's six albums from "Honky Chateau" in spring 1972 through "Rock of the Westies" in fall 1975. Also this week, Maggie Rogers, the former New York University student whose work went viral while still in the classroom, opened at No. 2 with her major label debut, "Heard It in a Past Life" (Capitol). Although the album's streaming numbers were modest, at 14 million, a ticket bundle deal helped her move 37,000 copies of the full album.	N24News: A New Dataset for Multimodal News Classification	Music
Cathy Lee loves surprises. So for her 50th birthday, her husband, Robert Moyer, surprised her with a railway trip on the Orient Express, from Venice to Budapest to London. For her 60th birthday last April, he wanted to top that gift. What would surprise her? Maybe something she had been hankering for since her days at Barnard College, class of '78: a New York apartment. The couple live on a 15 acre property in Maine. Ms. Lee, who grew up in Maine, met Mr. Moyer there at an event sponsored by the American Civil Liberties Union of Maine. She was a law student, and he was a psychology professor at Bates College in Lewiston, Me. Ms. Lee, who is now a lawyer specializing in emissions trading, yearned for a life in the city, where many of her relatives live. The couple visited often, "but that ache never went away," said Mr. Moyer, who is retired. Nearly two years ago, Ms. Lee's brother moved to the Barclay, a rental tower in Yorkville, on the Far Upper East Side. Soon afterward, Ms. Lee floated the idea of renting a place there. York Avenue The building's views were classic. But the prospective renter had stayed there, and had noticed noise from the F.D.R. Drive. Emon Hassan for The New York Times Mr. Moyer was reluctant. From up high, the views were lovely, but the noise from the Franklin D. Roosevelt Drive below bothered him. "It doesn't matter if it's Christmas Day or 3 a.m. there is traffic on the F.D.R.," he said. Nor did he wish to be so far east, with a long bus ride to other parts of the city. "I was coming up with all the negatives, which I usually do," he said. But he got to thinking. Late last year, he formulated his idea: His birthday surprise to his wife would be a second home in Manhattan. He first considered buying an apartment. He immersed himself in hunting online for one bedrooms for 700,000 to 1 million, between 96th and Canal Streets. He discovered that sum wouldn't go far. It would buy a one bedroom co op or condo with no view, far from the subway. "Most could have been in any large, unidentified American city," Mr. Moyer said. "I simply couldn't find anything nice. It's just not out there for that money." He glanced at rental listings. For 5,000 or so a month, he could rent something newer and nicer than he could buy for even 1.3 million, "which was out of my price range anyway, but I confess to peeking," he said. Renting seemed more feasible than buying. "I am 70 years old," he said. "I am not looking for an investment that is going to provide me with a good return later on." Lower Fifth Ave. The prospective renter also knew this building well; his wife had once lived there. He liked the location, but was hoping for a view. Emon Hassan for The New York Times Mr. Moyer was intrigued by a building on lower Fifth Avenue, a co op that allowed rentals. Ms. Lee had lived there as a student at the Benjamin N. Cardozo School of Law, during their courtship. He remembered the apartment as small. "You can't beat the neighborhood, but in the Village you're not going to get something with a view," he said. Another option was South Park Tower on West 60th Street on the Upper West Side. Ms. Lee's father, who died five years ago, had lived there. It had a pool. But the apartment Mr. Moyer had known faced the river, and he recalled the windows rattling in the wind, which "was disconcerting in the middle of the night." The building's management, the Brodsky Organization, said recently that if a complaint were received, the windows would be adjusted. Mr. Moyer found himself returning to photographs of the brand new 33 story Abington House on the High Line, near 10th Avenue. It was much too far west. But it looked inviting, with floor to ceiling windows and plenty of amenities. Emon Hassan for The New York Times Last winter, he called the building's rental office. The agent mentioned a corner one bedroom newly available on a high floor, facing south and east. The rent was 5,050 a month, just above budget. Mr. Moyer figured that a corner unit with great views wouldn't last long, and rented it sight unseen. The birthday present would be delivered early. The paperwork nearly wrecked the surprise. He needed Ms. Lee's signature. As a lawyer, she had often reminded him never to sign anything he had not read in full. But he told her this was for a birthday surprise and she was so intrigued with surprises she signed willingly. "I got in my head this was something travel related, maybe travel insurance or something," Ms. Lee said. With the help of Jennifer Brocato, the building's resident service specialist, Mr. Moyer arranged a scavenger hunt that sent his wife to the building. Ms. Brocato gave her a tour and, in the designated apartment, handed over the keys. Her husband, she said, "was clearly putting my feelings and desires ahead of his own, so that really moved me," she said. "He knows what it means to me. I was overwhelmed." The couple use their city home for a week or so at a time. They keep binoculars on the window ledge to better enjoy the view. West 30th St. A one bedroom apartment at the amenity loaded Abington House on the High Line came equipped with the requisite views. Emon Hassan for The New York Times Location "was one of my desiderata that didn't quite pan out," Mr. Moyer said. Their Hudson Yards neighborhood is rife with traffic and construction, though the double glazed windows keep most noise out. The bus is slow; the walk to the nearest subway is long. Mr. Moyer is eagerly awaiting the extension of the No. 7 subway line to 34th Street and 11th Avenue. One concern is the future rent; they know they are risking an increase. The New York Ms. Lee loved and left some 30 odd years ago was far different. She loves the new New York even more. The apartment, she said, "was the best surprise, the best gift, Bob could ever give me."	N24News: A New Dataset for Multimodal News Classification	Real Estate
The episodic Afghan peace process seems like an ideal solution to end America's longest war. Yet there is a paradox in a political negotiation for peace that results in U.S. withdrawal of troops: A potential Taliban Haqqani takeover of the Afghan capital would follow that involves rejecting democratic principles and human rights. With this deal between the United States and the Taliban, Washington needs a sober assessment of the Haqqani network as a strategic actor at the center of the world's largest terrorist sanctuary. Fundamentally, the United States Taliban deal is futile if Washington is not also committed to dismantling and defeating the Haqqani network. On Feb. 21, you published an Op Ed article by Sirajuddin Haqqani, "What We, the Taliban, Want." He writes, "The killing and the maiming must stop."	N24News: A New Dataset for Multimodal News Classification	Opinion
CBS entered a new stage of turmoil on Wednesday with the ouster of the longtime executive producer of "60 Minutes," its flagship news brand, amid a cascading scandal over sexual misconduct that days ago ended the career of the network's chief executive, Leslie Moonves. Jeff Fager, who was only the second person in 50 years to oversee "60 Minutes," was fired for sending a text message that threatened the career of a CBS reporter, Jericka Duncan, who was looking into allegations of sexual harassment leveled against him and Mr. Moonves. The president of CBS News, David Rhodes, told staff that Mr. Fager's departure was "not directly related" to those allegations of sexual harassment, which Mr. Fager has denied. But the network said the producer had violated company policy. It would be hard to overstate Mr. Fager's power inside CBS's news division, where he succeeded the legendary producer Don Hewitt in overseeing "60 Minutes." Some members of the show's staff were livid on Wednesday during a contentious meeting with Mr. Rhodes at the show's Manhattan office. "I think it's a terrible day for CBS News," Sharyn Alfonsi, a "60 Minutes" correspondent, said in an interview before the specific contents of Mr. Fager's text message were known. "I think it is awful. I don't understand how you get fired over a text message." CBS has enlisted two law firms to investigate its workplace environment, including accusations published by The New Yorker and The Washington Post that Mr. Fager touched female colleagues in ways that made them feel uncomfortable and allowed a culture of harassment to fester at "60 Minutes." In his own statement, Mr. Fager, 63, called those allegations "false," but he also admitted to sending a "harsh" message to a CBS reporter "demanding that she be fair in covering the story." He added: "CBS did not like it. One such note should not result in termination after 36 years, but it did." CBS News had put together a team, including Ms. Duncan, to report out the allegations against Mr. Moonves and others. On Sunday, Mr. Fager replied to an inquiry from Ms. Duncan by warning her to "be careful." "There are people who lost their jobs trying to harm me, and if you pass on these damaging claims without your own reporting to back them up that will become a serious problem," Mr. Fager wrote in a text message, which CBS News aired on Wednesday's "Evening News" in a segment reported by Ms. Duncan. The exit of two towering figures within 72 hours Mr. Moonves and Mr. Fager had been at the network for decades was especially jarring for CBS, the so called Tiffany network, which has been a model of stability in the tumultuous waters of broadcast TV. Announcing the departure of a top executive in 2015, Mr. Moonves described "an easy and smooth transition which is what we like here." The network's clubby, old school vibe had been sustained by high ratings and marquee shows like "60 Minutes," whose loyal audience helped make CBS the most watched broadcast network for the past decade. Popular anchors like Charlie Rose who was handpicked by Mr. Fager, a good friend, to co host a revamped morning program lured viewers. Now, executives inside the network's Manhattan headquarters, known as Black Rock, face an uncertain future. The ouster of Mr. Moonves and Mr. Fager followed Mr. Rose's dismissal in November after he was accused of sexual misconduct. Mr. Rhodes, the CBS News president, will be tasked with reuniting a news division that, as of Wednesday, was divided over Mr. Fager's sudden exit. "The text to Jericka Duncan was threatening and inappropriate," the longtime "60 Minutes" correspondent Steve Kroft said in a text message. "It's unfortunate, and everything about this situation saddens me." Ford and Rivian no longer plan to work jointly on electric vehicles. Elizabeth Holmes took the stand in her trial. Follow along with our reporters. Ken Griffin, head of Citadel, bid highest for a copy of the Constitution. Mr. Fager's text message was viewed internally as a serious breach, according to two people familiar with the matter, who spoke on the condition of anonymity to discuss internal issues. Some at CBS were also uneasy with Mr. Fager's continued presence at work, saying the producer remained defiant about the claims lodged against him. On Wednesday's newscast, the anchor Jeff Glor told Ms. Duncan that the text message she had received was "unacceptable." "It's important for you to know, for everyone to know back there, that I, we, the entire team at 'Evening News' supports you 100 percent," he said. But inside the "60 Minutes" offices, across West 57th Street from the rest of CBS News, there was shock when the news of Mr. Fager's firing landed in inboxes at 1:31 p.m. Several people were in tears. "This action today is not directly related to the allegations surfaced in press reports, which continue to be investigated independently," Mr. Rhodes wrote in his memo. "However, he violated company policy, and it is our commitment to uphold those policies at every level." Mr. Fager did not have a chance to address his staff, and a staff meeting with Mr. Rhodes quickly turned into something of an aggressive news conference. Several people, including the correspondent Bill Whitaker, pointedly questioned Mr. Rhodes about why this infraction was serious enough to merit Mr. Fager's immediate dismissal. They wondered why it could not be folded into the larger investigation happening at CBS. Ms. Alfonsi, the "60 Minutes" correspondent, was reporting from San Francisco and said she had listened in remotely. "There was nothing that I heard in the meeting that made this make sense to me," she said. When Mr. Rhodes mentioned that Mr. Fager's longtime No. 2, Bill Owens, would replace him on an interim basis, there was a sustained round of applause. Continuity matters at "60 Minutes." Despite dwindling audiences for news, the show has remained among the highest rated series on network television. Mr. Fager, though he had given up his title as chairman of CBS News three years ago, enjoyed carte blanche to run his fief as he saw fit, recruiting famous names for the "60 Minutes" lineup like Anderson Cooper and Oprah Winfrey. Recently, the show scored big exclusives like Mr. Cooper's sit down with Stormy Daniels, the adult film actress who alleged an affair with Donald J. Trump, and Lesley Stahl's meeting with Mr. Trump, his first televised interview after winning the 2016 presidential election. Mr. Fager also took an active role in sanitizing less palatable aspects of the show's culture, according to three people who spoke on the condition of anonymity to describe sensitive internal matters. When the author of a "60 Minutes" retrospective began asking questions about the treatment of female staff members, Mr. Fager approached the writer and nudged him off the project. Mr. Fager ended up as the author of the book, "Fifty Years of '60 Minutes,'" which was published in October and discussed little of how women were treated at the show. By Wednesday afternoon, before the "Evening News" report aired, more than 60 members of the "60 Minutes" staff including the building's security guard had joined Mr. Fager for drinks at P. J. Clarke's by Lincoln Center, the show's regular haunt. People were teary eyed as they showered Mr. Fager with praise and hugs. Several said they were concerned that "60 Minutes" could be dismantled under new leadership. "Jeff Fager is a wonderful boss," Mr. Whitaker said, looking somber on a bar stool. "So much of the magic of '60 Minutes' is because of him. He treats his staff as adults. He trusts his people." During his tenure, Mr. Fager collected 76 Emmy Awards and 13 Peabody Awards. In June, he was awarded one of the highest honors in broadcast news, the Fred Friendly First Amendment Award, at a starry luncheon in Manhattan. As stalwarts of the show like Mr. Kroft looked on, Mr. Fager described the "60 Minutes" mantra as "news is a public service" and praised Mr. Moonves for never trying "to influence our coverage in any way."	N24News: A New Dataset for Multimodal News Classification	Media
The choreographer Jon Kinzel paced around the Invisible Dog, a vast Brooklyn arts center, before planting himself in front of a wall onto which he drew a maze of shapes. It was already covered with his artwork drawings, collages and paintings from the past 25 years. In another corner of the space, a woman, only partly visible, reclined on her back in a tent while knitting. A table covered with art supplies hinted at how Mr. Kinzel, an accomplished choreographer, is currently spending his days making art, making dances and discovering where the two forms meet. As part of a two week residency, Mr. Kinzel is presenting "Atlantic Terminus," a performance that displays his mingling influences; each evening is imagined anew and features a different guest artist. On Friday, he appeared with Simon Courchel; Jodi Melnick, Alexandre Kourako and Wally Cardona are also scheduled to perform with him. On Friday, the show was a rough but strangely evocative look into an artist's process. Along with props and costumes, it included journals outlining Mr. Kinzel's dance classes that feature text and more maze drawings. At the start of the performance, he shuffled through two rows of framed pictures lining the floor. Then the lights were switched off they remained that way for much of the piece and Mr. Kinzel typed on his smartphone. The corresponding clicks could be heard over the speakers.	N24News: A New Dataset for Multimodal News Classification	Dance
In a modest sign that the housing market is moving toward more normal conditions, the pace of home building is finally picking up from its near death levels. The Census Bureau reported Friday that housing starts in March rose 1.6 percent to a seasonally adjusted annual rate of 626,000. It was the third consecutive monthly increase, and better than analysts had been predicting. The rate is now 31 percent above the record low set last April. Adding to the sense of momentum was a significant upward adjustment to the February numbers, which were originally reported as 575,000, a decline of 5.9 percent, but now revised to 616,000, an increase of 1.1 percent. However welcome these numbers are to builders, they are very small improvements when set against the context of construction's steep fall over the last several years. At the height of the boom, more than two million homes were being built annually. The increase in construction this winter was most likely spurred by the government's tax credit for homebuyers, which is speeding toward expiration with little likelihood of being renewed. Deals have to be signed by the end of this month to qualify, although they can take two more months to close. Joshua Shapiro, an economist with the consulting firm MFR, estimated that a considerable amount of the recent activity was a result of the tax credit, and that housing starts would soon suffer another setback. That in turn would act as a considerable damper on the economy, which would have to recover despite housing, not because of it. "Although signaling something better than the paralyzed conditions that prevailed a year and more ago, these data indicate that home builders are not seeing a dramatic recovery in demand," he said. While more homes are finally being built, there are reports that the millions of homes in foreclosure limbo might finally be making their way back to the market. Builders have to compete for new buyers with rock bottom repossessed homes. Another reason for caution is that most of the increase in March was in multi unit construction, which tends to be volatile. Single family home starts actually fell slightly. In addition, a consumer survey released Friday by the University of Michigan sounded a bleak note for the home building industry. Consumers said current conditions were not so bad, but their worries were increasing for the future. The survey's overall index dropped to 69.5 in April from 73.6 in March. The new level was the lowest since November. The historical average is 86.5. "This turnaround, like all good things, takes time," said Jennifer H. Lee, an analyst with BMO Capital Markets. Builders remain gloomy. Earlier this week, the National Association of Home Builders reported that sentiment among builders as measured by its monthly index had risen to 19 in April, from 15 in March. That rise is roughly equivalent to moods improving from miserable to merely dejected. An index level above 50, which has not been seen since the boom, indicates bullish sentiment. The record low was 8, set in January 2009.	N24News: A New Dataset for Multimodal News Classification	Economy
Kyle Busch held on for a narrow victory on Sunday in the 400 mile Nascar Sprint Cup race in Fontana, Calif. Busch beat Kyle Larson the rookie who won the Nationwide Series race on Saturday on the final green white checkered dash to the finish. Larson was trailed by Kurt Busch, Matt Kenseth and Tony Stewart. Carl Edwards, last week's winner at Las Vegas, came back from a spin out to finish 10th in Fontana. That was enough to propel him into the series points lead, at 186 one more than Dale Earnhardt Jr., who finished 12th. Earnhardt was among the contenders at Fontana who experienced tire failures leading to lost time and track position during the race. Only minutes before the start, officials announced that Denny Hamlin was not medically cleared to race because of a sinus infection that was causing vision problems. Sam Hornish Jr. subbed for him, and finishing 17th. Busch joins this year's race winners Earnhardt, Kevin Harvick, Brad Keselowski and Edwards a status that virtually assures each a place in the season ending Chase for the Sprint Cup.	N24News: A New Dataset for Multimodal News Classification	Automobiles
A letter to Derek Jeter, from a girl whose father was the pilot of one of the planes hijacked on Sept. 11, 2001, is part of a new exhibition at the 9/11 Memorial Museum. Three days after the terrorist attacks of Sept. 11, 2001, Brielle Marie Saracini, whose father was the pilot of one of the four hijacked airplanes, wrote a letter to the Yankees superstar Derek Jeter. It was a plain spoken and evocative message from a grieving 10 year old whose life had been irrevocably altered. "Terrible people are in this world, but you and I both know that!" she told Mr. Jeter. Her family was besieged by the news media ("We do not want to be attacked by newscasters"). Friends were answering the family's phone and door. Her one wish, she wrote, was to meet him. "Out of respect," she wrote in a computer font that gave her letter a flowing script, "I would love if you would pay me a visit." "We made her smile, at least for today," he said. The letter is one of the many artifacts featured in "Comeback Season: Sports After 9/11," a new exhibition at the 9/11 Memorial Museum in Lower Manhattan that examines the impact of sports in the days, weeks and months after the attacks. Sports may not always seem important they're just games, aren't they? but they are tribal events that unify people in large communal settings for a common purpose. After games resumed in the wake of 9/11, stadiums and arenas allowed fans to temporarily forget the tragedies at the World Trade Center, the Pentagon and Shanksville, Pa., or express a lump in the throat patriotism that transcended chants of "U.S.A.! U.S.A.!" "Baseball Has Players," read one fan's sign that is part of the exhibition. "America Has Heroes." "Comeback Season" uses its massive space and muted lighting to simultaneously convey grand scale and intimacy, and to reinforce its sophisticated blend of broad and personal storytelling. The winding arrangement of the exhibition almost requires visitors to move slowly to each of its nine stations, which have titles like "Timeout" and "Rivalries Dissolve." Huge photographic blowups of major post 9/11 sports events like the Nascar race in Dover, Del., and the start of the New York City Marathon form the backdrops to display cases that contain items like tickets to canceled games, rubble recovered at ground zero by the Jets quarterback Vinny Testaverde and the dress uniform worn by Pat Tillman, the former N.F.L. player who gave up his football career to enlist after 9/11 and was killed in Afghanistan, accidentally shot by fellow Army Rangers. Seventeen years later, it is impossible to forget the emotional release that was produced by the Mets catcher Mike Piazza when he hit the go ahead, eighth inning home run against the Atlanta Braves in the first major sporting event in New York City after a post 9/11 hiatus. A television replay of Piazza's soaring homer plays in a loop. His No. 31 white jersey is here as well. But what makes "Comeback Season" most compelling are not the easy to recall moments, but stories of lesser renown, like the miniature football that was recovered at the World Trade Center. You can't help but wonder if it was being tossed around by colleagues that morning before their workday began. Or the white racing bib (No. 5494) that Danielle Kousoulis, 29, a vice president of the Cantor Fitzgerald brokerage and ardent runner, was going to wear during the half marathon in Philadelphia five days after she died in the North Tower. Who would have been cheering her on? What would she have told her co workers the following Monday? Or the sled that a ground zero emergency medical technician, Michael Voudouris, who aided in the rescue, had turned into a shrine to fellow E.M.T.'s and others who died in the attacks. He was planning to race headfirst on the skeleton ice track at the 2002 Winter Olympics in Salt Lake City for Greece (he has U.S. and Greek citizenship), but the International Bobsleigh Skeleton Federation, acting on a recommendation of the International Olympic Committee, ruled that the names and imagery of the Twin Towers he had added to the bottom of his sled violated its rules.	N24News: A New Dataset for Multimodal News Classification	Art & Design
After finding themselves locked in an abandoned Vermont ski store, a group of friends has the only reasonable reaction: "I guess we live here now," one says. Lo and behold, a good chunk of the new play "Ski End" consists of amusing make believe situations in which the pals give themselves new names and pretend to shred on the slopes. "I see they got the funicular up and running for the season," Paul (Ben Vigus) says. "A classic Swiss design," Vic (Toni Ann DeNoble) adds. This is a scenario straight out of a children's adventure but Paul, Vic, et al. appear to be in their late 20s and early 30s. They are nostalgic for carefree days on a snowy mountain, for the mom and pop store that ruled America before buyers flocked to the internet. The gang came up at a time when "virgin soft powder" wasn't threatened by climate change, and weather brought the promise of fun rather than meteorological catastrophe we eventually learn that the derelict outlet was damaged by Tropical Storm Irene, which devastated Vermont in 2011. "Ski is not the same as it used to be," Hannah (Emilie Soffe) says. "Look around! How much longer can this last?" She may be referring to winter sports, or to the "Goonies" type escapade that, perhaps, allows her and her friends to delay adulthood.	N24News: A New Dataset for Multimodal News Classification	Theater
MIAMI GARDENS, Fla. For the first time in what felt like forever, America was treated to a Super Bowl without the New England Patriots on Sunday. The upstart San Francisco 49ers, with their smothering defense, took on the Kansas City Chiefs and their wunderkind quarterback Patrick Mahomes. With aging stars like Aaron Rodgers and Drew Brees also watching the game at home, the Super Bowl looked like a debutante party for the N.F.L.'s next generation. Yet through it all, the Patriots, who last missed this big stage in the 2015 season, loomed over Hard Rock Stadium like a blimp commanded by the usual villains, Tom Brady and Coach Bill Belichick. The leaders of the N.F.L.'s most enduring dynasty, which seemed to be on death's door three weeks ago when the Patriots slinked out of the playoffs, all but taunted N.F.L. fans with their mere presence, as if grabbing for the torch being passed. Brady and Belichick were both on the field before the game, when the top 100 players in N.F.L. history were introduced to honor the league's centennial season. Brady was shown palling around with his boyhood idol, Joe Montana, as well as with other great quarterbacks, such as Brett Favre, John Elway and Dan Marino. Brady, of course, is the only one still playing. Then the cameras panned to Belichick, and the boos rained down on the coach who is third on the N.F.L.'s career wins list. Belichick let out a hearty laugh, lifted his hands to the camera and showed off three of his eight Super Bowl rings. Point made: I'm great and I'll be coming for more.	N24News: A New Dataset for Multimodal News Classification	Sports
Walter Tevis in 1982. His novel "The Queen's Gambit" is the source material for the popular Netflix series of the same name. Walter Tevis Was a Novelist. You Might Know His Books (Much) Better as Movies. The wildly popular Netflix series "The Queen's Gambit" has done for chess what Julia Child once did for French cooking. Chess set sales have skyrocketed; enrollment in online chess classes has surged. The series has been the subject of hundreds of articles and interviews. The novel that inspired the show, first published in 1983, has been on The New York Times's trade paperback best seller list for five weeks. Yet little attention has been paid to Walter Tevis, the author whose creation has stirred all the commotion. Tevis once pegged himself as "a good American writer of the second rank." But Allan Scott, the screenwriter who first optioned "The Queen's Gambit" in the 1980s, disagrees. Mr. Scott co created and executive produced the current Netflix show. "I think very highly of Tevis," he said in an email. "I think he was one of the best American writers of the 20th century. 'The Queen's Gambit' lays out a terrific story very simply. Child, mother killed, orphanage, touch of genius, addiction. It's Dickensian." (It took decades to bring the book to the screen, Mr. Scott said, because studios thought the subject of chess was a commercial dead end.) Tevis was a family man who played board games and fished with his kids; a popular professor of writing and literature at Ohio University in Athens; a cat lover and movie aficionado; and a talented amateur chess and pool player. He was pale and gangly; some of his students called him "Ichabod Crane." He was also a three pack a day smoker, a serious gambler and an alcoholic who made several suicide attempts. His fiction often plumbs his psyche, metaphorically. 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. "He's the hero of all his own books," said his son, Will Tevis, 66, before correcting himself: "He's the antihero." Tevis considered his terrain to be the world of underdogs. "I write about losers and loners," he told this newspaper in 1983. "If there's a common theme in my work, that's it. I invented the phrase 'born loser' in 'The Hustler.' In one way or another I'm obsessed with the struggle between winning and losing." Tevis was born in San Francisco, into what he called a "feelingless, uptight" home. His parents moved to Kentucky when he was 10. Because young Walter had a heart condition, his parents left him behind in a convalescent home, where he spent months drugged on phenobarbital like Beth Harmon, the main character in "The Queen's Gambit." In an essay published in 1990, Tevis's first wife, Jamie, wrote: "He never got over the scars of the early experience with narcotics." Tevis believed that early experience fueled his later alcoholism. When he left California to rejoin his family, Tevis found his new environment bewildering. In a 1981 interview, he said that "The Man Who Fell to Earth," about an alien who lands in Kentucky and can't adjust to life on this planet, was "disguised autobiography." " It has to do with my having moved from what I thought was the city of light, San Francisco, when I was 11, to Lexington, Kentucky, where I went to a tough Appalachian school in the fifth grade and was beaten up regularly," Tevis said. (Tevis gave the movie version of the book a C plus, calling it confusing, but when he met David Bowie found him to be "a wonderful man.") The day he turned 17, Tevis joined the Navy. On a ship home from Okinawa, he met Hilary Knight, who went on to illustrate the Eloise books. The two connected instantly, Mr. Knight, now 94, recalled, because both were "total misfits." "We were two people in a dream world, though his was much more logical than mine," Mr. Knight said. "The other crew paid little or no attention to us. They didn't want to know these weirdos. Walter was too smart, and the ship was full of dumbbells. We had a great time laughing about everything." "The Hustler," drawn from Tevis's rough and tumble pool hall experiences before and after the war, came out in 1959, followed by "The Man Who Fell to Earth" in 1963. Then, Tevis published almost nothing until 1980. He and his wife, whom he met when they taught at the same high school, raised two children while Tevis was at Ohio University. He played chess and shot pool, often with his colleague Daniel Keyes, who wrote "Flowers for Algernon." Tevis drank heavily and his marriage suffered. Even so, his children remember Tevis as a devoted parent. His daughter, Julia McGory, 63, said that his kids had experienced some of "the sadness and complexities of our father," but "never doubted how much he loved us and enjoyed being with us." In the mid 1970s, Tevis sobered up, partly with help from Alcoholics Anonymous. Deeply frustrated by his writer's block, he got a divorce and decided to try his creative luck in Manhattan. He began a relationship with, and eventually married, Eleanora Walker, who worked for his agent. He reconnected with Mr. Knight: "We became great friends again," Mr. Knight said. Tevis also regained his writerly mojo, finishing four more novels and a collection of short stories. He helped convince Paul Newman to star in the movie version of "The Color of Money." He also wrote "The Queen's Gambit" during those years. The writer Tobias Wolff called it an "overlooked masterpiece." "Tevis has a gift for vivid characterization and propulsive narratives," Mr. Wolff said in an email. "His style is direct and efficient, never calling attention to itself; yet it grows in power through the course of a novel by its very naturalness." Describing young Beth learning a chess move in "The Queen's Gambit," Tevis wrote: "She decided not to take the offered pawn, to leave the tension on the board. She liked it like that. She liked the power of the pieces, exerted along files and diagonals. In the middle of the game, when the pieces were everywhere, the forces crisscrossing the board thrilled her. She brought out her king's knight, feeling its power spread." More lyrically, as Beth sits bored in class, Tevis wrote that her "mind danced in awe to the geometric rococo of chess, rapt, enraptured, drawing in the grand permutations as they opened to her soul, and her soul opened to them." In the book, Beth is a harder edged, less obviously triumphant character than in the Netflix series. Tevis once explained why he made the choice to portray a female chess champion. "Sometimes I was really more wrapped up in the idea of intelligence in women, for which I have an enormous respect and a kind of awe, more wrapped up in that even than the game of chess itself," he said.	N24News: A New Dataset for Multimodal News Classification	Books
SAN FRANCISCO Intel answered many questions from Wall Street Thursday, but not the one that has dogged the company for seven months: Who will become chief executive of the giant chip maker? The lengthy search, begun after Brian Krzanich was forced out in June for a past affair with a subordinate, illustrates the difficulty of finding a leader with the diverse skills needed to run one of Silicon Valley's most complex companies. Intel, which hosted a conference call Thursday to discuss the financial results of its most recent quarter, said its directors were conducting the search with "a sense of urgency" but gave no timetable for a selection. "I am convinced the board of directors will close on a new C.E.O. in the near future," said Robert Swan, Intel's chief financial officer, who is also serving as acting chief executive. Intel, which has 107,000 employees, sells the vast majority of processors that power personal computers as well as larger machines that run the web. It turns silicon wafers into chips in some of the world's most sophisticated factories sites that cost 5 billion to 10 billion each and employs an army of chemical engineers, physicists, system architects, chip designers and computer programmers. The company, which turned 50 last year, has never drawn a top executive from outside its own ranks. Indeed, Intel was once known for signaling the promotion of an internal candidate to its top job years in advance. That tradition broke down with Paul Otellini's surprise decision to resign in November 2012. Intel's board considered external candidates before settling the following May on Mr. Krzanich, an Intel manufacturing specialist. At least seven seasoned executives departed during his five year tenure. Analysts now see only three obvious internal choices, none of whom has the broad experience of past Intel leaders. Some promising external candidates have declined the opportunity. One is Patrick Gelsinger, a former Intel executive who is now the chief executive of the software company VMware, who went so far as to get a VMware tattoo after the search process began. Others have been considered by Intel's board but rejected, according to five current and former Intel executives. These people, who requested anonymity because they were not authorized to discuss the process, said Intel directors seemed divided on what to do. Inexperience with Intel's business could be a factor. Five of nine directors have joined the board since 2016, while three longtime members stepped down last May. An Intel spokeswoman declined to comment. A new chief executive would take the helm at an unusual time for the industry pioneer. Intel has recently reported some of its strongest ever financial results, with revenue for 2018 soaring 13 percent to top 70 billion. Mr. Swan vowed rapid progress in entering new markets, while analysts have praised some forthcoming chips. Yet Intel's fourth quarter results were worse than analysts expected as was its financial projection for 2019 while the company faces long term questions about maintaining its dominance. Last year Intel gave up the lead in creating ever tinier transistors on chips, the pattern observed by the Intel co founder Gordon Moore that drives down computing and data storage costs. Intel has repeatedly missed deadlines to deliver its next production recipe for smaller circuitry. Taiwan Semiconductor Manufacturing Company, which manufactures chips designed by other companies, grabbed the lead in the Moore's Law race with chips that first appeared in Apple iPhones. The delayed production process actually boosted Intel's bottom line last year by allowing the company to put off spending on new manufacturing equipment. But the technology stumble is eventually expected to aid other chip designers, a list that now includes Advanced Micro Devices, Nvidia and major customers such as Google and Amazon. After missing the huge market for smartphone processors, Intel recently supplanted Qualcomm in supplying cellular modems for Apple iPhones. But those sales lose money, a problem underscored in trial testimony this month by Aicha Evans, a veteran Intel executive who resigned days later to lead the start up Zoox. "For us, this is a very fragile business," said Ms. Evans, a witness for the Federal Trade Commission in a case challenging Qualcomm business practices. Whether to hang on with modems will be one key decision facing a new chief executive. But there are many other challenges, including processor supply problems that hurt PC sales in the latest quarter. "Intel's numbers have been fantastic," said Stacy Rasgon, an analyst with Sanford C. Bernstein. "But if you start delving below the surface, the structural issues are fairly apparent." The internal candidates seen as favorites are Mr. Swan, though he has said he doesn't want the position; Venkata (Murthy) Renduchintala, who joined Intel from Qualcomm in 2015 and oversees most product development; and Navin Shenoy, a veteran executive vice president whose unit supplies chips for computers used in data centers. External candidates who have been considered for the chief executive post, according to the current and former Intel executives, include Renee James, a former Intel president now running a competing start up; Anand Chandrasekher, who once ran Intel's mobile device effort and later served a stint at Qualcomm; Sanjay Jha, a former Qualcomm executive who led Motorola; and Johny Srouji, Apple's senior vice president of hardware technologies, whose name was reported earlier by Axios. Ms. James, Mr. Chandrasekher and Mr. Jha are no longer under consideration, these people said.	N24News: A New Dataset for Multimodal News Classification	Technology
There, the Institute will be leasing a 15,000 square foot factory, which had been condemned, and which will be brought up to code by the local firm Anmahian Winton Architects and used as a raw, industrial outpost for large scale site specific projects. The projected cost is 10 million for renovation and programming for five years. The Watershed, as it is to be called, will be open in warm weather months starting summer 2018. Museumgoers will arrive at the shipyard via boat from existing docks adjacent to the Institute for a six minute ride across the harbor that once hosted the Boston Tea Party. "This type of project is part of our DNA," said Jill Medvedow, director of the Institute, which has a long history of commissioning artists to create temporary public projects around Boston that bring together history, landscape and contemporary art. "We're making a cross harbor connection that's really central to our ideas about art and civic life."	N24News: A New Dataset for Multimodal News Classification	Art & Design
Nemuna Ceesay, left, and Debra Jo Rupp at Barrington Stage in "The Cake," where the playwright Bekah Brunstetter does not hesitate to stack the deck. PITTSFIELD, Mass. In 2012, Jack Phillips, a Colorado baker, citing a religious objection to same sex marriage, declined to make a wedding cake for David Mullins and Charlie Craig. It took six years for the resulting case to be resolved and then only narrowly by the Supreme Court's decision in Masterpiece Cakeshop v. Colorado Civil Rights Commission last month. It took the playwright Bekah Brunstetter substantially less time to write "The Cake," which riffs on that case, and to see it produced around the country. Since its premiere at the Echo Theater Company in Los Angeles in June 2017, it has been staged in La Jolla, Calif., Chicago and Houston, among other cities, with a New York production scheduled for the Manhattan Theater Club in February. I caught "The Cake" at the Barrington Stage Company here, during a recent Berkshires visit that also featured, 20 miles to the north at the Williamstown Theater Festival, Douglas Carter Beane's "The Closet." Different as they are "The Cake" is intimate and touching, "The Closet" big and blaring both set out to address timely issues of gay life and representation. "The Cake," which runs through Sunday, is not only more successful at that than "The Closet," it's more successful than the Supreme Court. Of course, that's partly because the justices could not invent the facts of their case the way Ms. Brunstetter could. Her version, you might even say, is rigged: posing the problem in an extreme way to shift the focus from principles to people. Della, the proprietor of Della's Sweets in Winston Salem, N.C., is an adorable belle of a certain age whose personality and pink lemonade cake have earned her a spot on "The Great American Baking Show." As played with immense warmth by Debra Jo Rupp, best known as the mother on "That '70s Show," it's all but impossible not to sympathize with her as she faces the televised challenge and a real life one that walks in the door of her shop. That problem is Jen, who is no stranger (as in the Colorado case) but a giddy bridezilla whose late mother was Della's best friend. At first, Della is ecstatic about the prospect of baking the cake for Jen's upcoming wedding. But when Jen (Virginia Vale) awkwardly admits that there are two brides, not one, Della's unexamined assumptions about the sanctity of traditional marriage are tested. Ms. Brunstetter, a playwright now working on NBC's "This Is Us," does not hesitate to stack the deck. Jen's intended, Macy (Nemuna Ceesay), is a journalist who doesn't eat cake and abhors "food TV" because it "fetishizes an industry that's killing hundreds of thousands of people a year." While Della is trying to work through her ambivalence, Macy helpfully explains that "ambivalence is just as evil as violence." This agenda mongering heightens the conflict unnecessarily, turning Macy into a zealot you can hardly imagine the kind at all costs Jen abiding. It also undermines some of Ms. Brunstetter's efforts to give space to the Dellas of this world. Other stakes raising techniques, involving surreal interruptions from the baking show and predictably serio comic scenes with Della's perplexed husband (Douglas Rees), are hit or miss. Mostly, though, the play's choices and the lovely production, directed by Jennifer Chambers on Barrington's smaller stage cut against stereotypes, not going where you expect. (There's no lawsuit.) In that way issues usually understood in legal terms become more personal matters of betrayal and accommodation. "The Cake" provides access to human questions at the heart of all change: How much time do we give people to "evolve"? How civil must we be while we wait? Accommodating change is also at the heart of "The Closet," a satire of post gay political correctness that Williamstown is giving a deluxe production on its Main Stage. (It runs through Saturday.) Matthew Broderick plays get ready for a shock an emotionally flatlining nebbish: His wife has left him, his teenage son despises him and he's so bad at his job that he's about to be fired. To prevent the last of these, at least, he pretends to be gay. Wait, what? It wasn't so long ago that being openly gay would get you fired. But Mr. Beane, always alert to comic irony, has imagined a world so fearful of offense that a formerly despised identity is now a bulletproof vest. In any case, upon coming out, Martin suddenly becomes popular with his co workers, a hero to his son and, all "Tootsie" like, more comfortable with himself. Mr. Beane borrows that idea from "Le Placard," a 2001 movie and later a play by the French screenwriter and director Francis Veber. But "The Closet" abandons some of Mr. Veber's logic in trying to pump itself into a socko farce. In the original, Mr. Broderick's character, here called Martin O'Reilly, works for a condom manufacturer, thus making the firing of a gay employee a credibly sensitive matter. "The Closet," though, is set in the Good Shepherd Catholic Supply Warehouse of Scranton, Pa., which provides the scenic designer Allen Moyer with a great visual opportunity but makes little sense otherwise. Not much does. As has become his style in recent plays like "Shows for Days," Mr. Beane focuses on amusing characters at the expense of coherence. That's a serious failing when you're building a farce. In "The Closet" he gives us, among other unlikely humans, Martin's co workers Patricia (Jessica Hecht), a wallflower who leads a "Hidden Words of Hate" workshop; Brenda (Ann Harada), a rude gossip who has musical theater Tourette's; and Roland (Will Cobbs), a homophobe with an all too predictable secret. And then there's Brooks Ashmanskas as Ronnie Wilde: Martin's fake boyfriend and instructor in all things fey. The curriculum involves cinnamon and walking on Bubble Wrap.	N24News: A New Dataset for Multimodal News Classification	Theater
Last fall, Katie Hill, a Democratic congresswoman from California, faced some of the darkest moments of her life. Nude photos of her had been published online without her consent, and the House was investigating her over an alleged sexual relationship with one of her staff members, which she denied. She resigned from Congress, but during a farewell speech on the House floor, she delivered a passionate indictment of revenge porn and what she called a "double standard" when it comes to women's sexual behavior. "I'm stepping down, but I refuse to let this experience scare off other women who dare to take risks, who dare to step into this light, who dare to be powerful," she said in the speech, which later went viral. Hill will expand on that message in "She Will Rise," a book that is part memoir, part gender equity battle plan, which Grand Central Publishing plans to publish on Aug. 18. The date is the 100th anniversary of the ratification of the 19th Amendment, which gave women the right to vote. The former congresswoman is exactly the kind of client that Anna Sproul Latimer, the literary agent who represents Hill, had hoped to attract when she started Neon Literary with her co founder, Kent Wolf, this past December. "My clients all share a sense that they really want to change the story of the world in some way," Sproul Latimer said.	N24News: A New Dataset for Multimodal News Classification	Books
Each week, technology reporters and columnists from The New York Times review the week's news, offering analysis and maybe a joke or two about the most important developments in the tech industry. Want this newsletter in your inbox? Sign up here. Hello, Adam Satariano here, back from Barcelona, where the MWC Barcelona tech conference, formerly called Mobile World Congress, just wrapped up. An event celebrating new bendable smartphones, augmented reality goggles and internet connected beer kegs would seem an unlikely base for an important geopolitical standoff. But that was what happened in the Spanish city this past week, when members of the Trump administration attended MWC to try to persuade other countries to ban the Chinese technology company Huawei. You're forgiven if you have not kept up with the deluge of news regarding the Huawei fight. It's a complicated, fast moving and often technical story. In short, the White House has been trying for a year to get allies, particularly in Europe, to impose bans against using Huawei equipment inside the new wireless networks, known as 5G, that will become available starting this year. 5G is seen as critical infrastructure for a quickly digitizing economy, increasing phone data speeds but also creating new opportunities in robotics, transportation, manufacturing and artificial intelligence. The United States says using Huawei equipment in the new networks will create a grave vulnerability that the Chinese government will exploit. It's a dramatic and worrying accusation if true. But the Trump administration hasn't provided much hard evidence. In Barcelona, I met in a hotel lobby with a frustrated executive from one of Europe's biggest carriers who said the United States had presented no new details to support its accusations. Instead, American officials have tried to gain support by rehashing China's history of cyber misbehavior and President Xi Jinping's increasing control over the Chinese economy. This executive's frustration may explain why the White House effort has lost momentum in recent weeks. British intelligence officials recently indicated that a ban wasn't necessary, and The Wall Street Journal reported that Germany shared that view. At MWC, the White House sent a team from the State, Commerce and Defense Departments, as well as the chairman of the Federal Communications Commission, Ajit Pai, to make the case against Huawei. Nobody appeared to be won over. Vodafone's chief executive, Nick Read, defended Huawei at a news conference, repeating a not so subtle swipe at the United States that criticism of Huawei wasn't "fact based." Officials in the United Arab Emirates, a typically reliable American ally in the Middle East, seemed to agree. On Monday, just as MWC was starting, the country's state owned wireless carrier announced a deal with Huawei to build the 5G network there. Perhaps sensing a momentum shift, Huawei has ratcheted up its opposition to the American campaign. On Monday, a Huawei executive, Vincent Peng, said cybersecurity was a "technical challenge, not a political challenge." The next morning, Guo Ping, the company's rotating chairman, said the United States had a more checkered history of espionage than Huawei, referring to the whistle blower Edward J. Snowden's disclosures in 2013 of an internet surveillance program by American spy agencies and their allies. Huawei is a relatively boring company. While it has branched out to become one of the world's largest manufacturers of smartphones, it primarily makes the gear needed to make phone networks work. It's the kind of infrastructure people rely upon but don't give much thought. But the debate is worth following. Huawei foreshadows conflicts about important emerging technologies such as artificial intelligence, in which China is developing an expertise that the United States and its allies are likely to view as an economic and security threat. The other week, I averaged three hours and 12 minutes of screen time per day. I feel somewhat proud of this figure, pathetically, because it was down from some of my more frightening recent averages, which occasionally topped not sure I should admit this five hours. Kevin Roose described his detox experience in a memorable column about how we can assert control over our digital lives. I have a long way to go. Life is even worse than we thought for Facebook moderators who are paid 15 an hour to review the internet's most horrific material. After Casey Newton's must read investigation was published this past week in The Verge, I like the idea that all Facebook employees should have to spend a month doing this job.	N24News: A New Dataset for Multimodal News Classification	Technology
MOSCOW Thirty years ago, during my first trip to Russia, I bought a ticket for the Bolshoi Ballet. Though I paid an excessive amount by 1984 Soviet standards for a restricted view seat all the way on the side of the sixth, uppermost ring, I didn't care: I was in the Bolshoi Theater for the first time. It was the world premiere of Yuri Grigorovich's new production of the three act ballet "Raymonda" (1898). To see better, I switched to a slightly more central place. To steady myself, I sometimes placed my hand on the ceiling. It's strange to return to any theater for the first time in 30 years, but none more than the Bolshoi. The Russian nation and its capital city have greatly changed; Russia's dealings with the West and its presentation of its own history have been transformed; and the Bolshoi Theater itself has been completely renovated and partly rebuilt. By 2005, structural problems within the opera house had caused several vertical cracks to open in the building's outer walls. It was closed for six years for extensive top to bottom renovations. The 2011 reopening was a grand gala affair, screened live around the world. Opera and ballet stars performed; celebrities in the audience included two of the theater's greatest legends, the soprano Galina Vishnevskaya (who died the next year) and the ballerina Maya Plisetskaya. Today's Bolshoi Theater gleams bright, and, like so much of Russia, it recaptures more of its own past than could be seen in the Soviet era. The insignia of the double headed eagle an emblem of the czarist era is to be seen again in many places, not least on the spectacular curtain. This is one of the great 19th century opera houses and its central place in Russian culture includes both czarist coronation celebrations and Communist Party policy announcements. Premieres by Tchaikovsky, Mussorgsky, Rimsky Korsakov, Rachmaninoff, Shostakovich and Prokofiev occurred here. Money has been spent to restore its pre Soviet acoustics; I wish the three performances I saw there in late March had featured music more distinguished than that of Auber's 1857 ballet, "Marco Spada"; and I should love to hear how superb voices fill it. But visually, in its auditorium and its public spaces, the Bolshoi may well now be the world's most splendid theater.	N24News: A New Dataset for Multimodal News Classification	Dance
The first victim washed up in September 2016. The police in Valencia, Spain, saw a blue shark dying in the surf along a tiny stretch of beach. They lugged the eight foot corpse to the yard behind the police station. Then they called Jaime Penades Suay, who soon suspected foul play. The shark had what looked like a bit of wood embedded in her head. He pulled. Out slid a broken fragment from a swordfish sword that had lanced straight through her brain. "I thought it was crazy," said Mr. Penades Suay, a graduate student at the University of Valencia and a founder of LAMNA, a Spanish consortium that studies sharks. "I was never sure if this was some kind of joke." But since then at least six more sharks have washed up on Mediterranean coasts, each impaled with the same murder weapon, and almost always in the head. In the latest example, an adult 15 foot thresher shark itself equipped with a whiplike tail capable of stunning blows washed up in Libya. Inside was a foot of swordfish sword that had broken off near its heart. Historically, whalers, fishermen and scholars saw swordfish as stab happy gladiators. But modern scientists were skeptical. Sure, swordfish sometimes impale boats, whales, submarines and sea turtles. But perhaps these swordfish had aimed for smaller prey, and rammed something else by mistake. Or maybe not. When sharks die, their bodies typically sink to the bottom of the sea. So a published record of half a dozen stranded sharks with suspiciously precise wounds could indicate that these encounters are common and that a swordfish sword is sometimes exactly what it sounds like. "Now at least we have evidence that they might use it really as a weapon, intentionally," said Patrick Jambura, a graduate student at the University of Vienna. Mr. Jambura led a study of the recent dead thresher shark, which turned up this April. Sara Al Mabruk at Omar Al Mukhtar University in Libya had spotted a video posted by local citizen scientists. In the video, a man approaches a shark on the beach, then pulls a sword from its back like a bizarre twist on Arthurian legend. "I was like, 'Oh come on Sara, we have to do something about this. That's just incredible,'" Mr. Jambura said. It's also puzzling, their team reported this month in the journal Ichthyological Research. Fishermen often catch swordfish with mangled swords, so breaking one isn't fatal, but they do help their owners swim faster and feed. And they don't seem to grow back, at least not for adults. So why do some swordfish risk losing them? Most victims of swordfish stabbings in the Mediterranean have been blue or mako sharks. Both of those species prey on young swordfish, suggesting one explanation: Maybe juvenile swordfish had felt like their lives were threatened and fought back. But this time the sword fragment looked as if it had come from an adult swordfish, which typically are not eaten by a thresher shark. Instead, they argue, the swordfish might have been taking out an ecological rival. In the overfished Mediterranean, the swordfish might have fought to ensure a larger share of the remaining scraps. Mr. Penades Suay doubts competition would be enough of a motive given the risks involved in taking on a big, whip tailed shark. Instead, he thinks, the swordfish might have felt attacked and tried to protect its territory. Either way, scientists know little about the behavior. Or about swordfish in general, despite how plentiful they are in restaurants and at grocery store fish counters. "Commercial species are only studied for commercial purposes, and that's a problem," Mr. Penades Suay said. After partnering with a seafood company, he is now working to measure both a thousand swords and the overall size of the fish that wielded them. That should help scientists extrapolate from the little crime scene shards left in sharks to the full swordfish that did the deed. Scientists searching for these rare incidents also want to hear from the public. "Maybe a fisherman for 13 years has been catching sharks, and every year he finds this," Mr. Penades Suay said. "We need everybody to be looking into this."	N24News: A New Dataset for Multimodal News Classification	Science
LONDON A Francis Bacon triptych sold tonight for 84.6 million with fees at Sotheby's inaugural digitally streamed "live" auction of contemporary and Impressionist art that replaced its postponed May evening sales in New York. A global online audience watched the company's star auctioneer, Oliver Barker, take bids from international colleagues on screens in an empty salesroom in London specially adapted for the coronavirus pandemic. After a 10 minute duel, the Bacon was finally bought by a telephone bidder in New York against determined competition from an online opponent in China. The price is the third highest ever achieved for the artist at auction. The celebrated British artist's "Triptych Inspired by the Oresteia of Aeschylus" (1981), was being sold by the Astrup Fearnley Museet, a private museum in Oslo founded by the Norwegian collector Hans Rasmus Astrup. Entered for the auction before the coronavirus lockdown, the Bacon had been guaranteed by Sotheby's to sell for at least 60 million, making it the most valuable work so far offered at auction this year. The pandemic has made wealthy owners wary of selling trophy pieces. "It's a bit late, but it's an important work from a good collection," James Holland Hibbert, a leading London based dealer in 20th century British art, said of the triptych by Bacon, whose most prized works date from the 1950s, '60s and '70s. The presale estimate of 60 million was "not unreasonable," given that the museum had previously tried to sell the work privately for more than 100 million, Mr. Holland Hibbert said. "It was not entirely fresh to the market."	N24News: A New Dataset for Multimodal News Classification	Art & Design
Jordan Peele's reboot of the seminal sci fi series arrives on CBS All Access. And Iggy Pop's four part documentary series wraps up on Epix. THE TWILIGHT ZONE Stream on CBS All Access. March was a big month for Jordan Peele, the Academy Award winning writer and director behind "Get Out." It began with the opening of his second feature, the widely praised horror film "Us." And on Monday Peele makes his debut as the narrator and host of his reimagining of "The Twilight Zone." Peele has long idolized that groundbreaking Rod Serling sci fi anthology series. (The premise of "Us" about a family besieged by bloodthirsty doppelgangers was inspired by the episode "Mirror Image.") The show premieres with two episodes; the first stars Kumail Nanjiani as a fame seeking comedian, and the second features Adam Scott as a paranoid airline passenger. ULTRAMAN Stream on Netflix. The original live action Japanese show "Ultraman" has led to several sequels and spinoffs in multiple mediums since its debut in the 1960s. At the heart of the franchise is the story of a gigantic superbeing who defends Earth from monsters and alien invasions. This iteration, an animated series based on a currently running manga sequel, shifts focus to the original superhero's son, who, whether he likes it or not, has inherited his father's powers.	N24News: A New Dataset for Multimodal News Classification	Television
What books are on your nightstand? James C. Scott's "Against the Grain," but that's just one of several recent books by Scott drawing on the radical new understanding regarding agriculture and a prehistory in which wild plant use and management was far more subtle (and productive) than realized before. Scott describes the many ways that cultures embracing wilder landscapes at home have avoided and confounded the would be empires. In prose I've been rereading H. L. Davis's "Winds of Morning" (set in 1920s era Oregon arid mountain country) and appreciating his unique and almost relentless attention to folk speech and the details of landscape. He is not a perfect writer, but an extremely valuable one almost forgotten at the moment. Who is your favorite novelist of all time? It's a tossup between Marcel Proust and Murasaki Shikibu. In each case I read them straight through days and nights till done. Whom do you consider the best writers novelists, essayists, critics, memoirists, poets working today? My favorite essayist is Eliot Weinberger. His remarkable breadth of calm concern is impressive. I regret the loss of Jim Harrison, who was hugely entertaining and intellectually tricky. I think he did violence better than any other writer. Extreme, but with measure. The Brown Dog series is hilarious. As for memoirs, it seems there's still nothing to beat Alvar Nunez Cabeza de Vaca's "La Relacion," his own account of his long walk across southern North America in the 16th century, learning new languages and becoming a kind of healer. 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. Did you read poetry as a child? What books made you fall in love with poetry? As a western Washington State '30s family we had few books. My mother was a reader, though, and every Saturday we drove into north Seattle to check out the university district library and the thrift stores. It seems I heard Whitman, Robert Frost, Poe and Robert Burns before I could read. Was there a book of poems or a poet in particular that inspired you to write? Well, later, high school and after, I discovered Yeats, Pound and Blake (as we all did) and, following an interest in folk music, got a copy of the Child Ballads, which was a great inspiration. The "Little Red Songbook" of workers' songs was around the house too (my father) and the Wobbly songs taught me the meters of popular hymns. What inspired me to write poems was the example of Tang and Song Chinese poets and the way they brought nature in. Charles Leong, born and raised in Portland, Ore., a veteran of World War II at college on the G.I. Bill, was my outstanding informal teacher on poetry, plus both Western and Sinitic calligraphy, and traditional Asian manners for many years. Philip Whalen attended to Charlie too. Charlie ended up working in the Postal Service. Which poets continue to inspire you? Like most writers, I don't educate myself sequentially, but more like a hawk or eagle always circling and finding things that might have been overlooked. I discovered or rediscovered Basil Bunting and found a fine old hardcover of "Collected Poems" in the back of an orange crate. He had a better ear than Pound. Bei Dao, the Chinese poet (exiled to Hong Kong), is inspiring in how he has gone through so much political trouble and still stays steady on his course. Are there poets whom you've gained greater appreciation for over time? My appreciation of a few poets whom I admired in the 1950s and '60s has declined a bit. Not much, but some. A few poets whom I've been trailing along with have surprised me with fierce jumps, though. Robert Pinsky with his recent hair raising broadside "Samurai Song" moves the whole game a dab. James Lenfestey, after a lifetime of attentive writing, has lately done poems for family and for marriage that put most of us to shame. Michael McClure's unique, nutty, fearless brilliance delights me. Robert Hass makes maturity and time work for him, as does the different dedication each of Brenda Hillman and Jane Hirshfield. Anne Waldman, coast to coast. Dale Pendell: wizard, sage, futurist, poet. The list could go on. Do you see your poetry as having evolved over the course of your career? In what ways? No kidding. I started out with crisp poems about hard work, politics and relations. But as I got older, I took note of how the Chinese poets allowed themselves to do blocks of prose and nobody fretted; it's always clear as to what is speech and what is song. I feel liberated to make use of that. There are times to clearly speak right out. In addition to your own writing, you've also extensively translated the work of contemporary and classical poets from China and Japan. What Asian writers would you most recommend to Western audiences? This is hard to answer. One does not make blanket recommendations to an unknown mass public. I would take a person aside and whisper, "What turns you on?" before making suggestions. But broadly, here are my recommendations (not much different from any beginner's list): For China, the very early "Book of Songs." Then the high time of Chinese poetry gives us a number of greats to name just a few, moving from around the sixth to the 11th century: Tu Fu, Wang Wei, Han Shan, Li Ho, Po Chu I. As for Japan, there's also a fine anthology of very early poems called the Manyoshu, and then several centuries of longer Japanese poems (but none as long as Western would be) up till the 17 syllable haiku tradition made solid by Basho and his comrades right down till virtually now. I recommend haiku by Buson and later, longer poems by Kenji Miyazawa for starters, along with the rowdy and revolutionary poems by Nanao Sakaki (many in English). There are many anthologies. If you had to name one book that made you who you are today, what would it be? It would be Ovid's "Metamorphoses." At one time I thought of myself as a sort of anthropologist lingust. Oral literature, the story and song traditions of peoples without writing, has fascinated me for years. Just as the ancient Mesopotamian lore led into much of the Old Testament and a bit into Islam, so the story lore of the classical (Roman imperial) world was based on a mix of oral traditions from long before. Publius Ovidius Naso's long and elegant piece was written while he lived in exile on the Black Sea. He died there. The entire story he called "Metamorphoses" or "Changes." I read it all in my early 20s just by luck, and realized it was as close as I'd ever get to such a range of sources. Ovid in a sense tried to write the entire Roman story. I take it as a challenge to look for the storyteller of the planet. What's the most interesting thing you've learned from a book recently? Charles C. Mann's 2005 book "1491" argues that the New World had a larger population than all of Europe as of that year. Of the books you've written, which is your favorite or the most personally meaningful? "Danger on Peaks," poems about Mount St. Helens, my late wife Carole Koda and me. All of us exploring during the last years of her life how meditating, walking and Buddhist tradition could help us keep a clear view. Alvar Nunez Cabeza de Vaca was a great model for desperately walking into the future. If you could require the president to read one book, what would it be? I'd love to present him with the very best edition of Confucius in English. It is not actually the text that the masters of the People's Republic of China are promoting which is often called "Neo Confucianism" and dates back to around the 10th century, assembled by a group of philosophers with a theory for rulers that had a strong influence in Japan as well. But the dating of an original text for the "Confucius" sayings starts around the fifth century B.C. and runs through various revisions till the second century A.D. There is no one date agreed on, yet it is later presented as the record of one remarkable person. It is given lip service now but not really followed. Master Kong, as we shall call him, left behind his scattered comments. "The Analects of Confucius," translated by Roger T. Ames and Henry Rosemont Jr., presents the Old Master's thoughts plus his values of respect, precision and good manners as gently from the top down.	N24News: A New Dataset for Multimodal News Classification	Books
One of the most telling moments in the spectacle of Mark Zuckerberg's congressional testimony last week was when Representative Billy Long, a Missouri Republican, warned the co founder of Facebook of what Congress was likely to do about its multiple concerns surrounding the social network. "Congress is good at two things: doing nothing, and overreacting," he said. After years of the former, he said, "we're getting ready to overreact." That sounds worrisome. But I sympathize. Doing nothing and overreacting make sense when you have no clue of what is going on. And we don't. The cloud of questions aimed at Mr. Zuckerberg Is Facebook too dominant? Does it censor information? Whom does it share our data with? Does it help sell OxyContin? suggests that we don't really know what the problem with Facebook is. It also suggests we don't understand what Facebook does. That goes for the entire data driven ecosystem, from Google to the auto companies riddling your car with sensors that can tell where you've been and how fast you got there. And that puts policymakers in an uncomfortable spot. The crucial issue for Congress, government regulators, members of the public and even Mr. Zuckerberg is how much all this data driven stuff is worth to us. What do we stand to lose by, say, sharply limiting the data these companies can collect? What do we stand to gain? As Alessandro Acquisti of Carnegie Mellon University and colleagues put it in a recent paper, the question is "to what extent the combination of sophisticated analytics and massive amounts of consumer data will lead to an increase in aggregate welfare, and to what extent will it lead to mere changes in the allocation of wealth?" "We don't understand the value to us of the new data economy nor the risks it entails," said Leonard Nakamura, an economist at the Federal Reserve Bank of Philadelphia who has studied the economic impact of data. "We just let it rip and now are trying to catch up." Unfortunately, we have only rudimentary tools to measure the good and the bad. As the data driven economy continues evolving at breakneck speed, catching up may be beyond our reach; we will build the guardrails by trial and error. The risk is that policy will be driven mostly by fear. What is the problem with Facebook? Clearly Moscow's use of the platform to spread fake news and warp the 2016 elections is one problem. Allowing data from tens of millions of users to flow, without their knowledge, to a political consultancy working for Donald Trump is another. But the raw business models of the colossi of the data economy are creepy in and of themselves. Start with the sheer scale of personal data scooped up by Facebook, often without users' knowledge. The platform not only harvests the data you share with the platform, but also collects information about you from the files of other Facebook users you know. It buys data about your offline lives from data brokers including sensitive stuff like your income and the credit cards you own. And testifying in the House, Mr. Zuckerberg admitted that Facebook sucks up information about people who are not even on Facebook, so it can aim ads at them. Data can also be deployed for virtual redlining. And what about price discrimination? Amazon and others have already experimented with mining our data to charge "personalized" prices for a given item the maximum price each of us is willing to pay a practice that can leave many consumers worse off. But policy cannot be determined only by the potential creepiness of what corporate America might do with our data. Maybe perfect price discrimination will never take off because consumers don't like it. 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. Indeed, it is unclear to what extent consumers are repelled by any of this. Though surveys repeatedly find that Americans are concerned about their privacy, they rarely take action to stop cookies and other tools deployed to gather their data leading scholars to coin the term "privacy paradox." As Sinan Aral of the Sloan School of Management at the Massachusetts Institute of Technology has noted, "Lots of the things that depend on ads we want as public goods." Critically, to regulate the data enabled world, we must first figure out what we stand to lose if the data goes uncollected. For instance, research found that privacy rules introduced by the European Union in the 1990s reduced the effectiveness of online advertising. What, then, is the social cost? Mr. Nakamura and two colleagues at the Bureau of Economic Analysis calculated how much of the nation's gross domestic product came from the "free" digital economy powered by advertising that drives Facebook's and Google's business. From 1995 to 2005, they found, it added 0.07 percentage points to the economy's annual growth rate. From 2005 to 2015, it added 0.11 percentage points. But this must understate the data economy's contribution to our well being. Facebook is an immensely valuable mode of communication and interaction for two billion people around the world. The company has published in house research suggesting that people who do lots of sharing on the social network are happier and healthier. Facebook's advertising tools the ones that use your data to figure out whether you should see an ad from the small shop in Connecticut that sells organic yarn provide mom and pop operations with cost effective marketing opportunities once reserved for large corporations. More broadly, Mr. Nakamura points out, the online economy powered by data collection and advertising is improving welfare in a way not properly captured in standard measures of economic output. This includes reams of "free" music and the potential benefits from the artificial intelligence that will be trained using personal data. The consumer surplus the benefit that we get from a good or service above and beyond the price we pay for it is bigger than it ever was. And it will grow further. And yet if this sounds like an argument against touching the data driven digital economy with even the slightest regulation, it is not. Worries that Facebook and some of its brethren may have become large enough to squelch innovation are legitimate. So are suspicions that it plays fast and loose with consumer data. Regulations to curb the power of the digital behemoths say, barring them from buying up rising companies like Instagram and WhatsApp that might threaten their dominance in the future make sense. So do policies that ensure responsible stewardship of the data they gather. "I don't think the right policy position is to totally eliminate the business model, but instead to introduce some restraint," said Terrell McSweeny, the lone Democrat on the Federal Trade Commission. "The idea is to give people more control over the uses of their data and ensure companies are responsible for what is happening to it." Summoning Mr. Zuckerberg to testify suggests that Congress is no longer happy doing nothing. Hopefully, it can do better than simply overreact to its fears.	N24News: A New Dataset for Multimodal News Classification	Economy
Rachel Ginsberg is a clinical psychologist at the NewYork Presbyterian Youth Anxiety Center, a research and clinical program that brings together experts from NewYork Presbyterian Hospital, Columbia University Medical Center and Weill Cornell Medicine. She is part of its Launching Emerging Adults Program aimed at teenagers and young adults. Dr. Ginsberg works with clients on lack of emotional readiness and academic and "adulting" skills, as well as on social anxiety issues that can become more apparent in college and can lead to students' lives' unraveling. So how can a person develop these skills? Below is a list of "exposure tasks" to help students develop strategies for coping with possible challenges and "assertively get their needs met, or manage circumstances that do not go the way that they wished," Dr. Ginsberg said. Some of these tasks may seem oddly fundamental, and they aren't all relevant to everyone. For example, Dr. Ginsberg may ask a perfectionist to turn in an imperfect assignment, she said, "so that they learn to tolerate the anxiety that it was not so bad after all, that the outcome does not define them and that the incident did not propel catastrophic consequences, as they might have predicted."	N24News: A New Dataset for Multimodal News Classification	Education
What books are on your night stand now? "Spoils," by Brian Van Reet; "King Me," by Roger Reeves; "Man in the Holocene," by Max Frisch; "A Brief History of Seven Killings," by Marlon James; "The Tiger's Wife," by Tea Obreht; "The Master," by Colm Toibin; "The Great Fires," by Jack Gilbert; "All True Not a Lie in It," by Alix Hawley; and "The Collected Stories of Eudora Welty." What's the last great book you read? What classic novel did you recently read for the first time? What's your favorite book no one else has heard of? "Blood on the Forge," by William Attaway. What do you read when you're working on a book? If I'm trying to get inside a character's head, I'll usually start the day with Virginia Woolf. I used to turn to "Ulysses" for this, but only certain sections of that book really work, so I've gone back to Woolf or occasionally Faulkner. Alternatively, if I need to work on dialogue, I'll pick up Richard Price. After a small hit of Faulkner or Woolf or Price, I'll usually get about four hours of writing done. The creative batteries will be pretty drained at that point, so I'll walk around in a daze, eat lunch, read some poetry. Maybe Jack Gilbert or Anne Carson or, more recently, Roger Reeves. What I am looking for in a poem is a sense for sound and compression, for the density of meaning that all good poetry has and that all good fiction should strive for. Often the poetry will get my brain turning over again, wake up the muse, whatever you want to call it, and I'll write for another hour or two. At that point I'll be so physically and mentally exhausted that I'll barely remember my own name. That's when I answer emails, take calls from agents, publishers, producers, etc. (I hope none of them are reading this.) You have to be very careful about to what (and to whom) you're giving the best part of your day. You have to treat your mind the way an athlete treats her body; I'm always taking stock of my mental fitness, my creative battery, and my psychological state; you have to always be pushing yourself, always taking risks, but the recovery time is equally important. Sometimes the well is empty; sometimes you're in such a bad mood that everything you write looks terrible. But in the end, your mind really does get stronger with cycles of effort and recovery, and so my days, months and years revolve around these cycles. 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. I have been told that if I ever have kids, all of this will go to hell. What moves you most in a work of literature? Literature or any art should move you before you understand why. It should feel as if you're in the presence of something holy that you've come across some ancient code that explains the human race. In the end, that is what art really does; it connects your mind and soul with the mind and soul of a stranger. Or with the mind and soul of humanity at large. You read something and you realize: Hey. I'm not alone. Which genres do you especially enjoy reading? And which do you avoid? I'll read just about anything, but it really depends on what I'm working on. On my most recent project, which was adapting "The Son" into a TV show for AMC, my reading habits changed a lot. I spent 90 percent of my time problem solving, talking to the actors about their lines, teaching them how to shoot bows or guns (with the exception of Pierce Brosnan, who showed up looking like he'd inhabited the main character all his life), working with the folks in props and set design to help get all the details right. It takes about 400 people to make a television show, so you really are at everyone's disposal whoever needs help, you help. I ended up pretty desperate to stay in touch with the creative power that books have. I stayed away from the heavy classics, and looked for things that had big, imaginative horsepower, novels by David Mitchell or Philip K. Dick or George R. R. Martin or even Y.A. novels by Philip Pullman or J. K. Rowling those authors who just have a huge store of original creative energy, who really suck you into the world they've created. I guess I'm one of those people who need books to survive. When I got home from the set or the writers room, all I wanted to do was read. How do you like to read? Paper or electronic? I strongly prefer paper books. Unless you need to carry a library around, a paper book is a better technology in every way. You can skip back and forth and keep your finger on the current page. You can write in the book something I do constantly which I think everyone should do. You can read in the bathtub and get the pages wet, you can get mad at the book and throw it across the room, read it in your tent during a snowstorm, spill your drink on it. . . . The paper book will take a licking. On a more metaphysical level, a paper book is an object that has meaning beyond the words inside it. You pick up a book you bought 20 years ago and remember things about yourself, you come across a book your parents read and made notes in. I love old books, I love the smell of old books, I love libraries and used book stores. When we see a wall of books, it's a physical reminder that we are part of something much bigger than ourselves: a history, a culture and a species that values knowledge for the sake of knowledge and art for the sake of art. Those values are built into us they were part of us long before we lived in cities, long before agriculture or organized religion. When I pick up an old book, I am reminded of this that we are a very small part of a very long story. What book might people be surprised to find on your shelves? I think people might be surprised to see that I have several hundred books on plants, animal tracks, trees, birds: things like that. I have 20 books on mushrooms alone. I also have several dozen cookbooks, because when I'm at home, I only eat meat that I've hunted myself. So I spend lots of time figuring out how to make various types of game taste good. What kind of reader were you as a child? Which childhood books and authors stick with you most? I would read anything when I was a kid, though I don't recall reading many children's books. The first book I loved was this giant automotive repair manual. I think I was 2, and that book was my security blanket. I wouldn't let my parents take it away from me. They thought I would become an engineer, but obviously something went wrong. The first novel I remember reading was Steinbeck's "The Pearl." I was in the second grade and I was reading it under my desk, and the teacher caught me and I got in trouble. But I remember being completely sucked into that world. Of course, if you've read "The Pearl," you probably understand why a second grader might like it. If you could require the president to read one book, what would it be? You're organizing a literary dinner. Which three writers, dead or alive, do you invite? It would be hard to pass up meeting the people who invented the modern novel: Virginia Woolf, Ernest Hemingway, William Faulkner and James Joyce. That's four, but one of the men would be too drunk to show up, so we'd end up at three. Whom would you want to write your life story? As long as I wouldn't be forced to read it, I don't think I'd care. One of the big things about maturing as a writer (or a person) is getting away from the narcissism that infects everything you do when you're younger. Unfortunately, even if you are a very minor public figure, that narcissism becomes a temptation again. You spend a lot of time talking about yourself while people pay attention, and it's easy to fall in love with that attention it's easy to start thinking that the most interesting thing on earth is the sound of your own voice, rather than the work you do. When I look back at my development as a writer, it is heavily correlated with the loss of that narcissism and its related insecurity. You cannot do any intellectual or artistic heavy lifting if you are worried about what other people are going to think. If people say good things about you, fine. If they say bad things, also fine. Part of me likes the idea of social media, but I can't see how it's healthy. You really do have to go into a hole and work. How do you decide what to read next? Reviews, word of mouth, books by friends, books for research? Does it depend on mood, or do you plot in advance? If you're lucky enough to have a career as a writer, there's a tough balance between protecting your mind from unwanted noise and staying open to the world around you. But if enough people recommend a book, or if the right reviewer says the right things, I'll give anything a try. You never know what book or poem or piece of art is going to show you something it could be a classic you never got around to reading, or it could be a first novel that was just published. Great artists really are born every day.	N24News: A New Dataset for Multimodal News Classification	Books
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. 'DEATH OF A SALESMAN' at BAM Fisher (performances start on July 14). Must attention be paid when Ruben Polendo directs this Arthur Miller classic? Well, it's a timely moment for a play about a man whose American dream hasn't come true. Theater Mitu will offer a stylized staging that emphasizes the dehumanizing aspects of Willy Loman's world. theatermitu.org PTP/NYC at Atlantic Stage 2 (in previews). That bright days call for dark plays has been the driving ethos of the Potomac Theater Project, which brings a couple of thrillingly bleak plays to New York each summer. This year, Richard Romagnoli directs Howard Barker's "Pity in History," originally a teleplay, about the English Civil War. Then Cheryl Faraone lightens the mood a little with Tom Stoppard's "Arcadia," a poignant, time hopping meditation on genius and history. "Pity in History" opens on Tuesday, "Arcadia" on Wednesday. 866 811 4111, potomactheatreproject.org	N24News: A New Dataset for Multimodal News Classification	Theater
"Ruben Brandt, Collector" is a curiosity that wants to be more than that. The conceit is rather ingenious: to use a graphically inventive style of animation to manufacture a caper involving the theft of famous paintings. There are 13 of those, including works by Velazquez, Picasso, Manet and Warhol. The picturesque world they inhabit is a distorted mirror of our own, where people routinely defy gravity and have odd physical characteristics. A third eye. An extra breast. Elongated limbs. Facial features arranged according to approximately Cubist principles. A further oddity is that the figures in the paintings Manet's "Olympia" and her cat; Velazquez's Infanta; Warhol's "Double Elvis" are rendered in similarly distorted fashion. This is, on the part of Milorad Krstic, the Budapest based artist and animator who wrote and directed the film, a cheeky bit of arrogance. The old and modern masters bent the world to their visions, and Krstic, in turn, bends their visions to his own. This is charming at first, but over the course of more than 90 minutes it yields diminishing returns. The masterpieces are tokens in a convoluted tale of psychological trauma, gumshoe intrigue and glamorous globe trotting, spun around the title character, a psychiatrist plagued by art historical nightmares (and voiced by Ivan Kamara). He dreams that figures in paintings come to life and attack him, and a group of his patients at a serene Alpine clinic try to cure him by stealing the works in question. They, in turn in particular one of them, a lissome burglar named Mimi (Gabriella Hamori) are pursued by a detective named Mike Kowalski, who collects movie memorabilia.	N24News: A New Dataset for Multimodal News Classification	Movies
"I was 20 years younger and it was exhausting then," Aasif Mandvi said of tackling again his one man show "Sakina's Restaurant." In 1998, Aasif Mandvi sent his one man play "Sakina's Restaurant" out into a very different world. It was before the twin towers fell and Muslims had to contend with terrorist stereotypes. Before immigration became a hot button political issue. Before questions of representation were quite so central to the cultural conversation. The play in which Mr. Mandvi assumes many characters from a young Indian immigrant to the proprietor of the restaurant where he works represented the beginning of his career as an actor. It was before he gained national prominence as a correspondent on Comedy Central's "The Daily Show"; starred in the Pulitzer Prize winning play "Disgraced"; or produced, co wrote and starred in the HBO series "The Brink" opposite Jack Black and Tim Robbins. Now, 20 years later and recently married at 52, he is sending "Sakina's Restaurant" back out into the world, where it opens Sunday at the Minetta Lane Theater. When the audiobook publisher and retailer Audible, which is producing the play and will offer it as a recording, asked Mr. Mandvi to revive it, he was initially skeptical. "As I unpacked it again," he said during a recent break from rehearsals, "I began to see that it's perhaps relevant in a whole new way than it was back then." At its core, he added, "it is a story of an immigrant family their heartbreaks, their joys and it is a story about what it means to be an American." To be sure, this was more measured than what Mr. Mandvi later posted on his Instagram account as his first preview approached: "I never thought that 20 years later the story I wrote about an immigrant family would be an act of political resistance against an administration that is at war with immigrants." Audible, which last year started a theater initiative to produce and release audio versions of plays, wanted Mr. Mandvi to leave "Sakina's Restaurant" as is. "It's so timely still," said Kate Navin, Audible's artistic producer. "It's a political piece without being political." "The innocence of the piece and its optimism is something I personally feel in mourning for in America," Ms. Senior said. "It's a haunting reminder of our potential." Despite increasing diversity efforts in the arts, Mr. Mandvi said his "Sakina's Restaurant" role was "a part actors of color rarely get to experience." That's why he created it in the first place. Born in Mumbai and raised in England and Florida, Mr. Mandvi said he spent his youth doing monologues from "Death of a Salesman" or plays by Eugene O'Neill. "I was always aping white culture, because most theater is about white people," he said. "Sakina's Restaurant," he added, "came out of my bones." While he amassed many film and television credits, Mr. Mandvi wouldn't go so far as to say the two decades since its launch have brought him all he wanted in a career. "I never thought I would get this far I've worked with some remarkable people," he said. "But there is always an aspiration to do more." He has developed projects that never saw the light of day. He didn't move to Broadway with "Disgraced" because he was working on "The Brink," which then got canceled. "We are still in the world where, when you are a person of color, it is considered diversity," he added. "'We already have an Indian Muslim story being told over here, so we can't have another one.' Having said that, we have come a long way." Just as the times have changed, so has Mr. Mandvi. "Can I physically do it again?" he said he asked himself. "Twenty years ago, I was 20 years younger, and it was exhausting then." Yet he has clearly grown more comfortable as a performer. "I like to think that I'm a better actor today than I was then," he said, "just because of the life experience." That includes finally getting married, a year ago, to Shaifali Puri, a former nonprofit executive. "When you are 50, people are not happy for you, they're like, 'Why?'" Mr. Mandvi joked. "'Do you have cancer? Does she have cancer? Who has cancer?'" Mr. Mandvi said he and Ms. Senior had made nips and tucks to streamline the play's storytelling. But while they tweaked some moments to make it "crackle and feel present in today's world," they have left the 1990s time period as is, with all its dated signposts, like cordless phones and Game Boys. As a result, the whole experience of revisiting the play has been an exercise in nostalgia, Mr. Mandvi said, taking him back to a time when he sold brownies at intermission to earn rent money, had to settle for roles as an Indian cabdriver and could not imagine that he'd someday be recognized on the street. "'Sakina's Restaurant' was when everything started for me," he said. "This feels like a return."	N24News: A New Dataset for Multimodal News Classification	Theater
Historic Power Plant in Providence, R.I., May Get Another Chance at an Encore PROVIDENCE, R.I. As the new year dawns on Rhode Island's capital city, a place still suffering a hangover from the recession, there is renewed interest in a waterfront building that has been vacant since plans to create a museum and hotel there collapsed in 2008. Known popularly as Dynamo House the name for the failed project begun in 2007 by Baltimore based developer Struever Brothers Eccles Rouse the building is a former power plant on the National Register of Historic Places, with distinctive arched windows and thick brick walls. Until recently, plans called for a 55,000 square foot Rhode Island history museum that would be affiliated with the Smithsonian Institution in a portion of the old power plant. The Heritage Harbor Museum was to showcase Rhode Island's diverse ethnic and cultural history and was the cherished dream of more than a dozen local cultural organizations. But now that dream and the future of Dynamo House itself are in flux. The property sits tangled in litigation. In recent weeks, the head of the nonprofit group that partnered with Struever Brothers and was overseeing the museum project said a museum in the former power plant was no longer feasible. Museum economics have changed considerably in the last five years, said Ken Orenstein, interim executive director of the nonprofit group, Heritage Harbor Corporation. "The building plan is not viable," Mr. Orenstein said. At the same time, a new investment group named Dynamo House Funding L.L.C., which is affiliated with the Baltimore based Harbor East Development Group, has taken over Struever Brothers' position in the property by acquiring the developer's mortgage with Citibank. It plans to secure the building and make it fit for a different type of development, Mr. Orenstein said. According to James S. Bennett, director of economic development for Providence, "serious" possible tenants have looked at the building in recent months, though he declined to say who they were. Sources knowledgeable about the site said that Brown University might be interested since Dynamo House is in the city's Jewelry District, where Brown has expanded in recent years. Mr. Bennett said the city had made finding a new use for the building a priority, and would not consider the alternative: "It's not going to be torn down," he said. The new group is in the process of trying to clear the property's title, which was muddied by mechanics' liens after Struever Brothers left Providence in 2009, leaving several subcontractors unpaid. It also must remove an easement on the property, which states that a museum must be built on the site, Mr. Bennett said. To that end, negotiations are under way between Dynamo House Funding and Heritage Harbor over the value of the easement, and efforts are being made to reach out to the subcontractors in Rhode Island to whom Struever Brothers owes money. According to records in Providence Superior Court, a dozen or so individuals and companies contend that Struever Brothers never paid them for work they did on Dynamo House. "It was a big mess," said Joseph J. Reale Jr., a Providence lawyer who represents two of the subcontractors seeking payment. Struever Brothers originally planned a 137 million conversion of the power plant, including the development of a "five star" waterfront hotel. In a 2007 agreement, Heritage Harbor gave Struever Brothers title to the property in exchange for development of the museum space. But, walloped by a sinking economy, Struever Brothers abandoned the project. Construction had started in 2007, but didn't last long; for the last four years, the property has been vacant and exposed to the elements. C. William Struever, a principal partner in Struever Brothers and the company's founder, said the Dynamo House project was "very sad for me" and a "heartache" because his company could not complete it. He said he was happy the new entity would step in to make the property usable. He said he was optimistic for the city and would do what he could in his limited capacity to see Dynamo House rehabilitated. A prominent East Coast developer that specializes in the adaptive reuse of abandoned industrial buildings, Struever Brothers had a number of projects under way in Rhode Island in 2007, in addition to Dynamo House. These included mill renovations in the town of West Warwick and a 300 million mixed use project in Providence. But by 2008, when work stopped at Dynamo House and at other Struever projects here, it became apparent that the developer was experiencing financial trouble. Eventually, Struever Brothers defaulted on nearly 6 million in loans. In Providence, the company laid off workers and shut down its office in 2009. Some people say they were mistreated by Struever Brothers, "and other people say they did some good things for the city," said John Sinnott, who was let go from his position as Rhode Island director of operations for the company in June 2008. Before the company's fortunes soured, Struever Brothers had successfully rehabilitated several blighted properties in Rhode Island, including three former mill buildings in Providence. In the mid 2000s, Struever Brothers' Web site estimated its investment in the state to be 500 million. A 2008 change to Rhode Island's historic tax credit program, which provides a financial benefit to developers of historic properties, created a shortfall in the project's funding. Mr. Struever once estimated the gap at 9 million. Struever Brothers' lender on a 23 million construction loan, Citibank, stopped making disbursement on the Dynamo House project in 2009. Advocates for the museum said they understand that the recession created unforeseeable problems for Struever Brothers, though they wish the developer had been more forthcoming, and sooner, about its financial difficulties. "I don't agree with the way they walked away from the project," said Patrick Conley, a Providence lawyer and member of Heritage Harbor's board.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Pushing back against implications that it actively helped the Nazi regime, The Associated Press defended its reporting from Nazi Germany during the 1930s and '40s on Wednesday, publishing a lengthy review that detailed its fraught relationship with the regime. The review acknowledged some missteps, including the news agency's lack of protest when its photos were used for Nazi propaganda and its employment of German photographers with active political affiliations. But the news organization, which provided photos used in many American newspapers, said it "took steps to retain its independence and provide factual, unbiased information to the world despite intense pressures from Nazi Germany." "During the violent and tragic period before the U.S. entered World War II, A.P. made a conscious decision to maintain access in order to keep the world informed of the ambitions of the Nazi regime and its brutality," Sally Buzbee, the agency's senior vice president and executive editor, said in a statement. "A.P.'s news report from Berlin was praised at the time by its customers and the news industry as a whole, and it stands as a major accomplishment today." In March 2016, a German historian, Harriet Scharnberg, argued that The Associated Press was complicit in allowing the Nazis to "portray a war of extermination as a conventional war." Her research prompted the review, which was written by Larry Heinzerling, an adjunct assistant professor at the Columbia Graduate School of Journalism and a former editor at the agency. While the Nazi regime cracked down on the local and international press in 1933, The Associated Press was able to report in Germany until the United States entered the war in late 1941. That access did not come without condition or compromise. In 1935, the news organization complied with a Nazi edict by firing or reassigning six employees the Germans considered to be Jewish, the review said. It made the "difficult decision" because it believed "it was critical for A.P. to remain in Germany and gather news and photos during this crucial period," the agency said in a statement. The agency's German photo service provided photos to German media and worked under the supervision of the Propaganda Ministry. The review said staff members "faced constant pressure" from officials, "with some doing a better job of resisting Nazi demands than others." Photo captions were sometimes altered "or published under misleading or offensive headlines" in German media, with no evidence that the agency protested. One German photographer, Franz Roth, was described in the review as "an ardent Nazi" who was employed on staff and sometimes as a freelancer. Retail earnings and Black Friday: the week in business. Elizabeth Holmes will resume her testimony in her fraud trial. Beginning in 1942, Germany sent censored photos from Germany and German occupied Europe to Associated Press offices in New York and London in exchange for agency photos from the United States, the report revealed. The arrangement was approved by United States officials, the review said, and Associated Press management considered the photos from Germany crucial in covering the war. The photos were reviewed by censors in either the United States or Britain. "Although the exchange necessitated dealing with the Nazi regime, it was The A.P.'s belief then and now that the photos gave the U.S. public a much fuller picture of the war than could have been obtained otherwise," the report said. The Associated Press said it worked to keep its photo service objective and free of propaganda, at times clashing with Nazi censors. Louis P. Lochner, the agency's Berlin bureau chief, won the Pulitzer Prize in 1939. "Viewed from the perspective of more than 80 years' hindsight, The A.P. in the totality of its conduct fulfilled its mission to gather the news in Germany forthrightly and as independently as possible for the benefit of its audience and for the benefit of the truth," the report said. "Due in large part to The A.P.'s aggressive reporting, the dangers of the Nazis' ambitions for domination in Europe and their brutal treatment of its opponents were revealed to the wider world." In a statement on Thursday, Ms. Scharnberg lauded the effort by The Associated Press to address the issue, but said the results of her research were not disproved by the review. As an example, Mr. Roth was in Lemberg, Ukraine, when about 5,000 Jews were killed, but his photography wouldn't have shown it, she said. "Instead of covering the violent purge and the Jewish victims, he photographed soviet P.O.W.s, captured tanks and the happy Lemberg people, cheering at the German invaders," she wrote. "Even American newspaper readers were able to look at these pictures as they passed German censorship and were distributed by A.P. in the U.S. American readers looked at them assuming that their newspaper supported by A.P. would present the most important events in and around Lemberg." "Given his example, it is possible to outline the extensive consequences of this photojournalistic agreement," she said.	N24News: A New Dataset for Multimodal News Classification	Media
The choreographer Jessica Lang was directing traffic from the front of a studio at American Ballet Theater a few days ago. It was late in the afternoon, and seven tired dancers turned their slightly haggard faces toward her. One by one she arranged them around one of two wooden, winglike structures, turned on its side so that it created an ovoid wall. She worked like a sculptor, molding the group until it pleased her eye. Until finally, there it was: a wave shaped figure shaped out of interlocking bodies, flowing from low to high. "Oh, that's nice," Ms. Lang said. An image, combining bodies, music and an architectural element, had coalesced. Then she began to figure out how the dancers would move out of this sculptural group and into the next phrase of Dvorak's lyrical "Dumky" trio, the music for her latest dance, "Garden Blue," which is to receive its premiere at Ballet Theater on Friday. At 43, Ms. Lang has been making dances for 20 years for an increasingly lengthy list of ballet companies, not to mention opera companies and her own ensemble, Jessica Lang Dance, which she formed in 2011. After studying at Juilliard and performing with Twyla Tharp's company for two years in the late '90s, she struck out on her own as a choreographer, a bold move for one so young. "I always thought I wanted to be a dancer, and then I got the job and I hated it," she said. "I missed creation." She's one of the hardest working ballet choreographers on the scene, and yet it has taken her years to reach its upper echelons. "Garden Blue" is her 102nd dance and her second commission for American Ballet Theater, after six for Ballet Theater's studio company and school. As with her previous work for Ballet Theater, "Her Notes," the visual element is crucial. Ms. Lang likes to collaborate closely with visual artists their vision stimulates her imagination. This new work is a kind of a nature study, she said, inspired by the paintings of her collaborator, Sarah Crowner, a visual artist who lives in Brooklyn. The two were introduced by Kara Medoff Barnett, Ballet Theater's executive director. Ms. Lang visited Ms. Crowner's studio and immediately felt a connection. "It was visceral," Ms. Lang said. "I immediately found that we were very like minded: practical and yet inventive within the parameters of how far we can push boundaries." Ms. Crowner, 44, is known for collagelike paintings in which large, vibrant shapes lie in seas of contrasting color. "I'm really interested in pure, saturated, unfiltered color, and in color relationships," she said in a recent phone conversation. Her paintings have a clean, optimistic feel, like David Hockney's swimming pools, or Matisse's cutouts. For Ms. Lang's ballet, Ms. Crowner has created a 46 x 40 foot backdrop in which a large field of blue like a midsummer sky on a Greek island is intersected, in one corner, by a swathe of vivid emerald green. It started out as a small paper collage, which was amplified and painted onto muslin at a workshop in upstate New York. (Ms. Crowner usually works with large canvas cutouts, which she sews together, but this technique proved impractical because of the scale.) The costumes are in brilliant shades of red, mango and violet. "I immediately thought of sky and ground," Ms. Lang said of her reaction, "and the costumes as buds or blossoms, life popping out from the ground." The final visual element is the trio of wing shaped wooden structures two resting on the ground and one hanging from the rigging above, like a fragment of a Calder mobile. As the dance progresses, the dancers manipulate the two stage bound shapes; this, too becomes part of the choreography. They form passageways, ships' bows, platforms and walls, channeling the dancers' movement across the stage. The cast of seven is divided into three couples and one free agent, a woman who sweeps across the scene like an energetic force. "She's the wind, a blade of grass, a seed," Ms. Lang said. One of those dancers is the soloist Blaine Hoven, who is collaborating with Ms. Lang for the third time. (The first was in 2004, when he was still in the Studio Company.) "We've been playing around more this time," he said between rehearsals. "Her last piece, 'Her Notes'" also being danced this season "was very structured from the start. She knows us better now, so she asks us for our input." That familiarity is obvious in her calm, assured demeanor in the studio.	N24News: A New Dataset for Multimodal News Classification	Dance
Our guide to new art shows and some that will be closing soon. 'FAST FORWARD: PAINTING FROM THE 1980s' at the Whitney Museum of American Art (through May 14). This exhibition takes a first shot at the long overlooked history of '80s American painting and mostly misses its mark. The heady, poly style energy of the moment is intermittently present, often in works long in storage by Julian Schnabel, Kathe Burkhart, Moira Dryer and several others. But the show, which is limited to the museum's collection and its smallest floor of galleries, is confused and timid. Still, don't miss it. So far it's all we have. (Roberta Smith) 212 570 3600, whitney.org 'SEURAT'S CIRCUS SIDESHOW' at the Metropolitan Museum of Art (through May 29). This landmark of contextualization parses the precedents, sources, influence, social significance, popular culture sampling and stylistic inventiveness of Georges Seurat's Pointillist masterpiece, the 1887 88 "Circus Sideshow (Parade de Cirque)." It does the job with paintings by Seurat's contemporaries, circus posters, illustrated journals, postcards and even vintage musical instruments. All clarify the mysterious distillation of this great work, while demonstrating that it is made for contextualization as few are. (Smith) 212 535 7710, metmuseum.org 'TREASURES FROM THE NATIONALMUSEUM OF SWEDEN: THE COLLECTIONS OF COUNT TESSIN' at the Morgan Library Museum (through May 14). The most important historical museum in Stockholm is closed for renovations, permitting this accomplished if sedate touring exhibition of its collection of Italian, Dutch and especially French art of the 16th through 18th centuries. Most were acquired by Count Carl Gustaf Tessin, who sat at the top of Swedish politics in the era of the Enlightenment. Count Tessin collected drawings by Raphael, Rembrandt, van Dyck, and Hendrick Goltzius the last of whom is represented by a rare, crystalline self portrait, complete with a bristling mustache and arctic eyes, done in 1590 and '91 in a mix of chalk and watercolor. When in Paris, the count bought the hottest of contemporary art: airy, splashy Rococo painting, including Francois Boucher's "The Triumph of Venus" (1740), in which the goddess of love is borne on the waves while reclining in silks that remain preternaturally dry. (Jason Farago) 212 685 0008, themorgan.org	N24News: A New Dataset for Multimodal News Classification	Art & Design
Wallace Shawn's 1979 play of marital discordance begins with a woman telling her sleeping husband that she's planning to leave him. In most stories, this would mark the end of the relationship. But "Marie and Bruce," which is being revived at Brooklyn's Jack, is considerably more perverse than most stories. After her announcement, Marie (Theda Hammel) hurls a logorrheic rush of profane insults at Bruce (Gordon Landenberger) "sickening turd" and "god damned filthy son of a bitch" are among the few printable ones. She continues after he wakes up and amiably offers to make them breakfast. He is either so used to this treatment that he can tune it out, or this is Mr. Shawn's way of showing how little men pay attention to what women say. That Ms. Hammel is transgender adds another layer to the setup; she said in an interview that she had long wanted to play Marie. But there is something else going on in this scene, brought out by Ms. Hammel under Knud Adams's direction: It's that Marie appears to get a thrill out of her anger, that it is a kind of self conscious diva performance.	N24News: A New Dataset for Multimodal News Classification	Theater
The Bear Creek High School newspaper has profiled notable students athletes, budding entrepreneurs, academic whizzes without incident for decades. But an article that appeared Friday in The Bruin Voice caused an uproar over free speech, feminism and student journalism, all before it was even published. The 18 year old subject is a senior at the school in Stockton, Calif., one of more than 2,100 students. She also makes her own pornographic videos. The story about the story follows a pattern similar to other clashes between student journalists and school boards. The Lodi Unified School District, after learning about the planned profile, demanded last month that it be turned over for review before appearing online and in print. The attempted oversight drew far more attention than the article probably would have. The district said the piece might violate a state rule that it said prevented publications at public schools from featuring "obscenity, defamation and incitement," and it threatened to fire Katherine Duffel, the paper's longtime faculty adviser. In articles, columns, television programs and social media posts, the standoff over an unpublished story became either a symbol of censorship and women's rights, or the loss of traditional values and a school district's responsibility to protect young students from harmful content. People from all over the country weighed in. Someone sent the paper a 250 donation. One woman sent 100 and asked for a sneak peek of the article. Hilde Lysiak, who publishes a local paper in Pennsylvania and is, at age 12, the youngest member of the Society of Professional Journalists, offered to flood the Bear Creek campus with copies of the story if the district blocked The Voice from publishing it. "It's been pretty hectic we weren't expecting so much feedback," said Bailey Kirkeby, 17, the article's author. "I'm a little scared that it's hyped up too much and that when people read it, it's going to be anticlimactic." In the end, the district decided not to block publication. But its lawyers did send a letter to an attorney representing both Ms. Duffel and Ms. Kirkeby, asking that The Voice publish a disclaimer stating that the district did not endorse the article. The Voice refused to do that, according to the lawyer, Matthew Cate. In the letter, the district told Mr. Cate that it still had the right to review all material scheduled to appear in the newspaper and that it had the right to block an article. It also accused Ms. Duffel of insubordination. "Students and journalism advisers face a lot of pressure from districts and others in positions of authority, and there's a serious imbalance of power that can be easy to give in to," said Mr. Cate, who shared the letter with The New York Times. The letter also raised concerns that underage journalists may have been exposed to pornography while pursuing the story, and that the student, Caitlin Fink, may have "been exploited before reaching legal age" in "an industry that is at best notoriously poorly regulated, if not abusive and exploitative." On Friday, the district said it was "very pleased" that the exchanges with the paper had "resulted in an article that meets legal requirements." Ford and Rivian no longer plan to work jointly on electric vehicles. Elizabeth Holmes took the stand in her trial. Follow along with our reporters. Ken Griffin, head of Citadel, bid highest for a copy of the Constitution. "We know that these experiences regarding controversies and debates help prepare our students to be successful as they pursue future efforts of higher education and career," the district said in a statement. The nearly 1,100 word article explores Ms. Fink's path to the adult entertainment industry. In it, she explained that she sold erotic photographs of herself on messaging and dating apps like Kik and Tinder, initially for the money but later because she enjoyed the attention. She left home and now lives with a friend's family, paying some 300 a month for food, utilities and rent, according to the profile. "The only hard thing so far is making sure I have enough money," she told the paper. The piece also mentioned that she had fallen victim to scams, that her body acne had once disrupted a planned shoot and that she had faced threats. Here's an excerpt from the piece: Although Fink makes a livable income through her adult entertainment career, as well as her second job as a dish washer, she admits the industry is not always glamorous; workers are constantly at risk of being taken advantage of due to their occupation. "People assume that just because you're in the industry, you would do sexual things with anyone, and that isn't true," Fink said. "Adult entertainment is a job just like any other job. There's always that risk of getting kidnapped or possibly not even knowing what to do after your career is over and trying to find work after that." Ms. Fink told The Times that she had been making her own online pornographic videos since turning 18 in September. She also began working as a stripper recently. She said she was enthusiastic about being profiled in The Voice, seeing the article as a way to address rumors and meanspirited gossip about her work in pornography. "I don't see the story as too taboo I want to inform people about this topic, that it's not just all fun and games the entire time," Ms. Fink said. "I know for a fact that I'm not the only person at school that's thought about porn." The story of the paper's standoff with the school district has been reported by the San Francisco Chronicle, The Associated Press and The Washington Post. Ms. Fink said she hoped that the publicity would have "a positive effect" on her career: maybe some scenes in movies, "possibly new friends in the industry." The school district's involvement with the article "shocked" the group of teenagers behind The Bruin Voice, an eight page paper produced through an elective class, said Ms. Kirkeby, the managing editor and news editor. The last time The Voice was so at odds with officials, the principal at the time confiscated 1,700 copies after it criticized the school's safety policy. The principal later released them on the district's orders. "It was the same as the profiles we do for every issue, like a star athlete; just a student sharing her story," Ms. Kirkeby said of Ms. Fink's profile. Friday's issue is the fifth of the year. After receiving copies from the printer, students stuff them with an advertisement such as a coupon for a 10 discount on a driver's education class and then distribute them to classrooms. Ms. Duffel, an English teacher with a journalism degree and a love of Hemingway, has overseen the paper since the school was founded in 1991. Each year, she said, students pitch stories about teenagers and sex. The feature about Ms. Fink is part of a special section about sex, including pieces about blood donation rules for gay and bisexual men and a film focused on the founder of Planned Parenthood. "It's just the word 'pornography' and where people's minds go," Ms. Duffel said of the tussle over Ms. Fink's profile. "I think they lose their minds, quite frankly, when they hear that word."	N24News: A New Dataset for Multimodal News Classification	Media
Q You mentioned the backyard of the Dakota in an article on June 3 (Streetscapes: "The Dakota's Back 40"). I know there were tennis courts there; weren't there also some on West End Avenue, from 95th to 96th Street?... Stephen Langenthal, Manhattan A You're thinking of Robert Dolman's tennis court operation, which for decades stayed one step ahead of real estate developers by moving to temporarily empty land. Most tennis courts in New York were incidental enterprises on leased land. Rip's Tennis Courts (Rip was Mr. Dolman's nickname) was one such operation; in the 1910s, with his brothers Murray, Dave, Lou and Sam, Mr. Dolman operated 20 courts on the west side of West End Avenue, from 95th to 96th Streets. This large parcel had somehow escaped the wave of row house development of the 1880s and 1890s. An advertisement in Dau's New York Blue Book of 1913 refers to the Dolman enterprise as the "Riverside Skating Rink and Tennis Courts," a common pairing. Mr. Dolman's movable tennis feast occupied several locations over time, including Park Avenue and 39th Street, Fifth and 90th, and Sutton Place and 57th Street. A 1945 advertisement offered tennis clinics directed by Bill Tilden at the Park Avenue location. In Manhattan, private clubs also had to settle for fallow real estate. Established in 1892, the West Side Tennis Club occupied the southwest corner of Central Park West and 89th, where the St. Urban now stands. It, too, had to move, first to 117th Street, then farther uptown and in 1914 to Forest Hills, Queens, where it was for many years the site of the United States Open. The Dolman operation on West End Avenue continued no later than 1948, when the public school now there was built. At his death in 1970, The New York Times called him "Mr. Tennis" and said that, in the end, he had been "forced out of the tennis court business by the increase in real estate values." Q The photo you used in the article about the Tribune building ("Streetscapes, " Park Row: Black and White and Red All Over," May 3) must have been taken from the old post office at the southern end of City Hall Park. I have always wanted to know more about this building. What can you tell me?... Richard Pieper, Manhattan A The General Post Office of 1875 was a fair candidate for Most Hated Building in New York, at least until the Penn Station/Madison Square Garden complex went up in the 1960s. Its huge Second Empire bulk arrived unappreciated and departed unmourned. The idea for a new general post office began percolating in the early 1860s, and the south part of City Hall Park was ultimately chosen as the location. The New York Times called City Hall Park "utterly valueless" as park land, and there was some suggestion that it promoted the proposal because the site was across Park Row from its offices as well as those of other newspapers. An important part of circulation in those days was by mail. The Real Estate Record and Guide considered the site "monstrously inappropriate," in part because of "the terrific dead lock" of traffic that the mail wagons would create at an already crowded intersection. The guide predicted that the post office would be an "intolerable incubus upon the city for generations to come." The jury for an open architectural competition couldn't agree on a winner, although Alexander Jackson Davis proposed a magnificent circular colonnaded building, with a setback making it look like a tiered cake. Alfred B. Mullett, supervising architect for the Department of the Treasury, took over as designer and came up with a multicolumned five story building something like the Tuileries Palace in Paris. In 1868 Putnam's Monthly Magazine described the design as belonging to "the worst phase of the worst school of architecture that has ever existed the late French Renaissance." But these objections were as a pile of postage stamps before a hurricane, and the post office building, with federal courts above, opened in 1875. The critic for The Record and Guide, Montgomery Schuyler, described it as "ridiculous" and went on to insult "the uninstructed and incompetent Mr. Mullett." For the next six decades the building's site, rather than its style, was a continued burr under the city's saddle, especially the way its busy loading dock faced City Hall. Only in 1939 did the post office disappear, The Times editorializing "farewell to an eyesore." The land was returned to the park. Since then only a few have found anything positive to say, among them Nathan Silver, the author of the 1967 "Lost New York," who called the post office a "handsome and vigorous" design. He thought the loading dock created the kind of urban square so rare in New York. His remains a lonely voice.	N24News: A New Dataset for Multimodal News Classification	Real Estate
SEEING AMERICA WITH MEGAN RAPINOE 10 p.m. on HBO. Megan Rapinoe may be one of the biggest stars in sports following the United States women's national soccer team's 2019 World Cup victory. But she's also an outspoken activist for equal pay, racial justice and L.G.B.T.Q. issues. On this special, Rapinoe engages in a discussion with Representative Alexandria Ocasio Cortez, the comedian Hasan Minhaj and the New York Times journalist Nikole Hannah Jones for a wide ranging conversation about the upcoming election and societal issues the country is currently facing. THE LAST NARC Stream on Amazon. This four part docuseries looks back on the 1985 torture and murder of Enrique Camarena, a.k.a. "Kiki," a Drug Enforcement Administration agent working undercover in Mexico. The fallout from the incident fueled international outrage, and ultimately unraveled the Guadalajara cartel, giving rise to the regional drug wars in Mexico today. The series explores the many layers of the case through interviews with Camarena's widow, Geneva, and Hector Berrellez, the special agent who led the D.E.A.'s murder investigation. HOST (2020) Stream on Shudder. A seance over Zoom gets seriously spooky in this film directed by Rob Savage, which was shot and produced remotely. Part horror, part commentary on how the pandemic has changed our world, "this concise, entertaining spin on the ghost story proposes that maybe the modern world is a haunted house now," Kyle Turner wrote in his New York Times review. MY DOG STUPID (2019) Watch through Symphony Space. The real life couple Yvan Attal and Charlotte Gainsbourg play a couple in crisis in this film adapted from John Fante's novella, "West of Rome (My Dog Stupid)." Attal plays a washed up writer named Henri, who is forced to confront marital problems with his wife, Cecile (Gainsbourg), as their four children prepare to leave the nest. Henri finds solace in a giant dog that winds up on his property one night. He decides to keep it, much to the disdain of the rest of his family. SULLIVAN'S TRAVELS (1941) Stream on the Criterion Channel. This film, which was released after the Great Depression and before America's involvement in World War II, feels oddly relevant at a time when entertainment escapism can feel both necessary and trivial. Joel McCrea plays John L. Sullivan, a Hollywood movie director who sets out to make a serious film about "the suffering of humanity," following his successful string of comedies. In order to better acquaint himself with the subject matter, Sullivan goes undercover to experience life as a vagrant (trailed closely by Hollywood insiders), only to end up truly destitute, trapped in the grim reality he was hoping his film would depict. Preston Sturges's film cleverly plays with "the perennial question in Hollywood of escapism vs. engagement," A.O. Scott said in an episode of the video series Critics' Picks. "There are plenty of movies that do one or the other that make us laugh away our troubles or that make us face our troubles but there aren't very many that do both."	N24News: A New Dataset for Multimodal News Classification	Television
The coincidence was rich. As President Trump was bumpily rolling out his Fake News Awards on Wednesday night, many of Manhattan's media elite were gathering to toast Michael Wolff, the author of "Fire and Fury," the best selling book about the administration. Earlier in the day, Politico had declared the party, held at the Upper West Side apartment of Stephen Rubin, president and publisher of Henry Holt, a "HOT TICKET" and Twitter's "verified" users were abuzz. So I hopped in a cab and headed uptown. "Yeah, I'm here for the book party," I said to a steely faced doorman. I didn't have an invite, but unlike at movie premieres, there were no clipboard toting publicists. After a short ride in an elevator, I arrived in Mr. Rubin's home with its bookshelves lining floor to absurdly high ceiling. Overlooking the great room was a balcony, from which Mr. Wolff had given a rousing speech just moments before about the perks of being a White House wallflower.	N24News: A New Dataset for Multimodal News Classification	Style
Richard Strauss paints fierce, radiant starlight in a descending flash of strings as Elektra begins a simile about the "fiery light" that "pours down from the stars." But as she finishes her comparison, the music darkens just as quickly: That starlight, she sings, will be like the "blood of a hundred throats" that will pour down on the grave of her father, Agamemnon, to avenge his murder. When I heard that split second of radiance deftly transformed into to a pained, foreboding cry for blood at a dress rehearsal a few days before "Elektra" opened on Thursday at the Metropolitan Opera, it felt a little like hearing the future. The orchestra was led by Yannick Nezet Seguin, the Met's next music director, and Elektra was sung by the dramatic soprano Christine Goerke, who will tackle Brunnhilde next season at the Met when the company brings back Wagner's "Ring" cycle. MICHAEL COOPER "Pan," a genre defying work with music by Marcos Balter that has its premiere this weekend at the Kitchen, stars the MacArthur winning flutist Claire Chase in the title role. As I sat in rehearsals for the piece, which tells Pan's mythical story with the help of community participants, I was often in awe of Ms. Chase's energy. She was indefatigable as she played devilishly challenging music while acting, which often required dancelike movement. Her breathless performance shines in the opening scene, the death of Pan, a moment that calls for sounding the flute as she exhales, but also vocalizing on the inhale and speaking in an invented language. "I wanted to create something that would look exhausting," Mr. Balter told me in an interview. Mission accomplished. JOSHUA BARONE I don't think I've ever seen an audience disappointed by the rollicking finale of Prokofiev's Seventh Piano Sonata, a go to encore for many virtuosos. But it can sound very different depending on which tempo the pianist takes. Last fall, Denis Matseuv bulldozed through the toccata and demolished the piece's rhythmic nuance in the process. By contrast, Yuja Wang following a performance of Brahms's Piano Concerto No. 1 with the New York Philharmonic this week was a little slower, which brought out the bass line that gives Prokofiev's music a rock 'n' roll thrill. Ms. Wang's interpretation was made all the richer by her delivery: technically mesmerizing but so quietly masterful, it was almost as if we were simply eavesdropping on her in a practice room. JOSHUA BARONE Read Zachary Woolfe's review of Yuja Wang with the New York Philharmonic. At Miller Theater on Thursday, the young Irish born composer Ann Cleare discussed her drafting process during a post intermission Q. and A. She said she often uses electronics while sketching a piece. Then, when collaborating with instrumentalists, she figures out how to produce those sounds acoustically. Ms. Cleare's 2013 work "to another of that other" closed the concert and served as an exciting confirmation of how well her method works. Midway through Thursday's performance, by the International Contemporary Ensemble, sustained tone clouds mixed with breathy effects to create a hallucinatory impression. The suppleness of the live playing was clear particularly during the trumpeter Peter Evans's febrile exclamations but lingering in the background was a mysterious haze suggestive of the electroacoustic tradition. An earlier performance of the piece, by the RTE National Symphony Orchestra, pulls off the same trick of sonic misdirection. SETH COLTER WALLS The Polish tenor Piotr Beczala is returning to the Metropolitan Opera this month for a revival of Verdi's "Luisa Miller." He's a fine Verdi singer. But in 2016, at the urging of the conductor Christian Thielemann, Mr. Beczala took on the title role of Wagner's "Lohengrin" in Dresden and demonstrated new vocal depths. Here he is in a video of that production performing "In fernem Land." From the opening phrase he sings with honeyed tone, affecting dignity and plenty of carrying power. Stretching yourself like this as an artist can be important. At Carnegie Hall on Wednesday, however, Mr. Beczala claimed a birthright: songs by three Polish composers little heard in New York, music he sang with virile sound and linguistic authority. I enjoyed four beguiling songs by Stanislaw Moniuszko, who came across as a sort of a Polish Schubert, and Karol Szymanowski's "Six Songs," music of searching harmonic richness and mystical allure. ANTHONY TOMMASINI Last weekend the New York Philharmonic presented some of the most beloved American music of the 20th century, including Samuel Barber's Adagio for Strings. I felt guilty for how little the famously heart rending music moved me, and I left wondering whether a large orchestra was the best way to convey the work's power. The Adagio was, after all, originally written as the second movement of Barber's String Quartet in B minor. This version of the score has the poignant economy of Beethoven's late string quartets. The melodies are more earnest, and disarming in their intimacy. In this video by the Dover Quartet, the pleading cry of the cello which is then passed around the violins and viola takes on an urgency I didn't hear from the huge Philharmonic. JOSHUA BARONE When the modern early music movement was still young, in the 1970s and '80s, British groups tended to favor refinement and polish. Many have since roughed up the field, none more so than Red Priest (as Vivaldi was called), which trades on astonishing, all out virtuosity on violin by Adam Summerhayes including "beer fiddling," as he terms it and on recorders by Piers Adams. Its program "The Gypsies in the Court," at the Metropolitan Museum of Art on Wednesday, offered, among other oddments, "The Jew's Dance," by the 17th century English composer Richard Nicholson. Red Priest has also turned the piece into a little Beatles style video, "Angela's Dream" (named for its cellist, Angela East). The virtuosity sets in early, soon to be followed by the infectious dance tune. JAMES R. OESTREICH Before Red Priest blew up the notion of genteel performance practice on Wednesday, Ars Longa de la Habana, a Cuban early music group, shook it up on Tuesday evening, in a performance in St. Paul's Chapel at Columbia University. The group performs with a sharp rhythmic drive, and its style often seems on the verge of dance, if not well beyond it. (The concert ended with audience members pulled into the final dance number.) The impulse to shimmy is strongly represented in a performance of Juan Gutierrez de Padilla's "Tambalagumba" in Ars Longa's New York concert a year ago at Corpus Christi Church. JAMES R. OESTREICH	N24News: A New Dataset for Multimodal News Classification	Music
LONDON In November 2006, Marina Litvinenko watched her husband, Alexander, die in a London hospital. The Russian spy turned whistle blower whom she called Sasha had drunk green tea laced with the radioactive element polonium. President Vladimir V. Putin probably approved the murder, a public inquiry in Britain later said. Last Friday, Ms. Litvinenko went to London's Old Vic Theater to watch "A Very Expensive Poison," a new play by Lucy Prebble, running through Oct. 5. She knew she would have to watch her husband die again. In a telephone interview the morning after the performance, Ms. Litvinenko recalled how, as she sat in the theater beforehand, a woman walked up to her, shook her hand and said, "I think you're very brave." "I didn't know for which reason," Ms. Litvinenko said "for coming and watching the play, or fighting for Sasha." Ms. Litvinenko said she had felt nervous going to the theater, partly because she didn't know what to expect. There had been several documentaries about her husband's murder, but never a play. The only previous dramatization was screened on Russian state television, she said. In it, Mr. Litvinenko was poisoned by another critic of the Kremlin. Ms. Litvinenko said she had been nervous for another reason, too. "I want these people, this play, to succeed," she said. "I want people to understand its message." Two weeks before Ms. Litvinenko went to see the play, Ms. Prebble, the playwright, sat in an office at the Old Vic Theater and pulled a bemused face at two glasses of water that had been left for her on a table. "It's difficult to not be a little bit paranoid now," she said. "I feel a little bit like I shouldn't drink something that's already been poured for me." It has been a decade since Ms. Prebble became the talk of British theater with "Enron," a play that told the story of the American energy company's implosion, and that featured song and dance numbers and even, at one point, dinosaurs . "Enron" was a hit in the West End, but closed on Broadway after just one week. The idea for "A Very Expensive Poison" came to her by surprise in 2017, Ms. Prebble said. Lately, she has been writing mostly for television (notably the HBO family drama "Succession"), and she felt she might be through with theater, she said. But then the Old Vic sent her a copy of a book about the Litvinenko case. Ms. Prebble said she was only a short way through it when she felt she had to write a play about it. And she knew instantly how to do it. She decided to tell the complex story of Mr. Litvinenko's life and murder by having the character investigate his own death , with Mr. Putin trying to direct the action, or at least divert the audience's attention from the truth, from the sidelines. Ms. Prebble said she was also drawn to the love story behind the news event. "I was touched by the immense loss to Marina," she said. "She was not just dealing with a bereavement, which is terrible enough already, she was dealing with it being a murder, and then she's dealing with the political machinations of it." After the murder, Ms. Litvinenko fought for years for an inquest, then a public inquiry, into her husband's death, despite successive British governments blocking her efforts. She was as driven in her fight to expose Russian wrongdoing as her husband had been, Ms. Prebble said. "I thought what Marina did was tremendously moving," she said. "She sort of carried on his fight." The writer met Ms. Litvinenko several times while researching the play, she said. The first was in a basement cafe of the London bookshop where Mr. Litvinenko used to meet his handler from the British secret service. Ms. Prebble worried that she might lose her sense of professional distance, she said, but that doesn't seem to have happened: In the play, Mr. Litvinenko is sometimes portrayed as overly proud, or dangerously obsessed. The play, Ms. Prebble said, has several messages: about Russian politics , about how governments in the West overlook murders like Mr. Litvinenko's for economic or political reasons , and about male pride. But the main one, she said, is that a family suffered, and that no matter how absurd these events seem, they're personal. "After I met Marina a number of times, I did feel a personal connection to her," Ms. Prebble said. "I wanted to do justice to how she spoke about Sasha." Last Friday at the Old Vic, Ms. Litvinenko eventually sat down to watch her life with Alexander onstage both the happy times and the tragic ones. Ms. Litvinenko said she was amazed by the actor MyAnna Buring's portrayal of her. "MyAnna took everything from me: how she moved, how she talked, how she looked," she said.	N24News: A New Dataset for Multimodal News Classification	Theater
Teenagers are drinking less alcohol, smoking fewer cigarettes and trying fewer hard drugs, new federal survey data shows. But these public health gains have been offset by a sharp increase in vaping of marijuana and nicotine. These diverging trend lines, published Wednesday, are among the findings in the Monitoring the Future survey a closely watched annual study by the National Institute on Drug Abuse, or NIDA, of eighth, 10th and 12th graders. The survey shows that youth drug use and experimentation continue to undergo significant evolution. Most troubling to public health experts in this year's report were sharp increases in marijuana vaping. Of 12th graders surveyed, 14 percent said they had vaped marijuana in the last month, nearly double the 7.5 percent reported a year ago. The percentage of teenagers who said they had vaped marijuana once or more over the last year essentially doubled during the past two years as well, rising to 7 percent for eighth graders, 19.4 percent for 10th graders and 20.8 percent for 12th graders. The survey found that 3.5 percent of 12th graders and 3 percent of 10th graders report daily use, the first year the researchers had asked that question. The data also echoed statistics that the government released in September about e cigarettes, with a quarter of high school seniors reporting that they had vaped nicotine within the last month, along with one in four 10th graders. "This is a very, very worrisome trend," Dr. Nora Volkow, director of NIDA, said of the rise in both types of vaping among young people. Vaping of marijuana was at the root of a public health crisis that unfolded this summer when more than 2,000 people across the country, many in their teens and 20s, became gravely ill with a lung illness that left many of them unable to breathe on their own. Most of the patients said they had vaped THC, the high inducing ingredient in marijuana. According to the Centers for Disease Control and Prevention, there have been 2,409 cases of hospitalization associated with vaping lung illness nationwide and 52 deaths. (Many of those who died were middle aged or older, though one was 17.) Public health experts have said the cause is not entirely clear but appears to stem from the way the lungs struggle to process certain oils used in black market marijuana vaping devices; they have identified vitamin E acetate, an ingredient in some products, as a possible cause. Though vaping of marijuana is on the rise, the overall rates of using the drug in all forms smoking, vaping, edibles were mixed. The rate of overall marijuana use held steady for high school students who reported using it once or more over the past year, but there was an uptick in daily use. The Monitoring the Future survey this year did give public health experts a number of reasons to feel encouraged, as high school students reported declining use of many substances, including alcohol and tobacco, continuing a long term trend. Roughly 52 percent of high school seniors said they had used alcohol in the last year, along with 37.7 percent of 10th graders. Those figures have been dropping for years; in 2000, 73.2 percent of 12th graders said they had used alcohol in the last year as did 65.3 percent of 10th graders. Cigarette use continued to drop, too. The portion of seniors who reported smoking in the last month fell to 5.7 percent, down from 13.6 percent five years ago. Public health experts said that those declines along with drops in the use of prescription painkillers like OxyContin and Vicodin are the result of a multifaceted effort in the United States to discourage drug use, including stricter school penalties, smoking bans and general public awareness campaigns. "There has been a whole lot of effort at the community level," said Dr. Sion Kim Harris, a pediatrician and director for the Center for Adolescent Substance Abuse Research at Boston Children's Hospital. "There are some encouraging trends." On the flip side, she said, when it comes to vaping, young people may have gotten the wrong message: that it is not harmful. Silvia Martins, an associate professor of epidemiology at the Columbia University Mailman School of Public Health, noted that marijuana is increasingly marketed in states where it is legal to suggest the drug may have widespread health benefits, claims that are not backed up by science. The rise of marijuana vaping among young people, she said, "could be related to the fact it is seen as less harmful and less risky." More broadly, Dr. Martins and other experts said that the changes in teenage drug use may have a curious influence: technology. The rise in vaping, they said, stems partly from the allure of the sleek electronic devices that deliver nicotine and marijuana, glamorized on social media and streaming videos; the gadgets are also relatively easy to conceal because they are designed to reduce smell and smoke. The popular Juul device, for instance, is often referred to as the iPhone of e cigarettes. "One of the reasons they are embracing these devices is because they are new technology. It resonates," said Dr. Volkow of NIDA, the federal drug abuse institute. But technology may also be partly responsible for the decline in the use of some other drugs, Dr. Martins and Dr. Volkow, among others, have hypothesized. The theory is that some teenagers are partying less because they are spending time stimulated by their devices, and communicating with one another over social media, rather than in gatherings where they might have encountered alcohol or drugs. Dr. Martins is in the middle of research to test that hypothesis. Now Dr. Volkow said she hopes that teenagers will awaken to the fact that using marijuana regularly can be dangerous. "Less and less do kids feel it is harmful to smoke marijuana regularly," she said, adding that she regrets that these teens are being misled by what she called "the freedom of misinformation." Like the Science Times page on Facebook. Sign up for the Science Times newsletter.	N24News: A New Dataset for Multimodal News Classification	Health
I've had the vision in my head for years: I'm running the New York City Marathon and I find my daughter, Bee, in the crowd. It's a simple moment, but one I've wanted so badly for so long, I get choked up just thinking about it. On Sunday, if all goes well, my vision will be realized. I'll be on the course for the first time in more than a decade and the first since becoming a mother. That's what makes this one special for me. It's not just a race. It's a celebration of how far my family has come. Before I had Bee seven years ago, I ran the marathon three times. After giving birth, just getting out of bed was a challenge. I was blindsided by postpartum depression. Every time I looked in the mirror, I saw a failure. I was convinced that when Bee looked at me, she saw the same. Thanks to a combination of time, therapy, serious efforts at emotional healing and a husband with limitless patience, I've come light years from where I began with motherhood. Challenges remain, of course, but joy is abundant and assurance has eclipsed doubt. The same is true of my return to running. It's been a long, tough, infinitely rewarding road I've had to travel one step at a time. Walk a block. Jog a mile, then two, then five. Around Bee's first birthday, the vision formed. I was nowhere near prepared to run a marathon, but I could imagine it and that was big. As Bee got older and our bond grew deeper, I kept imagining it, wanting it more. I didn't know whether I'd ever get there, but slowly, incrementally, my body got stronger. My mind adjusted, surprising and delighting me, as it broadened the spectrum of what was possible. The marathon is possibility in motion. For friends going through hardship or recovering from loss, it's offered a singular way to heal. For me, it's been a way to mark and rejoice in progress. That's what my vision is. Not crossing the finish line or having a medal placed around my neck. I'm shedding an old skin. Seizing an opportunity for Bee to see me as, in our early days, I never thought she would and, more important, to plant the seed of how I hope she'll see herself. Bee is almost 7. It's a great age, a sweet spot between toddler and tween. She's over princesses and purple, but still gets wide eyed at a flurry of bubbles. She doesn't need me or her dad to spot her on the playground anymore, but still likes us to tuck her in at night. I treasure this time because I know it's fleeting. Before long, like most girls, she'll probably go inward. Become quiet and reserved, awkward and distant. There's a lot going on in those preadolescent years. Cliques, crushes, stuff on the internet I don't even want to think about. My fellow mom friends and I have been talking lately about how we can instill confidence in our young daughters, arm them with the tools they'll need to combat the forces of evil human, digital and otherwise that will threaten to undercut their self respect. I can't prevent Bee from crossing paths with mean kids or having days when nothing she says, does or wears feels right. I can't hide every screen and fashion magazine. One thing I can do is expose her to experiences that may fortify and inspire her. The marathon is one of those experiences. My husband and I take Bee out to watch the race every year. She cheers as the runners stream by, and I tell her how extraordinary they are. All these men and women of different ages, sizes and abilities, who've put in the effort to do something challenging, demanding and kind of crazy. As much as I believe in teaching Bee about perseverance through others' achievements, it's equally important to show her through my own example. F. Scott Fitzgerald wrote, "Action is character." In other words, it's not what a person says, but what she does that tells you who she is. I know I have nothing to prove to Bee. She doesn't remember my struggles when she was an infant or expect any sort of maternal restitution. Still, for her for us I want to walk the walk. Or run the run. Let me be clear: I don't care whether my child ever runs a single mile. The marathon is just one of many chances to imprint upon a young mind a beautiful display of human potential. Whatever Bee's marathon turns out to be leading expeditions to find dinosaur bones or searching for new planets in the night sky I want her to have memories that spark encouragement, a ready reservoir of hope. After a long stretch of happy marathon spectating, something changed for me at last year's race. As we stood at Mile 24 in Central Park, the runners trampling discarded paper cups and decapitated gel packs, I took a video with my iPhone and said aloud to myself, "Just do it." That is, after all, what the marathon comes down to. Committing. Putting one foot in front of the other a whole lot of times. It took almost seven years, but the switch finally flipped. I was in. As much as I wanted to follow that famous Nike mantra, I had to be smart. I'd seen too many athletes done in by recklessness and ego. So I made a deal with myself. Start with a half marathon in the spring. If that was a success, I'd keep going.	N24News: A New Dataset for Multimodal News Classification	Well
Holliday Grainger in "The Capture," one of two British shows NBCUniversal used to fill out the launch slate for its Peacock streaming service. When you want to start a streaming service and your most established competitor has for years been spending billions of dollars making and acquiring exclusive series, what do you do? Disney and Apple TV chose to go halfway when they debuted last year, addressing Netflix's unassailable lead with offerings of original shows that, in each case, amounted to more than a handful but less than a roster. This year, Peacock and HBO Max have gone for what could be called the British Option. Behind each service's first marquee series "Love Life" for HBO Max, "Brave New World" for Peacock the section devoted to originals has been filled out with shows made and already seen across the Atlantic. The Special Relationship may not have the geopolitical juice it once had, but it's alive and well in streaming video. Peacock, which made its debut Wednesday, opened with just three original scripted series for adults, two of them British. On the surface the imports are quite different from each other: "The Capture," from BBC, is an hourlong, tightly wound conspiracy thriller while the workplace sitcom "Intelligence," from Sky, is a 22 minute goof. But if you look past genre, they have some things in common. Both are cautionary tales about the British intelligence services. "The Capture" warns that the spies are stealing your liberties and will disappear you if you protest. "Intelligence" warns that they're marginally competent wackos more interested in food delivery and photocopier high jinks than in preventing cyberterror. More interesting, given their prominent placement on Peacock, is that both employ a favorite British target: the ugly American. The shortcomings of the British characters are finessed by shifting attention to an American interloper whose malignancy is exceeded only by his shallowness. In "The Capture," he's a cool operative running an off the books surveillance operation in London and pulling the strings of his peers in the British spy and police services. This would constitute a spoiler, as he doesn't show up right away in the engagingly convoluted story, if Ron Perlman's name weren't so prominent in the credits. In "Intelligence," he's a National Security Agency liaison to Britain's cyberterrorism unit, and it probably says all you need to know about the show's view of Americans that the hammerheaded, narcissistic character is played by David Schwimmer, that avatar of hammerheaded American narcissism. Mohammed is amusing as the nervous sycophant, as is Jane Stanness as a frump whose submerged libido and unsuspected spying skill are played for laughs. (The Mongolia born model and actress Gana Bayarsaikhan, as an intimidating analyst whom Jerry immediately fetishizes, has presence but isn't as sure a comedian.) Amid the "Office" like ensemble, the accomplished Sylvestra Le Touzel ("The Crown," "Happy Go Lucky") stands out as the boss, Jerry's mostly button down antagonist. The focus is on Jerry, though, as he preens, broadcasts his sexism and xenophobia and tries to get the British to loosen up with group hugs and trust exercises that tend to involve undressing in the office. (He expresses a British idea of an American's idea of the British when he says of the office, "There's still this sense that I've wandered onto an abandoned farm.") Schwimmer is what he is: calculatedly awkward and not all that funny when Jerry is blustering and oddly disarming when Jerry is vulnerable, which isn't often. "Intelligence" is mild tea overall, but it's an easy binge at just over two hours for its six episodes. "The Capture," also a six parter, is the better of the Peacock imports, a reasonably entertaining and well constructed (at least in its early episodes) example of a classic style of British television conspiracy thriller, most recently seen in "Bodyguard" on BBC and Netflix. Its hook is surveillance culture, and it posits that British law enforcement (with American help) is not only employing the kind of facial recognition software popular in China but has also moved onto more advanced and sinister uses of video technology. The series, written and directed by Ben Chanan ("The Missing"), teases a larger theme about storytelling that governments can use technology to fictionalize their citizens' lives but it mostly settles for being a straightforward thriller with the stylistic tic of often presenting the action through closed circuit cameras. Holliday Grainger ("C.B. Strike") embodies clipped efficiency and self righteousness as Rachel, a rising star in counterterrorism who's doing a career enhancing stint as a detective inspector with the regular police. She's called in when a worker monitoring a video feed sees a woman being knocked down and abducted on the street; the man in the video is a former soldier, Shaun (Callum Turner of "The Only Living Boy in New York"), who just that day had been acquitted of murdering an Aghan civilian, after the video evidence against him was discredited. It's a tricky setup, and "The Capture" gets progressively more complicated and double crossy as Rachel and Shaun form an uneasy alliance. (The video of Shaun abducting the woman is, no surprise, not entirely on the up and up.) The show holds up fairly well if you're the kind of conspiracy story fan who's satisfied when each step proceeds more or less plausibly from the step before; if you're the kind of fan who wants the overall plot to feel as if it could actually take place in the real world, well, good luck. If there's a larger point to the inclusion of "The Capture" and "Intelligence" in Peacock's initial lineup, it may have to do with the smaller role that such "originals" are playing while services promote their libraries of older series and franchise movies to counter Netflix's focus on the new. The British shows HBO Max launched with, like "Ghosts" and "Home," have largely disappeared from the home page a few months later. And the tier for "Peacock Originals" is several levels down, well below "Jurassic Park" and "30 Rock" (and even the Bravo reality series "Below Deck Mediterranean"). If you want something different, you need to find it yourself.	N24News: A New Dataset for Multimodal News Classification	Television
After running the Centers for Disease Control and Prevention for eight years under President Obama, Dr. Thomas R. Frieden is starting a global health initiative that will focus on two big areas: heart health and epidemic preparedness. Called Resolve, it is funded with 225 million over five years by Bloomberg Philanthropies, the Chan Zuckerberg Initiative and the Bill and Melinda Gates Foundation. The program will be based at Vital Strategies, a public health nonprofit in New York, the city where Dr. Frieden served as health commissioner under Mayor Michael Bloomberg. In a conversation with The New York Times, Dr. Frieden discussed his new work, and looked back on some old battles. This is a condensed and edited version. We think we can trigger efforts that will save 100 million lives. Why are we only focusing on sodium reduction, trans fats and blood pressure control? There are other things that either work but haven't been scaled up, or that we don't know how to do. So if you can get everyone eating a Mediterranean diet? That'd be great. Show me how to do it. If you can get everyone to be more physically active? That'd be great. Show me how to do it. No society has done that overall in a sustainable way. Trans fats should be out of our food environment. It increases bad cholesterol and decreases good cholesterol. Just as we are working to eliminate certain diseases, I think we should try to eliminate this toxic product. It wasn't put in with bad intentions. It prolongs shelf life. But we're more concerned about human life than shelf life. Trans fats are hard because you have to ban it and you have to ensure the ban is being complied with. There are about 40 governments that have done that at various levels. There was a sky is falling thing. Then McDonald's came to us and said, 'O.K., We took it out six months ago. No one can tell the difference. But please don't tell anyone. Because if they hear it's not there they'll say it doesn't taste as good.' Dunkin' Donuts came to me and said, 'We can't do it. We need another year.' We already gave the deep fry places another year because they had a whole supply chain to arrange. But Dunkin' Donuts said, 'The sprinkles keep falling off the frosting and we have to solve this!' So we made a donut hole exemption at the last minute. Why reducing salt is really difficult There are two drivers for sodium in food. One is what you add and the other is what you buy in restaurants and in packaged foods. It's different in different countries, and in different parts of countries and within different population groups. In some parts of Asia, for example, people put huge amounts of salt into their tea. In Tibet, it's the main source of their salt salty tea. But the good thing is you don't have to take it all out right away. A gradual reduction. Tastes change. You've got to get industry to work voluntarily to lower sodium. And you've got to change habits about how much salt people add at the table and to their cooking. The U.K. has shown a substantial sodium reduction in food and a reduction in mortality. Wal Mart reduced sodium by 20 to 25 percent in all their products in five years. The same product can have a quarter or four times the sodium with no difference in sales. There are some innovations, like crackers. People learned to put sodium on the outside rather than into the batter and they could cut the amount of sodium enormously. It still tasted salty because it was salty on your palate. Hands down, blood pressure control is the most important thing you can do in health care. Globally, we're at 14 percent control. U.S. is about 54, 55 percent. At the C.D.C. we did a couple of pilots; Malawi went from 0 to 35 percent in 15 months. You can have big improvements, but you'll only do that if you simplify treatment, if you decentralize it so people close to the patient can do it and if you use an information system that tells you how you're doing. All the medicines are generic. The costs that people are paying and that governments are paying are probably well over twice as much as they need to be. If you decided as a country or a state or a province or a world, we're going to use these four drugs, your costs would come down many many fold. Of the 1.5 billion today people with hypertension 1.1 billion don't have it controlled. I've got to tell you a story. Heartbreaking. At the height of Ebola in Sierra Leone we had a beloved driver, a wonderful man in his mid to late 40s. One evening he started bleeding and seizing and died in the parking lot. He died of a stroke. He had hypertension that was untreated. Nothing to do with Ebola. I was in northern Nigeria, probably 2011, at a health camp for polio. I pick up a stack of forms toward the end of the day, of everyone over 35. And there was so much hypertension. Nearly half had hypertension and a third had what we would call malignant hypertension. Really, really high. And nobody was treated. And that's what's happening all over the world. A billion people, every heartbeat, every second is slamming their brains or their hearts or their kidneys and causing a lot of damage. Preparing for the next health crisis Post and even pre Ebola we recognized there were huge gaps in world preparedness and that we're all vulnerable because of them. We have real success in Uganda. They've gotten much better at finding and stopping outbreaks. That's what's needed in lots of places mostly in Africa but also some in Asia and some in the Middle East. You do an assessment to see where you really are. Then you do a plan and see how much money you need. Then you get the money. Then you implement the program and then you figure out how to sustain it. So, five steps along the way. Two years ago, we were at zero for all five. Now we have 54 countries that have gone through the assessment, four or five that have done plans, and none for the next three levels. We're going to move that along. A blind spot anywhere is a vulnerability everywhere. It's so unpredictable. No one could have predicted that H1N1 could have come from Mexico. That MERS would arise in the Middle East. So the only insurance policy is to strengthen everywhere.	N24News: A New Dataset for Multimodal News Classification	Health
Venus is our toxic twin. Its chemical makeup, size and density are similar to our world's, although its hellish temperatures can melt lead, and its atmosphere is rife with sulfuric acid. But it may be even more Earthlike than we knew. A paper published last week in Science Advances demonstrates that Venus might still harbor active volcanoes. If confirmed, the finding could help astronomers and planetary scientists as they search for life on other worlds. Scientists have long debated whether Venus might be volcanically active. In the early 1990s, cloud penetrating radar on the Magellan orbiter revealed a surface studded with volcano like mountains. But no one knew whether these features remained active. Then in 2010, data from Europe's Venus Express spacecraft revealed several hot spots that suggested lava had flowed as recently as 250,000 years ago. And in 2012, the orbiter observed spikes in sulfur dioxide a gas that smells like a struck match and is commonly produced on Earth by active volcanoes within the Venusian atmosphere. The evidence was tantalizing, but incomplete. "The data that are currently available for Venus cannot unequivocally provide the smoking gun," said Tracy Gregg, a geologist at the University at Buffalo. So Justin Filiberto, a planetary scientist at the Lunar and Planetary Institute in Houston, decided to take another look. His team experimented with crystals of olivine, a green mineral commonly found in volcanic rock. Specifically, they wanted to see how the mineral might change once it erupted into the hot, Venusian atmosphere. To find out, the researchers heated olivine up to roughly 1,600 degrees Fahrenheit and exposed it to oxygen, which can also be found on Venus. Under such extreme conditions, the outer grains of olivine transformed into iron oxide, and very rapidly. Because olivine disappears quickly, the discovery of evidence of the mineral on the surface of Venus would signify young lava flows. So Dr. Filiberto and his colleagues turned toward archived data from the Venus Express orbiter. They found that the lava flows previously dated at 250,000 years old actually contained olivine proof that they were only a few years old. "It means that Venus is a lot more like Earth than we thought," Dr. Filiberto said. Some scientists considered this new timeline remarkable. "What we're talking about now is some decent evidence that these things are not just geologically young, but young on the human scale," said Noam Izenberg, a planetary geologist at Johns Hopkins University who was not involved in the study. But Dr. Gregg, who praised the research as a "great example of the scientific method," worried that the team did not look at the precise chemical makeup of the Venusian atmosphere, including sulfur, which might affect the chemical reaction. She also noted that scientists don't actually know what the atmosphere looks like on Venus's surface because the closest measurement was taken miles above the ground. To confirm the findings, scientists will have to send a probe to Venus an argument that is beginning to sound like a broken record. The last spacecraft with a primary mission of mapping the planet's topography was NASA's Magellan orbiter, which launched more than 30 years ago. Since then, two missions have been sent to study our sibling, but with the primary purpose of analyzing Venus's atmosphere.	N24News: A New Dataset for Multimodal News Classification	Science
Mr. Lamey is the author of "Duty and the Beast: Should We Eat Meat in the Name of Animal Rights?" That question is unlikely to be asked along with the usual ones Medium or well done? Cheese or no cheese? over grills being fired up all over the United States this summer. (Unless, of course, you invite a philosopher to your barbecue.) But it is a timely one and how we answer it how we ultimately define the word "meat" could have a significant impact on the future of our food supply, our health and the health of the planet. It's no secret by now that the case against meat keeps getting stronger. The social, environmental and ethical costs of industrial agriculture exacerbated by a pandemic being traced back to a live animal market, and a vulnerable meat processing industry have become too obvious and damaging to ignore. Yet Americans on average consume more that 200 pounds of animal flesh each year. And, like it or not, it is still part of how the United States sees itself cultural icons, from cowboys and ranchers to the Golden Arches, express the country's long, tragic love affair with meat. But just as the meaning of American identity has changed over time, so too has the food people eat to celebrate it. Fifty years ago, few barbecues included burgers made of tofu or lentils for the stray vegetarians found in so many families today. For centuries, the definition of meat was obvious: the edible flesh of an animal. That changed in 2013, when the Dutch scientist Mark Post unveiled the first in vitro hamburger. By bathing animal stem cells with growth serum, Dr. Post and his colleagues were able to grow a hamburger in their lab. Their burger had essentially the same composition as a normal hamburger but a different origin. Although Dr. Post estimated that the first in vitro burger cost about 325,000 to create, the price has come down significantly and his team is one of several groups seeking to commercialize in vitro meat and bring it to market. (Dr. Post's first burger was grown using fetal bovine serum, a slaughterhouse byproduct; his team and others have sought out animal free replacements.) This prospect has triggered opposition from the agriculture industry, which in the past three years has petitioned lawmakers in some 25 states to introduce bills to prevent alternative meat products being labeled meat. The timing of these bills is not coincidental. Lawmakers know that plant based meat substitutes have become big business: In 2019, plant based meat sales totaled 939 million, an 18 percent increase over the year before, while sales for all plant based foods reached 5 billion. The real reason for the meat industry's interest in grocery labels is that it is threatened by this surge in popularity. Missouri was the first jurisdiction where such a bill became law and it has already been subject to a first amendment challenge, a fate that most likely awaits its counterparts in other states. The debates now going on in many different state legislatures and courthouses all revolve around this question: What is meat? The best answer, in my view, is one that takes the arrival of in vitro flesh as occasion to reconceive and broaden our idea of meat. A helpful distinction is drawn by Jeff Sebo, the director of the animal studies program at New York University, between a food item's origin, substance and function. The traditional view of meat holds that its must originate in the body of an animal. The substance of meat is what it is physically made of: muscle tissue composed of protein, water, amino acids and the rest. Meat's function is on one level something that we experience the familiar combination of taste and texture in the mouth. Nutritionally, meat's function varies it can affect our health for better or worse, depending on how we prepare it or how much we consume. A new framework that would allow us to classify lab grown meat as just "meat" would involve rethinking those principles. In vitro meat generally satisfies the last two requirements substance and function but not the first, origin. (I don't include plant based products here because they do not meet any of the three conditions.) It may seem like cheating to consciously redefine meat in order to accommodate the lab grown version. In fact, history is full of this type of conceptual revision. Someone asking 100 years ago what a car is could be forgiven for offering a definition that mentioned an internal combustion engine or a human driver. In the age of self driving and electric cars we recognize that these are no longer defining features of cars. Similarly, the commonly accepted definition of marriage was that of a union between a man and a woman. When same sex marriage was legalized in the United States that version was reclassified as but one option among others, all equally legitimate. Revised understandings of cars and marriage involve the same kind of shift. In the jargon of philosophers, we realized that we had long been mistaking one particular conception of cars or marriage for the very concept. Revising our understanding of meat to make room for in vitro meat involves a similar move. We should strip down our understanding of meat so that an element previously deemed essential in this case, being sourced in an animal carcass is no longer strictly necessary. On this updated, more minimalist understanding, all that is necessary for something to qualify as meat is that it has a meaty substance and function. Just as Model Ts and Teslas both qualify as cars, animal sourced and lab grown versions would then both qualify as real meat. Two considerations support trimming the conceptual fat from our understanding of meat in this way. The first is intuitive. Imagine you are served two pieces of steak, one from a slaughterhouse the other from a lab, which have an identical taste and nutritional effect. Food is by definition what we eat, and if our experience of eating the two morsels is the same surely they warrant a common concept. The second is linguistic. We use the word "milk" to classify fluids from cows, coconuts and nursing mothers, among other sources. If milk can have more than one origin, why not meat? Ludwig Wittgenstein argued in "Philosophical Investigations" that the meaning of a word is its use in the language. Given that the term "in vitro meat" and its synonyms ("lab grown meat," "cultured meat") are already widely used, it is tempting to go the full Wittgenstein and cite common usage as grounds to declare the case for in vitro meat closed. But, to be fair, a conceptual debate should not come down to a popularity contest: same sex marriage was once unpopular, yet that hardly settled the dispute over the nature of marriage. A more cautious handling of the linguistic evidence takes it to place the burden of proof on those who would define "meat" to exclude the in vitro version. Our default presumption should be that it is meat, barring good arguments otherwise.	N24News: A New Dataset for Multimodal News Classification	Opinion
Credit...Kyle Johnson for The New York Times SEATTLE When 10 representatives from Amazon visited the Denver area in late January, they did what you'd expect from a company scouting for a place to put its second headquarters. They toured more than a half dozen potential sites for a new campus and talked about the technical talent available in the area. But they also did something that surprised local officials: Quiz them on how, if Amazon chooses to settle there, the company could avoid the problems it confronts in Seattle, the only hometown it has ever known. If Amazon moves in, bringing up to 50,000 high paying jobs to town over time, how would the officials deal with traffic on its roads? And how would the company's tax dollars contribute to the creation of affordable housing in the region? Amazon's search for a second headquarters has been a pageant of finalist cities doing everything they can to woo the company and the good jobs and huge construction projects it would bring. The most controversial part of the process has been the big tax incentives that some state and local governments have offered Amazon, seen by critics as ineffective corporate giveaways. Amazon wrapped up its visits in mid April to all 20 finalist locations for its HQ2, as Amazon calls its second headquarters. The company is now following up with the cities, from Los Angeles to Indianapolis to Toronto, seeking further information as it narrows its search. The company has a long wish list, including plentiful flights at local airports, a stable, business friendly government and nearby recreational opportunities for employees. But local officials did not anticipate Amazon's interest in how to tackle some of the troubles that have turned it into a polarizing symbol of Seattle's booming economy. The e commerce giant is celebrated by many in Seattle for being the city's biggest employer and adding tremendous wealth to the area. But it is villainized by others for bringing too much change, too quickly. In Denver, Amazon and local officials talked at length about public transit options and the creation of bike lanes, said Mr. Bailey. They even discussed the possibility of Amazon financing a new light rail station for its system, though no commitments were made, he said. In Atlanta, the company spoke to a representative of the Westside Future Fund, a nonprofit working to prevent displacement in an area being redeveloped. The fund will pay for the increases in property taxes for residents who have lived in the area since at least 2016 so that they're not priced out of their homes. In Amazon's visit to Toronto, the company discussed its potential impact on the labor market and the affordability of housing, said Ed Clark, the business adviser to Kathleen Wynne, the premier of the province of Ontario. "We're all concerned about what could be gentrification or displacement, how do we deal with that," said Aisha Glover, president and chief executive of the Newark Community Economic Development Corporation, which is involved in the New Jersey city's bid. The company employs about 45,000 people in Seattle, spread out among more than 30 buildings near the downtown area. Despite a construction frenzy, building of new homes hasn't kept up with demand, leading to soaring housing costs in Seattle, where rents are now close to those in Boston and New York and home prices are growing faster than those in any other large city. While Amazon is not the only reason for all the change, it has become the most convenient target for groups worried about home prices and paralyzing traffic. "There was clearly a sensitivity both to the real and to the perceived impact when they come in to a place," Mr. Clark said, referring to Amazon's discussions in Toronto. The company says it has given 40 million for affordable housing projects in Seattle. In a new office building it is constructing, Amazon has agreed to give a rent free space to a homeless shelter for families. The company says its employees are big users of public transportation, with 17 percent of its local employees living in the same ZIP code in which they work. "The pace of change has been so fast and housing supply has not kept up and the transit system has not kept up," said Alan Durning, executive director of Sightline Institute, a nonprofit research group in Seattle focused on sustainability. "There's a visceral public reaction to the whole rapid pace of change in the city symbolized by, and perhaps blamed too much on, Amazon." In May, Seattle's City Council plans to vote on a tax dubbed the "Amazon Tax" by locals on the city's largest employers. The tax is expected to raise 75 million annually, with most of the money being funneled into building affordable housing. The remainder will go to support services for the homeless.	N24News: A New Dataset for Multimodal News Classification	Technology
RIO DE JANEIRO I was born over 30 years ago, just as democracy in Brazil was emerging. Yes, Brazilian democracy is the same age as Lindsay Lohan. Like her, it had its heyday in the 2000s and didn't fare well with the onset of adulthood. My parents voted for a president for the first time in their lifetime in 1989 when I was 3 years old. I grew up hearing frightening stories about the military dictatorship. In one, torturers attached a man's mouth to the carburetor of a car with the engine running and left the man to die. In another, Col. Carlos Alberto Brilhante Ustra inserted rats into a captive pregnant woman's vagina. This is what Brazilians were living through while Woodstock and Watergate were happening in the United States. Here, reporters like Bob Woodward and Carl Bernstein went missing or "committed suicide" in physics defying conditions that would have been impossible without the help of the state. Those who find similarities between President Jair Bolsonaro and President Trump don't grasp the depth of the situation in Brazil. Mr. Bolsonaro has not masked his affection for the military dictatorship. In fact, he considers Colonel Ustra, who ran a torture center in the '70s, a "national hero." Though media has given him the nickname "Trump of the Tropics," Mr. Bolsonaro seems more like a cross between Chile's Augusto Pinochet and Borat. I'm a Brazilian comedian. While it may sound easy given our current political climate, it's actually very difficult to make jokes about a president who already seems to be a parody. It's hard to compete with reality. I'm part of Porta dos Fundos, a comedy collective I cocreated in 2012 with four friends Fabio Porchat, Antonio Tabet, Ian SBF and Joao Vicente de Castro. We had all worked in television, where we couldn't make jokes about sex, politics or religion basically, the funniest topics. So we took to the internet, where our style of humor resonated. Then in 2017, Viacom bought half of our company. We're now part of an American corporation, but of course that doesn't stop people from calling us Communists a word Mr. Bolsonaro is still throwing around as an insult. Vintage, no? But that's not the worst of it. Perhaps it's common knowledge that Brazilians wouldn't be caught dead at the beach wearing surf shorts. But there's a layer of Brazilian political life that may surprise some: The secular state is a concept that has not made its way south of Ecuador, though church and state are formally separated. Here, Speedos and theocracy reign supreme. To give you an idea of what we're up against, there's an evangelical "bancada," which roughly translates as "bench," in Congress. This is not just a Christian lobby, or a handful of congressional representatives who are Christians. The bench comprises more than 80 representatives out of 513 federal deputies, who go to Congress with their Bibles in hand and vote accordingly. Many are pastors, police officers or both, like Pastor Sargento Isidorio, who is famous for claims to cure drug addicts with a clubbing. I guess it worked for him. Once a gay drug addict, he has been born again. Here's an idea of the scale of our problem with secularism: The most cited name during President Dilma Rousseff's impeachment was God. No, he didn't make any suspicious deposits, nor did they find any emails in his name, but apparently it was he who asked a hundred Brazilian deputies to have the president removed from office. We did a Christmas special for Netflix about Jesus' youth titled "The First Temptation of Christ." Mr. Porchat opens with the fact that the Bible has a glaring gap. Jesus is 12 and bam he's already 30 years old being baptized in the River Jordan. Why is there no account of his youth? What were they trying to hide? We hypothesized that Jesus loved men. We weren't the first to come up with this, of course. Before us, Mark the Evangelist had already told us in that apocryphal text that "The youth came to him, wearing a linen cloth over his naked body. And he remained with him that night, for Jesus taught him the mystery of the kingdom of God." Brazil's evangelical bench may not know this passage, just as it certainly does not know of Monty Python, Mel Brooks, "South Park" and so many who have already poked fun at the sacred cows of Christendom before we did. Today, there are a dozen lawsuits and petitions demanding the content be taken down. The Public Prosecutor's Office accepted a petition from a Catholic organization that demanded not only censorship but also payment of a fine of nearly half a million dollars two cents for each Brazilian who professes Catholicism in the country. I'm curious about this accounting. I was baptized in the Catholic Church, but I didn't receive my first communion. Am I entitled to two cents? Does not receiving communion disqualify me, or am I eligible for one penny? Does the remaining penny go to those who were confirmed? This is not new to us. What has changed is that since this president took office, the attacks have come in different forms. On Dec. 24, for example, a group of masked men attempted to set our offices on fire with Molotov cocktails. The security guard managed to put out the fire and no one was hurt. The next day, a group that called itself Popular National Insurgence Command, inspired by the Integralist movement, claimed responsibility for the attack. Brazilian Integralism was a 1930s anti Semitic movement yes, there were many Brazilians, of mixed race themselves, who were sympathetic to a movement that would have sent them to a concentration camp. We believed the movement had been eradicated along with syphilis and tuberculosis. But it seems all these evils are back in Mr. Bolsonaro's Brazil. Humor, of course, is not the only thing affected by the government. I acted in the film "Invisible Life," which won the Un Certain Regard prize at Cannes this year, but in Brazil it was not supported by the National Cinema Agency, whose director at the time claimed that the producer was a Communist. Anyone who knows the market knows this makes no sense. No one is less Communist than a film producer! Public agencies most of them are being replaced by "government loyalists," to use Mr. Bolsonaro's own term. The president has already said that he is not in favor of censorship but rather of protecting "Christian values." One doesn't need to attack Christianity, however, to be fired. When the director of Brazil's National Institute for Space Research released data on deforestation, the president ousted him perhaps reality is also an enemy of Christian values. Although our president doesn't deserve the nickname "Trump of the Tropics" (not even that!), he was certainly greatly helped by the outcome of the American elections. If the United States elected an oligophrenic, why couldn't Brazil? We look forward to the result of impeachment and this year's elections. Hopefully Mr. Trump's fall will presage the demise of his tropical wannabes. Gregorio Duvivier is a Brazilian actor, poet and producer. He hosts "Greg News" on HBO. 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
A production of Shakespeare's "Julius Caesar" in Central Park featuring a look alike of President Trump as Caesar. The host of an NBC News Sunday night show interviewing a conspiracy theorist who has claimed the Sandy Hook school shooting was a hoax. Long gone are the days when an advertiser's biggest concern was making sure it did not appear next to pornography online or during the ad breaks on racy TV shows. In this divided postelection world, brands are weighing in on theater and news interviews, as they grapple with the rapidly spinning wheels of social media, increasingly polarized consumer groups and a new set of potential ills beyond the usual list of sex, violence and crude language. Delta Air Lines and Bank of America drew headlines this week for pulling their support from New York's Public Theater in response to criticism about its production of "Julius Caesar," in which the titular character made up to look like Mr. Trump is assassinated. Then, on Monday, JPMorgan Chase temporarily halted its ads on NBC News because of Megyn Kelly's coming interview with Alex Jones, who operates the far right site Infowars and has become more prominent because of his relationship with Mr. Trump. In both cases, the advertisers' decisions were cheered by some and deplored as censorship by others. "A lot of sponsorships that wouldn't have garnered a lot of attention a year ago are now coming under greater scrutiny because people are wondering what that says about a business's political stance," said Kara Alaimo, who teaches public relations at Hofstra University. "Brands are going to be asking a lot more questions moving forward about the content of theatrical productions and potentially even of news outlets, which is sort of the more frightening prospect to me." Companies face a seemingly daily challenge as they grapple with boycott ready consumers on the left and right, in addition to issues like having their ads appear next to fake news and hate speech. At times, it can put them closer than usual to the traditional boundaries between brands and those creating content. Kristin Lemkau, JPMorgan's chief marketing officer, said on Twitter on Monday that as an advertiser, she was "repulsed" that Ms. Kelly "would give a second of airtime to someone who says Sandy Hook and Aurora are hoaxes," referring to a 2012 shooting at a movie theater near Denver. By Tuesday afternoon, her post had been reposted on Twitter more than 4,000 times and liked more than 11,000 times, accelerated by a report in The Wall Street Journal that said the company would remove its ads from NBC News television programming and online content until after the interview was broadcast. JPMorgan's decision was in line with the company's policy against financially supporting fake news, said a person involved with the decision who spoke on condition of anonymity to discuss an internal matter. The company significantly reduced the number of websites and YouTube channels it advertises on early this year as part of that policy, shortly after The New York Times discovered an ad for Chase's private client services on a spam filled site called Hillary 4 Prison. While many lauded Ms. Lemkau's message, some found the decision unusual. Stephen A. Greyser, a marketing professor at Harvard Business School, said he thought it showed the company getting "too close to the editorial content of one program," while Ms. Alaimo said the bank appeared to be "interfering in news content." Brands have been on edge in recent months as people use social media to question them about appearing on a range of websites and shows deemed, sometimes through a partisan lens, offensive. Since November, an anonymous Twitter account called Sleeping Giants has pressured brands into pulling ads from Breitbart News, the conservative news and opinion website. In April, online groups played a role in more than 50 advertisers leaving "The O'Reilly Factor" on Fox News after reports that Bill O'Reilly had reached settlements with several women who had accused him of harassment. Retail earnings and Black Friday: the week in business. Elizabeth Holmes will resume her testimony in her fraud trial. The furor, which can flood a brand's social media channels with complaints, has resulted in a sense of whiplash for advertisers, particularly online, where ads tend to be placed automatically based on browsing habits and cost rather than content. On Sunday, Delta started seeing complaints on its Facebook page after a report on "Fox and Friends" about the Public Theater's production of "Julius Caesar." The hosts described it as a "disgusting New York City play depicting the president brutally assassinated all while being funded with your taxpayer dollars." By Sunday evening, Delta and Bank of America had withdrawn their sponsorship from the play. Jane Rosenthal, a founder and the executive chairwoman of Tribeca Enterprises, which oversees the Tribeca Film Festival, said she worried about "a chilling effect on our democracy." "Certain sponsors we've had have said they want something that is for families, they don't want violence or sex scenes, but we have never and would never say that someone can determine what we're going to screen," she said. Generally, advertisers balk at any appearance of editorial involvement. That stance helped the Fox News host Sean Hannity last month, after critics targeted his advertisers based on his unapologetic promotion of a conspiracy theory surrounding the killing of a Democratic National Committee staff member. Advertisers like Mercedes Benz said that they did not involve themselves with editorial content, while the Sleeping Giants account stayed out of it.	N24News: A New Dataset for Multimodal News Classification	Media
SAN DIEGO The Yankees' 2020 season comes down to this: Jordan Montgomery, their fifth best starting pitcher, on the mound in Game 4 of the American League division series against the Tampa Bay Rays on Thursday. The Yankees found themselves in this position because of an uncharacteristically poor start by Masahiro Tanaka and an unusually tepid offensive output in an 8 4 loss on Wednesday night that gave the Rays a two games to one advantage in the best of five series. A Yankees win on Thursday would force a decisive Game 5, in which their ace, Gerrit Cole, could pitch on short rest for the first time in his major league career. But Tampa Bay could close out the series and reach their first A.L. Championship Series berth since 2008. Some late game heroics by the Yankees slugger Giancarlo Stanton, who homered for a team record fifth straight postseason game, couldn't make up for a pitching staff that slipped up one too many times against the Rays. The Yankees have been particularly tormented by Randy Arozarena, the Rays' emergent playoff star who is 12 for 20 this postseason, including 8 for 12 in this series. "I don't think I've ever seen it before, where a guy punishes every single mistake," Yankees catcher Kyle Higashioka said. "We can't get away with anything against him right now. It's been pretty frustrating."	N24News: A New Dataset for Multimodal News Classification	Sports
El Museo del Barrio in Harlem, the country's oldest museum devoted to Latino art, announced on Thursday that it was rescinding a decision to honor a princess from Germany at its upcoming 50th anniversary gala. Longtime admirers of the museum had criticized the choice to honor Princess Gloria von Thurn und Taxis, a 58 year old socialite who lives in a 500 room palace in Regensburg, Germany, and is known for her connections to archconservatives who complained that Pope Francis is too liberal. They include Roman Catholic officials and Stephen K. Bannon, the chief executive of Donald J. Trump's presidential campaign, who has forged relationships with far right political parties in Germany and France. Some questioned what Princess Gloria had in common with an institution that was started inside a public school classroom by a group of Puerto Rican artists and activists. Ana Dopico, an associate professor at New York University who studies United States Latino cultures, wrote on Twitter that it was "staggering and shocking" that El Museo would honor "a princess of Europe's extreme right wing." A former El Museo board member, Alex Gonzalez, said he had asked the museum how Princess Gloria, who was reported to have once blamed the nature of Africans for spreading AIDS on that continent, "aligns with the mission and purpose of a Latinx institution" but had not received an answer. "Her views on the African AIDS crisis were so lacking in humanity and expressed so publicly on live TV that it should have raised a red flag," he said on Wednesday in an email message. After inquiries by The New York Times on Wednesday, the museum issued a statement on Thursday morning. "As a cultural institution founded on the principles of inclusion, civil rights and diversity, El Museo del Barrio is committed to honoring individuals that uphold those values and support the elevation of Latino and Latin American art and culture both in the United States and beyond," the museum said. "As a result, El Museo del Barrio has decided to part ways with H.S.H. Princess Gloria von Thurn und Taxis." Princess Gloria, reached on Thursday by email, said: "I am disappointed to what degree the society is divided today and that there seems to be absolutely no room for tolerance whatsoever. My conservative religious views have absolutely no impact on my open mind on cultural diversity and inclusion. I have been friends with all sorts of people of different political and religious views all my life." The criticism is the latest in a series of controversies to buffet El Museo, a respected institution that has put on well received shows but which has also experienced serious setbacks. Financial shortfalls have forced staff cuts and reduced operating hours. Several high profile executive departures have created a sometimes acrimonious climate. The museum's fourth leader in seven years, Patrick Charpenel, was named as executive director in 2017. He said that he wanted to explore subjects like immigration, exclusion and diversity, adding that museums sometimes "have to become platforms for political resistance." But the decision to honor Princess Gloria was a step in the opposite direction by the museum's leadership, said Arlene Davila, a professor and author of a forthcoming book on Latinx art (Latinx is a gender neutral alternative to Latino or Latina). "How little they know about our community," she said. "It really is a slap in the face." Other honorees at the gala, which is to be held in May at the Plaza Hotel, are Raphael Montanez Ortiz, an artist and founder of El Museo; Ella Fontanals Cisneros, an art collector and philanthropist who created the nonprofit Cisneros Fontanals Art Foundation; and Craig Robins, a collector and real estate developer who is a trustee of the Perez Art Museum in Miami. For many years, Princess Gloria was a hard partying art collecting aristocrat who was sometimes known as "Princess TNT." Nowadays she is a practicing Catholic whose intimates include several figures who vigorously oppose the current Pope. She has said that Cardinal Raymond Burke, the American leader of the anti Francis faction, is as close to her as a family priest. She introduced Gerhard Ludwig Muller, a German Cardinal who was fired by Francis from his position as the church's top doctrinal watchdog, to Mr. Bannon. Mr. Bannon, who met last year with leaders of Germany's far right Alternative for Germany party and addressed France's far right National Front, aims to build a "gladiator school" for the training of Catholics hostile to Francis.	N24News: A New Dataset for Multimodal News Classification	Art & Design
A group of leading scientists is calling on a journal to retract a paper on the effectiveness of masks, saying the study has "egregious errors" and contains numerous "verifiably false" statements. The scientists wrote a letter to the journal editors on Thursday, asking them to retract the study immediately "given the scope and severity of the issues we present, and the paper's outsized and immediate public impact." The letter follows heated criticism of two other major coronavirus studies in May, which appeared in the New England Journal of Medicine and The Lancet. Both papers were retracted amid concerns that a rush to publish coronavirus research had eroded safeguards at prestigious journals. The study now under fire was published on June 11 in the journal Proceedings of the National Academy of Sciences. The senior author is Mario Molina, who won the Nobel Prize in Chemistry in 1995, with two other scientists, for finding a link between man made chemicals and depletion of the atmosphere's ozone layer. The study claimed that mask wearing "significantly reduces the number of infections" with the coronavirus and that "other mitigation measures, such as social distancing implemented in the United States, are insufficient by themselves in protecting the public." It also said that airborne transmission was the primary way the virus spreads. Experts said the paper's conclusions were similar to those from others masks do work but they objected to the methodology as deeply flawed. The researchers assumed that behaviors changed immediately after policy changes, for example, and the study failed to take into account the seismic changes occurring across societies that may have affected the reported incidence of infection. "There is evidence from other studies that masks help reduce transmission of Covid 19, but this paper does not add to that evidence," said Linsey Marr, an expert on airborne transmission of viruses at Virginia Tech. (Dr. Molina was Dr. Marr's postdoctoral adviser.) In two interviews, Dr. Molina did not back away from the conclusions of the paper. "We show in the paper itself that we know things are complicated, we know that there's social distancing, we know that it's sometimes perfect, sometimes not," he said. "They just didn't understand our paper," he added. But the language he and his colleagues used was "perhaps too strong," Dr. Molina said. "Maybe we have some exaggerated sentences here we're sorry. We should have been a bit more careful with the language." Many scientists believe that social distancing is a big factor in reducing transmission of the virus, and that airborne transmission, while it may occur, is not the primary means by which the virus spreads. "Let me be clear: I think masks are an important intervention," said Bill Hanage, one of the signatories and an epidemiologist at the Harvard T.H. Chan School of Public Health. "But the paper, as it is, is not in a position to be able to look at mask use compared with other interventions." Still, the paper was shared widely on social media and covered by some news outlets. Several dismayed scientists on Twitter swiftly denounced it. "It's important to clarify that this paper is of poor quality because it's making a very sensational claim," said Natalie Dean, a biostatistician at the University of Florida who signed the call for retraction. "But it has big flaws in the analysis." The scientists' call for retraction was reported by Buzzfeed News earlier on Thursday. The paper was submitted under a little known proviso, called the "contributed" track, by which members of the National Academies are permitted to solicit their own peer reviews and to submit them to P.N.A.S. along with the manuscript. About 20 percent of the papers that P.N.A.S. publishes are handled in this way, according to an analysis in 2016. "It's a relic of an old way of doing things," Dr. Dean said. "It gives an advantage to people who are in the right groups but without the right expertise." The public needs to be able to rely on rigorous peer review at journals, she and other experts said, and especially so because of a flood of reports with unvetted claims appearing during the pandemic. The self selection of peer reviewers "is obviously completely unhelpful during a period like this," Dr. Hanage said. There are good reasons journal editors typically choose peer reviewers and keep the identities hidden from a study's authors, he and others said. "When you can pick your own peer reviewers, you're not going to get the kind of rigor that we need in the system," said Dr. Ivan Oransky, a founder of Retraction Watch, which tracks scientific fraud and retractions of papers. "Frankly, it's only a few degrees removed from faked peer review." Noah Haber, a postdoctoral fellow at Stanford University who spearheaded the call for retraction with a few other researchers, said the best outcome would be "a swift retraction, followed preferably by P.N.A.S. reviewing its editorial policies on the contributed submissions track."	N24News: A New Dataset for Multimodal News Classification	Health

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