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Credit...Jake Naughton for The New York Times Bamboo contains multitudes. Perhaps nowhere more than in Japan, home to over 600 species of this amazing plant, officially a subfamily of grasses but blessed with a woody stem and the ability to lift well above its weight. For centuries, if not millenniums, bamboo has permeated everyday Japanese life, figured in some of the country's best known literature and become a staple of its art, as both motif and material. Its propensity to bend yet endure makes it a cultural symbol. In both Japan and China, an ink painting of a tiger in a grove of bamboo signifies social harmony and, it would seem, political savvy, as this wily animal is among the few able to navigate the dense bamboo forest. Bamboo's presence in Japanese art is lavishly paid tribute by the Metropolitan Museum of Art's "Japanese Bamboo Art: The Abbey Collection." The first show at the Met to concentrate on basketry, it celebrates the promised gift to the Met of more than 70 mostly extraordinary bamboo baskets and sculptures from the New York collectors Diane and Arthur Abbey. The group nearly doubles the museum's holdings in this genre, joining some 80 bamboo baskets bequeathed in 1891 by Edward C. Moore. The core of this new presentation consists of 65 bamboo works from the Abbeys' gift, joined by nearly two dozen remaining in their collection and a handful from the Moore bequest. In a feat of orchestration, Monika Bincsik, an assistant curator in the Met's Asian art department, has embedded this core in what is virtually a second exhibition of some 120 bamboo and basket themed works, including folding screens, hanging scrolls, netsuke, porcelains, stunning kimonos and a dark bronze rendering of a basket of flowers with butterflies whose complexity and artifice verge on decadent. It's interesting to see the Met's large Japanese galleries focused so completely on a single motif; it is sometimes right in your face, and sometimes must be ferreted out. That handscroll of acrobats? Their entire act is balancing on or with shafts of bamboo. Occasions like this bring welcome reminders that something besides contemporary paintings and sculptures are avidly pursued by collectors, but the Abbeys are indeed collectors of contemporary (and modern) art. The baskets they are giving the Met complement the Moore bequest by being almost entirely from the 20th and 21st centuries nearly half of the more than 50 artists represented are still alive. So you don't miss the contemporary angle, the Met commissioned Tanabe Chikuunsai IV, a fourth generation bamboo artist born in 1973, to create an installation piece that looms over the entrance to the show. "The Gate," as it is called, is two thick entwined coils that twist upward from the floor and spread out along the ceiling. Their scale is imposing; they evoke twin baby cyclones or, less violent, the bifurcated trunk of an ancient banyan tree, but their open weave, light colored Tiger bamboo is semitransparent and sort of weightless. These forms have an animated cartoon energy and snap; they cavort almost wickedly. Throughout the exhibition you will see basketry abstracted, deconstructed and all but exploded in the hands of successive generations of artists. In 1975 Tanabe Yota (1944 2008), a younger brother of Tanabe Chikuunsai III, created "Earth Dedicated to Children," a low lying mountain (or volcano) form that looks like a miniature earthwork, or maybe a model for James Turrell's "Roden Crater." In a show like this, baskets can start to look like one of the world's most complete, resonant art mediums. The characteristic Japanese reverence for nature is reflected in titles referring usually with justification to waves, blossoming flowers or moonlight, but it also comes across directly and physically. Basketry's processes do not extensively transform bamboo, as is the case with so much else ceramics or lacquer, say, or for that matter oil painting. The central technique is weaving. There will usually be some cutting or slicing, often into exquisitely thin strands, and maybe some soaking beforehand; along the way rattan might be used for reinforcement and, toward the finish, lacquer may be applied. But that's about it. We stay remarkably close to the original natural material, which submits to spectacular skill and structural concepts without losing its identity. The linear structure of bamboo basketry maintains a remarkable clarity. It can effortlessly combine aspects of sculpture, textiles and also architecture, and when the weaves are open suggest fully dimensional drawings in space. But bamboo basketry also accommodates what might be called crazy quilt departures from the grid, as in the crisscrossing darn stitch weave of Nagakura Ken'ichi's round "Sister Moon Flower Basket" of 2004 an intensely covetable, fittingly concave and seemingly inward looking piece that the Abbeys perhaps understandably are keeping. And the physical variety of bamboo accommodates many sensibilities and degrees of refinement, from intricate forms and patterns that look like computer planning was required, to the relative crudeness of the exuberant "Dancing Frog Flower Basket," with its flamboyantly twisted handle and aggressive weave, made by Hayakawa Shokosai III (1864 1922) in 1918. As with many of the crafts that the Japanese have cultivated into art, great aid came from China, specifically in the refined baskets that began arriving in the 13th century for use in Esoteric Buddhist rituals and soon became part of traditional Japanese tea ceremonies. Chinese forms continue into the present, like the elevated offering tray from 2012 by Fujinuma Noboru, born in 1945 and now designated a Living National Treasure in Japan. "Peerless Fruit or Offering Tray" very much lives up to its name. But until the end of the 19th century, bamboo basketry lagged behind lacquer, ceramics and calligraphy in its art status. While all of the Abbey bamboo artists are known, the names of those represented in the Moore bequest are not, except Hayakawa Shokosai I (1815 1897), thought to be the first Japanese bamboo master to sign his works. The Moore bequest's Shokosai I is a large and regal Chinese style flower basket that has the silhouette of a Ming dynasty stoneware storage jar (similar to the one sitting beside it). The Abbeys have enhanced this masterwork with two more of his pieces: a wonderful anomaly in the form of a perfectly bowled bowler hat in bamboo and rattan and a boxy yet gently swelling lidded basket for transporting tea ceremony utensils. Since Shokosai I's time, basketry has tended to be dynastic, usually along the male line, since the craft traditionally involves cutting your own bamboo. The two women represented in the show Kajiwara Aya, born in 1941, and Isohi Setsuko, 1964 may be a sign of change, but for the most part bamboo art is handed down from father to son or from a master to an apprentice. Tanabe Chikuunsai IV is preceded by Tanabe Chikuunsai III, II and I, with examples of the clan's impressive efforts lined up in front of "Misty Bamboo on a Distant Mountain," an atmospheric ink painting by the Chinese artist Zheng Xie from 1753. It is one of several stirring, sometimes carefully matched pairings of baskets and two dimensional works. My favorite involves a hanging scroll by the great Yosa Buson. Near it, you will find a one man dynasty named Iizuka Rokansai (1890 1958), represented by seven basketry works whose variations in color, purpose, form and fineness make an especially breathtaking moment in a show splendidly full of them.	N24News: A New Dataset for Multimodal News Classification	Art & Design
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. 'THE CAKE' at City Center Stage I (in previews; opens on March 5). The playwright and television writer Bekah Brunstetter ("American Gods," "This Is Us") whisks up a play loosely inspired by bakers' refusals to create cakes for gay weddings. For Manhattan Theater Club, Debra Jo Rupp portrays a woman with confectionary conflicts. Lynne Meadow directs. 212 581 1212, nycitycenter.org 'DADDY' at Pershing Square Signature Center (in previews; opens on March 5). A production from the New Group and Vineyard Theater, Jeremy O. Harris's poolside play cannonballs into the Signature Center. Under Danya Taymor's direction, Ronald Peet stars as a young black artist, with Charlayne Woodard as his mother and Alan Cumming as his lover and father figure. There's a gospel choir, too. 212 279 4200, thenewgroup.org 'FLEABAG' at SoHo Playhouse (in previews; opens on March 7). A very dark comedy about sexual liberation and emotional cataclysm, this Phoebe Waller Bridge monologue, which birthed the Amazon series, arrives in New York. (Her other show, "Killing Eve," did not begin onstage, though it would make a killer musical.) Under Vicky Jones's direction, Waller Bridge stars as a nameless woman negotiating identity and grief in contemporary London. fleabagnyc.com 'GARY: A SEQUEL TO TITUS ANDRONICUS' at the Booth Theater (previews start on March 5; opens on April 11). It's all fun and games until dynastic conflict pretty much destroys Rome and some poor saps have to mop up the blood. In Taylor Mac's new play, a follow up to Shakespeare's plasma spattered "Titus Andronicus," those saps are played by Nathan Lane and Andrea Martin. The unimprovable also includes Kristine Nielsen. George C. Wolfe directs. 212 239 6200, garyonbroadway.com 'HATE ' at the WP Theater (previews start on March 3; opens on March 13). The heart wants what it wants, and sometimes it wants what the brain strongly objects to. WP Theater and Colt Coeur present Rehana Lew Mirza's play about a literature professor (Kavi Ladnier) and the novelist (Sendhil Ramamurthy) she may or may not detest. Adrienne Campbell Holt directs. 212 352 3101, wptheater.org Read about the events that our other critics have chosen for the week ahead. 'RECENT ALIEN ABDUCTIONS' at Walkerspace (in previews; opens on March 3). There are extraterrestrial aliens and then there are aliens much closer to home and then there is Jorge Ignacio Cortinas's play for the Play Company. As it begins, a young Puerto Rican man recaps an "X Files" episode in forensic detail. But as the drama travels through time, the story changes. Cortinas directs. 866 811 4111, playco.org 'SUICIDE FOREST' at the Bushwick Starr (in previews; opens on March 2). Japan's Aokigahara Forest, on the edge of Mount Fuji, has become a beacon to the desperate. In Kristine Haruna Lee's play, directed by Aya Ogawa and produced in association with Ma Yi Theater Company, the forest haunts the thoughts of a teenage girl and a middle aged salaryman. thebushwickstarr.org 'WHITE NOISE' at the Public Theater (previews start on March 5; opens on March 20). A new Suzan Lori Parks play is never just background noise. In this new four character drama, fault lines open up in the relationships among college friends. Then the tremors really get going. Oskar Eustis directs the actors Daveed Diggs, Sheria Irving, Thomas Sadoski and Zoe Winters. 212 967 7555, publictheater.org 'BY THE WAY, MEET VERA STARK' at the Pershing Square Signature Center (closes on March 10). Lynn Nottage's spiky Hollywood comedy readies for its final close ups. The play, which ranges from 1933 to 2003, weaving in and out of the life of an African American actress, isn't especially tidy, but it's brainy, fizzy and ultimately wrenching in its consideration of stereotype and erasure. 212 244 7529, signaturetheatre.org 'FREESTYLE LOVE SUPREME' at the Greenwich House Theater (closes on March 3). An evening of hip hop improv that asks you to lock up your phones and unlock an extremely embarrassing moment, which the cast then riffs on, runs out of rhymes. Directed by Thomas Kail, the show impressed Jesse Green, but "the real secret," he wrote, "is the cast's commitment to deep attentiveness." The performances have sold out, but a standby line will form at the theater before each show, and you can enter a lottery to win tickets at TodayTix.com. freestylelovesupreme.com 'MIES JULIE' AND 'THE DANCE OF DEATH' at Classic Stage Company (closes on March 10). Two of August Strindberg's bad romances, running in repertory, reach the end. Ben Brantley wrote that if neither Yael Farber's adaptation of "Mies Julie," directed by Shariffa Ali, nor Conor McPherson's version of "The Dance of Death," directed by Victoria Clark, kindles Strindberg's "infernal heat," each introduces the audience to a "complex and uncomfortable world." 866 811 4111, classicstage.org	N24News: A New Dataset for Multimodal News Classification	Theater
Something happened to the population of North Atlantic right whales in the last decade, as their numbers shrank and fewer calves were born. Scientists had long speculated that a change had occurred in the whales' sources of food. By 2017, only 411 animals were counted, down from 482 in 2010. A paper published this month in the journal Oceanography, links warming in the Gulf of Maine with the life cycle of the copepod Calanus finmarchicus, a tiny shrimplike creature that forms the foundation of the right whale diet. Although it is hard to prove cause and effect, the paper's lead author, Nicholas Record, said the study connected "the big ocean scale climate changes" in the North Atlantic with the water coming into the Gulf of Maine and the whale's food resources. "All of these pieces lined up together really well," said Dr. Record, senior research scientist at the Bigelow Laboratory for Ocean Sciences, a nonprofit institute in Boothbay, Maine. "It was really kind of stunning." An influx of warm water near the ocean floor in 2010 significantly reduced the abundance of the shrimplike creature in the Gulf of Maine that summer and fall. Warmer water would have brought in fewer Calanus and also meant that more died and were eaten earlier in the season, Dr. Record said, leaving less food, "right when right whales need their last big meal before winter." The whales followed the Calanus populations elsewhere , including to Cape Cod Bay and to the Gulf of St. Lawrence in northern Canada. Their shift in location may have created even bigger problems for the overall population, when they might have been hungry and moved to places with heavy shipping traffic. North Atlantic right whales live off the East Coast of the United States and Canada, heading north during warmer weather and south during the winter. Many summer off New England and points north; their calving grounds are off the coast of Florida and Georgia. "We've planned all these conservation measures around areas where we have known the whales to show up at the same time each time of year," Dr. Record said . "When they stop showing up in those areas, and start showing up where protected measures aren't in place, that's when the problem starts." Shipping lanes and fishing locales are designed around traditional feeding grounds for the whales. But as those shifted, the whales came into more contact with boats and nets. And perhaps because the whales were undernourished, only five new calves appeared in 2017 and none in 2018, according to NOAA data. This year, seven calves have been sighted, which scientists hope signals that the whales have found new feeding waters and are sufficiently healthy to begin rebounding. The shift in habitat has caused problems for lobstering in Cape Cod Bay, where the whales have been spending more time. Since December, whale researchers counted 267 right whales in Cape Cod Bay roughly 60 percent of the known population, said Charles Mayo, a co author on the new paper and the director of the Right Whale Ecology Program at the Center for Coastal Studies in Provincetown, Mass. While the concentration has been a great boon for whale watchers, it has put tremendous strain on the local lobster industry, and boaters are limited to speeds of 10 knots (about 12 miles per hour) within the bay. Like the Science Times page on Facebook. Sign up for the Science Times newsletter. Massachusetts recently extended the closing of Cape Cod Bay to lobstering, but protests had forced the state to rescind the measure. "The most draconian right whale conservation restrictions in place anywhere is right here in Massachusetts," Beth Casoni, executive director of the Massachusetts Lobstermen's Association, said at a rally on May 9 . "It's frustrating to the fleet" in Cape Cod Bay, which number about 100, she added by email, "as there are thousands of fishermen fishing to the north." Canada, which had not seen a lot of right whales north of the Bay of Fundy, had experienced an uptick, too, in recent years. If whales are going to the Gulf of St. Lawrence in Canada to search for food, they are swimming as much as 700 to 800 additional miles, which means they will need to eat more to stay fully nourished, said Sean Hayes, protected species branch chief with NOAA in Woods Hole, Mass., who was not involved in the new study. Right whale sightings were uncommon in the Gulf of St. Lawrence before 2017, said Catherine Brennan, of the Ocean and Ecosystem Sciences Division of Fisheries and Oceans Canada. But about 130 individuals were identified in the gulf last year. Although they congregate in the southern part of the gulf, they have been crossing major shipping lanes, which puts them at risk, according to Catherine Johnson, a biological oceanographer who was a co author on the paper. Canada has imposed lower boat speed limits, restricted some fishing around shipping lanes and fishing areas, and added aerial and acoustic surveillance to try to better understand where the whales are congregating, said Hilary Moors Murphy, research scientist for the Maritimes Region whale research program at Fisheries and Oceans Canada. With just about one third to half of all of the whales seen in Canada in recent years, researchers are unsure where the others are. Dr. Mayo's staff flies daily over Cape Cod Bay, and crosses it in boats, scouring for whale activity. Now that some right whales are diving deeper to feed off a species called Pseudocalanus, they're harder to spot, Dr. Mayo said. To combat entanglement in fishing lines, NOAA has been working with the fishing industry and inventors to experiment with lobster pots that are not connected by rope to buoys at the surface, Dr. Hayes said.	N24News: A New Dataset for Multimodal News Classification	Science
What I mean to say is that I like Peter Parker in "Spider Man: Far From Home" for the same reason I liked Miles Morales in "Into the Spider Verse": he's a teenager. In pop culture years, the web slinger is pushing 60, but his most recent movie incarnations have emphasized his youth. Tom Holland, the British actor who has played Spider Man since 2016, recently turned 23, but he still plausibly looks and sounds like a 16 year old New York City high school student. This is as it should be. The character's perpetual youth is explained in the movie (or "in universe," as I guess we're saying these days) by what happened in between the last two "Avengers" movies. You remember, right? No? I know, it's been almost two months. Anyway, a lot of superheroes along with half of the living beings in the universe were vaporized by a purple faced villain with a corrugated chin. This felt like a big deal at the time, but they were all brought back to life and the whole episode is now recalled as "the Blip." The opening scenes of "Far From Home," directed by Jon Watts from a script by Chris McKenna and Erik Sommers, recap that reversible apocalypse in brisk comic style, from the standpoint of Peter and his fellow students at Midtown High School. Peter is still living in Queens with his Aunt May (Marisa Tomei) and still crushing hard on MJ (Zendaya). Everyone's getting ready for the school trip to Europe. All's right with the world until the next supervillain shows up. I know what you're thinking: didn't he die at the end of "Endgame"? Didn't we all choke up when Happy (Jon Favreau, who shows up here to flirt with Aunt May) remembered how Tony liked cheeseburgers? Robert Downey Jr. is not in "Far From Home," but his image pops up from time to time, and the Stark/Iron Man name and brand are invoked frequently. The scion of Stark Industries may be gone, but his cult of personality is stronger than ever. Fair enough, I suppose. The Marvel Cinematic Universe as we know it don't we know it! got rolling more than a decade ago with "Iron Man," directed by Favreau. But because of various corporate intellectual property issues, Spider Man, licensed to Sony by Marvel, didn't at first mix with the Avengers, who are Disney guys. Apparently it was part of the deal that Spidey would be Iron Man's sidekick. For most of "Far From Home" he still wears the yoke of apprenticeship, speaking reverently about "Mr. Stark" and wondering if he could possibly fill the shoes (or the high tech sunglasses) of such a remarkable visionary. I thought we were starting to move past the breathless worship of narcissistic billionaire tech bros, but apparently not. Spidey's nemesis used to work for Stark. His minions are a bunch of fellow ex employees who complain about how Stark took credit for their work, ignored their best ideas and hogged the spotlight for himself. What a bunch of losers. Everyone knows bosses are meant to be idolized, figureheads of aspiration rather than objects of envy. It's a good thing that Happy is still around with the Stark private jet, various branded doodads and a mouthful of libertarian plutocratic talking points. Along with Nick Fury (Samuel L. Jackson) and Maria Hill (Cobie Smulders), Happy is on hand to reinforce the corporate grandiosity that is the "Avengers" hallmark. Jake Gyllenhaal saunters in to keep things interesting and keep would be spoiler mongers on their toes. As is often the case with these movies, a smaller, livelier entertainment is nested inside the roaring, clanking digital machinery. The filmmakers try to enliven the big fights and action sequences by injecting a bit of self consciousness about the illusion driven craft they pursue, and a few sequences take place in an austere, dreamlike virtual realm where visually interesting things are allowed to happen. For a little while, anyway. The high school comedy bits of "Far From Home," while not especially original, have a sweet, affable charm. JB Smoove and Martin Starr are funny as the hapless teachers guiding a squad of teens through Venice, Prague and London. Jacob Batalon and Angourie Rice are delightful as Peter and MJ's teen movie best friends, who abruptly fall in love. Will that happen for Peter, too? The freshest parts of the story revisit some of the character's longest standing issues, as Peter struggles with the competing demands of normal adolescence and superheroism. This isn't just about the great responsibility that comes with great power, but about figuring out who or what you're responsible for. Peter's loyalty to his friends a sweet, spirited crew embodying the tolerance, skepticism and earnestness that characterize their generation, as well as some of its less appealing aspects is sometimes at odds with his vocation. You wish he could have some time off. Of course that isn't in the cards. "Spider Man: Far From Home" ends with the usual mid and post credits kickers that are meant to be surprising but are really the opposite. Spoiler alert: there are a lot more movies like this coming. In the meantime, enjoy the Blip.	N24News: A New Dataset for Multimodal News Classification	Movies
A mounting number of citations on a popular disease tracking website suggests that mosquitoes may be moving into new ecological niches with greater frequency. The website, ProMED mail, has carried more than a dozen such reports since June, all involving mosquito species known to transmit human diseases. Most reports have concerned the United States, where, for example, Aedes aegypti the yellow fever mosquito, which also spreads Zika, dengue and chikungunya has been turning up in counties in California and Nevada where it had never, or only rarely, been seen. Other reports have noted mosquito species found for the first time on certain South Pacific islands, or in parts of Europe where harsh winters previously kept them at bay.	N24News: A New Dataset for Multimodal News Classification	Health
Greece's problems deepened on both sides of the Atlantic as the Federal Reserve disclosed it was investigating Goldman Sachs and other banks that helped the country mask its debts, and investors grew increasingly leery of lending any more money to a nation flirting with default. Wall Street's role in the run up to the debt crisis has generated criticism and calls for an inquiry from European leaders. The Fed examination is the first time American regulators will examine the highly profitable if little known business of supplying custom made financial instruments to strapped countries on the Continent. While Greece's economic troubles have transfixed world markets for weeks, its problems have snowballed in recent days as workers went to the picket lines to protest budget cuts and the government struggled to raise cash to cover what is Europe's largest budget deficit. Last year, Greece's deficit equaled 12.7 percent of gross domestic product. On Thursday, the Moody's ratings agency joined Standard Poor's in warning that it might downgrade Greek government bonds, a move that would increase the premium Athens must pay to borrow. The move comes at a precarious time for Greece, which must raise 25 billion euros ( 34 billion) over the next few months to avoid a sovereign default that officials fear could cause the finances of other weak European economies to collapse. In a sign of the challenges their nation faces, Greek officials also called off a planned trip to the United States and Asia aimed at interesting new investors in its bonds because of a lack of demand, according to an investment banker who was briefed on the government's fund raising strategy. The European Union has said it would come to Greece's aid only if it develops a plan to reduce its deficit by March 16, further ratcheting up the pressure. Ben Bernanke of the Federal Reserve is looking at derivatives. Mary F. Calvert for The New York Times "Even if they bring the deficit to zero, with interest rates at 6.5 percent and a growth rate of zero at best, Greece's debt ratio remains on an explosive path," said Miranda Xafa, a former executive board member at the International Monetary Fund. "I just don't think they can raise funds from the market now." Greece has suffered from large deficits for years, and until now it seemed as if big banks would always be there to bail it out. As far back as 2000 and 2001, Goldman helped Athens quietly borrow billions to mask its poor finances by creating derivatives that essentially transformed loans into currency trades that Greece did not have to disclose under European rules. Ben S. Bernanke, the Federal Reserve chairman, told Congress Thursday that the Fed was "looking into a number of questions relating to Goldman Sachs and other companies and their derivatives arrangements with Greece." Mr. Bernanke said the Securities and Exchange Commission was also concerned about how derivatives financial instruments that are largely unregulated and do not trade on public exchanges have contributed to Greece's problems. "Obviously, using these instruments in a way that intentionally destabilizes a company or a country is counterproductive," he said. The S.E.C., in a statement, said that it could "neither confirm nor deny the existence of an investigation," but added that it was cooperating with United States and international regulators in examining "potential abuses and destabilizing effects related to the use of credit default swaps and other opaque financial products and practices." Goldman declined to comment, citing its policy of not addressing legal or regulatory matters. But in a Feb. 21 presentation, Goldman said, "The Greek government has stated (and we agree) that these transactions were consistent with the Eurostat principles governing their use and application at the time." Eurostat is the European Union's statistics agency. Goldman is not the only bank that supplied derivatives designed to lower deficits. In the late 1990s, JPMorgan Chase helped Italy reduce its budget gap by swapping currency at a favorable exchange rate. In return, Italy committed to future payments that were not booked as liabilities. A spokeswoman for JPMorgan said that Italy disclosed all of the deals to Eurostat. Senator Christopher J. Dodd, Democrat of Connecticut and the chairman of the Senate Banking Committee, also took aim at credit default swaps, which allow banks and hedge funds to wager on whether a company or country might default. Senators Christopher Dodd, left, and Richard Shelby. Mr. Dodd has taken aim at credit default swaps. Critics say the swaps have contributed to Greece's problems and increased the odds of a financial collapse. "We have a situation in which major financial institutions are amplifying a public crisis for private gain," he said. The Fed inquiry was begun about three weeks ago, according to an official involved in the investigation who was not authorized to comment publicly. Fed examiners are focusing on whether Goldman and other banks complied with guidance the Fed issued in 2007 outlining how to manage the risk of complex financial vehicles. The investigation is still in its early stages, he added, as officials sift through records detailing how the derivatives were created, what compliance procedures were followed and what internal analysis was performed. The Fed is also looking at whether Wall Street made additional financial arrangements for Greece that have not been disclosed. Growing concern over these transactions have made investors more doubtful than ever about the government's ability to quickly secure tens of billions of euros in new financing it needs to avert default. Greece faces a critical test next week, when it will try to raise about 3 billion euros ( 4 billion), through an issue of 10 year bonds. But with threats of a downgrade to its sovereign debt looming, investors say Greece would need to pay a whopping 7 percent interest rate just to get people to buy. That is almost a percentage point more than the rate investors received in the previous Greek bond sale, in January, and a full 3 percentage points more than Greece's borrowing cost before the current crisis. A spokeswoman for the Greek Finance Ministry did not respond to a request for a comment. The rise in investor skepticism has led Greece to adopt a new financing strategy. Instead of selling debt through public auctions, where the danger of a failed offering could further unnerve markets, it has gone directly to institutional investors, sounding them out in one on one meetings, mostly in London. Bankers and analysts in Athens say there is a debate within the Finance Ministry as to whether the government should go to the market now, or wait until a new menu of changes like more taxes and further public sector wage cuts is announced, in the hope that such measures will result in lower financing costs. But a more dire view is already taking hold, according to some bankers, as investors fret that Greece may simply not be able to cover 20 billion euros of debt coming due in April and May, and 53 billion euros for all of the year. It seems unlikely that such a quantity can be raised from investors many of them conservative pension funds and insurance companies that are already nursing losses from the 8 billion euro Greek bond issue in January that was hit by the recent market downturn.	N24News: A New Dataset for Multimodal News Classification	Global Business
Attendees worked side by side during a Quilt co working day, hosted by Puno Lauren Puno, the founder of the online marketplace I Love Creatives , at her home in downtown Los Angeles. Come on Over to My Place, Sister Girlfriend, and We'll Co Work LOS ANGELES Most wage earning women have gone through some version of this prework routine: assemble appropriate outfit (not too flashy, not too drab). Add layer to protect against office elements (central air conditioning; the leering). Maybe steel self for mansplaining (or something more sinister). "Sometimes I just want to wear sweatpants," said Zipporah Burman, 27, a graphic designer in Los Angeles. "Sue me!" A desire for comfort, both physical and mental, has fueled the growth of women's only co working spaces some highly branded, like the Wing, and with significant membership fees. Quilt, a six month old start up based in Los Angeles and founded by Ashley Sumner and Gianna Wurzl, is designed differently. Its members, which number around 1,000, work out of one another's homes in four hour sessions, and in lieu of annual dues, they pay per session fees, usually around 20, of which hosts keep 80 percent (some of which they may spend on snacks and drinks). The company also organizes one hour morning coffee chats and longer "learn" sessions on evenings or weekends, during which female experts in various fields expound on their knowledge be it raising venture capital or reading tarot cards in their own homes or those of friends. As on Airbnb, potential hosts list their home's available spaces on Quilt's site listings in South Carolina, Peru, Toronto, Barcelona and Portland, Ore., are all waiting for approval and specify how many people they can accommodate. (Such arrangements will be more difficult in New York or Tokyo, where living quarters tend to be smaller.) Hosts also note the possible presence of pets or a male roommate, though husbands and boyfriends often vacate, or hide, when the Quilters come over, the co founders said. They believe that women are more likely to develop lasting professional connections in a private home rather than in a club, a bar or a larger co working space. The two women met two years ago when Ms. Sumner was overseeing membership for NeueHouse, a co working club for men and women in Hollywood and New York, and Ms. Wurzl was working for One Roof, a meeting place for women with locations in Venice, Calif., and Melbourne, Australia. They bonded over such shared values as hating cilantro, and before long began wondering if together they might bring together creative women without committing to real estate. "There's an opportunity to decentralize this model where you have this massive overhead and you're taking a risk on creating something cool," Ms. Sumner said. And, "because they're in a home, they tend to clean up after themselves," she said of Quilt subscribers. "So that's also brilliant." Ms. Burman, the graphic designer, could be found in a downtown Los Angeles loft the other morning with 11 other women, all toting laptops, some partaking of "brain tea" infused with ginkgo biloba. "I just quit my job," said Chloe Drimal, 26, prompting applause. "I've been looking into the cannabis industry, and it's just fraught with risk," Ms. Puno said. "Mine is not a real risk," began Lydia Mack, 32, the founder of Yes She Can, a website for female entrepreneurs. "It's a 'Ooh, I took a vacation, poor me' kind of risk." She went to Hawaii to visit her parents. "As somebody obsessed with productivity, it was scary." Ms. Sumner instructed the group to grab Post it notes and fill out "asks" and "tasks:" things they were in the market for, like feedback on a product or an accountant, and things they wanted to get done during the session. After a few quiet minutes in which Ms. Puno contemplated playing the "Jeopardy" theme song, the women stuck their notes to the wall and read them out loud. Tasks ranged from the accomplishable to the never ending, sometimes on the same Post it ("Write to do list, start to X off to do list"). The women dispersed throughout the loft and the air, devices notwithstanding, filled with the sound of polite chatter. "I used to go to a WeWork, and I never talked to anyone," said Brianna Duran, 31, who works in marketing. "Besides the free drinks, which you can only do so many times, really, there wasn't much benefit." Anne Autio, a 26 year old social media manager, said she had visited WeWork and Industrious, a local co working space, "and I felt like I was constantly on display." After the room took three collective breaths, Ms. Sumner and Ms. Topacio discussed learning to be a leader, how to ask for funding, and the balance between corporate stoicism and freewheeling emotion. Ms. Sumner asked how many people had cried that week; everyone raised their hand. "Last night, I ate a Sour Patch Kid and thought, 'Oh my God, I can't be a health coach!,'" said a woman in a chunky gray sweater. As Ms. Wurzl had in the morning, Ms. Sumner invited attendees to describe a professional risk. Kathleen Mahoney, 57, talked about leaving her hometown and boyfriend 29 years ago, moving across the country and starting a music festival. "I had no idea what a business plan was," she said. Now a real estate investor, she is considering opening a community hub in Los Angeles, which prompted her to check out Quilt. "It has this very earthy, hippie kind of vibe that goes back to when I was a kid," Ms. Mahoney said. "I haven't seen it in years. There's something really organic and natural that happens to women when they congregate inside of the home."	N24News: A New Dataset for Multimodal News Classification	Style
It was a chilly evening in Mount Vernon, Wash., on March 10, when a group of singers met for choir practice at a church, just as they did most Tuesday nights. The full choir consists of 122 singers, but only 61 made it that night, including one who had been fighting cold like symptoms for a few days. That person later tested positive for the coronavirus, and within two days of the practice, six more members of the choir had developed a fever. Ultimately, 53 members of the choir became ill with Covid 19, the disease caused by the virus, and two of them died. The event, which was reported in March by various news organizations, demonstrated how contagious and dangerous the coronavirus is, especially among older populations. The median age for those attending the practice that night was 69. Although the virus spread quickly and thoroughly within the choir, it did not result in a significant increase in the infection rate of the community at large. "If they hadn't initiated their own isolation and quarantine before we got involved, you can conceive of a situation where every one of those people would have infected another three people each," said Dr. Howard Leibrand, the Skagit County health officer. "You would have had a huge change in our viral curve based on this one episode." As communities around the world begin to look at ways to ease restrictions on movement and gathering, as well as reopen their businesses and houses of worship, reports like this one raise clear warnings about the dangers posed when a large number of people gather indoors during an outbreak. That is especially the case for activities like singing that can spur transmission. Dr. Leibrand and Lea Hamner, a communicable disease and epidemiology supervisor in Skagit County, conducted the investigation into the choir outbreak and were the authors of the report, which the Centers for Disease Control and Prevention released on Tuesday. They labeled the choir practice a point source exposure and said very few such events had been so clearly isolated as this one, making it a helpful study of how the virus spreads. "It's rare to have a group with a single common exposure," Ms. Hamner said. "Here, we have a defined group, and they all had a similar exposure for a similar amount of time, so we are able to really understand transmission a little bit better with that kind of event." What made the choir practice so fertile for transmission was most likely the very act of singing, in which people projecting their voices at loud volume are prone to emit tiny droplets known as aerosols that can carry the virus. It is a phenomenon familiar to anyone who has sat close to the stage during a play or a musical performance. "When you project your voice, you can project more virus," Dr. Leibrand said. "So it seems like this would be a pretty good indicator we shouldn't be going back to large groups singing in an enclosed space, i.e., church, because that would be the same sort of situation as this." Some people in the Skagit County choir may even have been what the report calls super emitters people who release more particles than others during speech. As of Tuesday afternoon, the total number of cases in Skagit County was 406, according to the Washington Department of Public Health. Pia MacDonald, an infectious disease epidemiologist for RTI International, who was not part of the study, said it was remarkable that the outbreak in the choir did not lead to more infections in the community at large, especially considering the cases were not confirmed until six days after the practice. "You still have a number of days there where people could have been walking around in close contact with other people," she said. The practice took place from 6:30 to 9 p.m., and for much of it the choir members sat in a large room in assigned seats, correlating to how they would sit during a performance. The seats were packed together, six to 10 inches apart, far closer than the minimum six foot recommendation by the C.D.C. during the pandemic. Because only about half the members of the choir were present, many sat next to empty seats. But later they broke off into separate groups, and cookies and oranges were served during a break in the back of the room. When the practice was over, several members helped to put the chairs away, and this contact with surfaces may also have contributed to transmission. Weeks earlier, Washington reported its first coronavirus case, connected to a traveler from Wuhan, China, where the disease outbreak began, but awareness of the coronavirus in many parts of Washington and the United States was still in its early stages on March 10. Ms.. Hamner and Dr. Leibrand said that on March 15, the choir director sent an email to everyone in the choir reporting that six people had become ill. They said that from that point forward, the members of the choir were diligent about remaining isolated.	N24News: A New Dataset for Multimodal News Classification	Health
'Hadestown' Wins Eight Awards at the Tonys What Happens Just Before Show Time at the Met Opera, in 12 Rooms You'll Never See How Danny DeVito Eats an Egg (and Still Says His Lines) on Broadway From Chorus to Lead in 'Miss Saigon'	N24News: A New Dataset for Multimodal News Classification	Theater
DONGGUAN, China Companies here in China's industrial heartland are toiling to reinvent their businesses, fearing that the low cost manufacturing that helped propel the nation's economic ascent is fast becoming obsolete. The TAL Group, which operates an immense garment making plant in this coastal boom town, is moving beyond piecework by helping J. C. Penney electronically manage its inventory of dress shirts, from factory floor to retail shelves as far away as Connecticut. Chicony, maker of a power device used in the Xbox from Microsoft and a major supplier of computer keyboards to Dell, is diversifying by opening department stores, with three so far around China and seven more planned. And after years of assembling vacuum cleaners and rechargeable toothbrushes for Philips and other Western companies, Kwonnie Electrical Products is planning its own line of home appliances. "We want to do more original design and build our own brand," Benjamin Kwok, a company founder, said during a recent tour of a sprawling factory complex that has 3,000 workers, a huge warehouse and labs for testing juice makers, vacuum cleaners and other appliances. "Many customers won't be happy with the decision to compete with them," Mr. Kwok said. "But we have no choice." It is too soon to know whether such makeovers will succeed. But economists consider such efforts necessary and overdue. For years, factories here in the Pearl River Delta region have served as the low cost workshops for global brands, turning this part of China into the nation's biggest export zone. The city of Dongguan, about 35 miles northwest of Hong Kong, has long churned out toys, textiles, furniture and sports shoes including hundreds of millions of sneakers a year for companies like Nike and Adidas. "It is my hope that China's comparative advantage as a low wage producer does disappear the sooner the better," Fan Gang, an economics professor at Peking University, wrote in a recent essay, adding that China needed to upgrade and embark on "the next stage of development." Manufacturing costs have risen rapidly here in response to nagging labor shortages and worker demands for higher wages to help offset soaring food and property prices. Those pressures were evident a few months ago, when a series of big labor strikes in southern China disrupted several Japanese auto factories and resulted in hefty pay raises. There is also the looming prospect that China's currency, the renminbi, will strengthen against other world currencies in the coming years. That would make goods produced here even more expensive to export, and further erode what manufacturers say are already thin profit margins. Seeking lower costs, some Pearl River Delta factories are relocating to poor inland regions of China where wages are as much as 30 percent lower than in coastal provinces. Other factories are moving to lower wage countries like Bangladesh and Vietnam. But for companies that have invested billions of dollars in factories here, simply packing up and pulling out is not always financially feasible. That is why many owners of Dongguan factories are experimenting with other solutions. TAL, which is based in Hong Kong and says it makes one of every six dress shirts sold in the United States, is expanding into supply chain management for J. C. Penney, one of its big shirt buyers. Through an extensive computerized system, TAL can stock and restock shirt shelves in all 1,100 of Penney's retail stores in the United States, as demand warrants. "Too much inventory kills retailers," Mr. Lee said. "Now, we're managing inventory in each store. We gets sales data. We know what's in the warehouse, what's on the boat. We help reduce inventory." TAL is a fortunate survivor. After the global financial crisis hit, Dongguan's exports plummeted by about 25 percent. Thousands of factories simply closed. Now even though exports have rebounded to 2008 levels there are worries that regional growth is slowing drastically. "Since 2008, the investment environment has worsened in Dongguan," said Lin Jiang, a professor of finance at Sun Yat sen University in Guangzhou. "A lot of companies don't see a future in Dongguan. And they feel pressure from the government to upgrade." In Qingxi, an economic zone in the southeastern part of Dongguan, district government officials are trying to help desperate factories adjust to the new realities. If many companies are reluctant to leave, the local government is just as loath to lose the companies and their tax revenue. The 56 square mile Qingxi district is crowded with textile and electronics factories, mostly backed by companies from Hong Kong and Taiwan, that produce for global brands like Burberry, Hewlett Packard and Sony. The country's export boom helped Qingxi transform vast tracts of farmland into bustling factories with noisy assembly lines. That created enormous wealth for the country and the local region. But the labor equation is rapidly changing. Years ago, migrant workers lined up outside factories here hoping to apply for work. As a result, 90 percent of Qingxi's 350,000 residents are migrant workers. Most of them traveled from China's poor interior provinces to find factory jobs that today often pay about 90 cents an hour, which is the typical wage in the Shenzhen Dongguan area. But a demographic shift tied to the nation's one child policy means fewer young people are entering the work force. And government efforts to improve conditions in the interior provinces have lifted growth in those regions and persuaded many young workers to find jobs closer to home. So companies here can no longer pick and choose among workers. "We used to prefer women because they are easier to manage," said Frank Chen, a manager at a Qingxi factory called Lite On Technology, which makes Internet access cards for Wi Fi devices. "Before, we wanted three females for every male. But because of the labor shortage, it's hard to get that ratio now." Chicony, trying to drum up workers, has taken to sending a bus around Dongguan with a loudspeaker blaring, "Chicony is the best." Because of labor shortages and government efforts to raise the minimum wage to improve the livelihoods of migrant workers, pay rates in the Shenzhen Dongguan area have nearly doubled in the last five years. Still, factories here often have to pay middlemen and vocational schools to find migrant labor. The Qingxi government has also tried to step in, organizing recruiting drives into the country's poorest regions. But longer term, district officials want to encourage innovation. Zhu Guorong, the vice director of the Qingxi Office of Trade and Economic Cooperation, is among those trying to remake Qingxi. Recently, he drove a sparkling blue Toyota FJ Cruiser a kind of miniature Hummer through the city's economic zones, talking about the shift under way. "Every company now wants to be a high tech company, and we want to encourage them," Mr. Zhu said, as he headed for an electronics factory, where he would inquire about profitability. The national government has preferential tax policies to encourage technology companies, and the Qingxi district government has a research and development fund officials decline to say how much money it has to support efforts. One company that has already received government money for research and development is a division of Lite On Technology, the electronics supplier. But even for innovators like TAL, the garment maker, success is far from guaranteed. "The price of a shirt has gone down," Mr. Lee said. "But our costs have gone up."	N24News: A New Dataset for Multimodal News Classification	Global Business
In the beating heart of Puerto Rico, there are two arenas: the baseball diamond and the boxing ring. Emilio Lozada, 35, found his calling in the ring. "It's obviously embedded in our culture," said Mr. Lozada, the director of Monterrey Boxing Academy in Bayamon. "Even the people who don't actually box, they're so intrigued by the sport." (Ricardo Figueroa, who manages Mr. Lozada's fighters, translated for him.) Mr. Lozada said that many Puerto Ricans identify with the chance to come "out of nowhere" and fight for their dreams. Since boxing was legalized in Puerto Rico in 1927, the island has produced dozens of world champions, beginning with Wilfred Benitez, who in 1981, at the age of 22, became the youngest world champion in the sport's history. Since then, many fighters, including Felix Trinidad, Miguel Cotto, Hector Camacho and Amanda Serrano, have captured the attention of fans and of young boxers. "For me it's like a legacy, because my father, my cousin and my uncle were professional fighters," Mr. Gonzalez, 23, said. "My uncle went to the Olympic Games in Atlanta in 1996." By the age of 5, Mr. Gonzalez was already in the gym and competing in exhibition matches. "When little kids start fighting in Puerto Rico, they're not looking for a gold medal in the Olympics, they're looking to be world champions," Mr. Gonzalez said. With world titles comes money and a chance to change one's fortune. Training gyms encourage professionalization, but they also serve a secondary function as community centers. Many of them, Mr. Lozada said, began as self started organizations in D.I.Y. spaces. In Mr. Lozada's case, it was a basketball court in Villas de Monterrey in Bayamon, a low income housing complex. A boy who had watched Mr. Lozada training for one of his fights was the first to approach him about learning the sport. More young students followed, until space and location became an issue; Mr. Figueroa said some of the would be boxers were deterred by the housing complex. So Mr. Lozada's fighters, their friends and their family found a new place to train. In a process that Mr. Figueroa says is called "invadir" on the island, "to invade," people enter a building that has been abandoned or ill used and claim it for themselves, cleaning, improving and refurbishing it. The building that Mr. Lozada's gym would come to occupy had been a drug hangout. After much cleared debris, paint, and time and care, it became the Monterrey Boxing Academy, a bright space lined with mirrors, filled with equipment and young athletes training hard. Champions all? Perhaps one day, but that's not the top priority for Mr. Lozada, who said he prefers to create "campiones de vida," or champions of life, and if one of those champions should go on to conquer the ring as well, all the better. "Very few gyms have world class fighters that they're really making that type of money," Mr. Figueroa said, adding that most of it is volunteer work, especially working with children or young men, who are not charged for their training. But as children from the neighborhood come there to work out, and usually step into the ring themselves, Mr. Figueroa says that then the government will often take notice and provide some financial assistance. These smaller boxing clubs begin nurtured by the community, and youngsters with their heart set on the sport. Dedicated coaches organize the space, help procure equipment and even, for example, get all the kids into an old church bus and drive them to local tournaments where they can test themselves against other young competitors. After the fights, Mr. Figueroa said, that same bus often ferries the group to get pizza. In addition to cultivating communities, these boxing gyms are also the sites of deeply personal transformations. "It saved my life," Mr. Lozada said. For those born poor on the island, he said, the temptation to earn a living illegally is ever present. Sports offered him an escape, and he hopes that boxing can offer the same alternative to the young people he trains, should they find themselves in the same position.	N24News: A New Dataset for Multimodal News Classification	Style
SALLIE MAE this week became the latest lender to make private loans available to parents who want to help pay for their child's higher education. Sallie Mae, the largest private student lender by loan originations, said its new parent loan was more flexible, and potentially less expensive, than the federal government's education loans for parents and graduate students, known as Direct Plus loans. More private lenders are marketing parent loans, including Citizens Bank and online lenders like SoFi, as college costs continue to increase and the student debt burden grows. The average debt for graduating seniors at four year colleges in 2014 was nearly 29,000, according to the Institute for College Access and Success. And a new report from researchers led by the Institute for Research on Higher Education at the University of Pennsylvania Graduate School of Education found that college affordability had worsened in 45 states since 2008. Most student loans are made by the federal government. But because the government limits the amount that students can borrow, parents of students who fall short may turn to the federal Plus program or to private lenders. The proportion of students graduating with the help of parent loans has steadily increased over the last decade, according to an analysis by Mark Kantrowitz, publisher of the college selection website Cappex.com. Given the financial burden of college, parents are looking for options. "Most families see paying for college as a shared responsibility," said Charles Rocha, executive vice president and chief marketing officer at Sallie Mae, adding that the company's research found that many parents wanted a "competitive alternative" to the Plus loan. The rate for federal Plus loans is currently 6.84 percent. (Federal loans are offered at fixed rates only.) Sallie Mae said its fixed rate parent loans were 5.74 to 12.87 percent, depending on the applicant's credit rating. Mr. Rocha also said the parent loan charged no upfront fee, while the federal government currently charges 4.272 percent for Plus loans. Student aid experts cautioned that probably only those with excellent credit could qualify for Sallie Mae's best rates. Mr. Rocha said he could not specify how many borrowers might qualify for the lowest rates, but, "We generally expect applicants to fall across the range of rates." Pauline Abernathy, vice president of the Institute for College Access and Success, an advocacy group, said in an email that private parent loans might cost less than federal parent Plus loans for parents with good credit. But she said, there are potential drawbacks borrowers should weigh carefully. Private loans, for instance, will not guarantee some of the same protections and options as federal Plus loans, she said, like the ability to discharge the debt because of a school's closing, loan deferments for economic hardships, and potential access to a repayment option that can tie payments to the borrower's income. Also, Ms. Abernathy noted, if a parent of an undergraduate student applied for a Plus loan and was denied, the student could borrow more money beyond the usual federal loan limits. So, she said, "there are real reasons to apply for parent Plus loans before considering a private parent loan." Borrowers should also keep in mind their overall debt load, regardless of how favorable terms seem, Mr. Kantrowitz said. Turning to private loans to finance your college education may be a sign of "overborrowing," he has written, since students who graduate with private loans or with federal Plus loans are more likely to have more debt than they can afford to repay. Here are some questions and answers about parent loans: Who is eligible to borrow Sallie Mae's new parent loan? Parents of undergraduate or graduate students, as well as other "creditworthy" adults, like grandparents, aunts and uncles, and guardians who want to help finance the student's education, can apply for the loan, Mr. Rocha said. Will interest rates on federal Direct Plus loans change soon? Rates are determined each spring under a formula set by Congress in 2013, and take effect July 1 for the following 12 months. (While rates for new loans may change annually, once a loan is issued, its rate remains the same for the life of the loan.) Where can I complain about problems with student loans? The Consumer Financial Protection Bureau takes complaints about private loans as well as about student loan servicers, the companies that collect payments and otherwise oversee your loan. If you have a problem with a federal loan that you cannot resolve through your servicer, you can contact the Department of Education's loan ombudsman.	N24News: A New Dataset for Multimodal News Classification	Your Money
In "Between the World and Me," widely considered one of the most important books of the year, Ta Nehisi Coates analyzes the physicality of being black in America, and the burden and symbolism of the black body historically and today. Dance, the voice of the body, is in a distinctive position to contribute to this conversation, and that is especially true this week. Beginning on Tuesday, Sept. 22, at the Joyce Theater, Camille A. Brown presents "Black Girl: Linguistic Play," which explores the broad spectrum of black female identity. Ms. Brown is a sharp storyteller, and here she illuminates her theme with infectious spirit by borrowing from the ritual of childhood games (through Sunday, Sept. 27). Starting on Wednesday, Sept. 23, Jaamil Olawale Kosoko, a Detroit born Nigerian American artist based in Brooklyn, brings " negrophobia" to Gibney Dance, in which he considers the "erotic fear associated with the black male body" through a personal and a social lens (through Saturday, Sept. 26). In very different ways, both elevate, celebrate and complicate the black body. (Joyce Theater, 212 242 0800, joyce.org; Gibney Dance Agnes Varis Performing Arts Center, 646 837 6809, gibneydance.org.)	N24News: A New Dataset for Multimodal News Classification	Dance
As the lead singer and guitarist in Speedy Ortiz, a smart, gnarly rock band from New England, Sadie Dupuis has carved out a reputation for righteous independence. She recently pushed that idea further with "Slugger," the first album under her solo moniker, Sad13. Not a radical reinvention so much as a dash through a side door, it finds her working with some of the same melodic angularities and obliquely personal lyrics. That's not to imply a confessional urge, but rather a drive to interrogate agency and self possession. "Get a Yes" is a positivist indie pop celebration of consent; "Devil in U" explores an emotionally abusive relationship. "They let in every boy but I'm the only girl in sight," she sings on "Line Up," over a bashing beat. Those songs should resonate on a crowded bill in Brooklyn on Saturday, Jan. 14, alongside the brittle, melodic postpunk of Patio; the chugging dreampop of Painted Zeros; and the gluey, low fi haze of Jackal Onasis. All proceeds from the show will benefit the Southern Poverty Law Center. (cmoneverybody.com)	N24News: A New Dataset for Multimodal News Classification	Music
How Do You Make Turbo Engines More Efficient? Just Add Water FOR decades, automakers have relied on turbocharging, which uses energy captured from exhaust gases to force additional air into the cylinders, to increase the power and efficiency of some gasoline engines. But turbocharged engines are in a bind, caught between increasingly stringent fuel economy and emission standards and consumers unwilling to sacrifice performance to achieve those environmental benefits. That's why a prominent automotive supplier has developed a counterintuitive technology that could enhance turbocharged engines for passenger cars by improving fuel economy with no reduction in power. How? By spraying water into the cylinders as the engine is operating. The basic principle is that by cooling combustion temperatures and reducing the tendency of the fuel air mixture to fire erratically, water injection allows engineers to increase an engine's compression ratio, or reduce engine size, that way increasing its efficiency. The developer, the German auto supplier Robert Bosch, calls its system WaterBoost. It is not a new concept. Water injection technology came to prominence during World War II, when it was used to enhance the performance of supercharged, piston powered fighter planes during takeoffs and strenuous combat maneuvers. Water injection made another appearance in one of the first turbocharged production cars, the 1962 Oldsmobile Cutlass Turbo Jetfire, where, instead of the sophisticated antiknock sensors that are standard equipment in modern cars, a mixture of water and methanol was added to the air fuel mixture to control combustion. Bosch says that water injection, simulated in this computer generated image, improves fuel efficiency, particularly when accelerating quickly. Water injection appeared again in the 1980s in some turbocharged Formula One cars, which did much to burnish turbocharging's public appeal. But the approach has never caught on for mass market automobiles. Whether it can take hold now is a big question for Bosch. But BMW, one of Bosch's customers, is already using a version of the technology in its high performance M4 GTS cars, and company officials said they liked the results. It was Bosch's involvement in BMW's project that led Bosch to develop WaterBoost as a stand alone product. "We are highly convinced about the performance of the M4 GTS and very delighted about the enthusiastic feedback we get from our customers," Dirk Haecker, vice president of engineering at BMW's M Division, wrote in an email exchange. Mr. Haecker said BMW was considering adopting the water injection technology for other of its M series cars. But Bosch, which plans to have a commercial version of WaterBoost available by late 2019, faces some market challenges. The drawbacks include the need for carmakers to redesign the intake ports and many other components of their turbocharged engines, and the need for consumers to periodically refill a tank with distilled water. And some experts predict that other less disruptive technologies will emerge that can bring similar efficiency gains to turbocharged engines. "If today's turbocharging were the future technology, I would say it is likely that manufacturers will pick this up in the future," said John German, a senior fellow at the International Council on Clean Transportation, an independent nonprofit group. "But it's the potential to achieve similar efficiency improvements in other ways that I think is the biggest challenge to WaterBoost technology, in ways that don't require the consumer to refill the water tank." Bosch says WaterBoost can reduce fuel consumption by as much as 4 percent in regular driving conditions and by as much as 13 percent in high load situations, like accelerating on a freeway or making long uphill climbs. While Bosch had extensive experience in the development of water injection systems for motor sports, where minimizing weight and maximizing performance are the primary considerations, developing a version suitable for passenger cars presented a challenge. Dirk Haecker, vice president of engineering at BMW's M Division, says the company was considering adopting water injection technology for other of its M series cars. "Systems for racecars are really different than for passenger cars," said Martin Frohnmaier, general project manager at Bosch. "For passenger cars you need to focus much more on endurance, much more on durability and so on." The power of modern turbocharged engines is limited by a number of variables, including knocking and heat stress on the exhaust components. By cooling the fuel air mixture under high load conditions, water injection reduces the knocking tendency and also reduces the need to inject additional fuel into the cylinders to protect the exhaust components through evaporative cooling. This allows the engine to produce more torque without a corresponding increase in fuel consumption. While BMW seems to be focused on using water injection as a means to increase performance, Bosch sees an opportunity for a much broader application of the technology aimed at meeting environmental goals. "We see water injection as very important technology to help our customers reach their emissions targets in the near future," said Fabiana Piazza, head of project management at Bosch. Ms. Piazza declined to speculate on what WaterBoost would cost automakers and ultimately, car buyers saying that the specifications of the system, and the complexity of incorporating it into their vehicle lines would vary. While Bosch says that WaterBoost is fully tested and plans to start production in 2019, how the system will fare in the marketplace is still a question. A number of other technologies under consideration including cooled exhaust gas recirculation, variable compression ratio and something known as the Miller thermodynamic cycle might also reduce fuel consumption of turbocharged engines by 3 to 5 percent. It is too early to know whether water injection would have the same impact on fuel economy in turbocharged engines outfitted with one or more of these other technologies. "A lot depends on its synergies with these other technologies," said Mr. German of the International Council on Clean Transportation. "Right now, with the current, relatively unsophisticated turbocharged systems, water injection should be quite effective. But will it still be effective as turbocharged engines become more sophisticated and efficient?"	N24News: A New Dataset for Multimodal News Classification	Automobiles
At long last, the president declared a national emergency on Friday that took aim at some of the specific repercussions of the coronavirus pandemic. And Congress is moving forward with its own, smaller package. But we need much more, specifically, a large injection of broad fiscal stimulus, ideally through a simple one time payment to all Americans. Let's first acknowledge that the United States may well already be in a recession. Prediction markets now put a 73 percent probability on a downturn, up from 23 percent just one month ago. On Thursday, the stock market dipped albeit briefly, at least for the moment into bear market territory, almost always a precursor of recession. Economists are quickly agreeing. JPMorgan now estimates that the nation's economy is likely to shrink by 2 percent in the first quarter and another 3 percent in the second quarter. That would equate to a downturn on the magnitude of what occurred in the early 1990s, when unemployment rose by 2.8 percentage points. We can see the signs of contraction all around us. Massive flight cancellations. Broadway theaters and many museums in Manhattan closed. Movie theater attendance is down by 15 percent and store traffic has fallen by 9 percent (both compared to last year). My inbox is cluttered with event cancellations, including for conferences as far out as June. The oil price collapse while good for consumers threatens to devastate producers from North Dakota to Texas. Those companies are already slicing drilling and other expenditures and more than a few will be declaring bankruptcy, all of which adds more economic drag. Recognizing the urgency, almost two weeks ago the Federal Reserve announced a half percentage point cut in interest rates, which will help both businesses that borrow as well as many current and prospective home buyers. And while the Fed has already signaled its readiness to do more at its policy meeting this week, with the benchmark rate now just above 1 percent, not much room to cut remains. That leaves fiscal policy, where ideas are swirling and political gamesmanship has begun. The president seems to want payroll tax relief. That takes too long, those at the top collect too much, workers at the bottom of pay scales get little and those not working receive nothing. That's why a one time payment makes the most sense. The economist Jason Furman has offered a sensible proposal that mirrors a similar approach taken in 2008 as the financial crisis was unfolding. But the 2008 package was quickly viewed as inadequate, so Mr. Furman's idea of 1,000 for every American and taxpaying resident and 500 for each child makes more sense and at 275 billion, the cost is reasonable. I understand that even a straightforward payment would take several months to process and distribute. I also understand that if people are afraid to venture into stores, they may not spend the money. But my Amazon shipments are still arriving, and Americans still need to shop. As we consider more targeted relief, like the package now in front of Congress, we need to be careful about succumbing to special pleadings, a well established fallibility of the Trump administration. Cruise operators, hotel owners, airlines and oil companies have already outstretched their palms in search of help. Yes, we aided banks and rescued auto companies during the financial crisis. But that was in the context of an extraordinary market failure in which private capital had fled. Today, the stock market still sits at relatively robust levels, borrowing costs for most companies remain reasonable and for those in extremis, like some shale oil producers, the bankruptcy process can work as intended. Equally importantly, we should not lose this moment to accomplish other important objectives. As Rahm Emanuel, President Barack Obama's first chief of staff, famously said, "You never want a serious crisis to go to waste." That means taking advantage of the unprecedented fall in interest rates. Never in history has the federal government been able to borrow money for 10 years at 0.90 percent and around 1.47 percent for 30 years, both substantially below the inflation rate.	N24News: A New Dataset for Multimodal News Classification	Opinion
In January 2019, the chairman of Altria, Howard A. Willard III, flew to Silicon Valley to speak to senior executives of Juul Labs, fresh off signing a deal for the tobacco giant to pay nearly 13 billion for a 35 percent stake in the popular e cigarette company. With public fury growing over Juul's contribution to the epidemic of teenage vaping, he laid out his vision for the company to continue to thrive. "I believe that in five years, 50 percent of Juul's revenue will be international," Mr. Willard told the 200 executives gathered at the Four Seasons in East Palo Alto. Kevin Burns, Juul's chief executive at the time, interrupted: "I told the team to accomplish that in one year!" Many people in audience chuckled, but a year later, nobody is laughing. When the big American tobacco companies started feeling pressure decades ago, they found new markets and friendlier regulation abroad. Juul's efforts to follow the same playbook have been stunningly unsuccessful. The company has been met with ferocious anti vaping sentiment and a barrage of newly enacted e cigarette restrictions, or outright bans, in country after country. As a result, its ambitious overseas plans have collapsed. Juul was kicked off the market in China last fall after just four days. The company has had to abandon plans for India after the government there banned all electronic cigarettes. Thailand, Singapore, Cambodia and Laos have also closed the door to e cigarettes. In the Philippines, President Rodrigo Duterte ordered the arrest of anyone caught vaping outside designated smoking areas. Juul has postponed its launch in the Netherlands and has pulled out of Israel. In South Korea, the number of Juul customers has plummeted after the government issued dire health warnings about e cigarettes, and the company has scaled back its distribution there. "It has been an extraordinarily quick backlash," said Kathleen Hoke, director of the Network for Public Health Law at the University of Maryland. "Countries that you wouldn't necessarily describe as progressive public health nations are attacking this new product so that it doesn't become embedded in their culture as cigarettes have." Public health officials abroad fear the same youth vaping epidemic that has been declared in the United States. Although Juul stopped selling its fruit and dessert flavored nicotine pods in the United States ahead of the national ban, it has not done so overseas, where it is offering glacier mint, mango nectar, royal creme, alpine berry, and until recently, apple orchard. The company said it is phasing out royal creme. Concern about the products worsened after an outbreak of serious vaping related lung disease last summer, although the vast majority of cases have been tied to vaping THC, the high inducing chemical in marijuana, not nicotine products like Juul's. Recently two top executives of Juul's global business resigned, ahead of restructuring in that division. Still, the company insists that a global presence remains very much part of its strategy. "We are committed to advancing the long term potential for harm reduction for adult smokers while combating underage use," said Joshua Raffel, a Juul spokesman. "We have, therefore, been reviewing how best to reset local operations on a case by case basis." The skepticism and ire among regulators and public health advocates abroad are unlikely to dissipate quickly, however. "Their prospects are certainly very much diminished in comparison to where they were a year ago," said Shane MacGuill, senior head of tobacco research at Euromonitor International. "The way they were expanding in some of those markets was causing problems, not only within those markets themselves, but also reflecting back into the U.S. as well. It was adding to the sense in the U.S. that this was a company behaving recklessly." South Korea seemed especially promising for Juul. A wealthy nation of 51 million, its citizens are avid consumers of new technology, especially products from the West, and more than a third of men smoke cigarettes. Juul's sleek and fashionably designed devices enjoyed a few months of rapid growth after arriving on the South Korean market last May, and Juul quickly became one of the top vaping brands. But the company soon encountered strong headwinds. For starters, a pre existing tax on all e liquid products an amount comparable to the tax on cigarettes made Juul expensive for many consumers. And because South Korean law restricts the amount of nicotine allowed in e liquids, Juul pods sold there had to contain less than one percent nicotine, compared to the 3 and 5 percent pods available in the U.S. Even before the government warning, sales had dropped sharply. The penurious nicotine levels proved frustrating and costly for South Korean vapers. Choo Sang Chul, 42, briefly tried Juul but then switched to IQOS, the heated tobacco device made by Philip Morris International. "When I use an e cigarette, I want an experience similar to smoking cigarettes, but Juul didn't have it," he said. "I didn't get the same kick." (IQOS is distributed in the U.S. by Altria through an agreement with Philip Morris International.) Juul's troubles multiplied in October after South Korean health officials, prompted by the outbreak of lung ailments in the U.S., issued a stark warning about e liquids, saying they posed the risk of "serious lung damage and even death." A month later, the South Korean Army banned e liquids on all military installations. In December, South Korean health authorities announced the results of testing on a number of vaping products, including the apple orchard flavor formerly made by Juul, and said that in some products they had detected trace amounts of vitamin E acetate, the adulterant U.S. health authorities have linked to most of the lung injury cases. Juul and other e cigarette companies say they do not use vitamin E acetate in their products and the American health officials have only found it in cannabis vaping products. Nevertheless, South Korea's biggest convenience store chains, the primary retail outlets for Juul, removed two or three of the company's five flavors from shelves. Many smaller stores followed suit. Overnight, the health warnings turned many South Koreans against vaping. Kim Ji Ah, 28, an office worker in Seoul who has been using e cigarettes for more than a year, said she felt like a pariah. "People whisper behind my back when I vape," she said. Juul would not release sales figures, but sales of e cigarette liquids overall in South Korea dropped by 90 percent in the fourth quarter of last year, to 1 million pods from 9.8 million from the previous quarter. The company's prospects are likely to get worse. Parliament is considering a bill that would phase out the e liquid flavors that are said to attract young people, and industry executives are bracing themselves for further restrictions. Juul's devices and pods began to trickle into the Indian market in late 2017 and early 2018, but the company planned an official launch for fall 2019. During that time, however, Juul could be easily bought in shops in cities like New Delhi, Mumbai and Bangalore. They were also available on commercial websites, few of which had age verification to prevent minors from buying them, according to Ms. Shah. Juul spokesman Joshua Raffel said the company has worked to catch smuggled or counterfeit pods and devices in India. "Juul has been very aggressive in India, and they hired well known lobbyists," said Ms. Shah. The end came swiftly. In November, around the time Juul had planned to launch, Prime Minister Narendra Modi signed a law banning the manufacture and sale of any e cigarettes. Juul supported a lawsuit challenging the ban, but later dropped it. Juul did not anticipate a nemesis like Mr. Duterte when it began importing its devices to the Philippines last spring. With 16 million smokers and just 225,000 e cigarette users, the untapped market potential was vast. But in November, Mr. Duterte, whose violent antidrug crusade has left thousands of suspected users dead, unleashed his animus on e cigarettes, vowing to ban them and ordering the police to arrest anyone caught vaping in public. Two weeks ago Mr. Duterte issued an executive order codifying his ban: It relegates vaping to designated outdoor smoking areas, severely limits e cigarette advertising and prohibits those under 21 from purchasing or using such products. In the meantime, more than 2,000 vape shops in and around the capital have closed in recent months, according to the police, and a newly passed "sin tax" will add nearly a dollar to the price of many vaping products. Juul had already announced it would stop selling flavors ahead of the new minimum age regulation, but its efforts to placate Mr. Duterte have not been successful: Last month, Juul executives wrote a letter to the department of finance complaining about a nationwide shortage of Juul pods. The culprit? The company's products have been tied up in Philippine customs, the letter said, thanks to "the President's pronouncement." The company opened stores selling its devices and flavored nicotine pods at upscale shopping malls and showed slick ads at movie theaters. But perhaps its greatest asset was the hip, youthful image that was cultivated in the United States and reached Indonesians through social media. Audrey Anastasya Fide, 25, a security and risk management consultant in Jakarta, was intrigued after seeing Twitter images of Sophie Turner and Maisie Williams of "Game of Thrones" fame holding sleek black Juuls. "I just wanted to try it," she said. A friend brought her one back from the U.S., and Ms. Fide is now a devoted customer. "I prefer the shape of the Juul," she gushed. Although Juul sought to position its products as smoking cessation devices, anti tobacco advocates in Indonesia say the reality on the ground was different. Many Juul customers both smoke and vape, they said, and a worrisome number of buyers are teenagers who had never smoked. "If it's about harm reduction, why is Juul selling their products to kids?" asked Dr. Mouhamad Bigwanto, an antismoking advocate. Dr. Bigwanto reacted to the news in February of Juul's pullout with skepticism, saying he feared that sales of Juul products would simply move online, where a market in bootleg Juul pods already flourishes. "It's good news because right now Juul pods are sold at stores right next to the candy," he said. "But the bad news is that Juul will use this announcement to improve their image."	N24News: A New Dataset for Multimodal News Classification	Health
Whooshing back the dressing room curtain, DeWanda Wise emerged in a red and white striped bandeau top and matching wide legged pants a circus clown's idea of resort wear. "Eighty nine percent of my style choices are like, 'Can I get away with this?'" Ms. Wise said, laughing. She decided that she could. Nola Darling, the polyamorous character Ms. Wise plays on "She's Gotta Have It," now in its second season on Netflix, gets away with a lot, too. During filming, Ms. Wise, 35, doesn't have time to shop. But with the season wrapped, she was spending a cloudy afternoon at City Opera Thrift Shop, a charity store near Gramercy Park in Manhattan that she discovered as an undergrad at New York University. A lot of Nola's outfits come from thrift stores and the like. A lot of Ms. Wise's do, too. At City Opera, a handsome shop with a mezzanine framed by wrought iron balustrades, she had arrived in a black crisscross jumpsuit embellished with gold buttons. She had snagged it at a North Carolina flea market, then altered it to fit like a very snug glove. Her style back then was "very bohemian, very layers oriented. Almost '70s. I was really into bell bottoms." She took that look to N.Y.U. and let it evolve after graduating, while working a series of survival jobs: teaching artist, a waitress at Umami Burger, a promotional model who got paid 30 per hour to stand around and look pretty at publicity events. Now, as she stalked the racks like an apex predator in faun eye shadow, she was in an '80s mood. Was she looking for anything in particular? "Probably just not crop tops," she said. Nola had worn so many in the second season that it had actually become a running joke. "I was like, 'Let me guess. A crop top.'" She was briefly seduced by a black minidress with a leopard print peplum but soured on it when she found the same dress on another rack. "Doesn't this feel like betrayal?" she said. Next, Ms. Wise considered a silky pink shirt, then put it back. "This is a nice lady shirt. I don't really wear nice lady shirts," she said. She has a closet full of nice lady shirts she had bought to audition for episodic television a "Law Order" here, a "Boardwalk Empire" there in the 10 years since she went from struggling actress to star of a show. Just before booking "She's Gotta Have It," she landed major roles in "Shots Fired," a mini series about a North Carolina police shooting, and "Underground," a historical drama that also starred her husband, Alano Miller. To audition for "She's Gotta Have It," she recorded a selfie video of Nola in bed, wearing what Nola would wear: a bra. "A very basic bra," she said. "I don't buy nice bras." Her bra collection has since improved, largely because she has taken home most of the lingerie. "Thankfully my costume designer likes me," she said. Ms. Wise's penchant for knowing what she wants also extends to her romantic life. She married Mr. Miller in 2009, three months after they met at a fund raiser. It was a difficult time for both of them: his father was dying, her mother was incarcerated (she declined to disclose the crime). "Neither of us had any facade or barriers or boundaries," she said. "It was just so clear. And it's still so clear." They're celebrating their 10th anniversary by producing a romantic comedy. It shoots in Chicago this summer. When offered "She's Gotta Have It," Ms. Wise wavered, but once she talked it over with her husband and negotiated a very specific nudity rider (no full frontal, no fondling of her breasts), she decided she wanted that, too. Nola's life is messier than her own, and Ms. Wise likes that. Sometimes she envies it. "She's taking up space to explore, and we haven't seen a lot of black women do that," she said. After surveying the shoe racks, Ms. Wise sorted through her finds and took the remaining clothes to the front counter, where she spotted a pair of pink rimmed sunglasses. The sales representative, Marlene Gutierrez, approved. "Oh my gosh. You know your style, that is fabulous," she said, admiring the frames. She told Ms. Wise that she had pulled a few items for her. Did she want to see them?	N24News: A New Dataset for Multimodal News Classification	Style
In what experts say is likely the first legal decision of its kind, a jury in Wisconsin has found a former sheriff's deputy not legally responsible in the shooting deaths of his wife and her sister because he has amyotrophic lateral sclerosis, or Lou Gehrig's disease. The defense argued that because of his condition, Andrew Steele, 40, had developed a form of dementia and was not guilty because of a mental disease. The verdict, delivered last week, has confounded some clinicians, who fear that it may stigmatize patients of a disease that already is among the most dreaded. "I've taken care of A.L.S. patients for 15 years, and I've never seen any kind of violence," said Dr. Catherine Lomen Hoerth, a neurologist and the director of the A.L.S. Center at the University of California, San Francisco. "I just don't want people to look at someone with A.L.S. and think, 'Oh, what is this person going to do?'" The case was unusual from the start. Last August, Mr. Steele shot and killed his wife, Ashlee Steele, 39, and sister in law, Kacee Tollefsbol, 38, at the Steeles' home in Fitchburg, Wis. Mrs. Tollefsbol, badly bruised and shot in the back, managed to call 911. She died later at a hospital in nearby Madison. Officers found Mrs. Steele's body in the bedroom, with a gunshot in the head and a zip tie around her neck. Mr. Steele was discovered in the laundry room with an outdoor grill and a charcoal fire, apparently trying to kill himself with carbon monoxide. Mr. Steele was arrested and hospitalized, then charged with two counts of first degree intentional homicide. He pleaded guilty to the double homicide, but defense lawyers put forth a novel defense, arguing that he had developed a major neurocognitive disorder associated with A.L.S. He maintains that he was having consensual bondage sex with his wife when the zip tie around her neck grew too tight. He said he remembered nothing further until waking in the hospital. At the trial, prosecutors argued that Mr. Steele had planned to murder his wife and sister in law, and then to kill himself. In a note written on his phone the day before the deaths, they told jurors, Mr. Steele fabricated a three way suicide pact as a cover for the crimes he planned to commit. That day, Mr. Steele also bought charcoal for the grill. These were not the acts of a man who was cognitively impaired, they argued. Mr. Steele, who now uses a wheelchair, was diagnosed with A.L.S. in June. The disease causes the progressive degeneration of motor neurons, eventually leading to paralysis and death. Experts used to believe that A.L.S. left the mind relatively intact even as it destroyed the body. In the past decade, however, researchers have come to recognize that roughly half of A.L.S. patients also experience changes in behavior or thinking. Most of them experience mild cognitive impairment, but roughly 10 percent develop a severe form called frontotemporal dementia, or FTD. Nicholas Gansner, a defense lawyer, argued that while Mr. Steele did not have FTD, he was experiencing some sort of cognitive deficit and his impulse control was impaired. In support of this contention, Mr. Steele's mother testified at the trial that he was eating whatever he wanted, which was very unlike him. On a family cruise, Hailee Meisterling, his surviving sister in law, testified that Mr. Steele once started changing clothes in front of her. (She also said he was drunk.) Bill Steele, the defendant's father, said his son had used the wrong club on the golf course. The jury agreed that these were signs of a cognitive decline and voted 10 to 2 last Thursday, finding Mr. Steele not legally responsible. In the coming days, the state health department will conduct its own investigation, and then Judge Nicholas McNamara must decide whether Mr. Steele requires institutional care or can be freed. The case has raised concerns among medical experts who worry that now A.L.S. patients will be branded as potentially violent, adding to the significant burdens already borne by caregivers. Susan Woolley, a neuropsychologist at California Pacific Medical Center in San Francisco, rejected "any kind of assumption that there's a homicidal or violent aspect to the illness." Apathy is the most common behavior change in her experience, she said: "Overall, A.L.S. patients tend to be very kind, brave people." FTD is the neurocognitive disorder most often developed by patients with A.L.S. Unlike those with Alzheimer's disease, a patient with this form of dementia may not experience memory problems, but will show deficits in executive function, the ability to strategically organize facts in real time. "It doesn't make sense that the cognitive problems that they are describing could be due to his disease, if they ruled out FTD," Dr. Lomen Hoerth said. FTD produces "a gradual, progressive worsening in cognition, behavior or personality over months to years," said David Sabsevitz, a neuropsychologist at Medical College of Wisconsin, who was a paid expert witness for the prosecution. "There was no evidence to show that in my opinion." Mr. Gansner, a defense lawyer, suggested to jurors that Mr. Steele's deficits in executive function might be subtle. "They wouldn't be obvious things," he said. But the American Psychiatric Association's official manual of diagnoses, Dr. Woolley noted, "suggests there's evidence of significant cognitive decline and substantial impairment in cognitive performance. That's not the same as being subtle." Asked if he thought an A.L.S. patient with dementia could commit murder, Dr. Mario F. Mendez, a professor of neurology and psychiatry at the University of California, Los Angeles, said that some patients "may have sufficiently poor impulse control, so reactive violence could happen." But the act would be impulsive and rare.	N24News: A New Dataset for Multimodal News Classification	Health
The Food and Drug Administration is warning consumers to avoid nine hand sanitizer products manufactured in Mexico because, it said, they may contain methanol, a substance that can be toxic if absorbed through the skin or ingested. In an advisory dated Friday, the agency said it had tested samples of two products, Lavar Gel and CleanCare No Germ, and found they had 81 percent and 28 percent methanol, also known as wood alcohol. "Methanol is not an acceptable ingredient for hand sanitizers and should not be used due to its toxic effects," the agency said. The F.D.A. said on June 17 that it had recommended that the manufacturer, Eskbiochem SA de CV of Mexico, remove its products from the market but that so far the company had not responded.	N24News: A New Dataset for Multimodal News Classification	Health
Apart from being visual artists with powerful visions and immediately recognizable styles, M. C. Escher, Francis Bacon and Mark Rothko wouldn't seem to have much in common. But each has been an inspiration to the choreographer Zvi Gotheiner, who has now made a three part dance that sets his interpretations of those artists side by side like the panels of a triptych. The connecting sensibility is his. "Escher/Bacon/Rothko," which Mr. Gotheiner's troupe, ZviDance, presented for the first time at New York Live Arts on Wednesday, features no reproductions of the artists' works, although Mary Jo Mecca's costumes (black with one white sleeve) for the "Escher" section do allude to one Escher in particular. That is the woodcut "Sky and Water," in which images of birds in the sky flying over fish in water interlock like jigsaw puzzle pieces around the horizon line. Rather than reproducing piscine and avian forms, Mr. Gotheiner's choreography responds to the interlocking. The "Escher" segment is replete with ingeniously overlapping patterns. After four dancers make a box of bodies, one peels off on her own but is immediately replaced by another dancer as another of the original four joins the renegade, and so on, until one four person box has become two. This process, over time, is as close as Mr. Gotheiner comes to Escher's all at once images of transformation and infinity. Bacon is known for his portraits, and that allows the "Bacon" segment to approach its model more easily. The erotic tension is high as four men in neckties eye one another. In a line, their bodies contort grotesquely, their mouths torquing in Baconesque silent screams. The act of lowering zippers and disrobing is charged with more than physical exposure, and once the men have stripped down to singlets, they wrestle. As a metaphor for gay sex, this is far from original. Yet it works, especially as David Nosworthy, a dancer as intense as Bruce Lee yet vulnerable, finishes with a solo of brokenness that seems to draw as much upon Walt Whitman's sense of treacherous sensuality as upon Bacon's rawness.	N24News: A New Dataset for Multimodal News Classification	Dance
The unseen but very audible creature that runs rampant in "The Terrifying" Julia Jarcho's lively exhumation of the id within the stories we tell to scare ourselves is said to have many fearsome qualities. There's its fecal breath, for starters, and its tusks, which "are so rough as they catch on your guts." But the description that leeches on to the memory after the lights have come up at the Abrons Arts Center, where this maiden production from Ms. Jarcho's newly formed Minor Theater opened on Sunday night, is that of what it (or It) does to your mind. Once It has had its way with you, "your thoughts are just little wet brains in its mouth." That's as good a definition as I know of what happens to your senses when you give yourself over to a really good or even better, really bad horror movie. Fans of the genre know that its particular thrills rely on an audience's willingness to let its collective mind go rogue. That means letting paranoia, visceral anxiety and the feeling that something bad is about to happen at any second overwhelm the more rational faculties. All those Aristotelian principles of the drama you were taught to honor in English class go into eclipse, and such logic as you're able to hold on to comes straight from your endangered guts.	N24News: A New Dataset for Multimodal News Classification	Theater
Road Seems Dark to You? New Tests Blame Your Headlights She lives in Bethlehem, N.H., and drives her 2005 Toyota RAV4 through the White Mountains, on dark and lonely two lane roads, which are often shared with bear, moose or deer. But when she gets into someone else's car at night, she often notices her headlights could be much better. "I go, wow, their headlights are really good," she said. In a few years, she figures she will buy another RAV4 her fourth and hopes Toyota will have "solved the headlight issue by then." Maybe. But based on 2016 models, the best RAV4 headlights, which are halogens, are still only "marginal," according to ratings published this week by the Insurance Institute for Highway Safety. Not that the RAV4 is alone. Of the dozens of vehicles small S.U.V.s and midsize cars whose headlights the insurance institute has tested this year, only one has been rated "good." That was a 2016 Toyota Prius V. The best any others could muster was merely "acceptable,'' and many fared much worse. There's at least one reason for the shortcomings. The federal standard for headlights became effective in 1968. Some revisions have been made, but the actual testing procedure has not changed much. And despite decades of improvement in lighting technology since then, the government still tests headlamps only in a laboratory setting, not in actual cars on dark, winding roads. Nor does the federal standard specify how far the headlights must illuminate the path ahead. Hoping to shame the auto industry to do better, the insurance group is setting a de facto safety standard for carmakers to meet. "That's how we want to proceed," Adrian Lund, the insurance group's president, said. "We don't go forward with this unless we think we are measuring something that makes a difference in safety." The group, which is supported by insurance companies, notes that almost half of United States traffic deaths occur at dusk, night or dawn. And a number of studies have found that many drivers do not even bother to use their high beams. The group is urging carmakers to produce headlights that guarantee the driver will be able to see a certain distance. The auto industry's chief regulator, the National Highway Traffic Safety Administration, has the power to update headlight standards. But changing a standard is a cumbersome process that can take years. Four years ago this month, the agency announced it was seeking public comment on changes to the headlight regulation. In a statement, the agency indicated it was at work on updating the headlight rules, without specifying a timetable. It is easier for the insurance group to take action. And while its ratings are not legally binding, some automakers view them as a public relations mandate. Starting next January, a vehicle that doesn't get an "acceptable'' or "good'' headlight rating will not be eligible for the group's coveted Top Safety Pick designation, a key selling point in some automakers' ad campaigns. Most of the automakers contacted about the headlight issue declined to comment on the test results, but some, including Nissan and Fiat Chrysler Automobiles, said they would use the information to improve their headlights. Honda said the new rigorous testing would "present a new challenge to all automakers" seeking to earn the group's top rating in 2017. This is not the first time the insurance group has pushed automakers to make improvements that exceed federal standards. Several of the group's crash tests, for example, are more severe than federal tests. That has nudged automakers to revise models to get better ratings from the group. When the group this week released its headlight ratings for 21 small S.U.V.s, none earned "good'' ratings. Four the Ford Escape, Honda CR V, Hyundai Tucson, and Mazda CX 3 were rated "acceptable." Five got "marginal'' ratings and the rest "poor.'' The S.U.V.s were "even more deficient when it comes to lighting than the midsize cars that were the first to be rated earlier this year," the group said. In its tests, engineers measure how far the headlights on a vehicle enable a driver to see down the road on straightaways and curves, and how much glare the headlights produce for oncoming drivers. That is in contrast with the laboratory only tests by the N.H.T.S.A. With the federal test, "there's no way to really know, on the road, how much visibility a driver would have from that headlight," said Matthew Brumbelow, the insurance group's senior research engineer. "You could take that same headlight and put it up high on a pickup truck or down low on a sports car,'' he said, "and you'll get very different real world performance." Many headlights performed poorly in the group's tests because they were not aimed well, Mr. Lund said. The federal standard has no specifications about how headlights should be aimed once they are out of the laboratory and mounted on a vehicle. And so the group is "requesting a level of precision that has not been required of automakers when it comes to aiming the headlights on their vehicles,'' Mr. Lund said. "It's not that the lamps are poorly designed, but if you don't aim them well they will look bad,'' he said. "Getting aim right isn't easy; being off by a tenth of a degree can matter. "But if vehicles are coming out of factories and being sold by dealers with bad aim, well, that's the reality, and it needs to be dealt with." The insurance group is not the only organization critical of how headlights perform. Last year, the AAA motor club released test results suggesting that "halogen headlights, found in over 80 percent of vehicles on the road today, may fail to safely illuminate unlit roadways at speeds as low as 40 m.p.h." Halogen headlights, which contain bulbs filled with halogen gas, have been in use since the 1970s, when they replaced incandescent bulbs. But halogens are giving way to headlights equipped with light emitting diodes (LEDs) or high intensity discharge (HID) lamps. And more recently, at least in Europe and Japan, there are new headlights with "adaptive driving beams." Instead of using high and low beams, these headlights are infinitely variable and reduce glare to oncoming vehicles while providing the equivalent of high beam visibility everywhere else.	N24News: A New Dataset for Multimodal News Classification	Automobiles
LOS ANGELES Call it Harry Potter and the zombie apocalypse. Next month, the Universal Studios theme park here will unveil a large Potter themed expansion intended to attract families, a demographic that has traditionally been owned by nearby Disneyland. But Universal on Sunday threw some surprise red meat at its teenage fan base: "The Walking Dead" is also going to set up permanent residency at the park. An expansive haunted house, built with the creative team behind the AMC horror drama "The Walking Dead," will be located across the entry plaza from the new Hogsmeade, Universal said. A promotional video for the undead attraction, set to open this summer, showed a building in flames and zombies clawing at theme park visitors through holes in a chain link fence. "We're trying to be crossgenerational," Larry Kurzweil, president of Universal Studios Hollywood, said in a phone interview. "This is going to be a once anywhere, immersive attraction that takes it truly over the top." Fans of the hit series (and the comic books on which it is based) have had opportunities to participate in simulated "Walking Dead" invasions before. The Universal parks have previously offered temporary "Walking Dead" themed mazes during their Halloween festivals. And in 2012, there was a "Walking Dead" experience at Comic Con International in San Diego.	N24News: A New Dataset for Multimodal News Classification	Media
A player for Juventus, the Italian soccer champion, has tested positive for Covid 19, the disease caused by the new coronavirus, the club announced Wednesday, a worrisome development for a sport and a country struggling to contain the outbreak. The player, the 25 year old defender Daniele Rugani, is believed to be the first athlete in Italy's top division to test positive. The team said in a statement that Rugani was "currently asymptomatic," but that the club was following isolation procedures required by law for him and anyone who has had contact with him. Rugani is not the first player in Europe to test positive for the disease a German team, Hannover 96, confirmed earlier on Wednesday that one of its players had tested positive and was in isolation but the implications for Juventus, and for European soccer, could be far more severe. Rugani was on the bench when Juventus played its title rival, Inter Milan, behind closed doors on Sunday, and his diagnosis means he, his teammates, his coaches and assorted staff members must be quarantined for 14 days. That will most likely make it impossible for Juventus to play its Champions League match against the French club Lyon on Tuesday, and the news could lead to a quarantine for Inter's players and coaches as well. The Italian soccer season was already in jeopardy. While Juventus was to be allowed to play its Champions League match without spectators, Italy has banned all domestic sports events until April 3, and the entire country is on a broad lockdown with travel between regions restricted, and commerce and daily life disrupted. Italy is among the countries worst hit by the coronavirus, with more than 12,000 confirmed cases and more than 800 deaths. Rugani's diagnosis is likely to have ripple effects with even more teams; opponents who played against Juventus in recent weeks have already been notified. Rugani played against Brescia on Feb. 16 and Spal on Feb. 22, and was an unused substitute in the first game against Lyon in the Champions League and in Sunday's match against Inter. Inter's Europa League game this week with Spain's Getafe had already been postponed after the Spanish authorities barred the Italian team from entering the country. In England, Manchester City's Premier League game against Arsenal was called off after Evangelos Marinakis, the owner of Greek team Olympiacos, which played Arsenal late last month, confirmed he had the virus. The unprecedented disruptions have led to the possibility of solutions that have long been opposed by domestic leagues, including the prospect of playing Champions League and Europa League games on weekends. For years, domestic leagues have fiercely guarded those days for themselves, drawing a red line that European officials dared not cross. As recently as last year, the European Club Association, a trade body that represents Europe's top leagues, reacted with fury when it was suggested that some Champions League games should be played on Saturdays and Sundays as part of a reform of the competition. "We will always protect our weekends," the European Leagues deputy general secretary Alberto Colombo said last year when European soccer's governing body, UEFA, and several top clubs first raised the possibility. "We will not allow European club competition to be played on weekends." In the current climate, though, and amid the need for practical solutions, such intransigence is likely to be tested. While discussions about the reforms are continuing, they have been usurped by more pressing concerns about finishing the current club seasons, which had been scheduled to end in May, in time for the quadrennial European championship. Now, a working group that includes representatives from UEFA and a delegation from the leagues has been set up to exchange information about ways to play the growing backlog of games. The next official discussion is set for Thursday. Nothing is off the table, according to a person familiar with the discussions, including weekend European matches and eliminating home and away ties replacing them with single elimination matches at closed or neutral venues in this year's competition. UEFA declined to comment on the talks, as did the European Club Association. But at UEFA's congress last week, when officials from Europe's 55 nations met, the virus dominated discussions. UEFA's secretary general, Theo Theodoridis, said at the meeting that the leagues and UEFA may need to be "flexible" in overcoming the calendar crunch.	N24News: A New Dataset for Multimodal News Classification	Sports
Every year, as the weather warms and New Yorkers get on with their spring cleaning, the stoops and sidewalks of the city fill with free piles one of the true delights of living in a city of pedestrians and small apartments. But this year, the stoop piles I've seen around my Brooklyn neighborhood have been few and far between, with none of the characteristic disarray that comes with having been shuffled by many hands. The ones that do exist often have signs assuring passers by that they have been disinfected, and are germ or coronavirus free. Of course, how could anyone really know? During a pandemic, no one wants to go digging through someone else's stuff. Not even me, and I love stoop piles. Over the years, I've found almost all my plates and bowls, a set of tiny blue glasses that never fail to draw compliments, a fiddle leaf fig tree taller than me and more books than I'll probably ever read. And I'm still haunted by the Le Creuset Dutch oven I saw years ago in the bottom of someone else's stroller, the free sign still stuck to it. Where had she found it? On one of the blocks I'd walked that day? Could it have been me lugging it home if things had gone a little differently?	N24News: A New Dataset for Multimodal News Classification	Real Estate
Boston Lyric Opera is staging Poul Ruders's 2000 adaptation of "The Handmaid's Tale" at the Lavietes Pavilion at Harvard University, which suggested the setting for much of Margaret Atwood's novel. BOSTON When Margaret Atwood began her novel "The Handmaid's Tale" with the line "We slept in what had once been the gymnasium," she may well have been referring to the Lavietes Pavilion here. After all, the dystopian story abounds with references to Boston and neighboring Cambridge, and suggests a Harvard University Lavietes, its basketball arena, included repurposed for the militaristic theocracy of Gilead. Boston Lyric Opera is running with that possibility. For its new production of the Danish composer Poul Ruders's unsettling and complex 2000 adaptation of the novel, the company opted for something site specific. The gym was available, and for the first time the opera will be staged in the city where it takes place. The acoustics, to start, can be a nightmare. And converting the basketball court involves effectively building a theater from the ground up. Then there's the Ruders opera itself: a dense and difficult score with one of the most taxing mezzo soprano roles in the repertory. (She spends nearly all of the work's two and a half hour running time onstage.) "There's no comparison," Jennifer Johnson Cano, the mezzo singing the title role of Offred, said after a recent rehearsal. "This is more challenging than Verdi and Wagner. I've done Elvira and Carmen. This beats all of them." "Any producer wants to have a thermometer on the zeitgeist," said Esther Nelson, Boston Lyric Opera's artistic director, who, as it happens, made a small appearance in the 1990 film adaptation. "This is the time to do 'The Handmaid's Tale.'" Ms. Nelson and the company are ahead of the curve but will soon be joined by others. Mr. Ruders whose new opera, "The Thirteenth Child," will be given its premiere at Santa Fe Opera this summer said that productions were in development in Copenhagen and San Francisco. "This is certainly a happy thing for a composer," he added, acknowledging that "The Handmaid's Tale" has received an unusual number of productions for a contemporary opera, including an acclaimed American premiere in Minneapolis 15 years ago. He began work on it in the mid 1990s with the blessing of Ms. Atwood, who, he recalled, agreed to the adaptation as long as she didn't have to be involved with it. (She will be in Boston on Saturday to talk about the opera with Mr. Ruders at WBUR CitySpace.) His librettist was the British actor and writer Paul Bentley, later known for playing the High Septon on "Game of Thrones"; they collaborated by phone and fax. The opera, miraculously, loses little of the novel's plot and themes. The book moves fluidly among three time periods: before Gilead; Offred's training as a handmaid; and her present. So does the opera, with the casual abandon of a film script rare for an art form typically limited to a handful of set changes, not more than three dozen. And while the libretto's language can be frenetic and wordy, its structure is calculated in symmetries between the two acts. The music of the past is carefree and bright; "Amazing Grace" becomes a motif of irony and hypocrisy; the vocal range of Offred, pointedly a mezzo soprano and not a soprano to emphasize that she is a slave and not a heroine, is narrow and introverted, allowed to soar only in her most private moments. Working with David Angus, Boston Lyric Opera's music director and the conductor of this "Handmaid's Tale," Mr. Ruders has created a new edition of the score that slightly reduces the orchestration and makes it more manageable for smaller companies. The libretto, however, remains as difficult to stage as ever. The veteran director Anne Bogart, who casually dropped references to the filmmaker Rainer Werner Fassbinder and the writer Italo Calvino while explaining her approach to "The Handmaid's Tale," is treating the opera as something like a memory play. She said she envisioned her staging as the experience of wearing virtual reality goggles: The set changes depending on Offred's perspective, which is, as Ms. Johnson Cano said, "a continuous stream." Anything not currently on Offred's mind or in her line of sight simply disappears. That means a lot of set pieces are on wheels, coming and going from a backstage that essentially doesn't exist. Carl Rosenberg, an acoustician, has been working on the space, aiming to strike a balance between reflective and absorptive surfaces. But everything he does is ultimately speculative: The results won't be known until the room has an audience. What he most wants to avoid, he said, is a dead sound for the voices. If no one can hear Offred, there's no opera. As Ms. Bogart said, "The Handmaid's Tale" occupies a big world, but it's really the journey of just one person. "It's the human heartbeat at the center of this," she said, "that makes you care." Sunday through May 12 at the Lavietes Pavilion, Boston; blo.org.	N24News: A New Dataset for Multimodal News Classification	Music
The art curator Sandra Benites at the Museum of Art of Sao Paulo Assis Chateaubriand, with "Facoes" by Sallisa Rosa, from her photo series "Resistance." These types of knives are a symbol of survival and resistance for rural Indigenous workers. Sandra Benites, of the Guarani Nandeva people, is using art to bring new visions and voices to the museum world. SAO PAULO, Brazil Sandra Benites's work is all about finding common ground. As Brazil's first Indigenous art curator, the 45 year old educator, who grew up with the Guarani Nandeva people in the village of Porto Lindo, wants to use art to bridge the gap between Indigenous Brazilians and those from other backgrounds. She is searching for a way to show their commonality, and is looking to represent many of her country's 305 ethnic groups in "Indigenous Stories," a yearlong exhibition of global indigenous art set to take place at the Museum of Art of Sao Paulo Assis Chateaubriand, known as MASP, in 2021. That shared thread, she said, will come in examples of storytelling and the profound connection all Indigenous Brazilians have to their land. "My favorite thing is to look at the narrative everyone has their own way of telling a story," Ms. Benites said. But what unites Indigenous people, she added, "is our vision of the world and how it relates to our territory." As one of several curators of "Indigenous Stories," she will organize an exhibition that will feature sculpture, paintings, photographs, dance, narrative song, performance and audiovisual art associated with the land. In recent months, Brazil's Indigenous land has been at the center of a battle between the current administration of the far right president, Jair Bolsonaro, and environmental activists, many of whom are Indigenous. As fires raged toward the end of 2019 across the Amazon in the country's north, Indigenous leaders called for an end to the decades long deforestation of the rainforest, along with the violent attacks on leaders who were trying to protect their land. Illegal miners, loggers, farmers and ranchers became emboldened by a president who promised not to give "one more centimeter" of land to Indigenous people so that it could be used, instead, for activities he deemed more lucrative for the country's economy. Data from Brazil's National Institute for Space Research, known as INPE, proved that the environmentalists' suspicions were not unfounded. The agency's Deter database showed that annual deforestation in the country's Amazon rose 85 percent in 2019 compared with the previous year. In November, figures from the space agency's Prodes project, which monitors clear cut deforestation in the Brazilian Amazon, showed deforestation in 2019 was at its highest in over a decade, and up 30 percent from 2018. Now, Mr. Bolsonaro has moved to legalize activities like commercial mining and hydroelectric energy production projects on Indigenous land, a key pledge of his 2018 election campaign. He announced in early February his intention to present a bill to Congress. For Ms. Benites, the struggle to protect Indigenous land has been a flash point since Brazil was colonized by the Portuguese, giving groups centuries of practice to learn how to handle the current situation. "This has always happened, but it used to be more veiled," she said. "Now it's been completely unmasked." She added, "We've been up against it basically since 1500, meaning we're not afraid anymore. I remember all of my relatives saying, 'The more we're attacked, the more we're encouraged.' We're aware of our own wisdom and know how we have to fight back, and that's by creating a dialogue with others." These days, Indigenous Brazilians are facing another immense challenge, as the coronavirus has made its way into their communities. As of Monday, the Special Secretariat for Indigenous Health confirmed 402 cases and 23 deaths from the virus. Memories of Europeans who brought smallpox and measles to Indigenous communities in the 1560s were reawakened when a judge issued an order on April 17 banning evangelical missionaries from the Amazon's Javari Valley, where the world's largest concentration of isolated tribes live. But there are still concerns that illegal miners and loggers, who continue to work in the region, will help spread the virus there. Ms. Benites, who lives in Rio de Janeiro, had been traveling to Sao Paulo several times a month to prepare for "Indigenous Stories," looking at art that plays the role of conversation starter, pushing people from all backgrounds to have more frank discussions about history, Indigenous rights and culture, and the protection of the environment. While MASP shut its doors on March 17 and Ms. Benites is working from home, "Indigenous Stories" is still scheduled to take place next year. She hasn't yet made specific selections for the exhibition, but she said she wanted to include artists who paint about cosmology and its important symbolism in Indigenous cultures and origin stories; artists who make photos about their and other people's connection to nature; and who sing as a form of resistance. Ms. Benites is particularly concerned about the rights of Indigenous women in Brazil, who she said still haven't had the chance to delve into issues like autonomy and better working conditions, because "Indigenous women are still fighting for survival, for the Indigenous way of life." She looks to her grandmother, a Guarani Nandeva leader and midwife, as an inspiration. "She said that when I grew up, I had to learn to embrace the world because the world won't embrace you," Ms. Benites explained. The inclusion of female artists in the exhibition will give them the opportunity "to be the protagonists of their own voices," Ms. Benites said. She hopes to include women from various ethnicities and disciplines, like a Guajajara performance artist, a Karaja photographer, a Huni Kuin painter, and Guarani and Maxacali audiovisual artists. The work of the artist Sallisa Rosa speaks to the themes Ms. Benites wants "Indigenous Stories" to represent. Ms. Rosa uses photography and video to explore contemporary identity in Brazil through stories of violence, forced migration and the erasure of memories, rituals and ancestry. Ms. Rosa's "Facoes," from a photo series called "Resistance," features knives as a symbol of survival and resistance for rural workers. The piece was part of the 2019 exhibition, "Historias feministas: artistas depois de 2000" ("Feminist stories: artists after the year 2000"), and is now a part of MASP's permanent exhibition. Before she was asked to join the museum as an adjunct curator of Brazilian art last year, Ms. Benites was a teacher in Indigenous schools, which offer the same subjects found in all public schools but add classes on Indigenous culture and language. She noticed, however, that the history and geography books they were given weren't adequate. "We didn't see ourselves in it," Ms. Benites said, explaining her decision to pursue her master's degree in intercultural Indigenous education so that she could broach these subjects with decision makers. She had little experience working with artists. Her first step was in 2017, when she was one of four curators of an exhibition at the Art Museum of Rio called "Dja Guata Pora: Indigenous Rio de Janeiro." Indigenous art presented in museums is often researched and selected by non Indigenous curators and put on display based solely on their vision, Ms. Benites said. With "Dja Guata Pora," she made sure the planning included Indigenous people and the artists themselves. That same year, she was invited by the museum to present a seminar that would introduce museum goers to the 2021 Indigenous art exhibition as it began its preparations for the project, which led to the request that she come on permanently. "It's a turning point in the history of Brazilian museums and institutions," Adriano Pedrosa, MASP's artistic director, said of her hiring. "We see many institutions now realizing the necessity of bringing Indigenous art and culture to art museums, beyond the ethnographic museums. "It's often we're looking at something as foreigners, as outsiders," he added, "so it's fantastic to have someone who sees things as an insider." As with "Dja Guata Pora," Ms. Benites said she would make sure that decisions on how to present the pieces in the show will be made by everyone working on the project, including the artists. For Indigenous people, she said, art is not about the work, but the artist who creates it. There's no equivalent, for instance, to the word "art" in the Guarani language; the closest translation is tembiapo, or "related to someone's abilities," she explained. "The artist is fundamental for this work to exist. That's why we first look to the artist and not the art itself." Most Guarani boys, for example, learn to carve animals out of wood from a young age, but when you look at a carving, you know who created it, because the artists bring their own story and hard work to their pieces. "Art makes so many things possible," she said. "These narratives, or songs, or dances, or paintings, they all help you understand that other person behind it." At the same time, she's also co curating "Sawe," an exhibition about Indigenous political leaders, set to open at the end of this year at Sao Paulo's SESC Ipiranga cultural center. She hopes that others will learn from the art she chooses, particularly about perspective and the importance of including the voices of women artists in the conversation.	N24News: A New Dataset for Multimodal News Classification	Art & Design
What is it? The North American debut of Bentley's V8 version of the Flying Spur sedan. Is it real? Yes, if you can afford it. The Flying Spur V8 is not exactly a down market sport utility vehicle. What they said: "It is for those who want to experience Flying Spur craftsmanship," Christophe Georges, president and chief executive, hinting that it is a Bentley for (some) of the rest of us. It's good to be a luxury brand today, with 2013 sales up 19 percent globally for a grand total of 10,120 new vehicles on the road. It is so good, in fact, that Bentley is rekindling its racing ambitions with a Continental GT3 to be helmed by Dyson Racing in the 2014 Pirelli World Challenge race at Road America in June. And Mr. Georges couldn't help reminding the audience that the 2015 Continental GT Speed (also making its North American debut) is the world's fastest convertible four seater, with a top speed of 203 m.p.h. Take that, Rolls Royce. What they didn't say: Originally shown at the Geneva auto show in March, it is a luxury car for those who didn't make the Forbes wealthiest list and who may want to appear (a little) more eco friendly in contrast to 12 cylinder owners while sacrificing just a little performance. The 6 liter W12 engine gets the car up to 60 m.p.h. in 4.3 seconds, compared with the V8's 4.9 seconds. And the 8 cylinder has a top speed of only 183 m.p.h. versus the 12's 200 m.p.h.. But with just a few subtle design accents, like eight chromed exhaust tips and a red mark on the Bentley Wings, you're not likely to tip off gawkers that you couldn't afford the full power 12 cylinder version. How much you'll save over an Edmunds listed price of 190,000 for a W12 model has yet to be determined.	N24News: A New Dataset for Multimodal News Classification	Automobiles
The dances of the choreographer Lucinda Childs are polished, immaculate, empty. Their elegance seems like a clinical condition; beneath it, there's no sign of inner life. This isn't the dancers' intention; some of them twinkle and smile affably. It's how Ms. Childs's work makes her performers' body language look from the neck down: inexpressive and inhibited, glacial even when hurtling through space in complex jumps and turns. Her company is now at the Joyce Theater until Dec. 11; next week, it performs her most admired work, the 1979 "Dance," with music by Philip Glass and film by Sol LeWitt. The troupe's opening program, "Lucinda Childs: A Portrait (1963 2016)," consists of eight works spanning nearly 54 years. But what does this portrait portray? The dancers skilled, fleet, buoyant look perpetually guarded, facades rather than people. They're informally attired: During most of the program, they wear an attractive assortment of leotards, skirts and trousers. Yet from pelvis to chest, their deportment is so unyieldingly erect that they might be wearing girdles. Seldom, even in ballet, do we find posture so rigid. One dancer alone, Benny Olk, looks relaxed about the waist and hips, but even his quiet calm doesn't make the choreography bloom. The performers' unbendingly upright quality is not confined to the center of the body. Heads, necks and arms are carried with marmoreal firmness, as if these dancers belonged in chokers, long white gloves and ostrich feather tiaras. This is a disappointing way to write of one of the founding figures of postmodern dance. Ms. Childs, now 76, has long been famous for her choreography's blend of dance minimalism, sprightly virtuosity and geometric patterns. Her style is cool and outward bound; I'd love to love it. I've seen it rarely over the years, and each time I hope that a revelation will come. I have no objection to its repeats and recyclings; long years of exposure to minimalism in music and dance have given many of us an appetite for this. But why do these dances feel arid? The difference between the oldest work ("Pastime," 1963) and the newest ("Into View," 2016) is one of vocabulary rather than spirit. Whereas the idiom of the best known Childs dances has the performers traveling (with vertical carriage, of course) through space, the solos of "Pastime" feature one dancer balancing on one flat foot, and another sitting, legs raised, in an elasticized band of fabric while changing her profile from side to side; each performer slowly stretches and flexes one leg. In "Into View," the dancers touch (a novel effect for Ms. Childs). And each of the other pieces, made between 1976 ("Radial Courses") and 2015 ("Canto Ostinato"), has its own distinct idiom. Yet frosty outer form is all that matters throughout. "Radial Courses" is a kind of pedestrian variation on the "Ben Hur" chariot race, with four men speeding around the same circuit of the stage, overtaking one another. (The variation becomes pronounced when some of them start to go around counterclockwise.) Already here, the corseted look is in place. By the time of "Interior Drama" (1977), the resemblance of Ms. Childs's work to Baroque ballet (much remarked upon in the early 1980s) has been established: springing feet; legs often making brisk extensions, almost to 45 degrees but not higher; constant floor patterns. This dance uses five women, whose formations keep reverting to a broad V geometry while their legs keep suggesting upside down, narrower V's. It's untroubling; it's also soporific. Despite that piece's title, Ms. Childs's work lacks drama; her group dances immediately establish a status quo and stick to it. The only sound in the 1976 78 dances comes from the dancers' feet. The four works after the intermission, dating between 1993 and 2016, are tied tight to their (taped) musical accompaniment: It's as if musicality were a Sudoku. "Concerto" (1993) is to Henryk Gorecki's fierce "Concerto for Harpsichord and Strings"; "Lollapalooza" (2010) uses the third movement of John Adams's "Son of Chamber Symphony." The two most recent works are "Canto Ostinato," which employs Simeon ten Holt's "Canto Ostinato," and "Into View," danced to "The Sun Roars Into View," by Colin Stetson and Sarah Neufeld. Each piece has its own look and its own climate and steadfastly takes its pulse and phraseology from its score. For some people, these works exemplify the classicism of postmodern dance; any dancegoer can spot moments when they echo choreography by George Balanchine and Merce Cunningham. Yet, despite their energy, I find them not classical but academic: obedient to self made rules without revealing any inner impulse.	N24News: A New Dataset for Multimodal News Classification	Dance
UPLOAD Stream on Amazon. The "Parks and Recreation" co creator Greg Daniels takes a stab at the hereafter in "Upload," a dark, class conscious comedy series about a socially stratified digital afterlife. The show, created by Daniels, begins with death: A young man, Nathan (Robbie Amell), is critically injured when his self driving car crashes. Bankrolled by his wealthy girlfriend (Allegra Edwards), he gets uploaded into a cushy virtual afterlife, complete with in app purchases. Things get complicated (well, more complicated) when he gets close with Nora (Andy Allo), a customer service representative for a company that manages the afterlife. "Part of the impulse here is to kind of do a genre mash up," Daniels said in a recent interview with The New York Times, "to have satire but also to have romance and the mystery." TRYING Stream on Apple TV Plus. "I know it sounds bad," Nikki (Esther Smith) says to her boyfriend, Jason (Rafe Spall), in the first episode of this British comedy series. "But do you think they'd feel like someone else's child?" The couple are having a conversation about adoption. "I think they probably would at first, yeah," Jason responds. "But I think you know, you would, you'd wear them in. Like trainers." That exchange and the funny and earnest notes on display in it neatly encapsulates the tone of the series at large. The show follows the couple as they navigate adopting a child.	N24News: A New Dataset for Multimodal News Classification	Television
When Montana Simone first saw the turn of the century horse stable in Bushwick, Brooklyn, that would become her art gallery and home, she scarcely noticed that a handful of space heaters provided the only warmth, or that the wind blew into the front room under a gap of several inches beneath the barn door. "I was like, 'Wow, there is nothing wrong with this space!'" she said. "Which stuck with me, because I'm usually very critical about how people set up their spaces." Ms. Simone said that, having grown up in a series of lofts and loftlike spaces in San Francisco, Sonoma, Calif., and Grenoble, France, surrounded by huge weavings done by her artist mother, her domestic ideal diverges somewhat from the norm. "Most apartments feel really suburban to me, like what a friend's parents would live in," she said. "They're like TV sets, like something out of a sitcom. It's hard for me to imagine people actually living there." Montana Simone created an apartment in her gallery in Bushwick, Brooklyn. Liz Barclay for The New York Times The white box gallery where she spent the last two years living and working is tucked behind an auto body shop and across from a tortilla factory on an industrial thoroughfare by the Bushwick Williamsburg border. Though the area has little foot traffic, Ms. Simone estimates that visitors to the gallery number in the high hundreds each month. She has hosted 10 to 12 art show installations a year there, as well as dance and sound art performances, concerts, experimental film screenings, panels, lectures and events ranging from figure drawing sessions to essential oils classes. The first floor is largely given over to a high ceilinged exhibition space, sparsely furnished with plants and stylish castoffs, including a working upright piano. Behind a door sits an overflowing office, which leads to a bathroom and a small, windowless room where, until last week, she slept and stored her clothes. Downstairs in the finished basement are four art studios, a small kitchen, a stage and an exhibition area. She took the space over from a friend who, feeling burned out after having tried to make a go of running a gallery there for several years, moved to Woodstock, N.Y. Ms. Simone was staying with the friend in Woodstock in the fall of 2014, having just returned from filming a project about radical hospitality in the Middle East, the Mediterranean and Europe deliberately visiting countries "typically labeled as hostile" to document the generosity of their hosting traditions. Hesitant about resuming the life she had left behind in the city (bartending to pay the bills and carving out time for artistic projects on the side), she remembered how taken she had been with the gallery space. She went to Bushwick the day after Christmas two years ago, sleeping on the floor of the gallery and eating Thai food as she mulled the possibilities. "I had never thought about having a gallery," she said. "But I fell in love with curating." But running a gallery has been onerous as well as fulfilling. Making the rent, for one, is a frequent source of stress. She pays 3,700 a month, and an additional 200 in utilities. As a commercial tenant, she must also pay 2,200 a year in real estate taxes and 1,200 annually in liability insurance to host public events there. The art studios downstairs rent for 500 to 1,000 a month; she and her nonprofit gallery must generate the remainder. And as much as she has enjoyed fostering other artists' creative endeavors a show by the multimedia artist Azikiwe Mohammed, who explores black American identity and experience, opens later this month running and living in the gallery has left her with little time for her own projects. "I don't want to be available to every single person who walks in anymore,'" she said. " I'm 28. I have two years left until I'm 30. I want to do my own work." So in late December, busy with preparations for the installation of her radical hospitality project, which will open in the gallery this spring, she moved into a friend's apartment in nearby Broadway Junction where she'll pay 750 a month. Her room at the gallery will revert to a studio that she will rent out. She had worried about the legality of living in the space anyway, although shop owners and artists have lived in the backs of their spaces for centuries.	N24News: A New Dataset for Multimodal News Classification	Real Estate
A roundup of motoring news from the web: Ferrari just gave all of its roughly 3,000 employees bonuses of more than 5,600, according to a report from Autofluence. In a news release, Ferrari cited record profits and high product quality as the reason for the extra pay. The last time the automaker gave bonuses, in 2013, employees received about 6,000 each. (Yahoo Autos) In an effort to move this year's models as next year's are unveiled at the New York auto show this week, Dodge is offering the one year lease program Dodge Double Up for 2014 Chargers and Challengers. Customers can lease a 2014 model for a year, with the option for a three year lease for a 2015 model for the same price, with no money down. Customers who buy the '15 model will get a 1,000 bonus. Chrysler says the program will run until August. (Chrysler Group) In other Chrysler related news, about 150 dealerships the automaker dropped when it filed for bankruptcy in 2009 may be eligible for government compensation because it ordered Chrysler to cut some franchises. A panel of federal judges ruled April 7 that the dealers could argue their case in federal court. If the dealers win in court, it would mean the federal government would owe them millions of dollars. Such an outcome could also set a precedent for General Motors franchises that suffered the same fate. (Automotive News, subscription required) Jose Munoz, chairman of Nissan's North American operations, says that a new dealer sales incentive program will be good for dealerships and help Nissan gain 10 percent of the American market. Starting April 1, the automaker gave its 1,100 dealers a year to hit its sales goal, giving them latitude to be creative with marketing money and sales strategies. (Automotive News, subscription required)	N24News: A New Dataset for Multimodal News Classification	Automobiles
Plus, a Times Talks event. GAZ COOMBES at Baby's All Right (March 5, 8 p.m.) and Mercury Lounge (March 6, 6:30 p.m.). Starting in the mid 1990s, Gaz Coombes brought a madcap energy to the Brit pop era as the lead singer of Supergrass. (If you've ever seen "Clueless," you know the band's biggest hit, 1995's "Alright.") Since that group's breakup in 2010, Mr. Coombes has continued making music on a more modest scale, and these shows will preview his new solo LP, "World's Strongest Man," out this May. 877 987 6487, babysallright.com; mercuryeastpresents.com/mercurylounge CUPCAKKE at Le Poisson Rouge (March 6, 8:30 p.m.). There's no easy way to quote Cupcakke's best lyrics in a family newspaper, so let's just say that if you appreciate artful raunch, you should listen to her most recent album, "Ephorize," immediately. In the past year, the rapper, known offstage as Elizabeth Harris, has gained renown far outside Chicago, her hometown, for her very funny, profoundly unprintable observations on sex and other topics. 212 505 3474, lpr.com FRIGS at Alphaville (March 3, 8 p.m.). Led by the charismatic singer (and sometimes screamer) Bria Salmena, this Toronto post punk band is good at making noise sound new. The best songs on their debut album, "Basic Behaviour," have an intensity that's hard to shake. Start with recent single "Talking Pictures" for a taste or see this show, which Frigs will headline with the Brooklyn trio Bambara. 877 987 6487, alphavillebk.com TIBET HOUSE U.S. BENEFIT CONCERT at Carnegie Hall (March 3, 7:30 p.m.). Tibet House U.S. has worked to preserve the cultural traditions of Tibet since the late 1980s, and in the past decade, it has become arguably even better known to music fans as the raison d'etre for this annual fund raising concert. Philip Glass and Patti Smith, both longtime supporters of the organization, return to this year's lineup. The rest of the bill is packed with singer songwriters, from Stephin Merritt (of the Magnetic Fields) and Carly Simon to Rhiannon Giddens, Dev Hynes and Angel Olsen, all of whom make music that's well suited to Carnegie Hall's sweet acoustics. 212 247 7800, carnegiehall.org MARIA GRAND at the Jamaica Center for Arts and Learning (March 8, 8 p.m.). An engrossing young tenor saxophonist with a zesty attack and a solid tonal range, Ms. Grand performs as part of the Jazz Gallery's itinerant presenting initiative, which brings a different young artist to the Jamaica Center once a month. Ms. Grand, who's possessed of a free ranging but firmly grounded improvisational language, appears here with a trio featuring Ben Tiberio on bass and Kush Abadey on drums. 718 658 7400, jcal.org FRED HERSCH, DREW GRESS AND BILLY HART at the Village Vanguard (March 6 11, 8:30 and 10:30 p.m.). These three expert musicians all boast a lightness of touch and a keen sense of suspenseful development. Mr. Hersch, a pianist, has played separately with the bassist Mr. Gress and the drummer Mr. Hart, but they haven't performed as a trio in more than a decade. This week provides a chance to hear three elder musicians whose creative drive remains undiminished, exploring a fresh scenario. 212 255 4037, villagevanguard.com MIMI JONES at Lehman College (March 3, 7:30 p.m.). Ms. Jones vests her bass with hearty power; she often sings as well, adding a spirit of gentle reassurance. She's an ambitious composer, too, writing music that mingles jazz with funk, rock and American folk influences. Here she presents "The Black Madonna," a new series of compositions inspired by images of an African Mary. Her band includes Leonor Falcon on viola, Nir Felder on guitar and Darrian Douglas on drums. 718 601 7399, bronxartsensemble.org CHARLES MCPHERSON at Dizzy's Club Coca Cola (through March 4, 7:30 and 9:30 p.m.). In the 1960s, after the alto saxophonist Eric Dolphy departed from Charles Mingus's band, Mr. McPherson stepped in. He stayed with Mingus through the mid 1970s, and his ardent, chirruping attack heavily influenced by Charlie Parker and Sonny Stitt became a defining component of the ensemble. In the years since, Mr. McPherson has hardly strayed from the path of bebop conservationism. He will perform in a stalwart quintet with the guitarist Yotam Silberstein, the pianist Jeb Patton, the bassist Todd Coolman and the drummer Jonathan Blake. 212 258 9595, jazz.org/dizzys BOBBY PREVITE at Roulette (March 2, 8 p.m.). Mr. Previte, a drummer, composed "Rhapsody" a long form suite, designed for an unorthodox instrumentation with migration and intermingling in mind. The work, which bears the subtitle "Terminals Part II: In Transit," unfolds with dizzying intensity and convulsing complexity, often employing abstraction to evoke the dislocation of travel. Mr. Previte just released the music on CD, MP3 and vinyl, and he performs it here with four of the five musicians who appear on the album. It's a stalwart crew: the vocalist and multi instrumentalist Jen Shyu, the guitarist Nels Cline, the pianist John Medeski and the harpist Zeena Parkins. 917 267 0368, roulette.org MIGUEL ZENON at Hunter College (March 3, 8 p.m.). Mr. Zenon, an acclaimed alto saxophonist and a MacArthur fellow, presents "En Pie de Lucha," a new work dedicated to the struggle for self determination in his homeland of Puerto Rico. He will play the lush, marching, almost bellicose piece in a concert benefiting victims of Hurricane Maria. Mr. Zenon will be joined by a 23 piece iteration of the Massachusetts Institute of Technology Festival Jazz Ensemble, led by the conductor Fred Harris; the orchestra was planning to perform the work during a tour of Puerto Rico in January but had to postpone because of damage wrought by the storm. 212 772 5020, music.hunter.cuny.edu BEN HARPER AND CHARLIE MUSSELWHITE at the Times Center (March 5, 7 p.m.). See a performance and conversation with these two award winning artists, who have teamed up on "No Mercy in This Land," which comes out on March 30. Their last collaboration, "Get Up!," won a Grammy for best blues album in 2014. All of their New York City shows are sold out, so don't miss this unique opportunity. timestalks.com	N24News: A New Dataset for Multimodal News Classification	Music
At the Tefaf Fair, Old Masters and Powerful Women The fifth installment of Tefaf New York, the art fair that started in Maastricht, the Netherlands, is just as grand and impressive as its previous versions. Opening Saturday and running through Wednesday, the show features objects that were made for kings and queens, emperors and pharaohs, and representatives of the avant garde. Everyt hing on view has been vetted by expert curators and conservators, since the fair was historically a shopping mart for museums. There are 93 booths presented by "experts" (as Tefaf calls them, rather than "art dealers") and an all star lineup of programming. On Saturday you can learn about modern art in India; on Sunday, Delacroix or the black figure in art from the 19th century to the present, while Frick Collection officials will discuss plans for their renovation on Tuesday. In the meantime, here are some of the exceptional displays. From left, "August Afternoon in the Alleghenies" (1959 61), and "Trilliums and Rock Ledge" (1919), both by Charles Burchfield, at the Bernard Goldberg booth. Rebecca Smeyne for The New York Times Appropriate for the New York version, Tefaf has some remarkable examples of American art. Hirschl Adler (Booth No. 370) has a full length portrait of George Washington, painted around 1800 by the great American portraitist Gilbert Stuart. Part of a series of seven Gilbert paintings of the first president, this one is filled with details borrowed from classic European portraiture, and includes the artist's signature peeking from under a drapery. Bruce Kapson (104) has an extraordinary display of copper photogravure printing plates by Edward S. Curtis, created for his project "The North American Indian" and completed in 1928. Many of these images of indigenous Americans from west of the Mississippi River will be familiar to visitors but not in this unusual form. Another American master and a favorite among contemporary painters is Charles Burchfield. A collection of his gorgeous, large scale visionary watercolors created from 1915 to 1965 many painted at his home near Buffalo, N.Y., and depicting the local landscape are on view at Bernard Goldberg (202). In historical art shown at Tefaf, women are more often patrons than artists (unless they were models). But there are some superb examples of how women wielded power in earlier ages. Mullany (373) has a 1520s Flemish wool and silk tapestry with the coat of arms and initials of Christine de Lechy, a wealthy widow from the province of Limburg and the mother of two abbesses of a Cistercian Abbey in the southern Netherlands. The well preserved tapestry (it was rolled up and only displayed on special occasions) includes rich foliage, animals and gargoyle like human heads. Two important women are also connected with illuminated manuscripts on display at Heribert Tenschert (203): a Book of Hours from around 1503 to 1507, thought to be made for Catherine of Aragon, the first wife of King Henry VIII, and another Book of Hours in a jeweled binding of gold and enamel, from the 1520s, made for Claude of France, queen consort and daughter of King Louis XII. European old master paintings and sculptures, Tefaf's core staples, are predictably strong. The upstairs rooms in the Armory provide spaces not unlike chapels in Christian churches or nooks in a dusty chateau. Rob Smeets (209) has a Tintoretto portrait of a cardinal who was also an ambassador. Coinciding with an exhibition of Tintoretto drawings at the Morgan Library Museum, this painting has Tintoretto's signature dramatic lighting, but with modern details like incising done with the stick end of the paintbrush. Benappi/Mehringer (205) is showing a neo Classical portrait from 1758 by Anton Raphael Mengs of another powerful cardinal who was also a nephew of Pope Clement XIII. Downstairs at Haboldt Pictura (341) is a still life painted in Antwerp by Jan Brueghel the Younger around 1625, depicting a decorated vase stuffed with flowers and crawling with insects. As in most northern European paintings of that period, the bugs and flowers are markers of some moral or philosophical principle. The next King Louis of France was something of a gun aficionado, as well as an avid hunter. (According to experts at Peter Finer (306), Louis XIII already owned almost a dozen guns by the time he was 6 years old.) The London based Finer is showing a wheel lock gun made from 1620 to 1630 by the celebrated designer and gunmaker Jean Henequin of Metz. It was made for an official of Louis XIII and kept in the king's cabinet of arms and probably looted during the French Revolution. (Arms were stored in the fated Bastille.) The wooden gun, which carries markings that identified its origins and a marvel of details in steel, gold and brass was used to hunt animals like stags. Less lethal objects can be found at Ronald Phillips (357), which is celebrating the 300th anniversary of the birth of the English furniture designer Thomas Chippendale (1718 1779). Photographic wallpaper lining the booth captures the interior of Brocket Hall, owned by the first Lord Melbourne and now, like many grant English estates, is available for weddings and golf. Lord Melbourne commissioned a set of chairs from Chippendale and two are here, which gain additional interest (and value, presumably) because they were once owned by a different branch of British royalty: Elton John , who was knighted by the queen in 1998. Saturday through Wednesday, at the Park Avenue Armory, Manhattan; tefaf.com.	N24News: A New Dataset for Multimodal News Classification	Art & Design
Tommy Dorfman was holding a kitchen knife that could make Norman Bates wince, wondering what to do with the kale. The 26 year old actor was preparing lunch at the Ali Forney Center, a nonprofit in New York City that supports homeless L.G.B.T.Q. youth. The menu consisted of jambalaya and kale salad, and the salad required a fair amount of knife work. A game plan was laid out by Jess Tell, the meal coordinator: Separate the leaves from the stems and chop them down to bite size pieces. Mr. Dorfman, best known for starring in the dark teen drama "13 Reasons Why," was both in and out of his element. In, because he has volunteered with Ali Forney for more than two years, fund raising, posting on social media and lending a hand in person. Out, because he almost never cooks for himself. "I can cook, but I just don't," he said, noting that he and his husband, Peter Zurkuhlen, prefer to order in, when they are at home in Los Angeles. Mr. Dorfman's domestic strengths lie elsewhere. "I'm a cleaner, a put er away er, an organizer of things," he added. "I'm the hostess." Mr. Dorfman was dressed in a Cher T shirt and plaid Thom Browne pants, with his blond curls tucked into a baby blue Nike hat. He was in New York to perform in "'Daddy,'" a new play by Jeremy O. Harris, a young and buzzy playwright, and had a day free of performances and rehearsals. A sous chef was needed at Ali Forney's drop in center on West 125th Street in Harlem, and Mr. Dorfman was happy to step up. "As nice as it is to make an appearance at an event, I don't find that the most fulfilling way to support an organization," he said, dabbing his face when he started working up a sweat. (He was promptly told to rewash his hands.) "The more I'm in service, the less I'm in self. I try to spend as little time thinking about myself as possible. I find that's not a constructive way to live. By coming here, by volunteering, it's a way to get out of my own head." During his childhood in Atlanta, with three brothers and one sister, giving back was part of his family's ethos. His father, who spent Sundays volunteering for the homeless, "was always interested in supporting underprivileged youth," Mr. Dorfman said. "He created a nonprofit basketball program and housing systems. He had people living with us from time to time. He's always been that person." That may explain Mr. Dorfman's engagement with political and social causes. His Instagram feed not only features shirtless selfies, but also photos with Emma Gonzalez, a gun control activist who survived the Parkland, Fla., school shooting, and posts urging his followers to vote. He was on the February cover of Out magazine and wrote an essay last year in Teen Vogue about wearing gendered clothing as a nonbinary person. As Walt Whitman may have put it, he contains multitudes. Set entirely on the patio of a modernist Los Angeles manse with a large pool, which reflects an undulating Hockneyesque light across the stage, the play deals with art and identity, with Mr. Dorfman moving from bitter frenemy to a compassionate voice by the play's surreal final act. "I've never worked this hard in my life professionally," he said, as he squeezed lemon juice over the kale. "The show's a marathon. I've never done a play. I honestly do thank God every day when I come to work because the people are so talented and lovely." Next up, Mr. Dorfman has a role in the coming season of "Jane the Virgin," a comedy telenovela on CW. "I'm the villain," he said in a singsong falsetto (to say Mr. Dorfman's inflection is extremely expressive would be an understatement). He's also in "American Princess," a comedy drama from Jenji Kohan, the co creator of "Orange Is the New Black." "I'm basically playing a drunk, gay baby," he said with a shrug. But first he had to conquer the kale. He was given the arduous task of massaging the fibrous leaves into a tender salad. After dousing it with olive oil, he slipped on a pair of plastic gloves and began kneading it violently. After a good 15 minutes, he was working up a sweat again. "Does this mean I don't have to go to the gym today?" he said. Shortly after 1 p.m., the prep work was done and the proverbial lunch bell rang. Mr. Dorfman ladled the jambalaya over rice, followed by a heaping portion of his salad. "Let's turn on some music," he called out. "Bodak Yellow" by Cardi B filled the room. As he worked, his hips swayed and his lips silently mouthed the lyrics. A young man in a yellow hoodie approached for his lunch. "You look familiar," he said. "Do I?" Mr. Dorfman said with a sly smile, before giving him his plate.	N24News: A New Dataset for Multimodal News Classification	Style
George Ortman's "Tales of Love," from 1959, "whose bright primary colors and linear arrangements reject the grand, often messy gestures of Abstract Expressionism." In 1964, Donald Judd, the artist and overlord of Minimalism, wrote that George Ortman's relief works "are concerned with a new area of experience, one which is relevant philosophically as well as emotionally." This was high praise for Mr. Judd, and Mr. Ortman's "Against Abstraction," at Mitchell Algus, was mounted to coincide with a Judd retrospective at the Museum of Modern Art. "Against Abstraction" shows, however, the profound influence Mr. Ortman had on New York art in the 1960s. Works made with canvas and wood like "Tales of Love" (1959) and "Peace II" (1961) predate the abstract geometric objects somewhere between paintings and sculptures that would be associated with Minimalism. (In his famous 1964 essay "Specific Objects," which laid out the terms of what critics and art historians would later call Minimalism, Mr. Judd deemed Mr. Ortman's works "preliminaries.") Their bright primary colors and linear arrangements reject the grand, often messy gestures of Abstract Expressionism and suggest the mathematical puzzles of information and game theory which were on the rise at this time or a later example that reached mass popularity: the Rubik's Cube. As the show's title suggests, though, Mr. Ortman was not eternally committed to abstraction. Dense, intricate drawings from the late '40s to shortly before his death in 2015 surge with fantastical flourishes and reveal his fascination with Hieronymus Bosch, Antoni Gaudi and Joan Miro. Mr. Judd called Mr. Ortman's art after the early '60s "finicky and retrograde," but this exhibition happily embraces Mr. Ortman, beyond his basic geometric urges. MARTHA SCHWENDENER Through Oct. 31. Online and at Luhring Augustine Tribeca, 17 White Street, Manhattan; 646 960 7540, luhringaugustine.com. It's understandable if the first exhibition at Luhring Augustine's new Tribeca branch is a little overfull. After all, Lucia Nogueira who was born in Brazil in 1950 and made her art career in London before an untimely death, from cancer, in 1998 had never had a solo show in the United States. Still, I might have left out a few sculptures and even the compelling little watercolors, because Nogueira's found objects operate with such mesmerizing elan that just two or three pieces could have held the whole room. Thirteen stiff, black, rectangular bags she found at a gardening center came perforated with what looked like eyeholes; arranged in a corner as "Mask," they become a charming little coven of junior ghostlings. (Their presence turns the grounded electrical outlets behind them into faces, too.) Seven white trash can liners stretching out from the leg of a broken chair, in "Mischief," are a magical kind of shadow brighter than the object casting them. More often, though, Nogueira shrugs off such specific allusions. The first piece you see walking into the gallery is a shiny aluminum beer can bolted to the wall with some latex tubing hanging out of it. A whiff of gasoline from a few drops sprinkled in the can evokes Molotov cocktails; the yellowish brown tube brings to mind a junkie's tourniquet; and the whole composition looks like half a dozen different science projects, home liquor stills or industrial experiments you can't quite put your finger on. All these associations come to mind, but none of them work. So you brush them away to reveal the simple, luminous mystery of physical being. WILL HEINRICH The sculptures in Ruben Ulises Rodriguez Montoya's first solo show, "Inside the Bowels of the Hoofed Beast," look like creatures or parts of them almost as much as they do art. For example, the different pieces of the installation "Citlali chimuela2.0 My Socks and Delfina Hang There Trenza" evoke bull horns, a dinosaur jaw and a snake. "44R" looks like it walked out of a movie about aliens.	N24News: A New Dataset for Multimodal News Classification	Art & Design
"So after we finish it, and hopefully everything settles down with the pandemic, we'll see what the world allows us to do with Furiosa," Miller said. The project has been long in the works. During the decade and a half it took to bring "Fury Road" to the screen, Miller and his co writer, Nick Lathouris, came up with extensive back stories for every character in the film, from the antagonist Immortan Joe to the comparatively minor Doof Warrior, who wields a flame spewing guitar. But it was Furiosa who received the bulk of their attention. Miller sought to answer questions about what the character's life was like in the idyllic "Green Place," why she was plucked from the group of woman warriors known as the Vuvalini, and how she became the hardened warrior we meet by the time "Fury Road" begins. "It was purely a way of helping Charlize and explaining it to ourselves," Miller said. Still, they found Furiosa's story so compelling that they decided to write a second screenplay even before a frame of "Fury Road" had been shot. "I got to read it when I was cast," said Rosie Huntington Whiteley, who played Splendid, one of the "Fury Road" wives. "It's genius. I've always wondered if that movie's going to get made." For years, it seemed that it might not, since Miller was locked in a legal battle with Warner Bros. over unpaid earnings related to "Fury Road." But now that Miller has been given the go ahead to proceed, he's begun auditions for the lead role, and he admitted that whoever is cast as Furiosa will have significant shoes to fill.	N24News: A New Dataset for Multimodal News Classification	Movies
In 2010, the playwright Sarah Ruhl had just given birth to twins and was still in the maternity ward when she learned she had Bell's palsy, a condition that caused paralysis on the left side of her face. Even as she learned to blink again or stop drooling, she still was not able to smile. Ms. Ruhl will explore her nearly decade long struggle with Bell's palsy, her search for a way to speed up her recovery and how she reckoned with the inability to fully express her inner self in a forthcoming memoir, "Smile," according to a statement from Simon Schuster, which acquired the title. The book, Ms. Ruhl said in a phone call, "is a confluence of, in my own life, wanting to move past a difficult nine years of navigating the health system, navigating the kind of limits of my own body, and then also thinking about women smiling culturally in general." She referred, for instance, to Christine Blasey Ford "smiling her way through" her testimony in Brett Kavanaugh's Supreme Court confirmation hearings. But the book isn't meant to be "a complete downer," she said. The condition is "a disappointment but it's not a tragedy," she explained, and she hopes it will illuminate "an outlier experience of motherhood, but hopefully a path forward that has some sense of humor and hope about healing." "Smile" also touches on postpartum depression and her life in the theater, as well as topics like faith, beauty, art and family.	N24News: A New Dataset for Multimodal News Classification	Theater
It is an album with no false notes. But as a masterpiece of control and wonder, you can't do better than his performance of Liszt's transcription of the Solemn March to the Holy Grail from Wagner's "Parsifal." And don't miss the really big news: Mr. Levit promises he'll play the Busoni concerto! Jonas Kaufmann, preparing to return to the Metropolitan Opera next week for the first time in four years, opened up about his reasons for staying close to home in Germany: Last weekend brought the sad news of the death, at 85, of the magisterial Spanish soprano Montserrat Caballe. I listened to a classic 1969 "Don Carlo" from the Arena di Verona; the whole thing is amazing, but if you want the richest of cheap thrills, skip to the end (2:46:55) and hear her radiant final high B, held for an astonishing 17 seconds. And Ted Hearne opened his newest theatrical work, "Place," a stylized exploration of gentrification, privilege and personal history. I walked around the Fort Greene neighborhood of Brooklyn with him and his collaborators, and Corinna da Fonseca Wollheim reviewed the show generously, I thought. (Faced with complex and delicate subject matter, the piece felt to me muddled, more than ambiguous or ambivalent.) Enjoy the weekend! We'll be at John Eliot Gardiner's two night Berlioz stand at Carnegie Hall, in Toronto for "Hadrian," and in Troy, N.Y., for a performance of Olga Neuwirth's technically demanding "Lost Highway Suite." ZACHARY WOOLFE During the gala concert that opened Carnegie Hall's season last week, Renee Fleming and Audra McDonald sang a classic mash up: "Children Will Listen," from Sondheim's "Into the Woods," and "You've Got to Be Carefully Taught," from Rodgers and Hammerstein's "South Pacific." The messages of these songs, Ms. McDonald told the audience, are especially pertinent during these troubling times. "You've Got to Be Carefully Taught" is a bitter denunciation of racism. No one is born with prejudices, the song argues: You have to be taught "to hate and fear." "Children Will Listen" offers a wise warning to parents and all adults, really: "Careful the things you say,/Children will listen." The medley was a powerful moment in an otherwise festive evening featuring the San Francisco Symphony, and beautifully performed. ANTHONY TOMMASINI I keep thinking back to the arresting performance of Stravinsky's "The Rite of Spring" that the San Francisco Symphony, led by Michael Tilson Thomas, presented at Carnegie Hall recently. How does a conductor make this music seem as shocking as it did at the raucous 1913 premiere? Many just overemphasize every blazing climax and drive tempos frantically. Mr. Thomas, with his keen theatrical instincts, knew when to keep the lid on things to maintain suspense. So when the hellbent stretches came, the effect was truly terrifying. To me, the performance suggested this ritual a ceremonial rite culminating with a human sacrifice was performed every spring. It may be horrific, but the members of this tribe are used to it, and there's a sense of dogged routine. ANTHONY TOMMASINI	N24News: A New Dataset for Multimodal News Classification	Music
Elizabeth Lederer, the lead prosecutor in the Central Park jogger case, which resulted in the wrongful conviction of five black and Latino boys, said on Wednesday that she would not return as a lecturer at Columbia Law School. Her decision was the latest fallout from a recent Netflix mini series about the case. The mini series, "When They See Us," created and directed by Ava DuVernay, had renewed demands that the law school fire Ms. Lederer, a part time lecturer there and a current prosecutor in the Manhattan district attorney's office. She led the prosecution against the boys, who were accused of brutally raping a white female jogger in the park in 1989. They said the police had coerced them into confessing, and their convictions were overturned more than a decade later. In an email to Columbia Law students on Wednesday evening, Gillian Lester, the dean of the school, said Ms. Lederer decided not to seek reappointment as a lecturer, writing that the mini series had "reignited a painful and vital national conversation about race, identity, and criminal justice." The email included a statement from Ms. Lederer saying that she had enjoyed her years teaching at Columbia but would not be returning. "Given the nature of the recent publicity generated by the Netflix portrayal of the Central Park case," the statement said, "it is best for me not to renew my teaching application."	N24News: A New Dataset for Multimodal News Classification	Television
The British Library's exhibition "Writing: Making Your Mark" presents 120 objects representing 44 different systems of writing from the past 5,000 years. LONDON The writing's on the wall, we're told. Whether it was Johannes Gutenberg's printing press in the 15th century, the invention of the typewriter 300 years later, or the emoji of today's smartphones, the act of writing seems to be forever on the precipice of extinction, without quite falling off. "Writing has never been static," said Adrian Edwards, a curator at the British Library who put together the exhibition "Writing: Making Your Mark," which runs through Aug. 27. "The marks we make on the page have always changed and developed in ways in tune with our needs," he added. "I think writing's going to be around for quite some time to come," Mr. Edwards said. And what does it mean to write, exactly? For one, writing is fundamentally an act of thinking. It would be wrong to define writing exclusively as the act of putting words onto a page, because it is ultimately about the conception and transmission of thought. Surely, John Milton, who wrote "Paradise Lost" after going blind he dictated it to his daughters was still a writer, even though it was not his own quill touching the page. The same goes for Jean Dominique Bauby, who suffered from locked in syndrome, but managed to write "The Diving Bell and the Butterfly" by blinking when an assistant read out letters from the alphabet. "In the past, the well to do often employed a scribe to do their writing for them," said Nick Bostrom, the director of the Future of Humanity Institute at the University of Oxford, "which is not so different from using an A.I. speech recognition system." Modern forms of writing can be frightening in their speediness and apparent thoughtlessness, but what we find most disturbing about writing's latest iterations like someone quickly drafting a message with autocompleted sentences and looped GIF images on their smartphone is the apparent lack of care involved. A video in the exhibition wonders how we might wish someone "happy birthday" decades into the future. Already, today, many of us simply see a birthday on Facebook and toss out a "like" or WhatsApp a hasty "HBD!" "The vital signs aren't good," said the futurist Richard Watson, the author of "Future Files: A Brief History of the Next 50 Years" and a lecturer at Imperial College London. "We don't really write anymore, we just type. We just thumb through a stream of consciousness." Writing on paper by hand, he said, "is so very different to typing or texting on a screen. It's slower, deeper, more reflective, more real." To be fair, though, even typing comments on Instagram or adding text to Snapchat requires a series of judgments. The difference is that these decisions have limits: There's a controlled amount of space, and if using emoji, a restricted number of symbols. Alphabets throughout history, from the Phoenician to the Roman, have fluctuated in what they have allowed their speakers to convey. Emoji, in this sense, are nothing new. "There's something cyclical going on, isn't there?" said Mr. Edwards, the curator. "You look at the hieroglyphs at the very beginning of the exhibition the Mayan and Egyptian hieroglyphs and then you look at the emojis, and there's something very similar about them: These are writing systems that you cannot use to express everything." Literary writing is easily romanticized, even fetishized, but the written word has more mundane uses, too. A Mesopotamian tablet in the exhibition that is inscribed with a record of how much barley to pay farmhands for their work is a perfect example. Writing is what we make of it. It can also provide an emotional link to the past. One of the most moving objects in the exhibition is an Egyptian schoolchild's homework from the second century A.D. done on a wax tablet. An instructor has written out two lines in Greek, which the student has tried and failed to copy below. The student forgot the first letter then couldn't finish the sentence because they ran out of space. The slow abatement of handwriting today feels like the severing of a historical tie. It relates us to the Mesopotamians, to Chaucer, to that struggling Egyptian student. Finland, for instance, has dropped its handwriting requirements in schools in favor of typing lessons. In the United States, in 2010, Common Core standards excluded cursive requirements in elementary schools, and most states no longer require students to learn it. (In some, however, there are signs of a cursive comeback.) Will the historical cycle of doubting writing before it proves itself again continue? On the one hand, we should have faith: Writing has resurged time and again. On the other, technology is advancing at a pace like never before. Will the future of written expression become so simple a smattering of autocompleted sentences, emoji and GIFs that it will lack any critical thought at all? "I certainly do not expect writing to go away," said Mr. Bostrom, of Oxford. At least, he added coyly, not within "the finite period of time remaining before machine intelligence makes human intelligence irrelevant."	N24News: A New Dataset for Multimodal News Classification	Art & Design
TOKYO Postponing the 2020 Summer Olympics until next year has not erased doubts about safely hosting the world's largest sporting event amid a global pandemic, but has merely delayed the timeline on answering them. Japan and the International Olympic Committee announced the one year postponement last month after enduring weeks of criticism and heavy resistance from athletes, sports federations, health experts and others. But as the organizers of the Tokyo Games begin to confront the enormous economic, political and logistical challenges created by the unprecedented delay, it has become increasingly clear that the anxieties that forced the postponement in the first place could very well remain unsettled for many months to come. In a hint of the hand wringing ahead, the head of a prominent Japanese physicians' group on Tuesday expressed doubt about whether Tokyo could hold the Olympics next year without a coronavirus vaccine. "My personal opinion is that if an effective vaccine has not been developed, it will be difficult to hold the Olympic Games," said Dr. Yoshitake Yokokura, the president of the Japan Medical Association. "I would not say they should not be held, but I would say that it would be exceedingly difficult." Research teams around the world are rushing to develop a vaccine, but most experts have said it could take 12 to 18 months to develop one, let alone distribute it globally. Lingering uncertainty about the virus and the general safety of a huge, multinational gathering in Tokyo could mean that Olympic officials, even a year from now, would be forced to make modifications to the established elaborate model for the Games. The officials could, among other things, decide to hold the 16 day event without a live audience and turn the Games into a strictly made for television spectacle. That option was already discussed in depth, and ultimately scrapped, as a possible way to avoid postponement this year. Though such a move might appease global broadcasters, the organizers could miss out on hundreds of millions of dollars in ticket sales and have to offer refunds for those already purchased. The cost of the Games is expected to balloon by billions of dollars because of the delay. Indeed, any continuing safety issues will compound the logistical headache already developing for officials in Japan. Questions about securing competition venues, hotels for visitors and housing for 15,000 Olympic and Paralympic athletes from more than 200 countries, for example, remain mostly unanswered. How to get a coronavirus booster shot in New York City. Just a few storms cloud the U.S. travel forecast for a second pandemic Thanksgiving. Several moves by the U.S. over the last week aim to shift the course of the pandemic. An I.O.C. spokesman said on Tuesday that Olympic organizers would adhere to the World Health Organization's ongoing guidance about mass gatherings during the pandemic and move forward with the aim of holding the Games "only in a safe environment for all people involved." The I.O.C. and Japan have given themselves one shot to get it right. On Tuesday, Yoshiro Mori, the president of the Tokyo organizing committee, was quoted in a Japanese newspaper as saying the Games would be "scrapped" if they could not take place in the summer of 2021. "The Olympics would be much more valuable than any Olympics in the past if we could go ahead with it after winning this battle," Mr. Mori told the Nikkan Sports daily. "We have to believe this. Otherwise, our hard work and efforts will not be rewarded." As of Monday, Japan's coronavirus death toll stood at 376, and its national caseload was over 13,000. Dr. Yokokura told reporters on Tuesday that he thought it was still too early to consider lifting the country's state of emergency. While the world waits for the pandemic to run its course, small moments of friction have hinted at possible complications between the I.O.C. and Japan in the year to come. Earlier this month, some Japanese officials were irked about a Q. and A. published on the I.O.C. website that included a passage about the financial impact of postponing the Games.	N24News: A New Dataset for Multimodal News Classification	Sports
Amazon barreled into the children's smart speaker market last year with a brightly colored device called Echo Dot Kids Edition. The tech giant played up the device as a simple way for youngsters to converse with Alexa, the company's voice activated virtual assistant, and obtain age appropriate apps. But recent research commissioned by two prominent advocacy groups found that the device also enabled children to easily divulge their names, home addresses, Social Security numbers and other intimate information to Alexa. In addition, the researchers reported that Amazon made it cumbersome for parents to delete their child's personal details from the system. On Thursday, the two groups the Campaign for a Commercial Free Childhood and the Center for Digital Democracy joined more than a dozen others in lodging a complaint with the Federal Trade Commission. The groups say that Amazon's practices violated the Children's Online Privacy Protection Act, a federal law protecting the personal information of people under 13. Among other things, the complaint said that Amazon had failed to obtain verified consent from parents before collecting their children's voice recordings and had kept such records unnecessarily after extracting the data to respond to children. The groups also complained that Amazon had not sufficiently disclosed how it collected and used children's data. "It seems pretty clear from our findings that the only control that parents really have is not purchasing this device," Josh Golin, executive director of the Campaign for a Commercial Free Childhood, said in an interview. "Once they purchase it, they are essentially ceding control of their children's data which could be really sensitive when you're talking about a voice activated device that lives in a home to Amazon." Amazon said in a statement that the device and a related subscription service for children, called FreeTime Unlimited, "are compliant with the Children's Online Privacy Protection Act." The company added that its site provided information about Alexa related privacy practices. Before children's services can be used on Alexa, a user must consent and provide a credit card number or a code number sent by Amazon via text message. Amazon is seeking to capture children's attention at a time of heightened public concern over the data mining of youngsters. The children's online privacy law requires digital services aimed at those under 13 to obtain a parent's verifiable permission before collecting their child's name, home address, precise location, phone number, video, voice recording and other personal information. Over the last year, however, state and federal regulators have charged numerous tech giants and start ups with failing to comply with that law. An investigation by The New York Times last year found that app stores had allowed children's services to track youngsters' locations without their parents' permission. Let Us Help You Protect Your Digital Life None With Apple's latest mobile software update, we can decide whether apps monitor and share our activities with others. Here's what to know. A little maintenance on your devices and accounts can go a long way in maintaining your security against outside parties' unwanted attempts to access your data. Here's a guide to the few simple changes you can make to protect yourself and your information online. Ever considered a password manager? You should. There are also many ways to brush away the tracks you leave on the internet. Because many parents, advocacy groups and regulators consider voice recordings to be among the most sensitive types of children's data, Amazon's Echo Dot Kids device has found itself under particular scrutiny. This gadget records children's voice commands and uses artificial intelligence to respond. Children can ask the system to play music, answer questions, tell jokes or remember information they tell it. The device also comes with a subscription to an Amazon service that gives children access to thousands of apps while enabling their parents to manage screen time. But the advocacy groups say that the device failed to comply with provisions in the privacy law requiring digital services for children to provide parents with clear explanations of their data practices and to delete a child's information as soon as it is no longer needed to fulfill the service for which it was collected. In particular, researchers tested the device last month by having a child ask Alexa to remember a made up phone number, Social Security number, home address and phrases like "I am allergic to peanuts." When researchers deleted children's voice recordings, Alexa still remembered the underlying data and could repeat it back. After the testers used parental controls to delete the voice recordings, they found that Alexa still remembered and was able to repeat the personal information included in the recordings. In order to delete the underlying data, researchers had to contact Amazon customer service and ask to have the child's entire profile deleted. In a response to questions about the device last year from concerned members of Congress, an Amazon executive said that the company kept a child's voice recordings indefinitely by default, saying they were "retained for the parent's review until the parent deletes them." Amazon also retained the recordings to improve its services, such as training its speech recognition system to better understand children's requests, the executive said.	N24News: A New Dataset for Multimodal News Classification	Technology
The Trump administration said on Wednesday that it would move forward with plans to allow states to safely import prescription drugs from Canada, for the first time. The decision is an unusual one for a Republican administration. Progressives have long supported such a policy, but the pharmaceutical industry vehemently opposed drug imports by claiming they were unsafe. Food and Drug Administration commissioners had also opposed importing drugs intended for overseas use, citing safety issues. In a telephone call with reporters Tuesday, Alex M. Azar II, the secretary of health and human services, described the announcement as momentous. "For the first time in history, H.H.S. and the F.D.A. are open to importation as a means to lower drug prices," he said. He also said, "We will not take steps that would put patients or our drug supply at risk." First announced in July, the proposal is still a long way from affecting consumers' wallets. States will have to submit their own plans to the federal government for approval, to see if they are both safe and would significantly reduce costs. Importantly, many of the most expensive drugs are excluded from this proposal, including insulin and biologic drugs like Humira and other injectable drugs. A 2003 law limited the types of drugs that could be imported. A proposal by the state of Florida, made public in August, listed drugs that could yield savings if they were imported from Canada, including brand name drugs to treat H.I.V., hepatitis C and multiple sclerosis. A separate plan that would allow manufacturers to import into the United States their own drugs that were intended for sale in other countries would apply to a wider range of products. But under that proposal, manufacturers would have to agree to participate. Federal officials have said that some drug makers have expressed interest in doing so, without providing specifics. The drug industry's main lobbying group, the Pharmaceutical Research and Manufacturers of America, expressed skepticism about the plans, and said it was still reviewing the details. "At a time when there are pragmatic policy solutions being considered to lower costs for seniors at the pharmacy counter and increase competition in the market, it is disappointing the administration once again put politics over patients," the group's president and chief executive, Stephen J. Ubl, said in a statement. "I would envision that as we demonstrate the safety as well as the cost savings from this pathway that there can be basically a pilot and a proof of concept that Congress could then look to," he said. The Trump administration said it did not have estimates for any consumer or taxpayer savings, because states had not yet submitted any plans. The proposal also noted that running the programs would cost money. "As we lack information about the expected scale or scope of such programs, we are unable to estimate how they may affect U.S. markets for prescription drugs," the proposal said. As public outrage over high drug prices has mounted, state leaders from both parties have considered importing drugs from Canada as a way of addressing the issue. The Florida governor, Ron DeSantis, favors such a plan, and President Trump has repeatedly said he will help make it happen. Other states, including Colorado, Vermont and Maine, also favor importation. "I'd much rather be here, moving forward," he said, "than just being on the sidelines chirping, saying, 'why doesn't someone do something about it?'" Candidates and lawmakers in both parties are competing to show voters they are serious about lowering drug prices. Last week, the House passed legislation that would allow the federal government to negotiate drug prices with pharmaceutical manufacturers, an ambitious move that delivered on a key campaign promise but is unlikely to be taken up in the Republican controlled Senate. Administration officials have struggled to show progress on this issue. In July, the administration abandoned a proposal that would have given Medicare beneficiaries drug discounts at the pharmacy counter, but which also would have raised their premiums. That same month, a federal judge threw out a rule that would have required pharmaceutical companies to list the price of their drugs in television advertisements. The policy supporting importation represents an about face for Mr. Azar, who previously described such importation programs as "gimmicks."	N24News: A New Dataset for Multimodal News Classification	Health
Yunior (Mario Peguero, casually confident), on the other hand, is a cocky ladies' man with worldly tastes he likes to "partake in a little smoke," for example. At first, he is stunned by his new roommate's commitment to his passions. "You talking Elvish from 'Lord of the Rings,'" an incredulous Yunior tells Oscar, who promptly corrects him: "Actually, it's Sindarin." (The production is in Spanish, with English supertitles.) Yunior is the novel's narrator, so we tend to see Oscar through his eyes. But the adapter and director Marco Antonio Rodriguez abandoned that storytelling approach for a more straightforward, third person one. He also simplified Diaz's dense, flowery writing, which is filled with long digressions ranging from footnotes to entire chapters. The play's streamlined style is most effective in the first act (entirely focused on the college scenes) and less in the second, which suffers from awkward tonal shifts and attempts to pack a lot of emotional load into a short amount of time. Yunior falls for Oscar's activist sister, Lola (Altagracia "ANova" Nova). She is less than enthusiastic at first, but eventually she relents and instructs Yunior to look after Oscar, who is also smitten with a goth named Jenni (Belange Rodriguez). Lola is afraid he's going to get hurt. And he does. The book breathlessly weaves in and out of timelines as it fills us in on the tragic history of Oscar's family, burdened through generations by a kind of bad juju our hero calls fuku. Marco Antonio Rodriguez's decision to get rid of most of those elements is understandable from practical and dramatic standpoints (the Dominican dictator Rafael Trujillo, whose presence looms over the entire novel, is pretty much gone, for instance). But while the pared down show moves at an energetic clip, it often does so at the expense of the female characters: Lola's rich story has vanished; Oscar's cancer stricken mother, Beli (Maite Bonilla), appears only in Act 2; and his abuela, La Inca (Arisleyda Lombert), loses her quasi mythical aura.	N24News: A New Dataset for Multimodal News Classification	Theater
WILL GRACE 9:30 p.m. on NBC. "Will Grace" is ending again. The sitcom, built on the friendship between its title characters, who are a lawyer and an interior designer, pushed boundaries and helped normalize gay characters in prime time TV during its original run in the late 1990s and 2000s. It was revived for a season that debuted in 2017 and aged up the characters, but left the show's formula largely untouched: Will (Eric McCormack) and Grace (Debra Messing) were once again roommates. The 2006 original finale that saw the pair married (separately) with children was explained away as, in part, a dream that never happened. NBC has said that the latest season, the 11th, which debuts Thursday night, is going to be the show's last. But whatever happens in the new finale may not carry the same stakes as that first one: In theory, it could all be a dream, too. SAUDI WOMEN'S DRIVING SCHOOL 9 p.m. on HBO. Since Saudi Arabia granted women the legal right to drive last year, tens of thousands of Saudi women have obtained driver's licenses. This documentary follows a handful of them through footage captured at a driving school in Riyadh, and through interviews where new drivers discuss the effect that the lifting of the ban has had on their lives though the film doesn't ignore the fact that constraints on Saudi women's lives remain.	N24News: A New Dataset for Multimodal News Classification	Television
After this column was published, the academy reversed its ruling on the Oscars telecast. When it comes to this year's Oscars, "short" seems to be the buzzword. Just look at all the controversial decisions the academy has made over recent months in pursuit of a shorter Oscar telecast. Some of these ideas have been quickly withdrawn, like reducing the number of best song performances, though the academy continues to cling to its latest unpopular move of presenting four categories during commercial breaks. While those acceptance speeches will be edited into a montage shown later in the broadcast, the plan has still drawn fire from directors, editors and cinematographers whose films would be affected. But if the academy is so determined to trim the Oscar ceremony to the categories the general public is most invested in, isn't it time instead to have a conversation about whether the three short film Oscars should still be part of the main show? Aside from the occasional animated short that runs before a Pixar or Disney film, these works are practically unknown to the average viewer, and many of them get no meaningful theatrical distribution until they can be packaged as a collection after the nominations are announced. So why do they still take up a big chunk of the Oscar show? I don't mean to denigrate the accomplishments of filmmakers who toil in this medium, though this year's group of nominees happens to be an awfully homogeneous lot. (Many of the animated shorts are about parents taken for granted, while most of the live action shorts follow young boys caught in a vortex of violence.) I understand that making short films is hardly lucrative, and at least the Oscar telecast can provide a glamorous reward. While the short film categories have existed for decades, they originated at a time when it was commonplace for shorts to receive meaningful theatrical play. (This is why "Tom and Jerry" episodes have seven Oscars.) But that simply isn't the case anymore, and the majority of short films can only qualify for Oscar consideration if they win specific film festival prizes or if their directors rent out a Los Angeles theater for at least three days, a form of distribution that is done under the radar and makes little sense. The path to awards qualification makes it hard for even the most invested fans to catch these movies, and so little time is spent on the Oscar broadcast to show us what the shorts are like that they can't truly entice us. So if the academy is determined to retain these three categories, why not give them their due in a separate event dedicated to short filmmaking? This is what that organization has done with the honorary Oscars, which are now awarded in a lavish event months before the main show. If the academy created a similar ceremony for the short films, they could potentially play in full in front of an industry audience, and the winners' acceptance speeches need not be made in haste. It could become a must see stop on the way to the main Oscar telecast (which the short film nominees could still happily attend), and it would make the big show much more coherent, since all the awards left on the Oscar broadcast would pertain to feature length filmmaking. Though this idea may seem like a no brainer, the academy has spent decades resisting attempts to re evaluate the short categories. Thirty years ago, the board of governors voted against a recommendation to remove them from the Oscar telecast, which The Los Angeles Times reported then was suggested "as a way of trimming a show that usually runs longer than three hours and that has been steadily sliding in the television ratings." (Sound familiar?) And though the governors from the short film branch would seem to be an easily outvoted minority, the academy is a highly political group, and the case has been made to various branches over the years that if the short films go, categories like cinematography would be next. Paradoxically, the races for cinematography and live action short are both caught up in this year's commercial break dragnet, though the former would almost certainly be safe if the latter went untelevised. If the academy is determined to make big changes to the broadcast, then, shorts remain the obvious place to start. Relocating them may prove controversial within the board of governors, but in a year when the Oscars are willing to offend some of Hollywood's most peaceable figures (including Lin Manuel Miranda and Ron Howard) by breaking with tradition, shouldn't this modest proposal at least be on the table?	N24News: A New Dataset for Multimodal News Classification	Movies
In the prologue of "Too Much and Never Enough," Mary Trump writes: "The media failed to notice that not one member of Donald's family, apart from his children, his son in law and his current wife, said a word in support of him during the entire campaign." That doesn't mean they had no opinions. The daughter of the president's older brother, Freddy, who died in 1981, now shares some of hers not just by airing the family's dirty laundry, but by washing and folding it, too. (Mary Trump is a clinical psychologist whose diagnoses for her uncle are as varied and extensive as the fast food buffet he offered the Clemson Tigers when they visited the White House in 2019.) Read Jennifer Szalai's review of "Too Much and Never Enough." Here are seven insights gleaned from reading the first niece. Nothing Donald Trump said during his campaign deviated from Mary Trump's expectations of him. "I was reminded of every family meal I'd ever attended during which Donald had talked about all of the women he considered ugly fat slobs or the men, usually more accomplished or powerful, he called losers," she writes. "That kind of casual dehumanization of people was commonplace at the Trump dinner table." The author declined an invitation to an election night party in New York City. Her reason: "I wouldn't be able to contain my euphoria when Clinton's victory was announced, and I didn't want to be rude." In the months following her uncle's inauguration, "the smallest thing seeing Donald's face or hearing my own name, both of which happened dozens of times a day took me back to the time when my father had withered and died beneath the cruelty and contempt of my grandfather. I had lost him when he was only 42 and I was 16. The horror of Donald's cruelty was being magnified by the fact that his acts were now official U.S. policy, affecting millions of people."	N24News: A New Dataset for Multimodal News Classification	Books
The tattoo etched across the left side of Stephane Matteau's torso reminds him of a signature life goal. It does not depict his immortal moment 25 years ago this May. There is no image of the Stanley Cup, which he raised two weeks later at Madison Square Garden to celebrate the Rangers' first championship in 54 years. As the Rangers' eternal playoff hero lifts his shirt, he reveals the inked in words he aspires to: "Believe in yourself. You are braver than you think, more talented than you know, and capable of more than you imagine." Matteau is wiser and sober at 49. He has battled struggles familiar to the hockey culture he grew up in: mental scars, fear, alcoholism. All of which almost cost him his life. He had lived every Canadian child's dream, reaching the N.H.L., playing 13 seasons and being a playoff hero. On May 27, 1994, in the second overtime of Game 7 of the Eastern Conference finals against the Devils, Matteau scored perhaps the most significant goal in Rangers history. His name and Howie Rose's "Matteau, Matteau, Matteau!" radio call have a permanent place in New York sports history. Whenever Matteau returns to the city as he will Friday, when the Rangers host a reunion of the 1994 Stanley Cup champions he knows he is part of a venerated alumni group. He still receives effusive gratitude from Rangers fans. Yet his famous goal, which he still calls lucky, does not erase lingering feelings of doubt and career dissatisfaction. Depression marred his childhood, his hockey career and his retirement. He gave up drinking 17 years ago, but his anxieties and mental struggles were becoming too much to bear. About seven years ago, Matteau realized he was heading toward "a dark and dangerous place" and finally sought counseling. Matteau was an inconsistent 24 year old left wing when the Cup starved Rangers acquired him and Brian Noonan from Chicago at the March 1994 trade deadline, because of the persistence of Coach Mike Keenan. "Mike was banging on me all season about getting Matteau," recalled Neil Smith, the general manager at the time, who gave up Tony Amonte, a 33 goal scorer the previous season. "He went to the finals with him in Chicago in '92. Although we had the best record in the league, Mike felt adamant we'd need size and depth in the playoffs, even if we had to give up our future." Matteau was a revelation in the playoffs. He scored six goals, including a double overtime goal in Game 3 against the Devils, and repeated the feat in Game 7, making him an instant celebrity. Yet his tenure in New York lasted only a year and a half. He was so unproductive for the Rangers after they won the Cup that Smith traded Matteau to St. Louis. There he was reunited with Keenan, who acquired Matteau four times during his N.H.L. coaching stints. Keenan said he appreciated the team skills that Matteau brought. "He was a versatile player, a big, strong skater who was the type of player you need in the playoffs," Keenan said. "We needed him in New York to win the Cup, particularly against New Jersey, with how big they were. "I pushed him hard, like everyone. I saw he had some self doubt, but I never once had any doubt about him." He played in Calgary, Chicago, New York, St. Louis, San Jose and Florida. Much of the baggage Matteau carried to those places was psychological. His doubt stretched back to a tormented childhood in northwestern Quebec. He grew up in Rouyn (now Rouyn Noranda), a small middle class town about 380 miles from Montreal. It has produced 27 N.H.L. players, including stars like Pierre Turgeon and his brother Sylvain, Dave Keon, Rejean Houle and Eric Desjardins. One of Matteau's closest friends was Pierre Turgeon. They were born five days apart and were teammates on youth baseball and hockey teams. Turgeon, who went on to score more than 500 goals in a 19 year N.H.L. career, said Matteau was always "selling himself a little short," despite his prowess as a multisport athlete. "Even as a pro, Steph used to worry," Turgeon said. "I remember when he got traded to St. Louis, he was put on a line with me and Brett Hull, which was great. But he says to me, 'What if I get 20 goals? Everyone will always expect me to do it again.'" A gangly boy with a bad complexion, Matteau said, he was a frequent target of bullies. Worse, though, was his father's relentless criticism. "Whatever I did, it wasn't good enough," Matteau said. Turgeon noticed that Matteau's father, a mechanic in a car dealership, was "very hard on him." "But," he added, "I don't think anybody knew what was going on with Steph inside." As 12 year olds, Turgeon and Matteau were the standouts on the Canadian baseball team that went to the 1982 Little League World Series. But Matteau's self esteem worsened. Around the time he was 15, Matteau seriously considered suicide. That he did not go through with it made him feel even more cowardly. "If I could've spent my entire youth curled up under a rug," Matteau said, "I would have." He has found new purpose in his sobriety: talking to young people about overcoming despair, relating to their fears and vulnerabilities as authentically as he can. Several years ago, Matteau coached a Quebec junior team that his son played on, and things frequently grew tense. "I was hard on Stef," Matteau said. "I didn't want him to make the same mistakes as me." His wife interceded, reminding Matteau of the pressure his own father put on him. On a blustery January day, Matteau visited P.S. 69 in the South Bronx for a session with 20 fifth graders. He is a big man at 6 feet 4 inches and a only few pounds over his playing weight, 220. With casual humor, he easily connected with a multicultural group of children in his French Canadian accent. Matteau talked to the students about their positive traits, about their relationships with peers and family. The conversations are designed to empower them to be kinder and more empathetic toward one another. His two hour program opened with a video of him scoring his famous Game 7 goal against the Devils.	N24News: A New Dataset for Multimodal News Classification	Sports
Chad Stuart, who found stardom as the chief musical force of the duo Chad Jeremy during the British Invasion in the mid 1960s, died on Sunday at his home in Hailey, Idaho. He was 79. The cause was pneumonia, his daughter, Beth Stuart, said. Singing in lock step harmony, Mr. Stuart and Jeremy Clyde wrung all they could from the theme of a fondly recalled summer romance. "I loved you all the summer through," "lovely summer dream," "sweet soft summer nights," "soft kisses on a summer's day" these phrases come from four different Top 40 Chad Jeremy hits. They had seven of them in total, all love songs, between 1964 and 1966. Their gentle voices and acoustic guitars conveyed intimacy, but tracks like "A Summer Song" and "Yesterday's Gone" took on a grander scale from the sweeping strings, plaintive horns and booming drums of Mr. Stuart's arrangements. The orchestration had neither the spare authenticity of purist folk nor the electric attitude of rock. Mr. Stuart's pop tunes made wistfulness upbeat; they were less invasion than invitation. On "The Dick Van Dyke Show," for instance, Mr. Stuart and Mr. Clyde played the Redcoats, a heartthrob British rock duo in skinny black ties and bowl cuts with "every teenager in America looking for them." After some teenage girls learn that the handsome young Brits had stayed in the suburban home of Mr. Van Dyke's character, they emit a collective shriek and begin looting his living room, every object in it suddenly a sacred memento. That hysteria was not far from Mr. Stuart and Mr. Clyde's actual experience of the mid '60s. Mr. Clyde, in a phone interview, recalled a trip to Los Angeles in 1964 when throngs of screaming girls greeted him and Mr. Stuart at the airport. On their way to the Beverly Wilshire Hotel, they found themselves tailed by the girls, who reached out and tried to touch their limousine. Mr. Stuart and Mr. Clyde were pursued into the hotel. One girl jumped out of a laundry basket. Mr. Clyde said the sound of girls' screams remained among his most palpable memories from the era. "A wall of sound, a blast, like a jet engine screeching like a jet engine," he said. "Never letting up. No pause for breath. It keeps on going." He and Mr. Stuart, he added, found this moment enthralling. "It was a young man's dream come true," Mr. Clyde said. "You're a star, and America's at your feet." Chad Stuart was born David Stuart Chadwick on Dec. 10, 1941, in Windermere, England. (He was called Chad as a teenager and changed his name legally in 1964.) His father, Frank Chadwick, worked as a foreman in the lumber industry, and his mother, Frieda (Bedford) Chadwick, was a nurse. His family moved to the town of West Hartlepool, but Chad grew up largely at the Durham Cathedral Chorister School, a boarding school for choirboys that gave him a scholarship. He would later use his musical training to construct the hooks of Chad Jeremy's catchy tunes. "They hit them until they learned music theory," Mr. Clyde said. "He could harmonize anything. For years and years, I'd just say, 'What's my part?' and he'd tell me, and I'd sing it." Mr. Stuart and Mr. Clyde met as undergraduates at the Central School of Speech and Drama (now the Royal Central School of Speech and Drama) in London. Mr. Clyde, an aspiring actor, also played rudimentary folk guitar. A rumor went around that a guitar playing new boy had mastered "Apache," an instrumental by the beloved British rock group the Shadows. Mr. Clyde introduced himself, and he and Mr. Stuart became instant friends. Mr. Stuart in 1959 as a student at the Durham Cathedral Chorister School, a boarding school for choirboys, where, Mr. Clyde said, "They hit them until they learned music theory." Mr. Stuart "came from a grimy little town in Northern England," he told the blog Music Web Express 3000. Mr. Clyde, conversely, was the grandson of the Duke of Wellington. "It was kind of a mutual fascination society," Mr. Stuart said. "It was a good trade off, really." Mr. Stuart taught Mr. Clyde about music, and Mr. Clyde introduced Mr. Stuart to a new social world. Thanks to Mr. Clyde's family connections, the two young men stayed at Dean Martin's house in Los Angeles and hung out with Frank Sinatra. Their fame had the brevity of a firework. Mr. Clyde wanted to be an actor, and by 1965 he had already returned to London to appear in a play, leaving Mr. Stuart to perform with a cardboard cutout of Mr. Clyde under his arm. They kept putting out records until "The Ark," a 1968 album for which Mr. Clyde wrote most of the songs, but lagging commercial interest and Mr. Clyde's other career ambitions broke up the band. "It always amazed me that after being so prolific in the 'Ark' period, he just walked away," Mr. Stuart told Music Web Express 3000. Mr. Stuart continued to perform, but with a greatly reduced pop cultural stature. At one point he opened for the hard rock band Mountain in a bowling alley in Hartford, Conn. He made a living producing radio jingles and, toward the end of his life, giving private music lessons. Mr. Clyde had a successful career as an actor onstage and on television in Britain. Mr. Stuart's two previous marriages, to Jill Gibson and Valerie Romero, ended in divorce. In addition to his daughter, from his second marriage, he is survived by his wife, Judy Shelly; two children from his first marriage, Andrew and Patrick Stuart; another child from his second marriage, Beau, and two stepchildren from that marriage, Hallie Kelly and Devin Kelly; two stepchildren from his current marriage, Cassi Shelly and Owen Shelly; five grandchildren; and a sister, Jen Histon.	N24News: A New Dataset for Multimodal News Classification	Music
44 West 18th Street (between Fifth Avenue and Avenue of the Americas) A 10 to 15 year lease is available for this 24,000 square foot two level white box retail space in this 12 story 1906 building with a newly renovated lobby in the Flatiron district. The space is divided equally between the ground floor and a usable basement. The block through ground floor has two entrances one on West 17th and the other on West 18th Street and 17 foot, 4 inch ceilings; the lower level has 13 foot, 6 inch ceilings. A.I. Friedman, the art supply store, occupied the space until last year.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Todd Morici bought his first collectible car in 1984, a four year old Ferrari Berlinetta Boxer. He was 24 and drove it as often as he could, racking up 10,000 miles before he sold it. But he realized something else about Ferrari's appeal. "You could go into a dealership, put 5,000 down and wait" for a new buyer to come along, he said. "The car cost about 75,000. But you could buy it, flip it a week later and basically double your money." By that point, Mr. Morici was hooked on two things: the beauty of Ferraris and their investment potential. That knowledge converged in a windfall in 2010 when he sold a 1959 Ferrari 250 GT long wheelbase California Spider for 7.2 million. He'd paid 900,000 for it seven years earlier. That same model sold in 2016 for 18 million, he said. Collectible cars are illiquid assets, those that are not easy to sell, like a stock or a bond. The market can fluctuate wildly, and distressed investors can wind up selling at a loss. But that risk doesn't stop collectors. For some, the cars remind them of a mythical vehicle they could not have when they were young. For others, they are simply more fun to own than stocks and bonds. Regardless, collectible cars are going to retain their value better than a new car, which depreciates as soon as it is driven off the lot. Unlike art, which I wrote about last week as part of a series on passion assets, cars require a commitment of time and money. Leaving one in a garage, the way one might hang a piece of art on a wall, is not possible. They need to be driven, or else belts will dry out and gears will seize up. But not too much, because low mileage is prized when it comes to resale value. Whether cars are a great investment in a strong economy isn't apparent. Their value rose more than 300 percent from 2008 to 2015, according to the Historic Automobile Group International. By comparison, the S P 500 rose 40 percent in that same period. But over the past four years, they have risen a comparatively modest 85 percent, with Ferrari leading that growth, while the S P 500 rose 22 percent. "When housing and everything crashed in 2008, there were still wealthy people, so they bought alternative assets and they bought cars," said Stu Carpenter, founder of Copley Motorcars and a leading expert on Ferraris and Land Rovers. "More collectors came into the market and drove up prices, and then more cars came into the market. Supply and demand fed off each other until 2015, when most things peaked." The response in the last recession surprised even the experts, said David Gooding, president of Gooding Company, a leading auto auction house. "We didn't see it coming, but in retrospect, it does make sense," he said. "While there was so much uncertainty in traditional markets, there was a flight toward tangible things people could wrap their minds around." He cautions against thinking it will happen again: "Does it mean it will always be the case? No. The car market will continue to have some peaks and valleys." After recent auctions in Pebble Beach, Calif., and Scottsdale, Ariz., experts said cars were fairly valued, even though that meant some cars, even Ferraris, sold for less than they would have a few years ago. But both Mr. Gooding and Mr. Carpenter said that sellers were going to have to be realistic about a car's price and quality. Keeping a car in top shape is not an inexpensive proposition. Vinnie Pacifico, who made his money in food service, said he cherished his 1963 Corvette with a split window and enjoyed driving it. But to satiate his appetite for speed, he prefers driving a 2017 Porsche 911 Turbo Carrera. "If you figured out what it cost me by the mile or hour, I should have my head examined," he said of the 8,000 miles a year he drives it. "But I like driving it." Yet the Porsche, which he leases, cost all in about 250,000. His Corvette, which he bought in the mid 1980s for around 12,000, is worth just 130,000 by his reckoning, and is far cheaper to maintain. Benjamin Clymer, who owns the online watch retailer Hodinkee, has seven classic cars, which he keeps in Westchester County, a more affordable garage than any near his Manhattan home. His collection includes Alfa Romeos, Porsches and a 1964 Lancia Flaminia Zagato, a car once considered the Rolls Royce of Italy. But he said he was lucky if he got a chance to visit them twice a month, and that leaves him little time to drive all of them. He said collectors needed to consider the cost of maintenance. A few years ago, he sold a 1999 Ferrari 456 for 115,000, which was 30,000 more than he paid for it. Yet he does not consider it a good investment because the car was due for a 22,000 service, which he would have had to pay had he kept it. "I just had no idea how costly Ferrari maintenance would be," he said. His bigger concern is that his taste tends toward cars that are not sought after by his peers, making them harder to maintain and eventually sell. Mr. Gooding said such generational tastes needed to be considered, along with the continued existence of the manufacturer. "There's just a wider mass of people that relate to brands like Porsche than to a defunct brand," he said. There are, of course, exceptions. In August, Gooding Company sold a 1935 Duesenberg SSJ for 22 million, a record for both an American car and a prewar car. But in this case, only two of this model were built: one for Clark Gable, the other for Gary Cooper, which was the one that was sold. With a price like that, many collectors might worry about overpaying. Mr. Gooding said he analyzed past catalogs and found that many of the cars that sold for record prices at the time had been some of the best investments for collectors. He attributes that to those cars having something different or even unique about them. But the value of collectible cars can sometimes fall. Mr. Carpenter said a frenzy developed over the Ferrari Maranello 575, first made in 2002. The few that had manual transmissions shot up in value. But those models, which once sold for 450,000, are now worth 300,000, he said. A more common risk is having to sell too quickly. Rubin Pikus, chief executive of Milbrook Properties, has a collection of seven cars, including a Corvette, a Rolls Royce, a Bentley and a Ferrari F12 that once belonged to the former Yankees catcher Jorge Posada. He estimates that he has bought and sold more than 100 cars in his life. But he remembers the one car that he lost money on: a 1978 Aston Martin flip tail coupe that was among a few imported to the United States. He paid 325,000 and took it to his home in West Palm Beach, Fla. But the summer heat and humidity clogged up the car's carburetor, and the car had trouble starting if left out in the sun. So he decided to sell it back to the dealer who offered him 50,000 less. "I've had other cars that I've made money on it," he said. "For me, it's a hobby and to say I can get into that car and drive it and show it off." But he still sees investment potential. He and his son in law bought a 1992 Ferrari Testarossa, which sits on a lift in a private garage and is driven once a month. They paid 350,000 for it last year and expect it will be worth 500,000 in five years. One thing is for certain: It won't have many more miles on it by then.	N24News: A New Dataset for Multimodal News Classification	Your Money
I met Meryl Comer once, briefly, at a conference, and recall the juxtaposition of her sleek beauty and harrowing personal story: her husband, once chief of hematology and oncology at the National Institutes of Health, debilitated by early onset Alzheimer's disease, and her mother with the late onset variety, both living in her suburban Maryland home, under her care. Now Ms. Comer has filled in the blanks in that bare bones version of her day to day life in this riveting and necessary, if flawed, book, "Slow Dancing With a Stranger," in which Ms. Comer takes you down the black hole where she has lived for 20 years, with no end in sight. She argues persuasively that we can't "age proof our lives" and that this disease, "the dark side of longevity," is a "looming health catastrophe" for us all. "My greatest fear," she writes, "is that mine will be the family next door by midcentury." Once in a while, her account is too polemical, despite her tireless advocacy for early testing and prevention trials. Yet hers is not just talk. She is in such a trial, has been tested and has two genetic markers for the disease. (All proceeds from this book will go to Alzheimer's research.) Sometimes, the account is self serving, a "there is no problem I can't solve" kind of litany: She outfits her husband, Dr. Harvey R. Gralnick, now 77, with shin guards like a lacrosse player's to prevent injury during his frantic pacing. After he becomes violent, she installs the equivalent of rearview mirrors throughout the house so she can see him coming around corners. Sometimes, the account is hard to follow, the chronology and geography muddled. When and for how long was her husband sedated and cuffed in leather restraints in a locked ward at Johns Hopkins Hospital? Were they home or in an institutional setting when his fists clenched until his fingernails turned blue he knocked out her front teeth as she tried to wash his groin? Then there is Ms. Comer's prickly mother, alone on the Jersey Shore for much of the narrative. (She is still alive, at 94.) When did she join the household? How many stops were there in between? Where was the old woman when she called 911 to report that her daughter, now 70, was holding her against her will? Ms. Comer notes that her mother "didn't like Harvey," an understatement given that at another point, she asks: "Who is that man over there? The one you married? He didn't deserve you. I hope you got rid of him." But these quibbles do not detract from the author's success in achieving her stated goal: to deliver the "unvarnished reality" of Alzheimer's. The good news and the bad news about this book are the same: It is very painful to read, as well it should be. From the first, Ms. Comer writes, her husband's work was paramount. Holidays were ignored and vacations canceled. He accepted a two year sabbatical in France when they were practically newlyweds and went without her. He refused to wear a wedding ring and was "not generous with expressions of love." One Christmas season, making an unusual trip home in the middle of her workday, she caught him in bed with another woman the marital bed in disarray, gift wrapping from presents exchanged, flutes of stale Champagne, embers in the fireplace. She did not speak to him for weeks, then moved out and filed for separation. But she took pity on him in the midst of a home renovation and let him stay with her for a month that turned into a year. Maybe, she writes, it was an early disease symptom, overlapping other changes in his behavior. "The cruelty of Alzheimer's offended me more than his infidelity," she writes, "and I couldn't hold onto my outrage. ...Alzheimer's had saved our marriage." The marriage Dr. Gralnick's third, Ms. Comer's second is a psychological puzzle that winds through the book. She is smart as a whip, a former business journalist, yet turns a blind eye to their extravagant lifestyle and is unaware her husband has no long term care insurance or end of life documents, leaving his wishes a mystery. Dr. Gralnick drove a yellow Porsche 911. He wore custom made clothes. He dabbled in wine futures. Yet his wife is angered by the temerity of friends who ask if he would have done for her what she was doing for him; she hedges by replying, "Who among us can know with certainty how we will act until the middle of a crisis?" Privately, she knows better. "He would have done whatever he could to get me the best medical attention and put me in the right clinical trials," she writes. "But would he have abandoned his career to care for me, bathe me, diaper me, dress me, feed me, cater to my behaviors and personal needs? I doubt it. No, I know it."	N24News: A New Dataset for Multimodal News Classification	Health
What is a fashion magazine without photo shoots? Without those glossy images of models, photographed in glamorous locales and produced by a small army of hairstylists, makeup artists, editors and assistants? It's a more environmentally friendly magazine, for one. Or so says Italian Vogue, which aims to make a statement about sustainability this month by omitting photo shoots. In his January 2020 note to readers, Emanuele Farneti, the editor in chief, described what it takes to fill one issue of his magazine (in this example, the traditionally thick September issue) with original photographs: "One hundred and fifty people involved. About twenty flights and a dozen or so train journeys. Forty cars on standby. Sixty international deliveries. Lights switched on for at least ten hours nonstop, partly powered by gasoline fuelled generators. Food waste from the catering services. Plastic to wrap the garments. Electricity to recharge phones, cameras ..." Owning up to this pollution was important to Mr. Farneti, particularly after he and the 25 other international Vogue editors made a pledge in December to help "preserve our planet for future generations" and show respect "for our natural environment."	N24News: A New Dataset for Multimodal News Classification	Style
More than 50 cameras blanketed the Superdome on Sunday afternoon, ensuring endless angles and replays of every highlight from the N.F.C. championship game between the New Orleans Saints and Los Angeles Rams. At stake was a trip to next month's Super Bowl, but when the officials needed a replay most, the N.F.L.'s complicated rules for what is and is not subject to video review prohibited them from watching one, even in the midst of a game that cost tens of millions of dollars to produce and is among the most watched events on television. So, despite dizzying rules changes and stunning camera angles all aimed at getting the calls right, the decision came down to a simple fact: The most important guy was standing in the wrong place at the wrong time and nobody could do anything about it. Those rules might change this off season, though in the past the N.F.L. has shown little appetite for making penalties reviewable because they are considered judgment calls. This means that rulings of fact such as whether a ball crossed the goal line, or a foot touched the sideline, or whether a pass is complete are reviewable. Whether a player committed holding or pass interference is not. In the minute after a crucial late game play on which referees could have called two separate penalties on Rams cornerback Nickell Robey Coleman but opted to call none, Fox's broadcast team showed five separate replays that made clear officials had made a terrible mistake. It appeared to cost the Saints an advantage that could have led to their winning the game. As those replays rolled, the side judge Gary Cavaletto, who was near the play, endured an earful from Saints Coach Sean Payton. However, in an era when anyone watching on a high definition television at home has as good a view as the officials on the field do, as well as the benefit of reverse angles and slow motion for each play, the harsh judgment of the world most often ends up carrying the day: The official screwed up. The Saints owner Gayle Benson rendered her judgment in an emotional statement issued late Monday afternoon, vowing to make sure no team ever experiences what hers did Sunday. None Week 11 Takeaways: Here is what we learned this week. N.F.L. Tightens Covid Protocols: As cases rise and Thanksgiving approaches, the league is requiring masks inside team facilities and increasing testing. The Jets Lose Again: Falling to the Miami Dolphins, the Jets' receiver Elijah Moore offered consolation. The Long Path to the Super Bowl: With 18 weeks in the regular season and fewer teams earning byes in the playoffs, the Super Bowl is still a long way off. Playoff Simulator: Explore every team's path to the postseason, updated live. "I have been in touch with the N.F.L. regarding yesterday's events and will aggressively pursue changes in N.F.L. policies to ensure no team and fan base is ever put in a similar position again," Benson said. "The N.F.L. must always commit to providing the most basic of expectations fairness and integrity." The closest thing to an official league position came from Payton, the Saints' head coach. After the game, he said he had spoken on the phone with Alberto Riveron, the N.F.L.'s senior vice president of officiating, who told him the officials botched the call, a position the league chose not to refute. While the relative silence may seem odd in the age of very public apologies and mea culpas, the N.F.L. actually has no consistent strategy for dealing with high profile officiating errors, a reflection of what is often an idiosyncratic approach to crisis management. Sometimes Roger Goodell, the league's commissioner, chooses to say plenty; other times he says nothing at all. When it comes to major officiating mistakes, oftentimes what happened does not become clear until years later, when the official involved chooses to speak. Bill Leavy can't forget Super Bowl XL. As an N.F.L. referee, officiating the biggest game of the season should have been an honor for Leavy. Instead, it is the night he will always remember for all the wrong reasons. Leavy and his crew made several controversial calls that went against the Seattle Seahawks, who ended up losing to the Pittsburgh Steelers by 21 10. The league tried to protect Leavy's crew when it said the game was "properly officiated." Years later, Leavy acknowledged the missed calls and said they still weighed on him. "It left me with a lot of sleepless nights, and I think about it constantly," Leavy told reporters in Seattle in 2010, four years after the game. "I'll go to my grave wishing that I'd been better." Video replay was supposed to rectify much of that. The former N.F.L. coach Mike Holmgren refers to it as the "50 guys in a bar" rule. If 50 people watching in a bar agree it's a bad call, it should probably be overturned. Yet, like a lot of things that happen in the N.F.L., which has a dense, 89 page rule book, it is never that simple. Cavaletto might want to heed Leavy's remorse. Cavaletto, the side judge in the N.F.C. championship game on Sunday, has been widely ridiculed for not calling a penalty late in the fourth quarter on Robey Coleman, who drilled New Orleans Saints receiver Tommylee Lewis before the ball arrived. Cavaletto, who did not grant an interview, and the other referees could have called penalties for pass interference or a helmet to helmet hit, but they chose to call neither. The Saints settled for a field goal, but enough time remained on the clock for the Rams to march down the field and kick a field goal that sent the game into overtime. The Rams ended up winning the game, 26 23. After washing out of baseball, Cavaletto became a three sport official, officiating Division I college basketball and baseball games, as well as Canadian Football League and Arena Football League games, before making his N.F.L. debut in 2003. He, too, will most likely live with his non call for years to come. In the past, officials involved in controversial calls have not worked subsequent games involving the aggrieved team. It is a good bet, then, that Cavaletto will not be seen at future Saints games. Infuriated Saints fans, who have long insisted that the N.F.L. remains biased against them because its coaches were found to have rewarded injuring opponents, took to social media after the game to note that Cavaletto lives a mere two hours from Los Angeles. His non call may also lead to change. That is, after all, what happened after a series of mistakes involving the N.F.L.'s so called "tuck rule." The most famous invocation of that rule came during a playoff game in 2002, when a fumble by Patriots quarterback Tom Brady was overturned and ruled an incomplete pass after a replay review by the referee Walt Coleman. Brady's arm, Coleman ruled, had begun a forward movement before he attempted to tuck the ball back toward his body. The Patriots went on to defeat the Oakland Raiders in overtime. While the N.F.L. elected to leave the rule as is following that game, a push to make a change began in earnest after another instance in a 2011 playoff game between the Baltimore Ravens and the Kansas City Chiefs. Finally, in 2013, after continued consternation over the regulation, the N.F.L. abolished the tuck rule. Even though Coleman officiated for 17 seasons after the game before retiring this year, he never officiated another Raiders game.	N24News: A New Dataset for Multimodal News Classification	Sports
Each week, we review the week's news, offering analysis about the most important developments in the tech industry. Hello, readers. My name is Natasha Singer. I'm a technology reporter covering privacy and other thorny industry issues for The New York Times. I'll be bringing you the week's tech news. But first, a data rights update: As the holidays approach, some families may be counting down the days to Christmas with Advent calendars. Many tech companies, on the other hand, are counting the days they still have left to figure out how to comply with a sweeping new law, the California Consumer Privacy Act. The law, which takes effect on Jan. 1, will give Californians the right to see, delete and stop the sale of the personal information that companies have compiled about them. The new law applies to businesses operating in California that collect personal information for commercial purposes and meet certain conditions like collecting the data of 50,000 people or more. That means it will cover scores of tech companies, app developers, websites, mobile service providers, streaming TV services as well as brick and mortar retailers, drugstores and many other businesses. The effort has national implications. Companies like Microsoft have said they will honor the data rights in the California law for customers nationwide. To prepare for consumers seeking to exercise those new data rights, many companies told me they have had to restructure the way they handle users' information. It's not Y2K. It's YCCPA. I've spent the last week talking to tech executives and legal experts about a few parts of the law that are so new to the United States that many companies are still working out how to comply with them. The California law gives individuals a new right to see the specific pieces of information that companies have compiled about them. That includes inferences and categorizations Status Seeking Singles, Blue Collar Comfort, Tight Money that some companies use to classify people. Does this mean Uber and Lyft will now be obliged to provide riders in California who request their personal data with a list of all the passenger ratings drivers give them after each ride? Will Amazon be required to give Prime customers detailed activity logs of their streaming video use? Will smart mattress companies have to show sleepers moment by moment records of their tossing and turning? "Yes, they have to come back with the specific pieces of personal information," said Mary Stone Ross, a technology consultant who helped write the ballot initiative that led California to enact the law. "So if they're collecting that, your sleep information, they have to respond with it." The California law's definition of "selling" personal information includes sharing it for nonmonetary compensation. And the law requires companies "selling" personal information to give consumers the choice to opt out of having their data sold or shared for commercial gain. Will much of the digital advertising industry, like apps that share user data in exchange for targeted ads, now be obliged to offer consumers a way to opt out? "There are lots of information exchanges going on in the economy where people don't pay with cash but there's some kind of consideration for it," Lothar Determann, a lawyer at Baker McKenzie who specializes in privacy regulation, told me. "And all of that is to some extent covered by this very overbroad law." (Mr. Determann said he was speaking generally, not about any particular company.) The law gives employees in the state some new rights related to the data their employers collect about them. How does this change business as usual? Until now, Mr. Determann said, employees in the United States typically received "a notice saying that 'you shall not have any privacy expectations at the workplace we record and monitor everything for compliance and harassment, trade secret protection purposes,' and so on. So they were getting antiprivacy notices." But as of Jan. 1, he said, employers in California must give contractors and employees a notice explaining the types of information the company collects about them and for what purpose. That is, he said, "something that employers in the U.S. never had to do." I'll be following these new employer data disclosures. So please email me at nsinger nytimes.com or DM me natashanyt if you work in California, have already received your employer's disclosure and want to share it. Some tech companies say the new privacy law is too broad and prescriptive. Microsoft said it would like to see an even more comprehensive privacy regime. How so? "California is a good first step because it has some very important rights built in around user control," Julie Brill, Microsoft's chief privacy officer, told me. "But too much of a burden has been placed on individuals. We need to ensure that companies share the burden to protect individual data in the United States." "That means things like requiring companies to assess the data that they have and to make sure that they're adequately protecting it," she added. "It should include privacy by design. Good stewardship requirements should also include principles like data minimization." Silicon Valley is not alone in having to contend with a new data rights law. As my colleague Vindu Goel reported this past week, India is set to enact data protection regulations that would give its population of 1.3 billion people some controls over their information. The Indian data bill is an outgrowth of a Supreme Court decision that established a constitutional right to privacy in the country in 2017. Yet the effort is contentious.	N24News: A New Dataset for Multimodal News Classification	Technology
Alexandra Rucker Kennedy and Peter Kwetu Haviland Eduah were married May 27 at the Newseum in Washington. Judge Paul L. Friedman, a senior judge of the United States District Court for the District of Columbia, officiated. The bride, 29, works in Baltimore at Under Armour, the footwear and apparel company, where she is the chief of staff to the chief information officer and executive vice president for global operations. She graduated from Princeton. She is a daughter of Altomease R. Kennedy and Henry H. Kennedy Jr. of Washington. The bride's father retired as a judge of the United States District Court for the District of Columbia. Her mother is a partner at the law firm Sanford Heisler Sharp in Washington. The groom, 29, is a senior consultant in the Arlington, Va., office of Deloitte, the professional services firm; he works on projects contracted by the federal government. He is a former aide to Senator Kirsten Gillibrand, Democrat of New York. He graduated from Union College and received a master's degree in public policy from the University of Michigan. He is the son of Jennifer L. Haviland Eduah of Saratoga Springs, N.Y., and Paul K. Eduah of Albany. The groom's mother retired as a special education teacher at Hudson Falls High School in Hudson Falls, N.Y. His father is a skills specialist for adults with special needs at the Center for Disability Services in Albany. The couple met in September 2011 at a party in Washington.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
SAN FRANCISCO The technology industry's biggest companies show no signs of leaving the places they call home. But to stay there, they're deciding that they need to play a role in fixing a housing crisis they helped inflame. Facebook said on Tuesday that it would give 1 billion in a package of grants, loans and land toward easing California's severe crunch by building an estimated 20,000 housing units for middle and lower income households. The move is the latest in a series of efforts by technology companies to put their vast financial resources toward addressing the dire housing affordability problems that have afflicted tech centers around the country. In June, Google pledged 1 billion for a similar effort in California, while Microsoft pledged 500 million toward affordable housing in Seattle in January. The steep cost of housing in California, which politicians colloquially refer to as "the housing crisis," clouds nearly all aspects of life across the state. Despite having some of the highest wages in the nation, California has the highest state poverty rate once the cost of housing is figured in. Three hour commutes are expanding, there are stories of police officers sleeping in their cars, and a growing homelessness problem has made the sight of sidewalk tents commonplace. Read more about the rise of homelessness in California, and the backlash. Taken together, the investments by Facebook and other companies show the degree to which large employers in the Bay Area and other tech centers are having to aid in the basic governance of their regions if they plan to keep expanding which they absolutely do. Facebook and Google have continued to add employees and office space at a rapid clip, expanding north from Silicon Valley to become some of the largest tenants in San Francisco. Growing in the Bay Area increasingly means not just figuring out where your top paid employees live and how they get to work, but also helping other employees do the same. Long before they got involved in affordable housing, Google and Facebook hatched plans to build housing around their campuses. Each weekday morning, an estimated 1,600 private buses bigger than many municipal public transportation systems fan across the Bay Area to ferry tech workers to their offices. "Our cities and local leaders are facing dilemmas that are hard to solve," said Mila Zelkha, founder of Manzanita Works, a nonprofit that has worked to build housing for teachers by bridging the public and private sectors. "Gifts like this from industry can help fund opportunities so that the fabric of our communities is held together." Still, while housing advocates generally applaud the efforts by Facebook and other companies, beneath the large numbers and press release headlines are a whole bunch of details and fuzzy accounting that have yet to be worked out. For starters, these are not donations but investments on which the companies expect to make money, and substantial portions of them come in the form of land instead of cash. The investments also give the companies an opportunity to deliver positive news as they face increased scrutiny for their power and influence. Mark Zuckerberg, Facebook's chief executive, is scheduled to testify on Wednesday before federal lawmakers about its plan to create a cryptocurrency called Libra, as well as online privacy and discriminatory advertising on the site. Facebook has been accused of illegally allowing advertisers to target ads on the platform based on characteristics like race, religion and national origin. This year, the company said it would stop allowing advertisers in key categories to show their messages only to people of a certain race, sex or age group. Facebook said in a statement that its money for housing would be used over the next decade. The package includes a 250 million partnership with the state for mixed income housing on state land, 150 million for subsidized and supportive housing for homeless people in the Bay Area, 250 million worth of land near its headquarters in Menlo Park, 25 million for teacher housing in the Silicon Valley, and 350 million that the company said would be spent based on the effectiveness of the programs. Numerous dull but important details like the breakdown of equity and debt, how the loan terms will operate and how "low interest" they will really be have yet to be worked out. Facebook said most of its efforts would focus on middle income housing for people like teachers and public employees. "If we are going to solve housing, we have to hit every income level," Menka Sethi, director of location strategy for Facebook, said in an interview. "The market is not building this housing, and we are currently working with nonprofit developers to figure out what our capital needs to look like to make that happen." The mother of all local housing questions is when and how these plans, whatever their specifics, will be approved. It is widely acknowledged that the root cause of California's decades long housing and homelessness problems is a widespread shortage of housing. And yet building lots of housing in particular, housing accessible to middle and lower income residents has proved difficult. A bill to vastly expand housing production stalled in the State Senate this year over the protests of suburban communities that argued that it would lead to more traffic and ruin their quality of life. Construction costs have risen so high that building even no frills subsidized units routinely costs 500,000, and often more in big cities. At that rate, building 20,000 homes could cost 10 billion. Those kinds of numbers can make a mockery of any effort to solve the problem with money. Public officials and economists are blunt that it will take a decade or longer for their efforts to have any material impact. In the latest annual counts, the homeless populations of Los Angeles and several Bay Area cities increased significantly; Oakland's grew close to 50 percent in just two years.	N24News: A New Dataset for Multimodal News Classification	Technology
Lillian Hellman's "Days to Come" begins with domestic conspiracy in an expensively appointed living room one servant firmly coaxing another to hand over her wages because, she says, "The boys need it." In the middle of the Great Depression, the local men are striking against the factory that is the engine of their Ohio town, and the dispute shows no sign of being resolved. In fact, it's about to amp up. The excellent Kim Martin Cotten plays the more senior of the servants in the factory owners' home, and in her eminently human dispatch of the scene, hope blooms for the Mint Theater Company's handsomely designed revival (set by Harry Feiner, costumes by Andrea Varga). Might it make sense of Hellman's sprawling, centerless play? Short answer: not really, no. Directed by J.R. Sullivan in the Beckett Theater at Theater Row in Manhattan, it's a mishmash of acting styles in a tonally uneven production that rarely wipes the dust of decades from the text. It's an overloaded play there's a reason it was such a resounding flop in its Broadway premiere, in 1936 but there is more life in it than the Mint staging finds.	N24News: A New Dataset for Multimodal News Classification	Theater
A private jet, the crimson "A" of the University of Alabama painted on its tail, lifted off from Tuscaloosa, Ala., around daybreak Saturday with extraordinary cargo: cellular debris collected from the nose of Nick Saban, the football coach. Three days earlier, Saban had announced that he had tested positive for the coronavirus. Now, still in isolation hours before second ranked Alabama was to play third ranked Georgia, Saban knew the specimen aboard the plane was his diagnostic lifeline to the sideline. If a laboratory in Mobile, Ala., reported that the sample was negative for the virus, Saban, who had asserted that he had no symptoms and had repeatedly tested negative after his initial result, would be allowed to leave isolation a week early and coach in the prime time game. And so it was. Hours after a final negative result and with no small help from a rule change that Southeastern Conference leaders approved six days before the positive test that shocked Alabama millions of people watched on television as Saban led the Crimson Tide to a 41 24 victory. The episode underscored two aspects of the response to the virus: Even the most rigorous tests in this case a polymerase chain reaction, or P.C.R., widely considered the gold standard of infectious disease diagnostics can falter. And, more than seven months into the nation's coronavirus crisis, access to testing remains inconsistent, except among America's elite. Alabama's football program is clearly one of the haves. Anchored by one of the most celebrated brands in college football the team claims 17 national championships, including five during Saban's tenure, now in its 14th season Alabama's athletic department is among the country's wealthiest. Supported each year by more than 100 million in broadcast rights, donations and ticket sales alone, the athletic department markets itself as one of the college landscape's self sustaining programs. Bryant Denny Stadium just had a 107 million renovation, and Saban is to earn more than 9 million this season. As the pandemic has strained athletic finances on campuses nationwide, it has, in some ways, put Alabama's resources and football obsession on greater display. The SEC, for instance, requires its football teams to be tested at least three times a week under a protocol that hinges almost entirely on P.C.R. testing, one of the most accurate and expensive techniques on the market. But Alabama opted for daily screenings of its football players and coaches. Early last Wednesday afternoon, Saban learned that one of his P.C.R. tests, which had been processed at a local laboratory, had come back positive. He headed home, oversaw practice via Zoom and held a news conference from afar, saying he had been "very surprised" by the result. (Alabama declined to comment beyond Saban's public remarks and the statements the athletic program issued last week.) With the case count around the football complex low only Saban and the university's athletic director tested positive, according to Alabama and Saban an evangelist for masks and physical distancing, people in Tuscaloosa and elsewhere wondered whether that Wednesday test was flawed. P.C.R. based tests for the virus hunt for specific stretches of genetic material, which they can copy repeatedly until their targets reach detectable levels. That makes it easy to identify the virus, even when it is scarce, and difficult to mistake something else for the pathogen. But as with any procedure, mistakes are possible. Differences in the way the test samples are handled, processed and analyzed can upend results. Pressure to speed up the turnaround time for results could also make it harder to keep machines running in tiptop shape, or to ensure consistency from test to test. How to get a coronavirus booster shot in New York City. Just a few storms cloud the U.S. travel forecast for a second pandemic Thanksgiving. Several moves by the U.S. over the last week aim to shift the course of the pandemic. "The most likely culprit was probably some sort of contamination," possibly from a nearby sample that came from someone who actually had the virus, said Sarah Jung, the scientific director of clinical microbiology at Children's Hospital Colorado. "This is detecting things we can't see. That makes it all the more difficult." Mishaps are also bound to happen during a flood of tests. Alabama's athletic department has said little about its testing throughout the pandemic, but the football program is administering at least 120 screenings a day, Saban suggested on ESPN on Saturday. The SEC's 14 athletic programs are collectively running thousands of P.C.R. tests every week. "It's a game of numbers," Dr. Jung said. "I'm not saying it's inevitable, but when groups like this test a lot, the chances for a situation like this to occur increase." Even under ideal circumstances, the best products will occasionally fail, Dr. Jha said. "There is not something that is 100 percent perfect," he said. "That's why you do confirmatory tests." Alabama swiftly began its investigation into Saban's positive result. There were medical reasons to try to confirm the result, but urgent football ones, too. Less than a week before Saban said he had tested positive, the SEC's chancellors and presidents had approved an update to the league's medical protocols. Under the new policy, an asymptomatic person like Saban who tested positive for the virus could take another P.C.R. test within 24 hours. If that test yielded a negative result, the person could take two more P.C.R. tests, each separated by 24 hours. If all three results were negative, the player, coach or staff member could return to athletics. It is unusual to administer a follow up screening after someone tests positive by P.C.R., and the Centers for Disease Control and Prevention recommend that such a result send an asymptomatic person into isolation for 10 days. But in the weeks before Saban's test, the conference had an experience with a false positive involving a soccer player at Texas A M, Sports Illustrated reported. And the league's medical experts had also begun to worry about the potential public health effects of an unchecked false positive: a person's being dropped from routine testing and perhaps acquiring a sense of invincibility that they could no longer contract the virus potential fodder for an outbreak, should that person be exposed. "The repercussions for that false positive aren't just for that athlete," said Dr. Catherine O'Neal, an infectious disease specialist at Louisiana State University and a member of the SEC's medical task force. "It puts the entire team at risk." Still, Dr. O'Neal said she had worried about endorsing a protocol that "debunks a test result." "There's so much attention around the validity of these tests, and for us who work in health care, just convincing patients to trust us and trust getting tested has become a struggle," she said. "We don't want to give the perception that we don't believe these tests." The tipping point, she recalled in an interview Tuesday, had been "the increased awareness that false positives do occur." Despite the slight variances of the SEC's new protocol from others' guidelines, outside experts said that a lone positive result among so many negative P.C.R. tests was almost certainly inaccurate. Rules made clear that Saban could not coach, even from home, if he had the virus. If Alabama wanted Saban in charge against Georgia, the new approach was its only option. And even if the plan worked, it would not be clear until sometime Saturday, the day of a game long seen as one to shape the race toward the College Football Playoff. Less than 24 hours after the positive result, Saban took the first of the three SEC sanctioned tests he would need to pass to exit isolation. His first formal follow up tests, conducted around 7 a.m. on Thursday and Friday, showed negative results, as did two other P.C.R. tests that Alabama ordered "out of an abundance of caution" at another lab. Alabama announced the first SEC test's results, and ESPN reported the findings of the second as it broadcast from Alabama's stadium on Saturday morning. Word had already begun to circulate through the SEC that Saban might prove eligible to coach. Driving the last specimen to Mobile would have taken more than three hours on game day, potentially stripping Saban of precious time with his team. So Alabama athletics turned to its speediest option: its jet.	N24News: A New Dataset for Multimodal News Classification	Sports
The warning comes early in Ryan William Downey's "Sleeping Car Porters" as a voice over welcomes us to the story "and when I say 'story' I really mean a patchwork of moments." And what moments they are. Granted, some of this Title:Point company production, at the Brick Theater, about a certain kind of mythological American noir is frustratingly cryptic, and some sections extend their welcome way too long. But then there are scenes so wonderfully flabbergasting or even unexpectedly creepy that I found myself chuckling in sheer delight. We should never underestimate the joy of being taken aback by something completely off kilter onstage it doesn't happen all that often. By way of a prologue, a western troubadour by the name of Dakota Kirke (Kegan Zema) sings a couple of tunes and exits with a piece of advice: "Prepare yourself for a phantasmagoria of power, violence and mystery whatever that means."	N24News: A New Dataset for Multimodal News Classification	Theater
WASHINGTON Kevin M. Warsh, who was the Federal Reserve's chief liaison to Wall Street, will resign from the central bank's board at the end of March, giving President Obama yet another chance to leave his stamp on the Fed. In an unusual move, Mr. Warsh, 40, had publicly expressed skepticism about the Fed's 600 billion plan, begun in November, to buy bonds to lower long term interest rates and stimulate bank lending. He was the only one of the Fed governors, who are presidentially appointed, to voice such doubts, though he never voted against the plan. A former aide to President George W. Bush, he was the only governor with close ties to Republicans in Congress and to conservative organizations, like the Hoover Institution. With his departure, the Fed board loses that link to conservatives at a time when conservative economists and some Republicans on Capitol Hill are sharply critical of the Fed chairman, Ben S. Bernanke, and his policies. The central bank looks to be increasingly dominated by so called doves, who emphasize policies intended to create jobs and economic growth equally with fighting inflation, rather than those known as hawks, for whom stable prices and low inflation are paramount. "It seems likely that anyone nominated by President Obama will be more 'dovish' than Kevin Warsh right now," on inflation, said Alan S. Blinder, a Princeton economist and former Fed vice chairman. The Fed's seven member board already overwhelmingly bears Mr. Obama's mark. He named Mr. Bernanke to a second four year term that began last year and has installed three other governors: Daniel K. Tarullo and Sarah Bloom Raskin, who specialize in bank regulation, and the economist Janet L. Yellen, the Fed's vice chairwoman. Another Obama nominee, the economist and Nobel laureate Peter A. Diamond, is awaiting Senate confirmation to the only vacancy on the board. Mr. Warsh, a former specialist in mergers and acquisitions at Morgan Stanley, helped manage the Fed's response to the 2008 financial crisis, playing a crucial role in the decisions to broker the sale of Bear Stearns to JPMorgan Chase, to allow Lehman Brothers to go bankrupt and to bail out the American International Group. He joined the Fed board five years ago, after serving in the White House. Mark W. Olson, a former Fed governor who overlapped with Mr. Warsh for several months in 2006, said Mr. Warsh's departure would leave a gap. "One thing the Fed needs to understand is the perspective of Wall Street, and Kevin brought that in a way that nobody else did at that point," he said. "Kevin's real value was to help us understand what the capital markets thought and how they were responding to the decisions we made." Mr. Olson said "it will be incumbent on the Fed board to reach out" to conservatives, just as it tries to reflect the perspectives of consumers and not just bankers. The Fed board has been fairly unified on monetary policy lately. With unemployment at 9 percent and inflation below the Fed's unofficial target of around 2 percent, Mr. Bernanke has expressed confidence that the Fed's extraordinarily easy monetary policy is justified. But some conservatives say that Mr. Bernanke might be setting the stage for future inflation and asset bubbles. Mr. Warsh served at times as a liaison between Mr. Bernanke and those conservative critics. In a statement, Mr. Bernanke praised Mr. Warsh for "exemplary service" and "intimate knowledge of financial markets and institutions." He added: "I deeply appreciate his insights and wise counsel, and most especially, his fortitude and friendship during the difficult days, nights and weekends of the crisis." But Mr. Warsh has at times tried to keep his distance from Mr. Bernanke. Five days after the Fed's policy marking arm voted on Nov. 3 to buy 600 billion in Treasury securities the second round of a strategy known as quantitative easing that is intended to lower long term interest rates The Wall Street Journal published an article by Mr. Warsh expressing doubt. Though Mr. Warsh voted for the bond buying plan by Fed tradition, board members almost never vote against the chairman he said he viewed the strategy as "necessarily limited, circumscribed and subject to regular review." He added, "Policies should be altered if certain objectives are satisfied, purported benefits disappoint or potential risks threaten to materialize." The piece was seen in some quarters as presaging his departure. Officials said Mr. Warsh, a lawyer, would return to New York, where his wife, Jane Lauder, lives, and work in the private sector. He declined to comment on Thursday.	N24News: A New Dataset for Multimodal News Classification	Economy
The French Open women's tournament, already a spinning roulette wheel of upsets and unlikely success stories, got its first genuine shock on Sunday when unseeded Polish youngster Iga Swiatek upset No. 1 seed Simona Halep 6 1, 6 2 in the fourth round. Swiatek, 19, won only one game against Halep in the same round and on the same Philippe Chatrier Court last year, losing in just 45 minutes. But she was the dominant force on the red clay on Sunday, dictating terms with her whipping forehand and heavy serve and forcing Halep to lunge repeatedly to keep pace. "Even I am surprised that I can do that," Swiatek said after closing out the victory and burying her head in a towel in her courtside seat. It was quite a day for 19 year olds at this chilly Roland Garros. But then Jannik Sinner should feel right in his element. He was a competitive ski racer before choosing to chase big tennis dreams, and he coolly eliminated No. 6 seed Alexander Zverev 6 3, 6 3, 4 6, 6 3. Sinner, a redheaded Italian, is the first man since Rafael Nadal in 2005 to reach the quarterfinals while playing in his first French Open. "I practiced with him a couple of times," said Nadal, who will play Sinner on Tuesday. "He has an amazing potential. He moves the hand very quick, and he's able to produce some amazing shots." Nadal, a 12 time French Open champion, had no trouble with another member of Sinner's generation: 20 year old American qualifier Sebastian Korda. Nadal won 6 1, 6 1, 6 2 against Korda, the son of former French Open finalist Petr Korda and former WTA Tour player Regina Rajchrtova. Sebastian Korda, a Nadal fan, had to settle for the consolation of getting Nadal's autograph after the match. But Dominic Thiem, the No. 3 seed and new United States Open champion, came much closer to defeat against Hugo Gaston, a 20 year old French wild card who had upset Stan Wawrinka in the third round. After losing the first two sets to Thiem, the 5 foot 8 Gaston destabilized the powerful Austrian with his artful blend of drop shots, lobs and short hop returns. But the drop shot magic eventually ran out, and Thiem prevailed by summoning some huge forehand inside out winners when he needed them most. His 6 4, 6 4, 5 7, 3 6, 6 3 victory earned him a quarterfinal against No. 12 seed Diego Schwartzman, another relatively short player with big talent. Schwartzman, a 5 foot 7 Argentine, upset Nadal in the Italian Open on clay last month and defeated Lorenzo Sonego of Italy 6 1, 6 3, 6 4 on Sunday. For now, the three leading contenders for the men's title Nadal, Thiem and No. 1 Novak Djokovic are still in contention. But the women's draw is a smoldering Paris ruin. Halep's defeat was one of the most lopsided and unexpected of ts her career. She had won 17 straight matches in the disrupted 2020 season and 13 straight on clay. She skipped the U.S. Open because of concerns about traveling during the coronavirus pandemic, and trained almost exclusively on clay in Romania during the hiatus. She returned after a six month break to win titles on the surface at the Prague Open and Italian Open. Halep appeared to be in high spirits and rare form and headed for another title run, but she ended up losing to another teen instead. . Less than an hour after Halep's defeat under a closed roof at Philippe Chatrier Court, Martina Trevisan, an Italian qualifier, upset No. 5 seed Kiki Bertens 6 4, 6 4. Trevisan, ranked 159, already had defeated American teenager Coco Gauff and No. 20 seed Maria Sakkari in the tournament. She finished in style against Bertens, whose best surface is clay, whipping a backhand topspin lob winner that landed on the baseline. So is Nadia Podoroska of Argentina, another qualifier ranked outside the top 100 who is into the quarterfinals: the first time two qualifiers have advanced this far at Roland Garros since 1978. This French Open, postponed from its traditional dates in May and June because of the health crisis, was missing key women's players from the start. Ashleigh Barty, last year's singles champion who is still ranked No. 1, is riding out the pandemic at home in Brisbane, Australia. Naomi Osaka, who won the United States Open last month, withdrew from Roland Garros, explaining that the tight, two week gap did not leave her enough time to recover from a hamstring injury. But after eight days, the women's tournament is now missing most of its stars, including Serena Williams, who withdrew with an Achilles' tendon injury before the second round. Halep's defeat guaranteed a first time French Open women's champion and left No. 3 seed Elina Svitolina as the top remaining women's seed, who will face Podoroska next. Only four of the 32 seeds remain in the draw: Svitolina, No. 4 Sofia Kenin, No. 7 Petra Kvitova and No. 30 Ons Jabeur. "At this level nobody surprises anybody anymore because everyone has a big level and it depends on the day," Halep said. Not one quarterfinalist from this year's U.S. Open is still in contention. Trevisan, 26, could not have made an equivalent run at the U.S. Open, which did not stage a qualifying tournament this year in order to limit the number of players on site during the pandemic. Swiatek spent the tour hiatus at home in Poland finishing her high school degree. Her father, Tomasz, was an Olympic rower who competed for Poland at the 1988 Summer Games in Seoul. Their last name is regularly mispronounced on the women's tennis circuit; she politely suggests Shvee ON tek. But she certainly made a name for herself on Sunday. Swiatek, the 2018 Wimbledon junior champion, would have fit right in at the All England Club in her all white outfit. She played high risk, acute angle tennis from the start and finished with 30 winners and 20 unforced errors. But she also kept Halep off balance with guile and touch: mixing in drop shots and forays to the net, and responding to some of Halep's fine passing shots by hitting spectacular volley winners. She struck quickly with her heavy forehand but also had the patience to prevail in Halep's usual domain: the extended rally. It was all quite a contrast with her lopsided loss to Halep on the same court in 2019. She was the steamroller this time: winning in just an hour and eight minutes. "Right now I'm more experienced; I can handle the pressure," she said. "I feel like I've grown up to play a match like that and to win it." After losing in the 2014 and 2017 French Open finals, Halep won her first major title at the 2018 French Open and followed that up by defeating Williams in brilliant fashion to win Wimbledon in 2019. Though she could certainly have played and adjusted better on Sunday she often failed to hit her shots deep enough to keep Swiatek from attacking and missed some key openings down the stretch Halep was far from a nervous wreck. Above all, the 54th ranked Swiatek rose to the big occasion: competing with genuine swagger and never allowing Halep, one of the game's best returners, the luxury of a break point.	N24News: A New Dataset for Multimodal News Classification	Sports
On that fateful February night in 2017, after Charles Oakley was dragged out of Madison Square Garden and arrested on the accusation of causing a ruckus involving the Knicks' owner, I made my way down from the press box high atop the court to consult with my source of four decades in the first row behind the Knicks' bench. My source, Michelle Musler, knew Oakley well, often chatting with him before games going back to his time as the power forward pillar of the Knicks' 1990s title contenders. That night, she said, she had spotted his familiar head of gray hair, followed him as he made his way down to a nearby baseline seat behind the thin skinned Knicks owner, James L. Dolan, and unequivocally declared Oakley innocent of harassing him. "I know what I saw," she said. For the majority of her years as a season ticket holder, Musler's seat came with peekaboo privileges into the Knicks' huddle. After her death, in June 2018, Oakley told me he considered her to be "the Oak Man of Knicks fans." The broadcaster Mike Breen, another regular pregame visitor to Musler's seat, said this about Musler, a businesswoman who commuted to the Garden from the Connecticut suburbs: "She loved it so much, and I always said it was people like Michelle who make the N.BA. so great, who give an arena its character, more so than in any other sport. Because they're so close, they can literally reach out and touch you and create that special bond." To that end, Jeff Van Gundy recalled how Musler would occasionally step forward to fix his sport coat collar when he, while coaching the Knicks, appeared for a game in his routinely rumpled state. Seated directly across the court from Spike Lee, the indisputable face of Knicks fans, Musler, a divorced mother of five, rebuilt her social life around courtside relationships players, coaches, trainers, public relations executives and media folks alike. But now it's fair to wonder when and how the N.B.A. will replace the virtual faces so prominent in the courtside of the bubble with its usual affluent audience of living, breathing benefactors normally seated there? What, exactly, will the future of N.B.A. courtside be in the age of Covid 19? Lee, the rare luminary who, rather than get them from corporate benefactors, actually pays for his seats in the so called celebrity row at the Garden, would not venture a guess. "I'm not going to predict the future taking it day by day," he said in a text message. "I have to see where we are in the world when the next N.B.A. season starts." No details of the start of next season have been announced, though the Knicks recently required a deposit for season ticket holders, subject to refund or an account credit should fan attendance not resume. (Courtside seats are at least 1,000 at the Garden, and often much more.) But what if medical science can only provide partial protection through a vaccine? What if the virus is merely controlled, not eradicated? What if on site rapid testing cannot assure a definitive result? How many of the high earning courtside patrons, many of them at advanced ages vulnerable to the virus, would eagerly return to a jam packed environment, where every inch of space has been maximized for profit, all in close indoor proximity to sweaty young athletes? Would mask requirements and social distancing dilute the frenzy of the dense courtside experience and make it less attractive at the premium price level? David Carter, a sports business educator at the University of Southern California and consultant with an N.B.A. client, said in a telephone interview: "One year ago, if you were invited to sit courtside, it would be, 'I can't wait.' In the new normal, it may be, 'Do you not like me?' I don't think sitting courtside at Staples Center or the Garden is going to look like it did and if we do go back, it may not be for a very long time." He added, "The second part, of course, is the consumer piece, the business side." Wynn Plaut, a financial entrepreneur who underwrote and shared Musler's seats for several years after she could no longer afford them, said wealthy people and especially corporations may still have interest in what he called "the necessary diversion" of high end sports. But affordability is one issue, optics yet another. "I would be embarrassed to pay that money for a basketball game given what's going on in the country," he said. "It would feel unseemly, tone deaf. This is the single worst event since I've been alive I was born in 1952 and it's still unfolding." Before reporters were moved upstairs at the Garden to make room for more courtside seats, one of the simple pleasures of covering the N.B.A. was the exposure to fans like Musler, hearing their tales of charmed interaction.	N24News: A New Dataset for Multimodal News Classification	Sports
What books are on your nightstand? "A Lucky Man," an extraordinary short story collection by Jamel Brinkley; "The Lonely Witness," by William Boyle; and "Memphis Rent Party," by Robert Gordon. Describe your ideal reading experience (when, where, what, how). Riding the subway, sitting in a bar or on a park bench with a paperback in hand. Basically, taking a journey with a book. What's your favorite book of all time? Which books got you hooked on crime fiction? I'll list the authors from the syllabus of the crime fiction class (ENGL 379X) I took as a senior at the University of Maryland: Dashiell Hammett, Raymond Chandler, John D. MacDonald, Ross Macdonald, Mickey Spillane, John le Carre, Elmore Leonard. 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. Who's your favorite fictional detective? And the best villain? The detective would be C. W. Sughrue, from James Crumley's "The Last Good Kiss." Jim Crumley lit up a whole generation of crime writers. The villain, hands down, is Junior Allen, from John D. MacDonald's classic "The Deep Blue Good by." Honesty. The same thing that makes any kind of novel a triumph. What kinds of stories are you drawn to? And what do you steer clear of? I like fiction set in the South and I'm a fan of literary westerns. Can't get my head around sci fi or fantasy. I'm not putting those genres down, it's just that I'm not built for them. What books might we be surprised to find on your shelves? I collect and read as many books about music and film as I do fiction. Who is your favorite overlooked or underappreciated writer? David Goodis is largely forgotten today. He was a genuine noir writer whose troubled psyche leapt off the page. I would add Charles Willeford, a singular, radical voice in fiction, to the list. What kind of reader were you as a child? I read The Washington Post every day from a very young age. Reading the newspaper taught me how to organize my thoughts on the page. Meaning, it taught me how to write. I don't have one. I wasn't much of a fiction reader when I was a kid or in my teens. I was, however, a movie freak. Which is to say that I'm more influenced by Sam Peckinpah, Robert Aldrich and Sergio Leone than I am by Harper Lee. What's the last book you recommended to a member of your family? Can I pick more than one? Frederick Exley's "A Fan's Notes"; "Northline," by Willy Vlautin; "Hard Rain Falling," by Don Carpenter; "Stoner," by John Williams; and "Lost in the City," by Edward P. Jones. What's the best book you ever received as a gift? A family friend and D.C. public school teacher, Estelle Petrulakis, gave me a book called "The Movies," a pictorial history of film by Richard Griffith and Arthur Mayer, when I was a child. I've wanted to be a storyteller and filmmaker ever since. If you could require the president to read one book, what would it be? What book did you feel you were supposed to like, and didn't? Do you remember the last book you put down without finishing? I struggle with some of the classics, but once I start in on a book, I tend to finish it. If you were to write something besides crime novels, what would you write?	N24News: A New Dataset for Multimodal News Classification	Books
WASHINGTON Emerging economies have cooled off. Europe remains in the doldrums. The United States is facing fiscal uncertainty, and its powerful central bank is contemplating easing its extraordinary stimulus efforts, with potentially global ramifications. As a result, global growth is in "low gear," the International Monetary Fund said in its latest economic forecasts, released Tuesday as the world's central bankers and finance ministers gathered here for the fund's annual meetings. The I.M.F., the Washington based lending institution, cut its forecasts for global growth, as it has done in nine of its last 10 economic updates. It now expects the world economy to increase by about 2.9 percent in 2013 and 3.6 percent in 2014. That is down from 5.4 percent in 2007, before the global recession. More risks remain, like "prolonged sluggish growth," which the monetary fund has indicated could translate into lower living standards and higher rates of joblessness for hundreds of millions around the world. "Quantitative indicators point to no major change to risks over the near term," the fund said. "The qualitative assessment is that uncertainty has increased again." Over all, developed economies have strengthened whereas emerging economies have weakened, the fund said. The private sector in the United States has posted better numbers, and some European countries have stopped contracting, though growth across the Continent remains weak. "Growth is looking up, financial stability is returning and fiscal accounts are looking healthier," Christine Lagarde, the fund's managing director, said of developed economies at a speech this month in Washington. "Nowhere is this clearer than the United States. We see it all around us," she said, citing improvements in housing and household finances. Yet growth in those wealthier countries remains anemic just 1.6 percent in the United States and 1.4 percent in Britain, with a 0.4 percent contraction in the euro area. Financial problems and recessions in Europe continue to weigh down the rest of the world, the fund said. In Washington, budgetary turmoil has introduced new strains, including the partial government shutdown and fears that the United States might default on its debt. If the Federal Reserve pulls back, or tapers, its major bond buying program, the global economy may also be at risk. It is against the backdrop of a deadlocked Congress and shut down federal government that the world's finance ministers and central bankers are gathering in Washington this week. The stalemate has already led to the biggest drop in consumer confidence since Lehman Brothers collapsed, according to some measures. Open or closed on Thanksgiving? Here are stores' plans for Thursday and Friday. Economists have warned that the hit to growth is accumulating with every day that the shutdown drags on, putting Washington's fiscal and financial woes at the center of the I.M.F. and World Bank talks, with foreign officials pleading with the superpower to put its house in order for the good of the global recovery. "The government shutdown is bad enough, but failure to raise the debt ceiling would be far worse, and could very seriously damage not only the U.S. economy, but the entire global economy," Ms. Lagarde said in the Washington speech. "It is mission critical that this be resolved as soon as possible." In its outlook Tuesday, the fund's economists said Japan and China were facing major economic hurdles. The I.M.F. sees the Japanese economy expanding about 2 percent this year and 1.2 percent next year. The country's fiscal and monetary stimulus efforts have helped jolt the economy out of deflation, but any tightening might lead to slower growth next year, the fund said. The fund now expects China to expand about 7.6 percent this year, 0.2 percentage point lower than the estimate in July. The fund has urged the Chinese government to hasten its attempts to shift from an investment and exports reliant economy to a more balanced one, with increased domestic consumption. And it has warned that China's downshift might affect other countries, "notably the commodity exporters among the emerging market and developing economies." The fund's economists cut their estimates of growth among developing Asian economies by 0.6 percentage point for this year and 0.5 percentage point for next year, with Russia and India getting significant downgrades. Economists have warned that the end of easy money might reveal "Bernanke bubbles" that could burst as lending rates rise and currency markets fluctuate. Separately, the World Bank the International Monetary Fund's sister institution, which is holding its annual meetings jointly with the fund has released its World Development Report, focusing on risk management for low income and developing countries. The bank has warned that poorer countries need to have strong balance sheets and public policies to contend with disasters, whether from financial crises emanating from the United States or from natural disasters hitting at home. The World Bank has announced a sweeping reorganization to help achieve its goals of inclusive growth and the eradication of extreme poverty and to assert its relevance as emerging economies continue to be the engine of global growth. "Right now is the time for all the developing countries to think hard about the reforms they need to make to get to this path," Dr. Jim Yong Kim, the bank's president, said in an interview.	N24News: A New Dataset for Multimodal News Classification	Economy
In 1963, on the Friday before Labor Day, Kathy Hourigan went to a Manhattan employment agency that specialized in publishing. The agency sent her to Knopf, the venerable publishing house, where the office manager gave her a typing test. "It was Dictaphone, that's what people did then," Ms. Hourigan said on a recent afternoon. "The great editor Angus Cameron was dictating a letter to an author, with editorial comments. I said, 'This is fabulous.' I just loved it. And I took the job. Even though I was typing." Secretarial positions were the roles available to women at publishing houses (and many other workplaces) in those days. Young men got the apprenticeships and became editors. Young women typed up the men's letters and contracts. But Ms. Hourigan became assistant to a female editor on the rise, Judith Jones, who discovered Julia Child and edited John Updike. And she climbed the ranks herself, eventually ascending to her current role as vice president, managing editor of Knopf Doubleday. The job amounts to air traffic control for a publisher: You keep dozens of books moving through the production pipeline, on schedule and without incident, and spend your career behind the scenes. Not long ago at Knopf's Midtown offices, however, the staff gathered to publicly acknowledge Ms. Hourigan's service. Knopf's editor in chief and chairman, Sonny Mehta, issued remarks, followed by Robert A. Caro, the two time Pulitzer Prize winning author and biographer, with whom Ms. Hourigan has worked closely for four decades. It was the sort of valedictory gathering that marks a person's retirement, only Ms. Hourigan, 77, was not retiring. She was celebrating her 55th anniversary at Knopf, making her the longest tenured employee in its history, a legend within the confines of one office. Not that she wanted anyone to make a fuss. "I said, 'I don't want anything. Please,'" Ms. Hourigan said in her small 12th floor office a few days after the party. Out the window was a city tableau of water tower, buildings and sky. "Just a couple of weeks ago we had my 50th. It seemed like a couple of weeks ago." Her desk and shelves overflowed with books and paperwork. Asked if her Manhattan apartment was also book stuffed, Ms. Hourigan said, "Yes, but this is no story about me." Wait, that's why we came! Ms. Hourigan may demur the spotlight, but her colleagues feel her presence keenly in the halls. After noting the singular achievement of working for the same publisher for more than half a century, Mr. Mehta told the assembled, "What sets her apart is her ability to keep a dysfunctional editorial team on task every day. And as far as I can tell she achieves this by hovering." There was knowing laughter. Mr. Mehta went on: "Indeed, Kathy hovers outside my office when I'm late. I used to shut the door hoping that would help, but her hovering is so fierce that it penetrates the walls." Speaking by phone later, Victoria Wilson, a vice president and senior editor at the company, called Ms. Hourigan "like a reckoning," which she quickly amended to "a lovable reckoning." Ann Close, another senior editor, recalled that when she first came to Knopf, she asked a colleague for pointers. "They said, 'Just attach yourself to Kathy Hourigan. She will find everything and do everything for you and it will always be right.'" That was in 1970. Ms. Close added: "She's a walking institutional history of Knopf. I have rarely asked her about a book that she doesn't remember. She seems amazingly to keep up with every assistant we ever have, and ever had." Ms. Wilson and Ms. Close each have more than 45 years at Knopf, while many of their "younger" colleagues have clocked 20 or more. Ms. Hourigan's former boss, Ms. Jones, continued to work until age 87. "I'm not going to stay as long as Judith stayed," she said. But still, she is a link to the deep past. Alfred Knopf and his wife, Blanche, still ran the show when she started in the company's dingy former offices at 501 Madison Avenue, a girl from "across the river" in New Jersey who hoped to work an editorial job by day and write the Great American Novel by night. Her career has spanned the discreet era when authors mailed a single typed manuscript along with a carbon copy to be passed around, to today's convenient but somewhat alarming electronic system where with one keystroke, a book can be widely distributed. She is reminiscent of long forgotten characters like Harry Ford, a poetry editor with "an unerring ear," according to his obituary in The New York Times, and Mr. Koshland. Indeed, Ms. Hourigan would rather talk about them than herself. She gave up her writing ambitions, she said, when "I realized that all the manuscripts coming through the slush pile were written better than I could write." She dismissed her very essential and complicated job as "nag, nag, nag." But others were eager to praise her editorial gifts. During the editing of "The Power Broker," Mr. Caro's Pulitzer Prize winning 1974 biography of Robert Moses, he and Mr. Gottlieb had to cut 350,000 words from the manuscript. Tempers flared between them. Ms. Hourigan was brought in to possibly defuse the tension, and made judicious edit suggestions, Mr. Caro recalled. "I remember thinking, 'You know, Kathy doesn't say very much, but when she says something I think we should listen to her. She has a great literary sensibility,' he said. "And I've felt that for all this time." Ms. Hourigan has worked as a second editor on all of Mr. Caro's books since, including his award winning multivolume biography of Lyndon Johnson, for which she flew to Texas on a mission to track down archival photos of the president's hometown that he wanted for the first volume. Ms. Hourigan has also acted as principal editor of books by Penelope Leach, the British child psychologist, and Elia Kazan, the film director. If not for her aversion to the job's public facing aspects, like schmoozing with agents and authors, Ms. Hourigan could have made a wonderful editor, colleagues say. In her off time, Ms. Hourigan travels, often with her friend and colleague Andy Hughes, Knopf's senior vice president and director of production and design, and since 1980 she has spent part of every August on Martha's Vineyard. The cottage where she stays, rented by other staffers too, is a kind of Knopf summer house. For Mr. Caro, Ms. Hourigan is the embodiment of Knopf what he imagined, as a young writer, a publishing house to be: a place slightly out of time that nurtures authors and takes great care to shepherd their books into the world. "As the decades have passed, it has become apparent to me that that is less and less true of publishers today," said Mr. Caro, working on the fifth and final volume of his Johnson book. "But in Knopf and in Kathy, I feel that image I had of what publishing ought to be has been preserved."	N24News: A New Dataset for Multimodal News Classification	Style
WHEN Richard Manfredi was running his family's manufacturing business, the company took out a large insurance policy on him. If he died, his partners would use the money to buy out his family's interest. This is how these policies, known as key man insurance, are typically used. After Mr. Manfredi sold the company at the end of 2004, the buyer allowed him to take the policy with him. It was a 20 million term policy, which meant he had to continue paying the rising premiums to keep it in place. Mr. Manfredi, who was 65 at the time, figured he'd hold on to the policy for a while and see what happened. Three months later, he learned he had melanoma and was given a 50/50 chance of living four years. Through a combination of aggressive treatment and experimental drugs, Mr. Manfredi survived. All of a sudden, though, the cost of the policy, whose premiums had gone to more than 200,000 a year from 94,000, didn't seem like such a good deal. "Once I heard it was melanoma I figured I should hold on to it if I'm going fast," Mr. Manfredi said. "But when I kept living, it didn't seem like a good investment." He started looking for options to sell the policy, and that was when he considered a life settlement. Life settlements are perceived by many in the insurance business as a dark corner of the industry. Generally, they're used by older individuals who need money right away and whose life insurance, usually in the form of a permanent, cash value policy, is one of their primary assets. But as the industry has matured in recent years, life settlements have also become a way for a company or in many cases, a small business owner to extract value from an often overlooked asset. "I'd say 70 percent of the time people let these policies go," said John P. Keenan, a partner at Signature Estate and Investment Advisors. "We'll talk to the executive and say, 'If this is something you want to carry, we can go back to the company and ask if they'll release the policy,' " he said. "We tell them that as an executive you had a need for it and you probably got it cheaper than you could today." In Mr. Manfredi's case the settlement worked out well. He agreed to split the policy into four smaller ones. In 2012, he said he sold three policies with a combined death benefit of about 10 million for 1.35 million. In April, he sold the remaining 10 million policy for 1.2 million. "I was relieved not to have to pay the premiums," he said. W. Scott Page, president and chief executive of the Lifeline Program, which negotiated the purchase of Mr. Manfredi's policies, said in general a policyholder would be paid 10 to 75 percent of the death benefit of a policy. His company will pay to convert a term policy to permanent insurance and make any future premium payments. To calculate the payment, life settlement companies require anyone looking to sell his key man policy (or any life insurance policy, for that matter) to submit to a health exam as if they were being underwritten for a new policy, he said. The process is not as ghoulish as it may sound. Mr. Page is not betting on any one person's life, but pooling at least 100 policies together and selling interests in that pool as he would any type of securitized debt. He said that helped smooth out the returns, since it balanced out the people who live longer than expected with those who die sooner. "Normally people in their late 60s or early 70s, regardless of their impairments, we can pretty much project what their life expectancy is going to be," Mr. Page said. "But when you have a healthy 40 year old you're not going to be able to project how long they're going to live." For that reason, life settlements are not an option for younger executives. But there are other ways to monetize key man policies short of dying. Mr. Keenan said he often talked to former business owners or executives about how these policies could fit into their investment plan. If the person has a net worth in excess of the estate tax exemption now 10.5 million for a couple the key man policy could be used to pay the taxes. The policies themselves can also be used as a deferred compensation plan or a way to retain an executive for a certain number of years. Christopher O. Blunt, president of the insurance group at New York Life, said there were generally three ways to structure key man insurance so it was seen as a benefit to the person being insured. A company could set up what is called a 162 executive bonus plan, where the company pays the premium and the executive is the owner and the beneficiary of the policy. Or it could pay for what is called an endorsement split dollar policy, where the company retains the cash value but gives the employee life insurance to protect his or her family. A third way is to use the policy as the basis for a supplemental employee retirement plan, where the policy would become a key man policy if the executive died while working for the company. Otherwise, the employee would get access to the cash value after a certain number of years. Mr. Blunt said these policies needed to be seen in their primary role first. "When you own a small business, it's a highly valuable, but uncertain and illiquid asset," he said. "Small business owners say, 'I have a business that is worth millions.' It's only worth millions in a nondistressed situation." For that small business owner, these policies can also be seen as assets (even though they're not on the balance sheet) in negotiating the sale of a company. "If I buy your company and along with it, I get the key person coverage, that makes the company more valuable," said Robert H. Garner, executive vice president of CBIZ Life Insurance Solutions. "If someone has had a health issue or is 10 years older, the price doesn't go up." He added that those policies also showed the buyer who was important. "Part of, 'What is the company worth?' is what are the people worth," he said. But executives should be careful about drawing benefits directly from such policies. For one thing, there are limits to how much life insurance people can get, and a key man policy reduces what they could buy themselves to benefit their families. And there can be taxes on these policies that people need to understand, whether they are trying to sell a policy or they receive one as a benefit. For Mr. Manfredi, whose hobby is gambling, having the cash now meant more than a big death benefit for his family down the road. "If I go in the next 10 years, it's not a great investment," he said. "But I saw it as a good time to do it."	N24News: A New Dataset for Multimodal News Classification	Your Money
Facebook's Live Videos Get Lots of Looks but No Money Yet When severe weather passed through the Atlanta area early this month, Brad Nitz, a meteorologist for a local television station, WSB TV, fed viewers live video updates on the station's website, as he has done for years. But then he did something new: He turned away from the television camera and addressed an iPhone that was streaming him live on Facebook. And the station's social media manager, Jonathan Anker, watched this new Facebook audience swell. At its peak, the stream reached 8,800 viewers at once, and the segment has been played more than 77,000 times in total, far more than the station's typical online audience. The numbers, Mr. Anker said, were "seriously out of whack, in a delightful way." Experiences like this have media companies swooning over the possibilities of posting live video to Facebook, a feature made widely available two months ago. For years, companies have searched for ways to unlock three tough questions: How do you attract people to live online videos? How do you reach people on their mobile devices? And how do you get more out of Facebook's 1.6 billion users? Now, they hope, they have found a key for all three. Yet it is also raising some questions inside the companies about if and when they will see any meaningful money come from the push. Already, Facebook users can tune in to a daily celebrity news show produced by E!, with anchors sitting behind a broadcast style desk. TMZ streams daily gossip updates and goes live for breaking news. Local news anchors are broadcasting live from the field and during commercial breaks, or while they apply makeup. Dr. Sanjay Gupta of CNN fielded questions about the Zika virus. "This feels like a transformative step," said Liz Heron, the executive editor of The Huffington Post, which recently restructured its video production to favor social media distribution after streaming live video through its website since 2012. "It's really the mobile piece that feels different to me." The fascination also dovetails with interest inside Facebook itself. The feature, called Facebook Live, has largely lived under the radar so far. But it is one of the company's highest priority projects, according to three people directly involved with the initiative, who spoke on condition of anonymity. Internally, Facebook Live is seen as a way to move beyond hosting conversations about television and live events to becoming a venue for both. Mark Zuckerberg, the company's chief executive, has made Facebook Live one of his pet projects, two of the people said, devoting significant resources and effort to the initiative. Facebook plans to announce a suite of new features and partners in early April and at F8, Facebook's developer conference in San Francisco later in the month. Facebook declined to discuss details about the announcements. The shows vary widely. Tastemade, a young food media company, streamed a live edition of its "Tiny Kitchen" show, in which it prepared a stamp size hamburger; Martha Stewart spent an hourlong broadcast making pretzels with Seth Meyers. In addition, Facebook has urged celebrities and athletes to use Facebook Live to interact with fans. The Huffington Post has tested live video across many of its 79 Facebook pages, with broadcasts from the campaign trail, celebrity interviews and live music events. 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. "Nobody came up to me and said, 'you should really be using Live,'" said Ms. Heron, who previously worked at Facebook. "I knew it was something I wanted The Huffington Post to do." But there is also some trepidation inside media companies about getting tied so closely to yet another Facebook product. Some of those concerns echo those raised last year, when media companies debated whether to participate in Facebook's push to have news articles posted directly on the social network. Most of the questions, though, have focused on figuring out how much money the companies will get for video streams viewed on the social network. Live streaming revenue could come from advertising, subscriptions or paid one time events. The Wyclef Jean interview on an iPhone. Joshua Bright for The New York Times Facebook, though, has prioritized getting live video in front of as many users as possible. The company has been eager to talk with media companies about getting started with streaming, but remains vague in conversations about revenue sharing or subscription models. It is pushing a build first, make money later philosophy, one that can be frustrating to media partners, particularly those struggling to navigate broader changes in the online media industry. But whatever the frustrations, they are outweighed by the prospect of reaching Facebook's huge audience. "It's early days, and as with all products at Facebook we build people first, but we are committed to finding a sustainable monetization model for partners sharing live video on Facebook," said Fidji Simo, a director of product at Facebook. "It's something that we're thinking carefully about, and it's important to us to create something that is a good experience for people on Facebook and that works for our partners." Media companies that spent much of last year producing original video for their Facebook pages have yet to see significant revenue, despite assurances from the company. But live online video has largely vexed media companies for two decades, and any possible path to success is hard to resist, especially one that requires few investments upfront. "The whole thing has been really encouraging," said Allison Rockey, the director of programming for Vox.com. She added, "You need an iPhone and a mike, and you just kind of get started." One of the appeals for media companies has been a sense of regaining control of Facebook's news feed, the primary source of information on the social network, where posts are sorted based on an opaque computer program. The lack of control has made reaching users even those that follow media brands intentionally more competitive. With Live, though, live broadcasts display higher in users' feeds a prioritization Facebook has acknowledged publicly. The service also notifies users through mobile apps when friends and pages they follow begin broadcasting. So far, putting video on the service can be done only by using a Facebook app on a mobile device. But Facebook is considering letting media partners broadcast live video using their own professional grade studio recording equipment, according to two of the people with knowledge of the company's plans. The new efforts could introduce a more polished, professional set of live programming to Facebook's audiences. Facebook's ability to convene large audiences will help Live compete with Twitter's Periscope, an app that helped popularize mobile live streaming last year. Periscope has been growing briskly, the company says. But companies that have used both products say that raw viewer numbers favor Facebook. YouTube, the largest online video site, is in the early stages of making its own mobile live video app, according to a former manager at Google, which owns YouTube. The person, who has been in discussions about the potential app, spoke on the condition of anonymity because the project was still in development. (The project was reported earlier by VentureBeat.) Donald Alexander, director of social media and audience development at TMZ, the gossip news site, said, "with Facebook promoting the Live platform so much, at some point I think it could take on a life of its own." Mr. Alexander said TMZ was focusing on Facebook over other platforms, like Periscope. But when asked about specific discussions with Facebook regarding advertising, subscriptions and changes to the tech product, Mr. Alexander responded, "I have to be honest they're keeping it a little to themselves right now."	N24News: A New Dataset for Multimodal News Classification	Media
Going into this week, Anna Wintour was already one of the most powerful people in the magazine world. She has been the editor in chief of the United States edition of Vogue since 1988, the artistic director of Vogue's parent, Conde Nast, since 2013, and the company's global content adviser since 2019. On Tuesday, as part of a larger revamping, Conde Nast announced that Ms. Wintour will have a pair of new titles worldwide chief content officer and global editorial director of Vogue giving her final say over publications in more than 30 markets around the world. In addition to the elevation of its editorial leader, Conde Nast announced that Amy Astley, a confidante of Ms. Wintour, will be the global editorial director of AD, the title formerly known as Architectural Digest; Will Welch will become the global editorial director of GQ; and Divia Thani will be given the same role at Conde Nast Traveler. Edward Enninful, the most powerful Black editor at Conde Nast, was made the head of Vogue's editions in Britain, France, Italy, Germany and Spain. Simone Marchetti will become the European editorial director of Vanity Fair, putting him in charge of its editions in France, Italy and Spain. The American and British versions of Vanity Fair will remain under the control of Radhika Jones.	N24News: A New Dataset for Multimodal News Classification	Media
SAN FRANCISCO A Facebook notification on Gary Bernhardt's phone woke him up one night last November with incredible news: a message from Mark Zuckerberg himself, saying that he had won 750,000 in the Facebook lottery. "I got all excited. Wouldn't you?" said Mr. Bernhardt, 67, a retired forklift driver and Army veteran in Ham Lake, Minn. He stayed up until dawn trading messages with the person on the other end. To obtain his winnings, he was told, he first needed to send 200 in iTunes gift cards. Hours later, Mr. Bernhardt bought the gift cards at a gas station and sent the redemption codes to the account that said it was Mr. Zuckerberg. But the requests for money didn't stop. By January, Mr. Bernhardt had wired an additional 1,310 in cash, or about a third of his Social Security checks over three months. An examination by The New York Times found 205 accounts impersonating Mr. Zuckerberg and Ms. Sandberg on Facebook and its photo sharing site Instagram, not including fan pages or satire accounts, which are permitted under the company's rules. At least 51 of the impostor accounts, including 43 on Instagram, were lottery scams like the one that fooled Mr. Bernhardt. The fake Zuckerbergs and faux Sandbergs have proliferated on Facebook and Instagram, despite the presence of Facebook groups that track the scams and complaints about the trick dating to at least 2010. A day after The Times informed Facebook of its findings, the company removed all 96 impostor Mark Zuckerberg and Sheryl Sandberg accounts on its Facebook site. It had left up all but one of the 109 fakes on Instagram, but removed them after this article was published. "Thank you so much for reporting this," said Pete Voss, a Facebook spokesman. He could not say why Facebook had not spotted the accounts posing as its top executives, including several that appeared to have existed for more than eight years. "It's not easy," he said. "We want to get better." Facebook requires people to use their authentic name and identity. Yet the company has estimated that perhaps 3 percent of its users as many as 60 million accounts are fake. Some of those accounts are disguised as ordinary people, some pretend to be celebrities such as Justin Bieber. In congressional testimony this month, Mr. Zuckerberg said Facebook was improving its software to automatically detect and remove such accounts. Facebook officials have said the company blocks millions of fake accounts trying to register each day and analysts said the social network has improved its efforts to remove the accounts. "Fake accounts, over all, are a big issue, because that's how a lot of the other issues that we see around fake news and foreign election interference are happening as well," Mr. Zuckerberg told lawmakers, adding that Facebook is hiring more people to work on reviewing content. But major holes remain. Interviews with a half dozen recent victims and online conversations with nine impostor accounts showed that the Facebook lottery deception is alive and well, preying particularly on older, less educated and low income people. The Mark Zuckerberg and Sheryl Sandberg impostor accounts typically use the executives' pictures as profile photos and list their Facebook titles. Some post manipulated images of people holding oversize checks. The names of Mr. Zuckerberg and Ms. Sandberg are sometimes misspelled, or use parentheses and middle names (Elliot for Mr. Zuckerberg and Kara for Ms. Sandberg) to evade Facebook's software. Many of the impersonators had dozens to hundreds of followers; several had thousands. They are aided by a network of other sham accounts with generic names, such as Jim Towey and Mary Gilbert, which purported to be "Facebook claim agents." The scammers seek victims who, based on their Facebook and Instagram profiles, seem vulnerable, said Robin Alexander van der Kieft, who manages several Facebook groups that track the scams. The various fake accounts share information about successful shakedowns and continue pouncing on those victims, he said. He has traced many of the internet protocol addresses of these fake accounts to Nigeria and Ghana. The pitch often begins with an unsolicited "Hello. How are you doing?" on Facebook or Instagram. The fake accounts then proceed, sometimes in broken English, to inform people of their enormous Facebook lottery prize. After several messages between The Times and a fake Sheryl Sandberg account on Instagram last week, the impostor offered 950,000 and a new car via the "Facebook splash promotion 2018." When asked for proof the account was Ms. Sandberg, the scammer sent a Photoshopped identification. "I want you to know that this Promo is 100% Real and Legitimate and the Government are aware of this Promo you don't have to be skeptical all you just have to do is to follow all instruction giving to you okay," the account added. Three days later, the account said it needed a 100 iTunes gift card to process and activate the winning A.T.M. card. (iTunes gift cards can quickly be redeemed and traded on the black market for cash.) After initially resisting, the sham Ms. Sandberg agreed to a phone call, adding "I'm not the one that will be speaking to you O.K." Seconds later, a call arrived from a number with a 650 area code Silicon Valley. "You have to be careful, there are lots of scam artists," a man said in accented English after he was informed that he was speaking with The Times. He added, "All I'm trying to do is get your winning package." The Times reached out to more than 50 impostor accounts. Most messages went unreturned. None that replied broke character. The charade has ensnared people like Donna Keithley, 50, a stay at home mom with four children in Martinsburg, Pa. In March 2016, an account with the name Linda Ritchey messaged Ms. Keithley "on behalf of the Facebook C.E.O Mark Zuckerberg" to pass on word of her good fortune: 650,000 in lottery winnings. Ms. Keithley wired 350 a delivery fee the next day. That began a monthlong saga. According to a 28,000 word transcript of a Facebook Messenger conversation between Ms. Keithley and the account, the scammer repeatedly played on Ms. Keithley's Christian faith to get her to send more money. "Are you good Christian with god fears?" the Linda Ritchey account asked. "Can you trust me and also have believe in me?" The Times found at least five Facebook accounts posing as Ms. Decker and advertising government grants, another known scam. Ms. Decker told The Times that she has tried to get Facebook to remove the accounts, but the site wanted a picture of her government issued identification to do so. She refused. "To me, they're not a trusted source," she said. She added that she had contacted the F.B.I. and hired a lawyer. Ms. Keithley's scammer ordered her to open new credit cards and bank accounts, and even to get a loan using her husband's 2001 Ford Taurus as collateral. Midway through the month, she said she had a minor stroke from the stress. By April 2016, she had used her family's tax refund and loans from relatives to pay the scammer 5,306.43 much of it in money transfers to the name Ben Amos in Lagos, Nigeria. "It just devastated the whole household," said her husband, Tim Keithley, a security guard who was making 10 an hour at the time. The ordeal was so costly, Ms. Keithley said, the family's telephone service was shut off. They also had to go to a food bank. While Ms. Keithley still gets messages from accounts claiming to work for Facebook, she said she is now wiser. "Lord as my witness, no one's getting any more money from me," she said. After they are duped, victims may struggle with what to do next. Mr. Bernhardt, the retired forklift driver, said he didn't know how to report the scammers to Facebook. Ms. Keithley said she had called a number for Facebook she had found online, though she was not sure the number was authentic. She also reported the scam to local police, who said they couldn't help, and the Pennsylvania attorney general. A spokesman for the Pennsylvania attorney general said the office did not have a record of Ms. Keithley's report, but that it planned to contact her. Others said they regularly report scammers to Facebook, but the company can be slow to act. Kathryn Schwartz, 55, from Lodi, N.J., said she has been in credit card debt since she lost 1,742 trying to claim bogus Facebook lottery winnings in 2016. She said she has since been barraged by scammers and regularly reports them, including in messages to the real Mr. Zuckerberg. One Facebook account named Mary Williams recently messaged Ms. Schwartz, saying it would help her claim her winnings. A review of the account showed that in March it had renamed itself, purporting to be a Boise, Idaho, native who works at Facebook. Years of posts before that depicted a man in Nigeria. When Ms. Schwartz posted on Facebook last week that Mary Williams was a con artist, the account left a comment: "You think you are smart but you are not. If you were smart why were you scammed." The emojis tacked at the end of the message were crying with laughter. Mr. Bernhardt said that since he wired his last payment to the Mr. Zuckerberg masquerader in January, he has heard from two other Mark Zuckerbergs, one Sheryl Sandberg and other accounts promising him winnings in return for more cash.	N24News: A New Dataset for Multimodal News Classification	Technology
Two nearly identical apartments more than midway up , the tallest residential tower in the Western Hemisphere, topping out at 1,396 feet, have sold, according to city records, and were the most expensive transactions of the week. These purchases bring to 25 the number of official closings at the 96 story concrete and glass clad condominium between 56th and 57th Streets, on what is known as Billionaires' Row. So far, a little more than 70 percent of the 104 units in the building are under contract, a spokesman for 432 Park said. The pricier of the two closings, No. 67B on the 67th floor, sold for 26,619,461.66 to a buyer identified as MINA NY LLC. The other unit, two floors below, No. 65B, sold for 25,601,211.66 to the more whimsically named limited liability company Why the Face. Each of the sponsor units measures 4,019 square feet and has three bedrooms, four and a half baths and a library, with 10 by 10 foot square windows that provide open views south to the Statue of Liberty, west to New Jersey and north to the George Washington Bridge. The units also have private elevator landings, windowed eat in kitchens and 12.6 foot ceilings.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Two months after Bon Appetit's top editor resigned under pressure amid complaints of racial insensitivity, three journalists of color said they would no longer participate in the magazine's popular video series. Two of the journalists accused Conde Nast, the magazine's parent company, of failing to offer them pay that was commensurate to that of their white colleagues. The three journalists, Sohla El Waylly, Priya Krishna and Rick Martinez, announced their decisions Thursday in statements on their Instagram accounts. "After five weeks of contract negotiations," Mr. Martinez wrote, "it is clear that I will not get a fair pay rate nor will I get a comparable number of appearances to my colleagues in the test kitchen. Nor would anyone share with me the specifics of the diversity and inclusivity initiatives in video that they claim to be working on."	N24News: A New Dataset for Multimodal News Classification	Media
By this point, it's no surprise that Daniil Trifonov, one of the most awesome pianists of our time, can sell out Carnegie Hall. Still, that the hall was packed for the unusual recital program he played on Saturday was a testimony to the trust his admirers place in him. At 27, he is also an adventurer intent on exploring overlooked realms of the repertory. On Saturday it was thrilling to go along on his journey. (A video of the recital is available for viewing on medici.tv, which carried the performance live.) During the first half, lasting some 70 minutes with minimal breaks between pieces, Mr. Trifonov focused mostly on neglected you might say orphaned works by Beethoven and Schumann. He began with Beethoven's "Andante Favori," a lilting, lyrical yet elusive piece, and the original slow movement of Beethoven's mighty "Waldstein" Sonata. The composer was persuaded by a colleague to publish this nine minute andante separately. (For the "Waldstein," he substituted a short, stark Adagio that serves almost as a transition between two monumental outer movements.) The "Andante Favori," a rarity in concert, unfolds like a rondo. A beguiling theme keeps returning in more elaborate statements, with dramatic detours into contrasting sections, all qualities that Mr. Trifonov brought out in a subtle, nuanced and delicately articulate performance. Without a break, he then played Beethoven's Sonata No. 18 in E flat, a joyous, sometimes prankish piece that you don't hear too often. Mr. Trifonov's performance was so impetuous and slyly charming that the sonata came across with striking freshness: It could have been a four movement improvisation.	N24News: A New Dataset for Multimodal News Classification	Music
The designer James Galanos, who died last Sunday, left a legacy of elegance and restraint to the fashion world. But he also left something to the political world, which is worth remembering, especially as we teeter on the verge of a new presidential administration. Specifically: a primer on how to craft a powerful Washington image, and the advantages for someone in the executive office (or nearby) that derive from a close working relationship with a designer. For, though Nancy Reagan wore clothes from other designers (like Adolfo, Bill Blass, and Oscar de la Renta), when she was first lady, it was her association with James Galanos that forever fixed her in the public eye, and mind. Mrs. Reagan first met "Jimmy," as she called him, in 1951, when she was Nancy Davis, a Hollywood actress under contract to MGM, and the Philadelphia born designer was just beginning his career in California. "I was quite young, and I used to deliver a lot of the clothes by myself," he told The Los Angeles Times in 2007, about their first meeting at the exclusive Beverly Hills boutique Amelia Gray. "She was very fond of me, and we'd sit there at Amelia's and have a gabfest. She wasn't married to Ronnie then." The writer Bob Colacello, author of "Ronnie and Nancy: Their Path to the White House" and a special correspondent to Vanity Fair, said the boutique was known in those days for dressing the Los Angeles socialites Leonore Annenberg and Betsy Bloomingdale and the more chic movie stars like Rosalind Russell and Claudette Colbert. "Amelia was the first person to carry Galanos, and she took a big liking to Nancy Davis, who she thought had good taste and really loved clothes." Mr. Colacello said. She sometimes brought her pricey Galanos dresses back to the designer from one decade to the next, to be reworked, said Mr. Colacello, with tissue paper carefully stuffed in the sleeves and sheathed in plastic. "Nobody could afford to dress completely with Jimmy," she once said. "I hang on to what I have." At Ronald Reagan's first inaugural ball as governor of California in 1967, his wife chose a one shouldered white Galanos strewn with jeweled daisies. At the second, in 1971, she chose a surprisingly slinky gold brocade halter gown with matching coat from the designer that showed off her then fashionable California tan. But all of it was preamble for the 1981 inauguration of Reagan as president and Nancy Reagan's appearance at the ball in (again) a one shouldered white Galanos, completely embroidered in a beaded pattern of pale ferns. It was a riposte to the parsimonious Carter administration that had come before (Rosalynn Carter had worn an old blue dress to her inaugural ball). It was a declaration that fashion mattered. Newspapers were filled with articles about the days long round of parties, the arrival of the California cohorts in Washington, and speculation about the rumored five figure cost of the gown, said to be a gift from the designer. Bill Blass said to The New York Times, "I don't think there's been anyone in the White House since Jacqueline Kennedy Onassis who has her flair." Paging through the companion book to the 2007 exhibition "Nancy Reagan: A First Lady's Style" at the Reagan Library in Simi Valley, Calif., it is clear that the majority of Mrs. Reagan's gowns were Galanos designs. Though Reagan red was a staple for her daywear, for the 56 official state dinners and numerous private entertainments Mrs. Reagan hosted, she most often chose white gowns that displayed a cinematic flourish, encrusted with beading, in the style of the long sleeved dress created for the second inauguration in 1985. In the pre internet era when consistency of style made a fashion statement, she wore both of her beloved Galanos inaugural gowns a second time for White House events before they were packed off to museums. For her first state dinner, she pulled a 16 year old Galanos from her closet, which the designer then updated by adding satin straps to the previously strapless beaded bodice. And though there were some press quibbles when the first lady wore knickers under a chiffon tunic for a dinner in Paris not long after Mr. Galanos endorsed them on his runway in 1981, generally their collaboration was applauded. Mr. Galanos was tight lipped about Mrs. Reagan, said his niece Diane Chrambanis. When it came to their collaboration he was, she said: "Like a vault. The only thing he said to me once was that she knew what worked for her, what looked good on her." But even if he didn't want to talk, his dresses, on her, spoke for him. They still do.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
The woman who has accused Virginia's lieutenant governor, Justin E. Fairfax, of raping her said that a former N.B.A. player, Corey Maggette, raped her at Duke University 20 years ago and that school officials did not pursue the claim, according to a childhood friend of the woman and Facebook messages the woman exchanged with another friend. Mr. Maggette, who attended Duke for one year, 1998 99, and reached the national championship game, played in the N.B.A. until 2013 and has since worked as a television analyst for Fox Sports. Mr. Maggette denied the accusation through a spokesman Monday evening. "It has only been through media accounts and a statement from Meredith Watson's lawyer that I first learned or heard of anything about these sexual assault allegations," Mr. Maggette said in a statement. "I have never sexually assaulted anyone in my life and I completely and categorically deny any such charge." A spokeswoman for Fox Sports West, where Mr. Maggette is a basketball analyst, said in an email, "Fox Sports takes allegations of misconduct seriously, and we are looking into the matter. We have no further comment at this time." Nancy Erika Smith, the lawyer for the woman who accused Mr. Maggette and Mr. Fairfax, Meredith Watson, said in a statement Friday that Ms. Watson had been raped by a Duke basketball player during her sophomore year but did not name the player. Ms. Smith also said that Ms. Watson had reported her rape to an unspecified dean at the university, but that the dean had "discouraged her from pursuing the claim further." Duke has acknowledged it is investigating an allegation that a player raped the woman, but a spokesman for the university declined to comment on the identity of the player or the assertion that the university failed to act on the accusation. "We are in the process of gathering information to determine what policies and procedures were in place during the time period in which these events are alleged to have occurred, and whether they were activated and followed," said Michael Schoenfeld, a spokesman for Duke. "We are not able to provide further information or comment on any individual at this time." Years before Ms. Watson came forward as the second woman to publicly accuse Mr. Fairfax of sexual assault, inflaming a political crisis in Virginia, she told multiple friends that she had been raped by Mr. Maggette, according to one of those friends and Facebook messages exchanged with another. R. Stanton Jones, a partner at the law firm Arnold Porter in Washington who grew up with Ms. Watson in Baltimore, said she told him that she had been raped by Mr. Maggette. She told Mr. Jones about it while he and Ms. Watson were both home for the summer in 2001, he said. "Meredith told me she had been raped twice at Duke," Mr. Jones said. "And she told me that one of the men who raped her was the Duke basketball player Corey Maggette. That was a name I knew because I'm a basketball fan." Mr. Jones, who did not attend Duke, said he had not had much contact with Ms. Watson in the last decade "other than occasionally liking a Facebook post." He said he was coming forward now because it "seemed like the right thing to do." The longtime coach of Duke's men's basketball team, Mike Krzyzewski, said after his team's victory against Virginia on Saturday night that he had "no knowledge" of the situation and that he had learned of it only from news media reports Friday. Karen Kessler, a spokeswoman for Ms. Watson, provided The New York Times with a Facebook message exchange between Ms. Watson and a friend from March 2017. Ms. Kessler declined to identify the friend, whose name was blacked out in the messages, and The Times was unable to independently verify the authenticity of the messages. In the messages, Ms. Watson expressed disgust at a newspaper article written about Mr. Fairfax, who had already announced his bid for lieutenant governor. After the friend asked Ms. Watson whether she had reported the rape, Ms. Watson responded: "You know I didn't report it after how the university responded when I reported Corey Maggette." Ms. Kessler said that after being discouraged by the dean, Ms. Watson decided not to report her accusation to the police. Mr. Krzyzewski who is in his 39th season coaching the Blue Devils and is college basketball's leader in wins and Duke have held themselves up not only as consummate winners but as moral exemplars. No Duke player under Mr. Krzyzewski was kicked off the team until early 2015, when a player was dismissed for unspecified struggles to meet "necessary obligations." The university's student newspaper, The Duke Chronicle, reported that the player, Rasheed Sulaimon, had been accused of sexual assault by two students, allegations the athletics department had been aware of as early as 10 months before terminating his participation with the team. (Sulaimon was not charged, and later played for Maryland.)	N24News: A New Dataset for Multimodal News Classification	Sports
SAN FRANCISCO Two days after Facebook revealed far reaching Iranian and Russian disinformation campaigns on its social network, Google said Thursday that it had removed 39 YouTube channels linked to the Iranian state broadcaster. Google, which owns YouTube, said in a blog post that it had determined the 39 YouTube channels were linked to the Islamic Republic of Iran Broadcasting. It discovered those accounts working off a tip from the cybersecurity firm FireEye about a handful of suspicious Google accounts. Google terminated those accounts, along with six blogs on its Blogger service and 13 Google accounts, for running an influence campaign starting as early as January 2017 while disguising its connection to Iran, said Kent Walker, Google's senior vice president of global affairs. Google said those accounts had shared "English language political content in the U.S.," but it did not provide detail on what types of videos or content. Google revealed the new influence campaigns taking place through its products after Facebook and Twitter announced that they had deleted similar accounts. It is another indication of the growing efforts by state sponsored actors to use the social media platforms of American companies for politically motivated purposes.	N24News: A New Dataset for Multimodal News Classification	Technology
Right now, 10 hours of old playoff basketball should probably be broadcast with a trigger warning. Ten hours of Michael Jordan era Chicago Bulls playoff basketball should probably come with a chaplain. For "The Last Dance" is 10 hours of all time postseason sports. The documentary is ostensibly about the season that culminated in the team's historic sixth and final N.B.A. championship title, in 1998, led by Jordan, Scottie Pippen and Phil Jackson, the coach. That's a story that may not require a show that runs about as long as Krzysztof Kieslowski's Ten Commandments parable, "The Decalogue." But what else are you doing? Moreover, this is a team whose personalities, personal dramas and feats warrant just this sort of excess. It's a team that inspired its own commandments: Thou shall not doubt. Jordan's 15 seasons of brilliance, cunning, ruthlessness, volition, perfectionism and artistry render him impervious to overstatement. He essentialized the sneaker as casual wear and luxury item. He made cause free celebrity cause free black celebrity, no less seem viable, preferable to having to mean all things to all people. One size had to fit all. Few team players had ever became as rock star, movie star famous and with nary a scandal the way Jordan had almost exclusively through athletic supremacy. There was basketball Jordan and Air Jordan. No athlete anywhere will ever have a mid motion logo as triumphantly hieroglyphic as his, the silhouette as sentence. Read more on the death of Michael Jordan's father, James Jordan. In Pippen, Jordan had the greatest wingman ever; in Rodman, the most mercurial, most formidable Dennis. In Jackson, among the least likely of masterminds. How did the team's core last so long? How'd it keep winning so big, bigger, biggest? Over and over, the series reminds you how many times things came yea close to falling apart. And, remarkably, even then, the pieces were reassembled and reconfigured for further dominance. The series is this ocean of archival game clips, dunk montages, smack talk, mea culpas, cigar smoking, backstabbing, frontstabbing, manfully restrained tears, endorsements of the triangle offense, interviews with anybody who even blinked at the N.B.A. from 1984 to 1998, including with Jordan's mother, Deloris, whose serenity creates the flabbergasting illusion that she's younger than her 57 year old son. I can think of maybe four living athletes important enough to lure the participation of two living ex presidents (Bill Clinton, Barack Obama), but only one whose team could necessitate appearances by both of those guys plus Carmen Electra. This thing is absurdly, almost comically, exhaustive. ESPN Films, which produced the series with Netflix, had planned to air it during the finals. But we're all a little desperate. Traffic to the network's site is down. Its handful of cable channels are either going archival and morphing into the Sportsonian or impersonating Twitch, the all day live stream gaming site. Quarantined current stars are playing HORSE against their quarantined retired elders people are placing bets! The thirsty need a slaking. So "The Last Dance," which debuts Sunday, is a company opening up that case of good, special occasion Chateau Margaux for crisis drinking. The show's sprawl two episodes per night for five Sundays is more about vastness than depth. The filmmakers have access to unseen off court footage from 1997 and '98. When a title card announced that, I got chills: We're going all the way back there? But the old footage doesn't feel entirely tamed. It turns up a few locker room eyepoppers, like a clip from one evening before the '98 All Star Game. A retired Magic Johnson drops by to say hi to Jordan, and Jordan's All Star coach, Larry Bird, asks Jordan about Magic, "Wouldn't you like to have some of his ass today?" You really have to hear it with Bird's Indiana twang. It's the "picture your parents having sex" of sports legend vulgarity. Johnson's response is even less printable. (Picture your parents making porn.) The first four episodes loosely concern the personal stories of the team's four main stars: Jordan, Pippen, Dennis Rodman, and Coach Jackson. The structure is irritating. A visual timeline slides us back and forth between the 1997 1998 season and just about every pertinent year before it. That strategy leaves us in no single place for terribly long. Just as you're about to settle into, say, Jackson's Montana upbringing, his career as a gangly Knick or his spirituality and adventures with psychedelics, it's onward to add those biographical chips to the team mosaic. Once in a while, the to and fro produces a comedic masterstroke. Episode 3 ends with Jordan recalling the time Rodman requested a Las Vegas vacation, and Episode 4 opens with a title screen that says, "Dennis Rodman has been absent with permission from the Chicago Bulls for 24 hours." The sentence then updates itself "with" expands to "without" and "24 hours" reddens and ticks up to 88. And just like that, we're looking at Electra, in the present, who goes on to conclude that "it was definitely an occupational hazard to be Dennis's girlfriend." Watching her interlude, it hit me: Electra, a pop singer, model and muse, was a Kardashian trial balloon. There's no overarching big idea in this series, which Jason Hehir directed. It doesn't have a big question to ask. No grand thought emerges about the league after Jordan, or about how he changed the sport. Nobody, for instance, scores the way Jordan did, from midcourt. It's raining threes now. His 10 scoring titles aren't likely to get a toppling anytime soon seven of those were in a row. (And: Is the pregame headphones craze his doing? What was he listening to?) You'd welcome any thoughts on his Bulls being the last dynasty before the N.B.A.'s hip hop and Instagram eras. The shorts were short back then and the suits hideous (baggy, endless, with too many buttons and too many breaks; its wearers looked like deacons at a car salesman church). But they were standard before Allen Iverson, the Sixers phenomenon, who in the late 1990s and 2000s, brought swagger, bravado and cornrows to the league and with those a different kind of racism that pried "thug" from traditionalists' lips and crested with a brawl between players and fans one night outside Detroit in 2004. The roundabout consequence was the institution of an official dress code that, on the one hand, inspired pre and postgame sartorial inspiration and, on the other, served to remind the players of their places as employees. ESPN shared only the first eight episodes with critics. Maybe some of this is up for consideration during the dismount. As a whole, though, "The Last Dance" doesn't hunger to be a work about the cultural psyche or the country's racial history. It's not Ken Burns or "O.J.: Made in America," the current yardstick for redwood size nonfiction storytelling. And that's all right. Jordan has never felt quite comparable to Muhammad Ali, O.J. Simpson, Michael Jackson or Barack Obama, these towering figures who double naturally as Rorschachs of a roiling national consciousness. Jordan is as important but less transcendent, less polarizing, less political, therefore less politicized. It's quite something witnessing Obama practice cultural criticism in an expression of empathy for and disappointment in Jordan's refusal, in 1990, to endorse the futile Senate candidacy of Harvey Gantt (the first of two tries); Gantt was a black architect and former Mayor of Charlotte, N.C., running to unseat the super racist Jesse Helms in Jordan's home state. Obama wasn't the only person who wished Jordan had spoken out. When the series digs up Helms's victory speech ("There's no joy in Mudville tonight!"), it's tempting to be mad at Jordan all over again. But his remaining apolitical was by design. The ambition was to achieve unimpeachable, unparalleled excellence in his chosen career. Everything else was a potential distraction. A more than casual basketball person, such as myself, might know all of this about Jordan and think, as I actually, did: This seems like a lot of stone for such a little bit of blood. But here's the achievement of this series: Jordan isn't boring. At all. He's thicker now, handsome in a seasoned way, that dark brown dome of his having eased more into "rotunda"; his buttonhole eyes retain a mild haze of puddled rheum; that tiny hoop remains affixed to his left ear, birthmark stubborn. To his right, there often sits a whiskey glass; my gaze would occasionally drift its way for status checks full, half full, more empty. Regardless, he's wonderful throughout this thing, more than he needed to be, more than I would have guessed: present, open, ruminative, so funny. Hehir has this trick where any time someone says something debatable or controversial or simply worthy of running by Jordan, he hands him an iPad and makes him watch what was said. And every time Hehir does it, Jordan turns the reaction into gold. He's an incredulous Zeus in these moments, lightning bolts falling from his toga as he laughs, zapping lesser gods. To Gary Payton, his momentarily wily foe in the 1996 finals, I say: Ouch. (It could have been worse. Jordan drops a house on Isiah Thomas.) Payton pops up in Part 8 and is also fantastic. All the talking heads here bring good stuff. The coach Pat Riley, remembering Jordan's arrival in the league: "As a rookie, he wasn't a rookie." Magic Johnson, shaking his head at Jordan's dethroning him: "That dude was just ... Mmm mmm mmm." Some of the joy in spending all this time with "The Last Dance" comes from who the series has gathered to sing Jordan's praises and tell the truth on him broadcast journalists like Hannah Storm, Willow Bay, Bob Costas, Andrea Kremer, Ahmad Rashad and Michael Wilbon; former teammates like Steve Kerr, Toni Kukoc, Horace Grant and B.J. Armstrong. Jordan's evasion of zeitgeist sizzle simply takes some of the pressure off Hehir. He could've leaned on all those clips of Jordan's electric breakaways and all court modern dance. He is determined, instead, to leaven deification with intimacy and humor. The series feels unafraid to broach the tricky stuff about Jordan's life, personality and career, like his gambling, his father James's murder, the sour aspects of his ambition and those fascinating 18 months, in 1994 and 1995, when he quit the N.B.A. to play baseball for a White Sox farm club. (Imagine Superman auditioning to play Wolverine.) Jordan seems ready to go there for all of it, into the valleys and darkness. This show is among the most fascinating examinations of greatness I've seen. People who missed the Jordan era might receive his totalizing prowess as myth. They know him as a brand, as the baldheaded middle aged meme who leaks courtside tears for their tweets, as one of the worst dressed men in sports retirement. "The Last Dance" is an invitation to meet the legend who sparked the memes, to witness a newly human or perhaps simply also human figure who, in his prime, loved his sport above all else. We learn nothing about Jordan's marriages or children. But more than once, the series shows us the child in him. It tends to surface after he has won, as in the heartbreaking sight of him minutes after taking title No. 4 in 1996, still mourning his father. A camera catches him sprawled on the locker room floor, still in his uniform and crying convulsively, onto no one's shoulder a sudden metaphor of himself. Alone, weeping into a basketball.	N24News: A New Dataset for Multimodal News Classification	Television
Before there were "faces"; before there were "brand ambassadors"; before there was E!'s "Live From the Red Carpet"; before "American Gigolo" and Armani (before Cher and Bob Mackie, or Alessandro Michele and Jared Leto); before there were Los Angeles offices and celebrity liaisons for every fashion brand; before there were influencers, there was Hubert de Givenchy and Audrey Hepburn. The original designer and his actress muse, Mr. Givenchy and Ms. Hepburn defined a relationship that has become the gold standard of almost every brand. And though almost every obituary and headline since the news of Mr. Givenchy's death this week at age 91 has referenced the relationship as core to his career, its impact went far beyond what it meant for the individuals involved. Arguably, on the model of their 40 year relationship, an entire fashion/Hollywood industrial complex has been built. It's worth reminding ourselves, in the age of what increasingly seems like celebrities for hire when dresses worn by one designer to enter an award ceremony get changed to dresses worn by another designer for the after party and famous names profess undying devotion to a brand one season and then pop up in the ads of another brand the next that once upon a time this was about two people who found in each other kindred spirits and worked together to craft two images: that of a woman and the man who dressed her. And that once "muse," when applied to fashion and artist, was interpreted in the classical Greek sense of the word, as opposed to as inspiration for hire, or for public pitching. Mr. Givenchy and Ms. Hepburn found each other before either was really famous the designer had only recently opened his maison; her first major movie had yet to be released and they stuck with each other through seven films, from 1954 to 1987. He made not just the white dress she wore to win her Best Actress Oscar in 1954 (for "Roman Holiday") but her wedding dress (for her second marriage, to Andrea Dotti). And so many betwixt and beyond that, in 2016, the Gemeentemuseum in The Hague had an entire retrospective devoted to his work for the actress, called "To Audrey With Love." In the show, Ms. Hepburn was quoted as saying of the relationship: "Givenchy's clothes are the only ones I feel myself in. He is more than a designer, he is a creator of personality." In return, she made him synonymous with a certain kind of elegance that could be both gamin and languid, encapsulated by the idea of the little black dress. Other designers made them, but when she wore them onscreen, as she did in "Breakfast at Tiffany's" and "Sabrina," she amplified the effect to such an extent that it echoed not just around the world at the moment the film debuted but over time. When Mr. Givenchy introduced his perfume, L'Interdit, in 1957, she was its face because he made it for her, not because she was paid. And that is part of why the relationship worked so well: It was so mutually beneficial not just as a friendship, but as a professional signifier. When women bought Givenchy, they were also buying into a belief in long term investment in elegance. That is why, as Hubert's peers became known for their symbols the pearls and camellias of Chanel; the New Look and Bar jacket of Dior he was forever known for his muse. He did more than dress Ms. Hepburn, of course. He dressed other famous women, including Jackie Kennedy, Grace Kelly and Elizabeth Taylor. He was one of the first designers to create high end ready to wear, and a signature scent and to see the future coming to fashion, and sell his brand to LVMH Moet Hennessy Louis Vuitton in 1988, when it had barely achieved conglomerate status. And he was an exacting tailor. But his relationship with Ms. Hepburn loomed over it all, so much so that you'd think he might have chafed against it, though he never did. That came later, as other designers took his place and tried to assert a new identity for the house, and celebrities (or their agents and managers) began to realize that what had once been a mind meld of taste between designer and muse could become a significant source of supplemental income. Though other brands have hewed close to the celebrity route, stacking the front rows of their shows and their ad campaigns with famous names, many of whom are also contracted to wear their clothes during public appearances a certain amount of times a year, it's hard to think of any brand that has become so synonymous with a single artist. Indeed, in 2013 the headlines about a Givenchy perfume campaign read: "Amanda Seyfried Is Givenchy's New Face, Liv Tyler Out," which pretty much says it all. This was during the period Riccardo Tisci was creative director, which also happened to be a time Kim Kardashian was often referred to as his muse (but she also was called a "muse" for Balmain's Olivier Rousteing, and her husband, Kanye West). When Mr. Tisci left early last year and was replaced with Clare Waight Keller, Givenchy's first female creative director, speculation was rife that she might be her own Hepburn (due in part to her personal aesthetic and charm). But she dismissed the idea, saying what interested her most about the relationship was the connection between a man and a woman which she recreated by combining her men's and women's shows and that it was reductionist to stick to closely to the Hepburn idea. Thus far she has largely stayed away from any overt celebrity connection.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
A young woman seeks comfort after a breakup in "Lover for a Day." And the true crime documentary "Operation Odessa" arrives on Showtime. LOVER FOR A DAY (2018) on Mubi. The latest meditation on love by the French director Philippe Garrel revolves around a seemingly functioning triangle. After a devastating breakup, 23 year old Jeanne (Esther Garrel, the director's daughter), moves in with her father, Giles (Eric Caravaca), and his new 23 year old girlfriend, Ariane (Louise Chevillotte). Shot in 35 millimeter black and white film and set in Giles's crowded Paris apartment, "Lover for a Day" follows Jeanne's rocky transition while revealing each character's anxieties and convictions about intimacy and romance. In her review for The New York Times, Manohla Dargis wrote that the film "looks like a dream," adding that Mr. Garrel is "a master of near perfection, of dazzlingly lit and shot wisps of hair and tear streaked cheeks." The director's earlier drama, "In the Shadow of Women," streams on Mubi on Sunday. FRANK (2014) on iTunes, Amazon, Hulu and Sundance Now. Domhnall Gleeson plays Jon, an aspiring rock star who joins a band led by a brilliant keyboardist, Frank (Michael Fassbender). Among Frank's many quirks is the large papier mache head he refuses to take off. As the group records an album, Frank's experimentalism inspires Jon in new ways, and tensions rise between Jon and his feisty bandmate Clara (Maggie Gyllenhaal).	N24News: A New Dataset for Multimodal News Classification	Television
Two more apartments at the Greenwich Lane, a new luxury condominium complex rising at the site of the former St. Vincent's Hospital campus in Greenwich Village, have officially closed, each with an unidentified buyer, and were the week's priciest transactions. The more expensive of these sponsor apartments, at 16,098,351.56, according to city records, was unit M4, at 150 West 12th Street, a converted 1920s building. The 6,299 square foot duplex includes a 986 square foot private garden and a loggia. The monthly carrying costs are 21,913. Raphael De Niro and Maggie Leigh Marshall of Douglas Elliman Real Estate brought the buyer, identified as the Greenwich Residence Trust, with Jordan Heller listed as a successor trustee. The floor through apartment is entered through a spacious formal gallery that leads to the living and dining rooms, which have dark stained herringbone wood floors and floor to ceiling windows overlooking the garden. A chef's kitchen features paneled wood cabinetry and soapstone counters.	N24News: A New Dataset for Multimodal News Classification	Real Estate
He had been rumored to be a contender from the beginning, but most people didn't believe it would ever happen. Not because Edward Enninful, the renowned image maker, friend of Kate Moss and Naomi Campbell, isn't supremely talented, but because he is a black man, born in Ghana, raised in London and working in New York. To give Mr. Enninful the reins of one of the most storied woman's fashion magazines would be to make a statement about diversity and gender that would resonate far beyond hemlines, upending decades of tradition and assumptions about men's and women's roles and reaffirming the importance of a global viewpoint for the fashion industry at a time when barriers are going up around the world. But on Monday, Jonathan Newhouse, the chief executive of Conde Nast International, did just that, naming Mr. Enninful the first male editor of British Vogue since its founding in 1916, and the first black editor of any edition of Vogue. Anna Wintour, artistic director of Conde Nast and editor of American Vogue, where Mr. Enninful is a former contributor, said: "It is a brilliant choice, and I am thrilled for him. Edward will undoubtedly shake things up in a way that will be so exciting to watch." Stefano Tonchi, the editor of W (and one of the few men atop a women's fashion magazine), who hired Mr. Enninful as creative and fashion director in 2011, said, "It's a really historic moment." Of the 22 global editions of Vogue, three others are edited by men: Kullawit Laosuksri at Vogue Thailand, Kwang Ho Shin at Korean Vogue and Emanuele Farneti at Italian Vogue. The two editors of Italian and British Vogue, which along with American Vogue are arguably the most influential of the Vogues, were appointed this year. Mr. Enninful and Mr. Farneti were picked to replace two of the highest profile, longest serving female editors of any Vogue: Franca Sozzani at Italian Vogue and Alexandra Shulman at British Vogue. In email, Mr. Newhouse offered only the innocuous seeming "we try to appoint the best person for the job." Yet given that up to now conventional wisdom had it that the best person to run a women's fashion magazine of the stature of British Vogue was, well, a woman someone who could wear the clothes, model the clothes and understand what her readers want from their clothes, both in terms of everyday functionality and personal identity it is not an insignificant line. As gender boundaries blur and the old distinctions between men's wear and woman's wear (not to mention men's and women's pronouns) disappear, perhaps, too, should the old assumptions about men's and women's magazines. Increasingly, fashion brands, including Burberry, Calvin Klein and Gucci, are beginning to combine their men's and women's shows in recognition of this new reality. Alessandro Michele, the creative director of Gucci, has explained it this way: Both collections are part of the same story and reflect the same point of view, so why should they be separate? Louis Vuitton used Jaden Smith to model its women's collection last year, and Chanel has signed Pharrell Williams for its new handbag campaign. Men and women increasingly occupy the same space in real life; fashion is simply representing that truth. And now, too, are fashion publications. "Fashion is always among the first industries to recognize a new reality," Mr. Tonchi said. "Maybe it's an old notion that there are magazines for women and magazines for men, and it is time to just have magazines for people interested in fashion and creativity, whatever their gender. "It is true: I don't look at women's collections and think, 'Oh, I want to wear that,' or 'Will it fit me?' But I do think about the concept behind the clothes and the culture of the clothes." As ceiling smashing as Mr. Enninful's gender is, however, so is his race. Fashion is a notoriously undiverse industry for one that is supposed to cater to a diverse clientele, and though the industry goes through regular paroxysms of mea culpas, most often in terms of the absence of minority models on the runways, the power structure itself rarely seems to change. Nearly all of the design heads of major brands are white, as are the chief executives, so the fact that a black man will be in such a visible position is an important step especially as Britain prepares to withdraw from the European Union and prejudice and cultural isolationism become more prevalent. Mr. Enninful's background and experience of the world are bound to inform the sensibility of the magazine he will make. As Ms. Wintour said: "He's fearless. At a time when values are being challenged, Edward always stands up for what he believes in. You can see that clearly in the recent 'I Am an Immigrant' and 'I Am a Woman' videos he made for W. Each was so perfectly timed and hit the mark." Mr. Enninful himself is aware of what his new role means, on many levels. "I believe we live in a world of possibility, and my appointment is a testament to this," he wrote in an email. "The world is ever changing, as are traditional roles of male and female. The outpouring of support from people of all backgrounds has been humbling."	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
You Can Try Miss America's Science Experiment at Home When she walked onto the stage for the talent portion of the Miss America competition, Camille Schrier wore a simple white lab coat, stood in front of three flasks containing hydrogen peroxide and joked, "Don't try this at home." Soon to be Dr. Schrier (who is studying to obtain a doctor of pharmacy degree at the Virginia Commonwealth University in Richmond) picked up a beaker of ominous yellow potassium iodide, dumped it into the peroxide and sealed her legacy as a Miss America who would be remembered for winning over the judges with science. Colorful streams of foam erupted from the flasks, blowing the minds of Ms. Schrier's audience and judges. Minutes later, Ms. Schrier was crowned Miss America 2020. She edged out 50 other women to win a 50,000 scholarship, as well as a job traveling the country to promote a "social impact initiative." (Ms. Schrier's platform issue, like her talent, is about science, or more specifically drug safety.) The 24 year old's classic chemistry demonstration showed that hydrogen peroxide decomposition can be sped up to fantastic effect. But lower concentrations of hydrogen peroxide that are typically found in stores and used for cleaning cuts and scrapes can be safely used to reproduce the experiment at home. "Hydrogen peroxide slowly decomposes into water and oxygen all the time," said Amanda Morris, an associate professor of chemistry at Virginia Tech, where Ms. Schrier completed her undergraduate studies in biochemistry and systems biology. "We are delighted to see a Virginia Tech science alumna shine on the national stage," said Sally C. Morton, dean of the College of Science at Virginia Tech, "and we're even more thrilled that she is using her success to showcase the value of STEM education for kids and as a catalyst to encourage young girls to study science and do science." "You can imagine that it's like trying to go over a hill," Dr. Morris said. "It takes some energy to walk up the incline and you'll sweat a little bit, but once you get past the top, you can keep going really easily." Adding a catalyst, such as potassium iodide, essentially bulldozes a path through the hill. The substance helps hydrogen peroxide form less stable compounds that can stroll through the newly opened path to the other side. Basically the catalyst helps produce water and oxygen, while releasing some heat. Store bought yeast also contains a chemical called catalase that can help break down hydrogen peroxide, although its effects are not as dramatic as potassium iodide. This means that adding yeast to a solution of hydrogen peroxide will break down the peroxide. The oxygen gas that's released will form bubbles and try to escape. Mixing in a little bit of dish soap in the reaction will create enough surface tension that oxygen bubbles will get trapped, Dr. Morris said. Here's the recipe, adapted from Science Buddies, so you can try it out for yourself. None 3 percent hydrogen peroxide solution, available at nearly any drug or grocery store None One packet of active yeast found in the baking section of the grocery store None Food coloring (to make the reaction look pretty) None Set up in a sink or go outdoors. You will want to do the experiment in a location where it will be easy to clean up all the foam afterward. None Stand away from the bottle once you add all the chemicals for the reaction. Hydrogen peroxide can irritate the skin and discolor clothing, even in low concentrations. (In chemical experiments using concentrated hydrogen peroxide like the one Ms. Schrier performed, scientists wear safety glasses and personal protective equipment.) None Carefully pour 1/2 cup hydrogen peroxide into the plastic bottle and add a big squirt of dish soap. Swirl gently to mix. None Add 2 to 3 drops of food coloring to the solution. (If you want to give your foam stripes, put the drops on the edge of the bottle's mouth, but do not mix them in.) None In a separate container, mix 1 tablespoon of yeast and 3 tablespoons of warm water. Wait about 5 minutes for the yeast to activate. None Pour the yeast solution into the bottle with hydrogen peroxide. None Step back and watch foam squeeze out like a tube of elephant size toothpaste!	N24News: A New Dataset for Multimodal News Classification	Science
Nearly two decades ago, a landmark study found that by age 3, the children of wealthier professionals have heard words millions more times than those of less educated parents, giving them a distinct advantage in school and suggesting the need for increased investment in prekindergarten programs. Now a follow up study has found a language gap as early as 18 months, heightening the policy debate. The new research by Anne Fernald, a psychologist at Stanford University, which was published in Developmental Science this year, showed that at 18 months children from wealthier homes could identify pictures of simple words they knew "dog" or "ball" much faster than children from low income families. By age 2, the study found, affluent children had learned 30 percent more words in the intervening months than the children from low income homes. The new findings, although based on a small sample, reinforced the earlier research showing that because professional parents speak so much more to their children, the children hear 30 million more words by age 3 than children from low income households, early literacy experts, preschool directors and pediatricians said. In the new study, the children of affluent households came from communities where the median income per capita was 69,000; the low income children came from communities with a median income per capita of 23,900. Since oral language and vocabulary are so connected to reading comprehension, the most disadvantaged children face increased challenges once they enter school and start learning to read. "That gap just gets bigger and bigger," said Kris Perry, executive director of the First Five Years Fund, an advocate of early education for low income children. "That gap is very real and very hard to undo." President Obama has called for the federal government to match state money to provide preschool for all 4 year olds from low and moderate income families, a proposal in the budget that Congress voted to postpone negotiating until later this year. The administration is also offering state grants through its Race to the Top Program to support early childhood education. Critics argue, however, that with so few programs offering high quality instruction, expanding the system will prove a waste of money and that the limited funds should be reserved for elementary and secondary education. But at a time when a majority of public schoolchildren in about a third of the states come from low income families, according to the Southern Education Foundation, those who are pushing for higher preschool enrollment say that investing in the youngest children could save public spending later on. In the latest data available from the National Institute for Early Education Research at Rutgers University, 28 percent of all 4 year olds in the United States were enrolled in state financed preschool in the 2010 11 school year, and just 4 percent of 3 year olds. The National Governors Association, in a report this month calling on states to ensure that all children can read proficiently by third grade, urges lawmakers to increase access to high quality child care and prekindergarten classes and to invest in programs for children from birth through age 5. In New York, the Democratic mayoral candidate Bill de Blasio has said he would tax high income earners to pay for universal prekindergarten in the city. "A lot of states are saying, 'Let's get to the early care providers and get more of them having kids come into kindergarten ready,' " said Richard Laine, director of education for the National Governors Association. That way, he said, "we're not waiting until third grade and saying, 'Oh my gosh, we have so many kids overwhelming our remediation system.' " Currently, 17 states and the District of Columbia have policies requiring that third graders be held back if they do not meet state reading proficiency standards, according to the Education Commission of the States. Now, with the advent of the Common Core, a set of rigorous reading and math standards for students in kindergarten through 12th grade that has been adopted by 45 states and the District of Columbia, educators say the pressure to prepare young children is growing more intense. Literacy experts have previously documented a connection between a child's early vocabulary and later success in reading comprehension. In a study tracking children from age 3 through middle school, David Dickinson, now a professor of education at Vanderbilt University, and Catherine Snow, an education professor at Harvard University, found that a child's score on a vocabulary test in kindergarten could predict reading comprehension scores in later grades. Mr. Dickinson said he feared that some preschool teachers or parents might extract the message about the importance of vocabulary and pervert it. "The worst thing that could come out of all this interest in vocabulary," he said, "is flash cards with pictures making kids memorize a thousand words." Instead, literacy experts emphasize the importance of natural conversations with children, asking questions while reading books, and helping children identify words during playtime. Even these simple principles may be hard to implement, some educators say, because preschool instructors are often paid far less than public schoolteachers and receive scant training. In one study, Robert Pianta, dean of the Curry School of Education at the University of Virginia, found that in observations of 700 preschool classrooms across 11 states, teachers in less than 15 percent of the classes demonstrated "effective teacher student interactions." "There is a lot of wishful thinking about how easy it is, that if you just put kids in any kind of program that this will just happen," said W. Steven Barnett, director of the National Institute for Early Education Research, referring to the development of strong vocabularies and other preliteracy skills. Literacy experts and publishing companies are rushing to develop materials for teachers. Scholastic Inc., the children's book publisher, for example, began selling the Big Day for Pre K program to preschools three years ago. Collections of books come with specific question prompts like "I see a yellow taxi. What do you see?" Educators and policy makers say they also must focus increasingly on parents. In Vallejo, Calif., where about 400 children up to age 5 attend publicly funded prekindergarten programs, the district invited Anne E. Cunningham, a psychologist and literacy specialist from the University of California, Berkeley, to conduct a training program for preschool teachers that included the development of parent education workshops. And in Kentucky, the governor's Office of Early Childhood started a social media campaign last year that offers simple tips for parents like "Talk about the weather with your child. Is it sunny or cloudy? Hot or cold?" Middle class and more affluent parents have long known that describing fruit at the supermarket or pointing out the shape of a stop sign are all part of a young child's literacy education. But even in low income families, parents who speak to their children more frequently can enhance vocabulary. In separate research, Ms. Fernald, working with Adriana Weisleder, a graduate student in psychology, recorded all the words that 29 children from low income households heard over a day. The researchers differentiated between words overheard from television and adult conversations and those directed at the children. They found that some of the children, who were 19 months at the time, heard as few as 670 "child directed" words in one day, compared with others in the group who heard as many as 12,000. Those who had heard more words were able to understand words more quickly and had larger vocabularies by age 2. "Even in families that are low income and perhaps don't have a lot of education, there are some parents that are very engaged verbally with their kids," said Ms. Weisleder. "And those kids are doing better in language development."	N24News: A New Dataset for Multimodal News Classification	Education
An emergency room doctor in Illinois was accused in April of profiting from naming coronavirus as the cause of a patient's death, a rumor spreading online. An internist in New York treated a vomiting patient in May who drank a bleach mixture as part of a fake virus cure found on YouTube. And in June a paramedic in Britain aided a clearly sick man who had refused to go to a hospital after reading misleading warnings about poor coronavirus treatment on social media. Doctors on the front lines of the global pandemic say they are fighting not just the coronavirus, but also increasingly combating a never ending scourge of misinformation about the disease that is hurting patients. Before the pandemic, medical professionals had grown accustomed to dealing with patients misled by online information, a phenomenon they called Dr. Google. But in interviews, more than a dozen doctors and misinformation researchers in the United States and Europe said the volume related to the virus was like nothing they had seen before. They blamed leaders like President Trump for amplifying fringe theories, the social media platforms for not doing enough to stamp out false information and individuals for being too quick to believe what they see online. Last week, researchers said that at least 800 people worldwide died in the first three months of the year, and thousands more were hospitalized, from unfounded claims online that ingesting highly concentrated alcohol would kill the virus. Their findings, based on studying rumors circulating on the web, were published in the American Journal of Tropical Medicine and Hygiene. Doctors' frustrations fill Facebook groups and online forums. The American Medical Association and other groups representing doctors say the false information spreading online is harming the public health response to the disease. The World Health Organization is developing methods to measure the harm of virus related misinformation online, and over two weeks in July the group hosted an online conference with doctors, public health experts and internet researchers about how to address the problem. "This is no longer just an anecdotal observation that some individual doctors have made," said Daniel Allington, a senior lecturer at King's College London and co author of a recent study that found people who obtained their news online, instead from radio or television, were more likely to believe in conspiracy theories and not follow public health guidelines. "This is a statistically significant pattern that we can observe in a large survey." Dr. Howard Mell, an emergency room physician in an Illinois suburb of St. Louis, said the wife of a man who had died from the coronavirus in April accused him of falsely filling out the death certificate to make more money for himself. He explained that the form was accurate and that his pay was not based on the cause of death. "She yelled, 'We've seen online how you guys get more money,'" Dr. Mell said. Since then, the situation has not improved, he said. Several times per week, he meets someone who believes false medical information that was discovered online. "It has absolutely become a job unto itself," said Dr. Mell, who is also a spokesman for the American College of Emergency Physicians, a group representing E.R. doctors. Some doctors say they get into arguments with patients who demand prescriptions for hydroxychloroquine, the unproven drug championed by Mr. Trump. At some hospitals, people have arrived asking for a doctor's note so they do not have to wear a mask at work because they believe it will harm their oxygen levels, another online rumor. Online platforms like Facebook and YouTube, which is owned by Google, have introduced policies to limit coronavirus misinformation and elevate information from trusted sources like the World Health Organization. This month, Facebook and Twitter removed a post by Mr. Trump's re election campaign that falsely claimed that children do not get coronavirus. "We have been aggressive in both removing harmful false claims and directing people to authoritative information," Facebook said in a statement. The company, which held a call with doctors in June to hear their concerns, said it had removed more than seven million pieces of virus misinformation, and added warning labels to millions more. YouTube said it was "committed to providing timely and helpful information around Covid 19" and had removed more than 200,000 dangerous or misleading videos. But untrue information continues to spread. Last month, a video from a group of people calling themselves America's Frontline Doctors was viewed millions of times. It shared misleading claims about the virus, including that hydroxychloroquine is an effective coronavirus treatment and that masks do not slow the spread of the virus. The scale of the problem led last month to a British parliamentary report that added to calls in the country for tougher laws against the largest social media platforms, like Facebook and YouTube. Dr. Ryan Stanton, an emergency room physician in Kentucky, said a number of sick patients had waited until it was nearly too late to visit a hospital because they were convinced by what they had read online that Covid 19 was fake or "no big deal." "They thought it was just a ploy, a sham, a conspiracy," Dr. Stanton recalled. "It just blew my mind that you can put these blinders on and ignore the facts." "Social media brings many great things but it also provides a platform to sow the seeds of doubt, and that's what has happened," he said. Dr. Wright recalled that Congolese immigrants believed a social media rumor that Covid 19 was a government trick to deport them, and that others, from the Indian community, cited posts about doctors intentionally infecting patients. A nurse at the hospital complained to Facebook about people posting names and pictures of health workers accusing them of leaving patients to die. Dr. Mell, the physician in Illinois, encounters regular abuse from Facebook users when he has pushed back on false information. But he believes the effort is necessary to keep falsehoods from spreading. "Doctors have to continue to speak the truth as loudly as we can," he said. "People need to hear it."	N24News: A New Dataset for Multimodal News Classification	Technology
In January 2020, around the time word first began to leak of Covid 19 in China, Telfar Clemens, the queer Liberian American designer who has been preaching the gospel of inclusivity for 15 years, had a wine drenched banquet and sleepover for more than 40 of his closest creative collaborators and friends in the Pitti Palace, a former home of the Medicis in Florence. They dined and danced and reveled in his new collection courtesy of Pitti Uomo, the men's wear organization that had invited Mr. Clemens to be the guest star of the season (despite the fact his clothes are unisex). Then, the next day, amid the detritus, he let critics and retailers in to see what they had missed. "It was so elegant," said Terence Nance, a filmmaker who was there, along with Solange Knowles, Kelela and Michele Lamy. "The master's tools and money were being used to destroy the master's house or at least throw paint at it that he can't get off." It was also the first salvo in a conscious disengagement from the fashion system that Mr. Clemens and Babak Radboy, his artistic director and de facto business guru, had been planning for the year. "It was a current that pushed us in the right direction," Mr. Clemens said. "So when Covid came" when stores canceled orders and runway shows disappeared and events didn't happen "rather than knocking us down like everyone else, we just rode that wave." In 2020, the year that McKinsey projected the fashion industry would lose 90 percent of its economic profit, Telfar Clemens's business, has had, the designer said (and he is wincingly aware of how this may sound, but professionally, it is a fact), "the best year." Oprah chose the Telfar vegan leather shopping bag as one of her "favorite things." Issa Rae carried the mini version on "Insecure," and Alexandria Ocasio Cortez gave it a shout out on Instagram Stories. According to Lyst, the global search platform, the bag was the third most wanted item of the year, and searches for the brand have grown 270 percent week on week since August. Mr. Clemens, 35, won a Council of Fashion Designers of America Award for best accessories designer, a Cooper Hewitt National Design Award for fashion design, was named the GQ designer of the year and received the PETA award for Most Wanted for the handbags (even though he is a meat eater and says he just "loves plastic bags"). The bags from an upcoming collaboration with Ugg were the subject of a much hyped pre sale in early December, even though they will not be available until next year. Mr. Clemens has three more collaborations with major sports brands coming out in 2021 and is mulling over two other offers. Everything he has always stood for financial, racial and gender inclusivity; community is everything the fashion establishment, in the midst of economic upheaval and a long overdue racial reckoning, is now desperate to embrace. After years of disenfranchisement because of his background, the color of his skin and his belief system, the industry gatekeepers are practically throwing the keys to their kingdom at Mr. Clemens. But he doesn't want them. He's building a kingdom of his own. "I'm not going to be fooled into thinking I have a place in this thing where I've been told I have no place," Mr. Clemens said, rolling around on his chair. "Suddenly this person you never talked to in the entire history of your career is calling." Mr. Clemens, who grew up in New York and Maryland, got interested in fashion in high school. He started his line in 2005 after graduating from Pace University with a degree in accounting. He lived with his aunt in an apartment in the LeFrak City development in Queens, supporting himself as a model and D.J. His clothes were unisex from the start, at a time when that word wasn't really part of the fashion vocabulary. His aesthetic, which could be called "mutant basic," essentially takes the building blocks of the American wardrobe jeans, track pants, tank tops, hoodies grinds them up and reimagines them for an alternate utopia. Denim transmogrifies into chaps, leather morphs into cable knit flares, and sports tops become slinky halter necks. "He was a one man show," said Ms. Gallagher, who has been working with Mr. Clemens pretty much from the start. "He'd ride his bike into the city with essentially his whole collection on his back in every kind of weather, then ride to Midtown to where the patternmakers were, back to Queens to get his CDs, back downtown to the clubs to D.J. In the beginning, he was fueled by this very bouncy happy energy, but at some points he got really tired. We got really close to calling it quits." A Club of Their Own Mr. Clemens may not have had much when he started, but he knew what his clothes were about: "Not for you, for everyone." He also had that logo (it had been created by a childhood schoolteacher, as a form of his initials) and an unwillingness to compromise. When Mr. Radboy joined full time in 2013, Mr. Clemens found a partner (intellectual, not financial; Mr. Clemens owns 100 percent of the business) who could create a structure that made his ideas concrete. Though Mr. Radboy has been compared to Marc Jacobs's former business partner Robert Duffy, or Yves Saint Laurent's Pierre Berge, the two men don't fit neatly into that mold. Instead of a business brain cosseting the creative genius in his ivory tower, Mr. Radboy is more like a wavelength sparring partner, helping to construct a permeable scaffolding for their world. So for their fall/winter 2019 show, held at Irving Plaza, they enlisted the playwright Jeremy O. Harris, who was absorbed into Mr. Clemens's creative community pretty much immediately, to write and perform a monologue. "It wasn't malicious," Mr. Harris said. It was to propose the idea that "America lives inside the Black queer brain of an immigrant." Since the pandemic began, Mr. Telfar and Mr. Radboy have been making lots of mini films with their friends, little Instagram shorts that redefine the idea of "show." They're like Warholian experiments push the button and see what comes out some of which have been part of the Ugg promotion. One featured Telfar dancing around in a backyard in his underwear with classic Ugg boots on his hands. "That was a bit of a surprise," said Andrea O'Donnell, the president of Ugg. "But he is who he is." Ms. O'Donnell said that their shared belief that democracy and ubiquity can be aspirational is what drew Ugg to Telfar an idea almost antithetical to traditional fashion. Which is, Mr. Harris said, "predicated on the exclusive and the expensive." Telfar clothes offer a different option. One where the price of admission isn't calculated in dollars, but in attitude. "Being a queerdo on the A train in a halter and the sickest pants ever wearing a silhouette I was socialized to stay away from as a little boy really excites me," Mr. Harris said. "It's like saying to those people, 'I'm part of a club that is so exclusive you'll never get in, because you're not brave enough.' That it won't break the bank makes it even better." Mr. Clemens is largely known for his bags, which were created in 2014, come in three sizes, cost 150 to 257 and have been called "the Bushwick Birkin." But he and Mr. Radboy are planning to make 2021 the year of clothes. In August they created what they call the "bag security program," in which bags were sold via pre order on the website. On a specific day of the month, the list opened up, and if you got your name on it and put your money down, you were safe in the knowledge that you would get what you want. Otherwise bag drops happen multiple times a month (usually 3,000 to 7,000 bags) and sell out within minutes. At the same time, Mr. Clemens and Mr. Radboy are secure in the knowledge that they have sidestepped the fashion practice that requires designers to fund their own production, and then pay themselves back after sales. The bags have become so successful that they plan to use the same strategy for the 30 shows' worth of samples, many of them never produced, that Mr. Clemens has designed over the years. Get ready for the denim security program! The sweater program! The jewelry program! "Honestly, it's so miraculous," said Ms. Gallagher, who started being paid only after the CFDA/Vogue Fashion Fund win in 2017. (Mr. Clemens took his first vacation in 2019.) "There's this massive body of work that was made and then rarely seen or available and now is more relevant than perhaps ever before, because it is so pure," she said. He and Mr. Clemens are always asking themselves: "What is this thing? Who is it for? How much could they spend on it?" Mr. Clemens also wants to make a fragrance that smells of "cocoa butter, weed and sweat." He wants to open a store. "I miss shopping in general," he said. "Maybe in New Jersey! Queens. American Dream mall. Brooklyn. I would love to ignore Manhattan." And travel, perhaps taking his show on the road to Liberia or India, places outside the established fashion show circuit. He and Mr. Radboy are mulling over what it would mean to create their own technology platform so they wouldn't be dependent on, say, Instagram. And they are buying plots of land in a "sleepy town" in a country they won't reveal, where they plan to build a creative community insulated from the preconceptions of the outside world where friends and families can come to "make stuff." Mr. Clemens is also going to buy himself and his family a house in Queens, close to his roots, which will be the first house they have owned. "In 2020, everyone no longer knows what's going to happen, so we get to make up what's going to happen," Mr. Radboy said. "The disarray makes us feel like so many more things are possible. For years we were treated like the sideshow to the actual industry." Now, he said, their stance is, "No, we are the actual industry." The one thing Mr. Clemens says he doesn't want is investment or to work for anyone else. He once said he wanted to be Michael Kors, but he now says that was a joke because it speaks to the model that existed, and he wants to be something else. If he has a company in mind, it's Apple, because it disrupted the way we think about what we need to live now. The goal, Mr. Clemens said, will be: "That guy is wearing that and that girl is wearing that and every single person is wearing that and that's how people actually look all over the world, which is how I've been imagining the world in my head my whole life." Mr. Harris added: "He has been a kind of prophet in fashion, seeing where the world is headed before anyone else had any idea. There's a type of fanaticism that happens around people of strong, unadulterated beliefs, and that's what has happened with him. Telfar World is going to be a place every kid wants to go. I don't think Telfar is global. I think it's intergalactic."	N24News: A New Dataset for Multimodal News Classification	Style
What books are on your nightstand? This month I've committed to only reading books about shipwrecks where people had to eat somebody. There's nothing I'm more interested in and it feels irresponsible to read about other subjects until I've exhausted the category. I'm almost finished with "Desperate Journeys, Abandoned Souls," by Edward E. Leslie. It's a comprehensive overview of all the major shipwrecks, including many in which people had to eat somebody. I'm also making my way through "The Custom of the Sea," by Neil Hanson. It tells the tale of Capt. Tom Dudley, who attempted to sail a small yacht from Southampton to Sydney, Australia, in 1884, with a crew of just three men. This is a bit of a spoiler alert but the ship ended up wrecking and they had to eat somebody. What was the last truly great book you read? "Barnum in London," a devastating work of nonfiction by Raymund Fitzimmons. It's about two rival exhibits that opened in Piccadilly in 1846. The first was self funded by an English artist named Benjamin Robert Haydon, who wanted to display his masterpiece, "The Banishment of Aristides," a giant oil painting he'd been working on for years. The other exhibit was produced by P.T. Barnum and featured Tom Thumb, a popular child dwarf, who wore fun outfits and just kind of walked around the room. Haydon's exhibit had 133 visitors, Barnum's had 12,000, and two months later, Haydon killed himself. My heart broke for Haydon, especially since I know, with zero doubt, that if given the choice, I'd have gone to see Tom Thumb. Which writers novelists, playwrights, critics, journalists, poets working today do you admire most? I saw a Cole Escola show last year that included a Tennessee Williams parody that is not only hilarious, but also somehow manages to be as poignant as a good Tennessee Williams play. I loved Leon Neyfakh's book, "The Next Next Level," a coming of age memoir disguised as a profile of a struggling rapper named Juiceboxxx. It sums up the "millennial plight" better than anything I've seen on TV or read in fiction. Another brilliant piece of writing in that vein is " Vanlife, the Bohemian Social Media Movement" in The New Yorker, by Rachel Monroe, which profiles a group of lifestyle bloggers who earn a living by monetizing their rejection of materialism. The piece reminded me of the most brutal essays in "Slouching Towards Bethlehem" and "Crazy Salad." Every generation has its hypocrites and I'm grateful for funny journalists like Didion, Ephron and Monroe. I read a lot of comedy online and have found a bunch of super talented writers that way. Everyone should check out Riane Konc's "Grapes of Wrath" inspired hobo breastfeeding piece in Paste magazine, Lucas Gardner's space camp piece at Vulture and Mary Houlihan's "Dry January Diary" on the newyorker.com. Megan Amram's Twitter account is one of the great feats of comedy prose writing ever. I think it's as funny as anything from Army Man magazine, including Deep Thoughts by Jack Handey. 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. What's your favorite thing to read? And what do you avoid reading? My favorite genre is what I would call "disturbing, high stakes nonfiction." One example is "The Ghost Map," a riveting book by Steven Johnson about the 1854 London cholera outbreak. Johnson's writing is informative, engaging and so puke your guts out disgusting you can't even believe it. For years now, I've been recommending "The Corpse Walker," by Liao Yiwu, to anyone who will listen. It's a compilation of interviews with people who live on the fringes of Chinese society. Check it out if you liked Studs Terkel's "Working," but wished it were 1,000 times more bleak. Some other favorites include "Wisconsin Death Trip," by Michael Lesy; "The Last Place on Earth," by Roland Huntford; and "A Distant Mirror," by Barbara Tuchman, which features the most vivid writing I've ever read about the Black Death. I try to avoid reading books that are boring. John Mulaney is my favorite stand up comedian, and his scripts for "Saturday Night Live" and "Documentary Now!" are some of the best pieces of television writing that I've ever seen. I can't wait for him to write a book; I know it will be wonderful. What book would we be surprised to find on your shelf? There's a lot of horror: Stephen King, Shirley Jackson, Richard Matheson, H. P. Lovecraft. It might seem surprising, since I'm a comedy writer, but I think there's a thin line between the genres. A lot of my favorite writers have done both (e.g. Edgar Allan Poe, Charles Dickens, Jordan Peele). Some great writers manage to straddle the line, like T. C. Boyle, Patricia Highsmith and Muriel Spark. They can crack you up and frighten you in the same page. What's the last book that made you laugh? "The Bad Guys Won!," by Jeff Pearlman. It's a nonfiction account of the New York Mets' legendary 1986 season. What makes the book so funny is the players' shocking arrogance. My favorite part is when they record a celebratory rap about the season after having only played one game. The last book that made you cry? "The Very Busy Spider," by Eric Carle, which I read to my 1 year old daughter. It's about a confident, creative spider who sticks to her guns and overcomes social pressure in order to achieve her dreams. It's sort of like the "Whiplash" of spider themed picture books. My daughter liked it too, and tried to eat it. The last book that made you furious? "Madhouse," by Andrew Scull, tells the fascinating and infuriating story of Dr. Henry Cotton, an early 20th century quack who believed that he could cure mental illness by removing people's organs. He ended up killing a bunch of people. His data was terrible, but everyone supported his theories, mainly because his machines were shiny. It's an exasperating read. You keep hoping Cotton will get busted, like Elizabeth Holmes or Marc Hauser, but he just keeps winning awards and getting invited to cool banquets. What kind of reader were you as a child? I was trying to learn how to write comedy, so I made sure to read all the big names: Robert Benchley, James Thurber, P.G. Wodehouse, Evelyn Waugh, Dorothy Parker, Philip Roth, Douglas Adams, Joseph Heller and so on. The "classic humorists" that I learned the most from were probably Mark Twain and Hans Christian Andersen. They were always writing stories about children and animals and inanimate objects. It's a great trick. Readers love to feel smarter than the person that they're reading about. My favorite comedy books growing up, though, were all contemporary: "Our Dumb Century," from the staff of The Onion, "Et Tu, Babe," by Mark Leyner, "Calvin and Hobbes" anthologies and "The Simpsons: A Complete Guide to Our Favorite Family," which was my first time seeing television comedy written on a page. Who is your favorite fictional hero or heroine? Your favorite antihero or villain? My favorite fictional villain is Archie Costello from "The Chocolate War," the young adult classic by Robert Cormier. If you haven't read the book, it's about a secret society that terrorizes a prep school by forcing students to perform humiliating pranks. Archie is the mastermind who dreams up the group's evil schemes. Like all great villains, he is simultaneously despicable and lovable. You hate what he's doing, but can't wait to see what he'll do next. By the end of the novel, I was horrified to find myself rooting for him. You're hosting a literary dinner party. Which three writers are invited? I would invite my wife, the writer Kathleen Hale; our friend, the writer Andrei Nechita; and some really ancient guy, like Aristophanes or Laertes or whoever; and we would take turns showing him videos on our phones and just watch his reactions and see which ones made him flip out the most. What's the one book you wish someone else would write? I would love to read an extensive oral history about our pet bunny rabbit, Mimosa. It would be edited by Nelson W. Aldrich Jr., who edited the one about George Plimpton, and he would approach Mimosa with the same vigor. In the first chapter we'd hear from Mimosa's original owners and learn the answer to a riddle that has mystified us for years: Why did they name her Mimosa? The setting would then shift to the Rabbit Rescue shelter in Paramount, Calif., where we found her. How did the volunteers on shift react when Mimosa arrived at the shelter? Could they guess, by looking at her, that she would become what she became? We'd also hear from Mimosa's fellow rabbits; her friends, her rivals and, yes, her lovers. Whom would you choose to write your life story? I'd love to see my life depicted as a Ken Burns documentary. Just a lot of slow pans of me typing on my computer, while sitting in different positions. And the whole time, inexplicably, there's jazz. What do you plan to read next? "The Very Busy Spider," a few times in a row, probably.	N24News: A New Dataset for Multimodal News Classification	Books
WASHINGTON A mysterious virus emerges in Africa and makes its way to our shores. An anxious and skeptical public rejects scientific evidence that the lethal virus is transmitted only through body fluids. There are no drugs to effectively treat infected patients, nor a vaccine to prevent new cases. People shun the infected and their contacts; some demand quarantines. Conspiracy theorists contend the virus escaped from government laboratories. No, the virus is not Ebola. It is the outbreak in the early 1980s of the virus that causes AIDS. The epidemics have prompted eerily similar reactions from health officials and the public, raising crucial questions about why the world remains persistently unprepared to react to the sudden emergence of viral threats. For decades, scientists have warned that diseases obey no national boundaries. New and old contagions can pop up in hours anywhere in the age of jet travel. And as a rapidly growing population invades previously wild habitats, more dangerous microbes are bound to be discovered. While the world has learned many lessons about containing them, it has forgotten a few and probably will need to learn others. Experts underestimated the extent of the spread of both viruses. After development of an H.I.V. test, doctors discovered that millions of people were infected in one of the worst pandemics in history. The Ebola epidemic, which involves thousands, is smaller and confined to West Africa for now. But as long as the infection spreads in West Africa, it poses a major threat to the rest of the world; many countries will have a very difficult time controlling its spread if it reaches them. In circumstances like these, epidemiology's immense power deserves respect. Scientists quickly and clearly delineated how Ebola and H.I.V. are transmitted. For H.I.V., the routes include sexual intercourse, blood transfusions, contaminated needles and childbirth. Ebola requires direct contact, which means that the fluids splash or spray into someone else's mouth, eyes or nose, or enter through the bloodstream through cuts or breaks in the skin. But public officials, then and now, failed to communicate this information in ways most people understand. At the onset of the AIDS epidemic, officials and journalists spoke of "bodily fluids" to avoid using words like penis, vagina and sperm. Only later did officials became explicit about the risks of rectal intercourse. Ambiguity was costly. People avoided restaurants where waiters were perceived to be gay out of fear of getting the disease from "contaminated" food and dishes. Parents refused to send their children to schools where a student was known to be infected. Some people called for quarantines, which made no scientific sense. Conspiracy theorists were not far behind, embracing the fiction, disseminated by Soviet Union officials, that scientists created H.I.V. at Fort Detrick, an Army base in Maryland, from which it escaped to infect the world. Health officials have had ample time years to polish their language skills. Yet the phrase "bodily fluids" is again with us, and confusion has arisen over whether the virus can be "airborne" as officials try to explain that Ebola virus is not dispersed like the influenza and measles viruses. The New York Times's Well blog has been inundated with questions about whether Ebola can be caught from subway poles, bowling balls, toilet seats, mosquitoes, sweat, coughs, sneezes and even pets. And so history repeats. An uncertain public, fearful of the unknown, has stigmatized many Ebola survivors and workers who cared for Ebola patients, as AIDS patients once were, even though they are not infectious to others. Governors and health officials have clashed over the need to quarantine people returning from West Africa, though as a court has stated such policy is not based on scientific evidence. As for the inevitable conspiracy theory: Dr. Peter Piot, a co discoverer of the Ebola virus and now dean of the London School of Hygiene and Tropical Medicine, recalls that an attendee at a recent meeting about Ebola asserted that the virus escaped from a Centers for Disease Control and Prevention laboratory in Sierra Leone. Others have claimed that the epidemic is a ruse intended to squeeze foreign aid money from donors. By its very nature, public health involves politics. As politicians, health officials have traditionally tended to play down, or even ignore, risks to calm anxiety and panic. But the official foot dragging that first greeted the AIDS epidemic wound up pitting activists against government agencies and officials. Trust was lost, and "silence equals death" became a rallying cry. Federal officials have not been silent about Ebola, but sometimes, they have been too emphatic and absolute in their choice of words. Despite lack of prior experience, the experts predicted that any American hospital could safely handle Ebola patients with little risk to noninfected individuals. That assurance came back to haunt them in Texas. To their credit, the officials quickly corrected themselves. But by then, the damage was done. Fear of the unknown plays a great role in fanning anxiety during outbreaks of deadly diseases. H.I.V. was truly a mystery at the beginning of the AIDS epidemic. At first, scientists debated whether the cause was an infectious agent (even an old one in disguise) or a drug, or combinations of them. Ebola was identified in Central Africa in 1976 but was unknown in West Africa when cases began to occur in Guinea earlier this year. It is the largest epidemic of the disease. As of Friday, Ebola has infected 13,268 people, of whom 4,960 have died, the World Health Organization says.	N24News: A New Dataset for Multimodal News Classification	Health
BIG BROTHER: CELEBRITY EDITION 8 p.m. on CBS. From reality TV to the White House and back again it's been quite a ride for Omarosa Manigault Newman, who left the Trump administration last month under disputed circumstances. She'll go from being a communications director to being shut off from the outside world in the first American celebrity iteration of "Big Brother." Eleven contestants, who also include the former basketball player Metta World Peace and Keshia Knight Pulliam of "The Cosby Show," will make small talk, form friendships, bicker and betray one another under 24 hour surveillance; they compete for a 250,000 grand prize. CHANNEL ZERO: BUTCHER'S BLOCK 10 p.m. on Syfy. While Ryan Murphy creates big scares with ornately costumed clowns and makeup caked mental patients over on FX, a much quieter and more cerebral horror anthology creeps along on Syfy. "Butcher's Block" is the third installment of this series, which derives its material from popular internet horror stories. In this season, two troubled sisters move to a town next to a neighborhood plagued by disappearances. The series delves into Lynchian surrealism and opts for unsettling anguish over jump cuts. IMPOSSIBLE BUILDS 10 p.m. on PBS (check local listings). Before she died in 2016, Zaha Hadid forged a plan for her first residential project in the United States: a sleek, 700 foot skyscraper with a curving exoskeleton in downtown Miami. The building is featured in the first episode of this documentary series, which examines the construction of cutting edge architecture projects around the world. The series will look at underwater hotels, man made floating islands, pencil towers and more. FULL FRONTAL WITH SAMANTHA BEE 10:30 p.m. on TBS. This snarling, uproarious firebrand returns for her third season. That marker means little, though, since she was on TV just last week in peak enraged form: She ripped into, among many things, the president's State of the Union address, the Nunes memo, Paul Ryan's morals, and workplace harassment. She also set aside her differences with the former Fox News host Gretchen Carlson in an interview about forced arbitration. This week will no doubt bring more sarcasm laced tirades. QUEER EYE on Netflix. Why is "Queer Eye," the pioneering reality show that arrived in the early '00s, being rebooted? "When you have Republican administrations in power, we need to have 'Queer Eye' on the air," Jonathan Van Ness, a member of the show's new Fab Five, jokingly said in an interview. While the original series featured five gay men giving advice in New York, this new version will head deep into Trump territory in rural Georgia, where heavily bearded, working class men will receive tips on fashion, eating habits, design and grooming. The show also ventures into political territory, including a discussion about police brutality.	N24News: A New Dataset for Multimodal News Classification	Television
SAN FRANCISCO Mark Zuckerberg, Facebook's chief executive, on Tuesday stood firmly behind his decision not to do anything about President Trump's inflammatory posts on the social network, saying that he had made a "tough decision" but that it "was pretty thorough." In a question and answer session with employees conducted over video chat software, Mr. Zuckerberg sought to justify his position, which has led to fierce internal dissent. The meeting, which had been scheduled for Thursday, was moved up to Tuesday after hundreds of employees protested the inaction by staging a virtual "walkout" on Monday. Facebook's principles and policies supporting free speech "show that the right action where we are right now is to leave this up," Mr. Zuckerberg said on the call referring to Mr. Trump's posts. The audio of the employee call was heard by The New York Times. Mr. Zuckerberg said that though he knew many people would be upset with Facebook, a policy review backed up his decision. He added that after he made his determination, he received a phone call from President Trump on Friday. "I used that opportunity to make him know I felt this post was inflammatory and harmful, and let him know where we stood on it," Mr. Zuckerberg told Facebook employees. But though he voiced displeasure to the president, he reiterated that Mr. Trump's message did not break the social network's guidelines. The Facebook chief held firm even as the pressure on him to rein in Mr. Trump's messages intensified. Civil rights groups said late Monday after meeting with Mr. Zuckerberg and Sheryl Sandberg, Facebook's chief operating officer, that it was "totally confounding" that the company was not taking a tougher stand on Mr. Trump's posts, which are often aggressive and have heightened tensions over protests on police violence in recent days. Several Facebook employees have resigned over the lack of action, with one publicly saying the company would end up "on the wrong side of history." And protesters showed up late Monday to Mr. Zuckerberg's residential neighborhood in Palo Alto, Calif., and also headed toward the social network's headquarters in nearby Menlo Park. The internal dissent began brewing last week after Facebook's rival, Twitter, added labels to Mr. Trump's tweets that indicated the president was glorifying violence and making inaccurate statements. The same messages that Mr. Trump posted to Twitter also appeared on Facebook. But unlike Twitter, Facebook did not touch the president's posts, including one in which Mr. Trump said of the protests in Minneapolis: "when the looting starts, the shooting starts." That decision led to internal criticism, with Facebook employees arguing it was untenable to leave up Mr. Trump's messages that incited violence. They said Mr. Zuckerberg was kowtowing to Republicans out of fear of Facebook being regulated or broken up. Mr. Zuckerberg and Ms. Sandberg have spent the past few days meeting with employees, civil rights leaders and other angry parties to explain the company's stance. Mr. Zuckerberg has said Facebook does not want to be an "arbiter of truth." He has also said that he stands for free speech and that what world leaders post online is in the public interest and newsworthy. But in trying to placate everyone, Mr. Zuckerberg has failed to appease almost anyone. Facebook employees have continued criticizing their employer on Twitter, LinkedIn and on their personal Facebook pages. Some circulated petitions calling for change. On Monday, hundreds of workers participated in the virtual "walkout" by refusing to work and setting their automated messages to one of protest. Timothy Aveni, a Facebook software engineer who resigned after Mr. Zuckerberg's decision to leave up Mr. Trump's posts, said on his Facebook page on Monday that the company wasn't enforcing its own rules to ban speech that promotes violence. "Facebook will keep moving the goalposts every time Trump escalates, finding excuse after excuse not to act on increasingly dangerous rhetoric," Mr. Aveni said. On Tuesday in the virtual meeting with employees, Mr. Zuckerberg spent 30 minutes laying out what had happened with Mr. Trump's posts. He said the president's looting and shooting message, which went up on Friday, was immediately spotted by Facebook's policy team. Mr. Zuckerberg woke up at 7:30 a.m. in Palo Alto that day to an email about the post. The policy team called the White House, he said, telling officials there that Mr. Trump's message was inflammatory. Mr. Zuckerberg spent the rest of last Friday morning talking to policy officials and other experts at Facebook. He ultimately decided Mr. Trump's post had not broken Facebook's policies. Mr. Zuckerberg said Mr. Trump's post relied on a call for "state use of force," which Facebook allows under its guidelines. He said that in the future, the social network might reassess that policy, given the photos and videos of excessive use of force by police that have spread across social media in recent days. After explaining his thought process, Mr. Zuckerberg took questions from employees in the virtual meeting on Tuesday, according to a copy of the call. One Facebook employee in New York expressed support for Mr. Zuckerberg's position. But the vast majority of questions were pointed and the call became increasingly contentious. Mr. Zuckerberg was asked whether any black Facebook employees were consulted in the decision making process. He named one. A Facebook employee in Austin, Texas, then said that he felt the company's political speech policy wasn't working and needed to be changed. One persistent feeling shared among Facebook's rank and file came out in a direct moment between Mr. Zuckerberg and another employee during the call.	N24News: A New Dataset for Multimodal News Classification	Technology
BEIJING The Trump administration says the mere potential for Beijing to influence the Chinese technology giant Huawei is enough to justify a law passed last year restricting federal agencies' business with the company. Huawei has challenged the law in federal court, arguing that Congress produced no proof that the company was a security threat before acting against it, and that it was being punished without due process. The United States government's latest argument in the case, outlined in a court filing this week, suggests that the Trump administration believes it may not have to produce conclusive evidence of past wrongdoing by Huawei to uphold at least some of its actions against the company. Huawei executives have long expressed frustration over American officials' clamping down on the company without presenting evidence that Beijing could use Huawei products for espionage, as Washington has claimed for years.	N24News: A New Dataset for Multimodal News Classification	Technology
Kendrick Lamar's Pulitzer for "DAMN." makes him the first nonclassical or jazz musician to receive the prize since the awards expanded to music in 1943. In late January, the Compton, Calif., rapper Kendrick Lamar lost the Grammy Award for album of the year to Bruno Mars. "DAMN.," Mr. Lamar's fourth LP, was his third straight to be nominated but ultimately fall short of the trophy, considered by most to be the top prize in popular music. On Monday, Mr. Lamar's "DAMN." took home an even more elusive honor, one that may never have even seemed within reach: the Pulitzer Prize for music. Mr. Lamar is not only the first rapper to win the award since the Pulitzers expanded to music in 1943, but he is also the first winner who is not a classical or jazz musician. "The time was right," Dana Canedy, the administrator of the prizes, said in an interview after the winners were announced. "We are very proud of this selection. It means that the jury and the board judging system worked as it's supposed to the best work was awarded a Pulitzer Prize." She added: "It shines a light on hip hop in a completely different way. This is a big moment for hip hop music and a big moment for the Pulitzers." Mr. Lamar's "DAMN." has sold more than 3.5 million albums, including digital streams, since its release in April 2017. Never miss a pop music story: Sign up for our weekly newsletter, Louder. Mr. Lamar was not immediately available to comment on his win. But Terrence Henderson, the record executive known as Punch from Mr. Lamar's label, Top Dawg Entertainment, acknowledged the achievement on Twitter, writing that from now on, no one should "speak with anything less than respect in your mouth for Kendrick Lamar." Ms. Canedy said the board's decision to award Mr. Lamar, 30, was unanimous. The board called the album "a virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African American life." "DAMN.," which featured Rihanna and U2, along with kinetic production from Sounwave and Mike WiLL Made It, among others, topped the charts and was among last year's most streamed albums, while also tackling thorny issues both personal and political, including race, faith and the burdens of commercial success. Though his work is often serious and searing Mr. Lamar, a dense and bruising lyricist, has managed to become a pop cultural juggernaut as well, performing during halftime of this year's college football national championship and overseeing the soundtrack for "Black Panther." The music finalists, selected by a five person jury and then presented to the board for a winner selection, also included the composer Michael Gilbertson's "Quartet" and the singer and composer Ted Hearne's "Sound From the Bench." "That led us to put on the table the fact that this sphere of work" rap music "has value on its own terms and not just as a resource for use in a field that is more broadly recognized by the institutional establishment as serious or legitimate," he said. When someone mentioned Mr. Lamar's "DAMN.," there was "quite a lot of enthusiasm for it," Mr. Hajdu said, though some members of the jury were less familiar with hip hop than others. (The jury also included the violinist Regina Carter; Paul Cremo of the Met Opera commissioning program; Farah Jasmine Griffin, a Columbia professor of English and African American studies; and the composer David Lang.) "But we listened to it and there was zero dissent," Mr. Hajdu said. "A lively and constructive conversation, but no dissent." He added: "It was a beautiful moment. I left the deliberations on a cloud." The news of the prize sent a jolt through the classical music world, where living composers often struggle to be heard competing not only against those who work in more popular genres, but also the long dead greats who make up the classical canon. Some pooh poohed Mr. Lamar's win one classical composer called it "insulting" on his Facebook page but many others embraced it. Mr. Hearne, whose cantata "Sound From the Bench" was a finalist, praised the decision to award the Pulitzer to Mr. Lamar, calling him "one of the greatest living American composers, for sure." "The work that's on that album is every bit as sophisticated and experimental as any music," he said in a telephone interview. "The idea that that's not classical music, or that's not experimental music, or that's not art music is completely unfounded." It was not until 1997 that the Pulitzer Prize for music went even to a jazz work: Wynton Marsalis's oratorio "Blood on the Fields." In 1965, the Pulitzer jurors recommended awarding a special citation to Duke Ellington, but were rejected. Mr. Hajdu, the juror, said that in recent years, those behind the Pulitzers have sought to "assertively think and listen more expansively, with more open ears," pointing to wins in the music category by the experimental jazz musicians Ornette Coleman in 2007 and Henry Threadgill in 2016. Other popular musicians have been recognized by the Pulitzers with special awards for their influence, including Bob Dylan, who also won a Nobel Prize in Literature; Lin Manuel Miranda's hip hop musical "Hamilton" won in the Pulitzer drama category two years ago. And while "DAMN." has sold more than 3.5 million albums, including digital streams, since its release, according to Nielsen, "There was no talk about recognizing something that was already popular," Mr. Hajdu said. "Just: 'Listen to this this is brilliant.' This is the best piece of music."	N24News: A New Dataset for Multimodal News Classification	Music
Betsy Bloomingdale, the socialite and renowned fashion leader who was the widow of Alfred S. Bloomingdale, the department store heir, and a celebrated hostess to royalty, world dignitaries and show business luminaries, died on Tuesday at her home in Los Angeles. She was 93. Family members confirmed her death with several news organizations, including Women's Wear Daily and Vanity Fair magazine, which said the cause was complications of a heart condition. Vivacious, celery thin, with a husky, confiding Lauren Bacall type voice, Mrs. Bloomingdale was a high octane doyenne of the Social Register whose friendships many remarkable for their longevity encompassed presidents and princes, tycoons and leaders of government, entertainment, publishing and the arts. She lived in palatial homes in Los Angeles and New York; shopped for 20,000 gowns at Paris houses of couture; frolicked with the Kissingers, the Cronkites and Malcolm Forbes on Rupert Murdoch's yacht in Morocco; attended the royal wedding of Prince Charles and Lady Diana Spencer at St. Paul's Cathedral in 1981; and dined regularly with Ronald and Nancy Reagan at the White House in the 1980s. In the exclusive Holmby Hills section of Los Angeles, her neighbors over the years were Hollywood legends: Barbara Stanwyck, Jack Benny, Bing Crosby, Frank Sinatra and Michael Jackson. She kept diaries of the dinner parties she had given since the late 1950s, many for charities, and took photographs of table settings to avoid using the same one twice. She was perennially on lists of the world's best dressed women. For decades, she and her husband were trusted friends of the Reagans. With homes a few minutes apart in Los Angeles, they shared soirees, holiday gatherings and family occasions, and celebrated a succession of Mr. Reagan's triumphs as he, with the help of Mr. Bloomingdale and others in the Reagan "kitchen cabinet," ascended from film stardom to the California governorship in 1967 and to the presidency in 1981. As part of that inner circle, the Bloomingdales trekked to the Reagans' ranch in the Santa Ynez Mountains for Nancy's birthday parties; for 20 years, they celebrated New Year's Eve at Lee and Walter Annenberg's Palm Springs estate; and on election nights, they gathered in Bel Air to watch the returns. When the Reagans moved to the White House, the Bloomingdales took an apartment at the Watergate complex in Washington. Mrs. Bloomingdale, often called the first friend of the first lady, was Mrs. Reagan's confidante during her husband's political career and, especially, afterward, during the emotional stresses of his battle with Alzheimer's disease in the 1990s and his death in 2004. "She looks a little frail," Mrs. Bloomingdale told The New York Times on the day of Mr. Reagan's state funeral in Washington. "But she is very strong inside. She is. She has the strength. She is doing her last thing for Ronnie. And she is going to get it right." After her own husband's death in 1982, Mrs. Bloomingdale, who was accustomed to seeing her name only in society columns, was drawn into a lurid tabloid scandal when his longtime mistress, Vicki Morgan, sued the Bloomingdale estate and his widow for 10 million for breach of promise. She said that Mr. Bloomingdale, in exchange for her companionship, had promised her lifetime support and a house. In a deposition, Ms. Morgan, 37 years his junior, told of a sadomasochistic relationship with Mr. Bloomingdale. His widow acknowledged the affair, but contended that Ms. Morgan had been a well paid prostitute, undeserving of further compensation. A Los Angeles court dismissed most of the suit in 1983. Ms. Morgan was bludgeoned to death in 1983 by another companion, who was convicted of her murder. A jury awarded her estate 200,000 from the Bloomingdale funds for the benefit of her 15 year old son. Betsy Bloomingdale was born Betty Lee Newling in Beverly Hills on Aug. 2, 1922, the daughter of a socially prominent doctor. Growing up, she knew Cary Grant, James Stewart and Merle Oberon. She attended the Marlborough School in Los Angeles and Bennett College in Millbrook, N.Y. She briefly aspired to an acting career before becoming, in 1946, Mr. Bloomingdale's second wife. (His first marriage, to the actress Barbara Brewster, had ended in divorce.) They had three children: Geoffrey, Lisa and Robert. There was no immediate word on Mrs. Bloomingdale's survivors. Mr. Bloomingdale inherited a fortune as the grandson of a founder of Bloomingdale's, a New York department store that grew into a national chain. In 1950, he started a credit card business called Dine and Sign, and a year later merged it with a new operation, Diners Club. He became the Diners Club chairman in 1964. The Bloomingdales moved into their Holmby Hills mansion in 1958 after it had been remodeled by the designer Billy Haines. He gave it an outdoor atrium living room, a swimming pool that Mrs. Bloomingdale used regularly and a garden of cypress trees, hedges and beds of tea roses, dahlias and zinnias that she used in floral arrangements. Her book "Entertaining With Betsy Bloomingdale" (1994) offered advice to aspiring hostesses. Mrs. Bloomingdale, who usually took two trips a year to Europe to buy designer gowns, donated a large collection of her couture to the Fashion Institute of Design Merchandising in Los Angeles. Sixty of her outfits from Givenchy, Oscar de la Renta, Chanel, Dior, Valentino and Yves Saint Laurent were exhibited in 2009. In 1996, she had a fashion epiphany in Paris. She left a Valentino show without placing an order, walked into a boutique on the Avenue Montaigne and bought a ready to wear Valentino gown. "I thought, 'I like that and that,'" she told The Wall Street Journal. "And I can buy three of those for the price of one haute couture gown. That's when I started wearing ready to wear."	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Dan Hoyle, you should know, can act the pants off his characters. (Relax; that's figurative.) In his show "Border People," produced by Working Theater at A.R.T./New York Theaters, he hopscotches among ages, races, ethnicities and genders. His subject is boundaries, most of them national. The show takes him to either side of the United States's northern and southern limits, with stops in the Bronx. Hoyle ("The Real Americans," "Tings Dey Happen") practices a loose form a documentary theater that he calls "the journalism of hanging out." He meets people, in encounters that are sometimes planned and sometimes random, records conversations with their permission, then fashions characters and monologues from the audio. His style drifts from verbatim, but he does, he says, try to meet with his subjects again, showing them the speeches they inspired, which likely keeps him honest. At rest, Hoyle has an affable, everydude quality. Yet his voice and face are unusually plastic. He can raise and lower pitch, narrow and widen eyes and lips as each role demands. Working without props or changes of costume, he plays Jarret, a navy veteran who owns an Upper West Side juice cart and describes the "black male crisis of authenticity"; Mike, a former marine deported to Ciudad Juarez; Jawid, an Afghanistan born high school student who follows his family to Canada; Zainab, an Iraqi woman who now lives in Amish country ("I may have hijab but at least I have cellphone and refrigerator! I'm not the weirdest one!"); and half a dozen others. If he struggles occasionally with the Middle Eastern accents, he crafts each portrait with care and occasional athleticism. As the show goes on, his nose pinks; his hair dampens. But in "Border People" the dexterous acting and deft writing tend to eclipse the larger themes, in part because those themes keep eluding Hoyle. The script feels like two plays roughly sewn together, one about external borders and another about internal, identitarian ones. With Hoyle as the thread, the work becomes increasingly self congratulatory, a pat on the back for his empathy and cultural border crossing.	N24News: A New Dataset for Multimodal News Classification	Theater
The morning after the Senate trial of President Trump was one of the rare occasions over my yearlong tenure as special counsel to the House Judiciary Committee when I was able to join my family for breakfast. My duties for the impeachment and its trial had made me particularly scarce. My teenage daughter wasted no time, startling me as I was taking my first sip of coffee. "Dad, do you think the impeachment was worth it?" Instinctively, I immediately replied: "Of course it was, sweetheart!" In the weeks since, as I packed up our files for transmission to the National Archives, said farewell to my co counsel and returned full time to life off Capitol Hill, I have often thought about her question. Had I told her the truth? Had Congress's work on the impeachment and trial really left the nation, the Constitution and the future better off? How could I be so sure? Since the Senate verdict, events have given an even sharper edge to my daughter's question. The president's misconduct has intensified: Having a decorated war hero and impeachment witness, Lt. Col. Alexander Vindman, marched out of the White House, together with his equally blameless twin brother; further actual and threatened retaliation against government officials like, most recently, Elaine McCusker, whose nomination to a top Defense Department post was withdrawn (after she questioned the suspension of assistance to Ukraine last year); public presidential interference with the Roger Stone sentencing; a rash of dubious pardons that undermine accountability for the corrupt and politically well connected; and self promoting presidential distortions about his handling of the coronavirus that bring to mind his false claim that his call with the president of Ukraine was "perfect." But I stand by my answer. Impeaching the president was absolutely worth it: The work of Congress to hold Mr. Trump accountable over the past year has left democracy and our nation stronger. There are five reasons. First, as a student of presidential impeachment one of the few given the opportunity to also be a practitioner of the subject I know the gravity of the word alone: impeachment. It is a permanent mark on Mr. Trump and his shameful presidency that will tarnish his name as long as it is remembered. It should, and I believe will, weigh in as Americans decide whether he should continue as our president. Historical precedent suggests as much: As a lawyer who worked on the 2000 Florida recount, I remember well the negative effects of the Clinton impeachment on Al Gore's campaign. Mark Penn and Andrew Stein write that "only a broader course correction to the center will give Democrats a fighting chance in 2022" and beyond. Tory Gavito and Adam Jentleson write that the Virgina loss should "shock Democrats into confronting the powerful role that racially coded attacks play in American politics." Ezra Klein speaks to David Shor, who discusses his fear that Democrats face electoral catastrophe unless they shift their messaging. Ross Douthat writes that the outcome of the Virginia gubernatorial race shows Democrats need a "new way to talk about progressive ideology and education." Second, the House majority set a shining example of duty in a dark time. Though some scholars will disagree, I'm of the opinion that the House has a constitutional obligation to impeach if the crimes are high. That was a grave responsibility the founders bestowed upon our legislative branch. Speaker Nancy Pelosi, including the committee chairmen Jerry Nadler and Adam Schiff, the other House managers and their Democratic colleagues worked through many an obstacle to fulfill this constitutionally mandated oversight function to stand up to a president who has ignored both his oath and the public trust he was charged with upholding. The vote was a difficult and courageous one for dozens of Democrats who hail from red or purple districts. But it was the right thing to do and an inspiration for the present and the future. Third, just as the House Democratic majority fulfilled its duty, the impeachment proceedings shone a light on those who have failed to honor their oath of office: not only the president, but also the Republican minority in the House and majority in the Senate. They renounced the responsibility that their oath entails. That pains me. I have always believed and still do that most members of government, regardless of party affiliation, are fundamentally good people. My Republican friends from the other side of the aisle remained personally cordial throughout my time on the floor for the impeachment trial, both the ones at the counsel table for the president and among the G.O.P. caucus. Indeed, Senate Republicans conceded publicly or in private conversations with me that the House had proved a quid pro quo. But they were ultimately unwilling to uphold the checks and balances that the framers designed in the case of a lawless president. Senator Mitt Romney's vote was the exception that sadly proved the rule. This was a failure of party, not of institutions. Because of the impeachment, the American people know who has done their constitutional duty and who has not and so whom to hold responsible. The fourth reason is that though the president is now kicking out against the guardians of rule of law, those custodians of our democracy are kicking back harder than ever. Take the swirl of events surrounding the sentencing of Roger Stone. The four federal prosecutors who withdrew from the case showed swift, admirable fealty to their principles. The judge who presided over the case, Amy Berman Jackson, and the chief judge of the Federal District Court in Washington, Beryl Howell, also exhibited great integrity by condemning Mr. Trump's implicit orchestration, with the court levying a tough but fair sentence of over three years. Then in an stirring show of solidarity, over 2,600 bipartisan Justice Department alumni signed a letter publicly denouncing the president and attorney general's "interference in the fair administration of justice." I like to think impeachment set the tone for the courageous groundswell of defense of our democracy. Mr. Trump's enraged post impeachment reaction, in the Stone case and beyond, is the fifth and final reason it was worthwhile. As a rueful Republican recently said to me, "You cannot bring down Trump. He can only destroy himself." There is a value in the American people seeing now who they are really dealing with as we move through election season. If impeachment helped tear off his mask even more, further revealing the president's true nature, isn't it better to see that before we go to the polls to decide the nation's fate? I continue to have faith that when they do, Americans will do the right thing. My gut response to my daughter was, at its core, a reflection of that optimism. Was the impeachment worth it, given everything it revealed about Mr. Trump? That question will soon be presented squarely to the American people. And I do not believe they will let down my daughter or the country. Norman Eisen ( NormEisen) is a senior fellow at the Brookings Institution who served as White House ethics czar and as ambassador to the Czech Republic in the Obama administration. 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
Reports of a new book deal for the political journalist Mark Halperin set off a firestorm this weekend, as critics said that Democratic strategists should not have granted interviews to him. Mr. Halperin, the co author of the best selling chronicle of the 2008 presidential campaign "Game Change," lost a cable news role and a book deal after a report that multiple women had accused him of making unwanted and aggressive sexual advances. The backlash to his new book deal reflected continued anger about misconduct claims in the MeToo era. The coming book by Mr. Halperin, "How To Beat Trump: America's Top Political Strategists on What It Will Take," is to be published by Regan Arts, which is owned by the longtime editor and publishing executive Judith Regan. Ms. Regan confirmed the plan to publish the book in an email on Monday. Some of the strategists who spoke to Mr. Halperin for the book notably David Axelrod, a former adviser to President Barack Obama expressed regret after many social media users criticized the author's return to public life. "By answering Halperin's questions, I did not in any way mean to excuse his past, egregious behavior," Mr. Axelrod said in a Twitter post on Sunday. Donna Brazile, Al Gore's campaign manager in 2000, condemned his purported conduct in a statement to The Daily Beast but defended having shared her insights for the planned book. Other political strategists, including James Carville, said that their participation in the book came out of a desire to defeat President Trump, rather than an endorsement of Mr. Halperin. 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. Halperin rose to prominence as the co author, with his fellow political journalist John Heilemann, of "Game Change" and its sequel, "Double Down: Game Change 2012." The first was made into an HBO film, and the success of the two collaborators propelled them to contracts at Bloomberg News said to be around 1 million. The program Mr. Halperin and Mr. Heilemann came up with for Bloomberg, the dishy political talk show "With All Due Respect," failed to attract a wide viewership; it ended after the 2016 election. In the fall of 2017, in a detailed online article, CNN reported that five women said Mr. Halperin had made inappropriate and unwelcome sexual advances while he was director of political coverage at ABC News 10 years earlier. Soon afterward, like the Fox News host Bill O'Reilly, the film mogul Harvey Weinstein, the CBS anchor Charlie Rose and other powerful figures in media and entertainment, Mr. Halperin became one of the prominent gatekeepers to lose his position because of accusations of sexual misconduct. In 2017, Mr. Halperin denied any nonconsensual contact with the women who spoke to CNN, but said, "I now understand from these accounts that my behavior was inappropriate and caused others pain. For that, I am deeply sorry and I apologize." In an email on Monday, Mr. Halperin said, "As I have said before, I am sincerely sorry for the pain I caused to others. I had no right to behave the way I did, and I take full responsibility for my actions." Ms. Regan defended her signing of the author, saying, "I believe in the power of forgiveness and helping people when they hope for redemption. I believe that Mark Halperin is genuinely full of remorse." Ms. Regan has published best selling memoirs from the likes of Howard Stern and Jose Canseco for the imprint she once headed at HarperCollins. She left the company after her ill fated attempt to publish "If I Did It," a pseudo confession by O.J. Simpson, who was acquitted in the 1994 murders of his ex wife, Nicole Brown Simpson, and one of her friends, Ronald L. Goldman. MSNBC dropped Mr. Halperin as an analyst on "Morning Joe" after the allegations against him became public, and Penguin Press canceled a planned book about the 2016 presidential campaign to be written by Mr. Halperin and Mr. Heilemann. It would have been their third book together. HBO also dropped a planned adaptation of the scuttled book, and Showtime said Mr. Halperin would not return as a host of the documentary series "The Circus."	N24News: A New Dataset for Multimodal News Classification	Media
SAN FRANCISCO Google plans to abandon its longstanding practice of scanning user email in its Gmail service to serve targeted advertising. Google said it does not scan the email of paying corporate customers of its G Suite of services, but it made the policy change announced in a company blog post on Friday on its free consumer version to eliminate confusion and create one uniform policy toward Gmail. As it builds its Google Cloud business for selling internet infrastructure and services to corporate customers, Google is trying to ease concerns that it will use data from corporate customers to help its mainstay advertising business. It will continue to scan Gmail to screen for potential spam or phishing attacks as well as offering suggestions for automated replies to email.	N24News: A New Dataset for Multimodal News Classification	Technology
WASHINGTON The Federal Reserve significantly reduced its forecast of economic growth through 2013, acknowledging that it had once again overestimated the nation's recovery from the 2008 financial crisis. Despite the bleak forecast, however, the Fed said that its policy making committee had decided against taking new measures to stimulate growth at a two day meeting that concluded Wednesday. The Fed's chairman, Ben S. Bernanke, said that the central bank already was pushing hard to spur growth and create jobs. "We have taken a lot of actions," Mr. Bernanke said at a news conference after the announcement. He added that Congress, by contrast, was not doing enough to pull the levers of fiscal policy. Lawmakers are gridlocked over a new jobs proposal from the White House, and a special bipartisan committee charged with reducing the deficit is struggling to reach agreement by Thanksgiving. "I think it would be helpful if we could get assistance from other parts of the government to help create more jobs," Mr. Bernanke said. The central bank predicted that the economy would expand 2.5 percent to 2.9 percent in 2012, well below its June projection of 3.3 percent to 3.7 percent. For the following year, 2013, the Fed predicted growth of 3 percent to 3.5 percent, down from a range of 3.5 percent to 4.2 percent. The unemployment rate, it predicted, would still be at least 8.5 percent at the end of 2012, at least 7.8 percent at the end of 2013 and at least 6.8 percent at the end of 2014. Such reductions probably would come in part from people abandoning the search for work, rather than those finding new jobs. The unemployment rate was 9.1 percent in September. The government will release October figures on Friday. This is a difficult time for the Fed and its chairman. Republicans charge that the central bank's existing efforts have gone too far, sowing future inflation. Democrats say that in hesitating to do more, the Fed is ignoring the plight of more than 25 million Americans who cannot find full time work. And the sluggish pace of growth, which continues to fall short of the Fed's predictions, is a bright marker of its failure to stimulate a recovery. Mr. Bernanke on Wednesday sought to argue that the Fed was trying to get things just right in maintaining a delicate but necessary balance between competing concerns about inflation and unemployment. He said that Republican critics were ignoring the Fed's record. Five years into the crisis, there is no sign of inflation. But Mr. Bernanke also gave little satisfaction to liberal critics. This meeting tested what the Fed was willing to do when the economy was merely muddling along, and the answer that came back: Nothing new. Asked several times why the Fed had paused if jobs are a problem and inflation is not, Mr. Bernanke offered a description but not an explanation: The Fed is willing and able to do more, he said, just not right now. The Fed's economic forecasts do not have a particularly good track record, but since they are based on individual forecasts submitted by the 17 members of the Federal Open Market Committee, the Fed's policy making board, the numbers do offer a window into the state of their minds. In a word: glum. The Fed's assessment of the economy was slightly brighter than after the last meeting in September. The committee's statement noted that growth has "strengthened somewhat" since summer thanks in part to increased consumer spending. But there is still a hole in the economy where housing used to be, and the unfolding financial crisis in Europe continues to shadow the domestic economy. The statement again noted "significant downside risks to the economic outlook, including strains in global financial markets." Still, the decision to pause won the support of nine of the 10 voting members of the committee. The one dissent came from Charles Evans, the president of the Federal Reserve Bank of Chicago, whose vote echoed his recent speeches in which he has criticized the Fed for caring more about inflation than unemployment. It was the first time since 2007 that a board member had dissented in favor of doing more. The limiting factor appears to be inflation. The Fed projects as do financial markets that prices and wages will rise about 2 percent a year, the level that the Fed considers healthy. Mr. Evans and outside critics want the Fed to trade a higher rate of inflation for reductions in unemployment. But Mr. Bernanke and a majority of his colleagues believe that this would unsettle the dearly bought belief that the Fed will keep inflation slow and steady. The pressure to reconsider that stance has been eased by recent data, including the estimate that growth rose to an annual pace of 2.5 percent in the third quarter. There is also the question of what Congress will do: Further cuts in spending, or a decision to end the payroll tax holiday, would strengthen the case for the Fed to start new aid programs. A plan to pay down the debt would have the opposite effect. These considerations have suspended for now any movement toward a new round of stimulus, like the proposal by the Fed Governor Daniel K. Tarullo that the Fed should resume buying large quantities of mortgage backed securities to reduce the cost of mortgage loans, increasing demand for housing. "While I do not shirk the responsibility of the Fed having to do what it can to meet its mandate, obviously a broad range of policies can affect growth and employment," Mr. Bernanke said. "I hope that there will be a range of actions that will complement and supplement the Federal Reserve's efforts." Mr. Bernanke indicated that the Fed does plan to expand in the near future the information that it provides about its outlook and policies. Such information can increase the power of those policies. For example, convincing investors that the Fed intends to maintain interest rates near zero for a longer period will tend to drive down rates on long term loans which are set in large part based on expectations about future short term rates thereby reducing the cost of borrowing for businesses and consumers. A simple change would involve publishing the Fed's predictions for the future level of the short term interest rates, which it controls directly and has already said that it plans to hold near zero through mid 2013. Diane Swonk, an economist at Mesirow Financial in Chicago, said the Fed could show greater concern for job creation by tying such a forecast to the unemployment rate, announcing that it would keep short term rates near zero until unemployment dropped below 7 percent, provided that inflation remained under control. "This is how you would move toward it," Ms. Swonk said, referring to Mr. Bernanke's mention of the issue during his news conference. "And I think that that is exactly where they are heading."	N24News: A New Dataset for Multimodal News Classification	Economy
In 2016, Maren Morris broke all the country music rules. Her major label debut album, "Hero," was a vivid indictment of country's dull masculinist norms it had wit, creativity, punch and ambition. And as you might expect with all things Nashville, it made Morris ... moderately successful. Country music has been clogged with dullish gentlemen for the last few years, and while Morris recorded some of the genre's most promising music, some good it did her. She had a handful of hits the cheeky "Rich," the desperate "I Could Use a Love Song," the howling "My Church" that tartly underscored just how ideologically robust the rest of the genre wasn't. It took sidestepping country altogether for Morris to get something like her due. "The Middle," her 2018 chunky electro pop stomper with Zedd and Grey, became the biggest Maren Morris hit No. 5 on the Hot 100, and Grammy nominated but also the one least specific to her talents. See how Zedd, Maren Morris and a 23 year old songwriter turned a few chords into "The Middle." Perhaps the vagueness that oozes throughout her scattershot new album, "Girl," is attributable to that success. The best songs on "Hero" were disarmingly detailed, and sometimes funny. "Girl," however, tips away from those strengths in favor of self help bromides broad enough to exclude no one. Many songs on "Girl" aim for the universal. Time and again on "Girl," Morris seeks out wide open territory. Many songs aim for the universal, the big tent: "The Feels" and "Make Out With Me" are lighthearted looking for love fun; "Great Ones" favors abstract image over detail ("You're the perfect storm/So let it pour down on me"); "Good Woman" and "Shade" feel distant. Even "Flavor," which is oriented around female empowerment, veers toward the bland: "Yeah I'm a lady, I make my dough/Won't play the victim, Don't fit that mold." "The Middle" revealed that Morris's voice had a natural home beyond country music, but to be fair, so did her debut album, which showed how versatile her vocal approach is capable of delivering aspirational pop, novel country and also impressive shades of R B. Her voice is thin, but it's not brittle; it cuts through a variety of production styles easily. Many of her most forceful vocal performances on "Girl" are far from country music, like the up tempo soul number "RSVP," which with a few tweaks could easily make sense for, say, Monica or SZA. One of the finest moments is "The Bones," which nods to the Chainsmokers and Daya hit "Don't Let Me Down," and features some of this album's sturdiest songwriting. When Morris does lean in to country music's past, it's to lightly echo Dolly Parton's chipper anthem "9 to 5" on "All My Favorite People," which features Brothers Osborne singing with an arched eyebrow, as if performing a "Hee Haw" sketch. It's a disruptive way to pay homage. "All My Favorite People" is one of the more detailed songs on this album, and also the one that most echoes the themes of the 2016 Morris: a nod to weed smoking, an assertion that "we love who we love." But Kacey Musgraves a Morris contemporary and peer in jolting country music's center with the occasional drug reference is now a Grammy album of the year winner, and even Luke Bryan is slipping notes of tolerance into his songs. These gestures now feel less urgent. What seemed audacious just a few years ago is now pro forma. So in the way "Hero" demonstrated how comfortable Morris was coloring outside country music's lines, "Girl" instead indicates how well Morris might fill in pre existing boundaries. One of the downsides of moving the goal posts is that they move for you as well.	N24News: A New Dataset for Multimodal News Classification	Music

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