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There's no predicting where the narrator may veer next, no warning of when Burns might pivot from the consolation of humor to a tender observation on despair. Each time the homicidal John Doe enters the family kitchen and begins to ramble, his children brace for any number of possibilities. "It was a case of 'Phew!'" the narrator says of the son trying to guess whether his father might kill one of them. "It was a case of 'Whoosh!' It was a case of a look on his face of sheer unadulterated trauma." The genius of Burns's prose is how boldly it goes for broke, in sync with the breakdowns occurring within the minds of her characters. Her cascading descriptions of internal turmoil spiral the way the mind does, and she often adds some odd shift in pronouns for extra flourish. In one passage, Jotty Doe, an adult woman silently reeling from the incest she experienced as a child, questions why she can't stop her habit of "self rubbishing, the negating, the sabotaging, the breaking of your own heart with your thoughts." The odd, sudden invocation of a "you" in the ending clause feels true to the unpredictable turns of a psyche in distress. Burns connects this luminous insight to the arrival of Jotty's sisters at her door, intent on getting Jotty to go on pretending, as they do, that there's no such thing as incest among the Does. Jotty tries to convince herself that her sisters come with good will. "They are your sisters," Jotty tells herself. "They would not accuse you." And yet that's exactly what the Doe sisters do, warning Jotty to stop falling apart and to stay away from any meddling therapists or authorities. The sisters form a collective chorus, their voices explosively, tragically squashing in Jotty's mind. Amid all the absurdity and wicked humor of this novel, Burns has created a complex character study in how violence, paranoia and sexual assault can become normalized in a family, and often remain so. It is a rare novelist who can approach the unspeakable with restorative humor, but Burns has a gift for dismantling and reconstructing things on her own quixotic terms, as she suggests with the perfectly chosen title for this book.	N24News: A New Dataset for Multimodal News Classification	Books
In 2004, with his second son on the way, Tim O'Brien started to write letters to the boys, "to give Timmy and Tad what I have often wished my own father had given me some scraps of paper signed 'Love, Dad.' DAD'S MAYBE BOOK By Tim O'Brien Read by the author Tim O'Brien came to fatherhood late. He was 56 in June 2003 when his first son, Timmy, was born. His second son, Tad, showed up two years later. He hadn't been sure he wanted to have kids; his wife, Meredith, had been ardently for it, and the conflict had nearly caused a breakup. But O'Brien who brilliantly captured the terrors of war in works of fictions like "The Things They Carried" and "Going After Cacciato," for which he won the National Book Award is not a half measures kind of guy. Once he committed to fatherhood, he found himself besotted, obsessed, joyous ... and terrified. A writer who has spent much of his career pondering death could see that, even for a man in his 50s, "the mathematics of mortality were already forbidding," and the very real possibility that he would leave young sons behind weighed on him. So in 2004, with his second son on the way, he started to write letters to the boys, "to give Timmy and Tad what I have often wished my own father had given me some scraps of paper signed 'Love, Dad.'" As his own father, alcoholic and inconstant, had been "a mystery to me," he says, he decided to introduce his sons to their father, "a man they might never really encounter." He wrote many such letters, off and on, in the ensuing years, jotting down everything from life tips to meditations on Hemingway, whose work he sees as "a window through which they might glimpse the things that have preoccupied me for more than 50 years making sentences, making stories." He expresses his tremendous pride in their accomplishments, like learning to ride a unicycle and rapidly solving a Rubik's Cube; as well as his love of magic and his fascination with the battles of Lexington and Concord, in which he sees parallels to his own experiences in Vietnam. A decade into the project, Tad and Meredith suggested he compile the letters into a book. But, in Meredith's words, not a book book, "just a maybe book. What you've written about fatherhood might mean something to other parents." And their children, Tad chimed in. You might expect such a book and its corresponding audiobook, read by O'Brien himself cobbled together from scraps of pride and dread, to be something of a mess: scattershot, sentimental, even sappy. The ideal audience, as I figured when I accepted the assignment to review this audiobook, would be a similarly love drunk father, a fellow sap. In other words, me. It grabbed me, despite its cobbled together defects. O'Brien finds more of the secrets of life in Hemingway than I do, and even I, when confronted with his most overweening examples of parental joy (no matter how self effacing the delivery), had to shake my head. Yet O'Brien's narration is gentle and genuine. As the reader of his audiobook, he's not an actor; he's simply a dad, talking to you. In one chapter, he worries that Timmy's imagination might be a little too well developed and commanding; the boys' love of "Winnie the Pooh" led them to wear tails everywhere, and the parents, too, find themselves trailing strips of cloth pinned to their clothes. He tries to talk Timmy out of the charade by telling him a bedtime story about a boy who does too much pretending. Does Timmy know what pretending is? The boy answers: "I guess it's like when you go away on trips. Sometimes I dream about you. I dream about how you'll come home from the airport and bring me surprises and play with me. I get sad when you go away, and so I pretend you're not gone. Is that bad?" O'Brien responds that it isn't, and as you might imagine, the tails stay. Reading that passage, O'Brien's voice catches; and, as a father who also might have traveled too much for his kids' happiness, I wasn't breathing steadily for a while either. So is this a book? Maybe. Actually, it's at least three. There are the eclectic letters, but also a long essay on writing that is insightful, if shoehorned in. And finally there is the war memoir: recounting his years as a soldier, and the lasting burdens of deployment and writing about it (he never expected to meet young men who'd read his books or attended his talks, and then decided to enlist). Woven throughout are lengthy reflections on fathers and sons, and always the return to that final subject, death. "I'm struck by a mix of wonderment and awe at my proximity to life's close," he says toward the end, now in his 70s. Ultimately, it is a book about those boys and his unbounded love for them. He tells a long story about a talk he gave at the Sewanee Writers' Conference when Timmy was just a year old. In a lecture, he soberly stated that his son had just spoken his first words, and they were, "'Tis a tale told by an idiot." It was a confection, T. Berry Brazelton meets magical realism. But it upset a middle aged man, who cornered him afterward. "Your expletive kid," he announced, "never quoted Shakespeare." O'Brien replied that it was merely a story, and that fiction writers "lie for money." Their extended and entertaining argument ended with the man's egregious accusation: "Your son has a terrible, terrible father." Mister literalist, you are so wrong.	N24News: A New Dataset for Multimodal News Classification	Books
MADRID Now that Greece is close to completing the largest bond write off on record, should other debt plagued nations in Europe follow its lead? That thought is anathema to most policy makers in Europe, where the main stock indexes were down more than 3 percent for the day on Greek jitters and gloomy new data on the global economy. European officials hold the view that Greece's debt problems are unique and that there is no need for countries like Portugal, Ireland, Spain and Italy to push creditors to accept losses on their holdings. But the intellectual fathers of Greece's intricate bond swap beg to differ. Mitu Gulati, a charismatic law professor at Duke, and Lee C. Buchheit, the philosopher king of sovereign debt lawyers and a lead adviser to Greece on the deal, see themselves as sovereign debt taboo busters. And they are not shy about pressing their views, as Mr. Gulati did with characteristic wit at a sovereign debt conference here last week. Instead of presenting an arcane paper on debt guarantees, Mr. Gulati titillated his audience by calling for other heavily indebted countries in Europe to carry out their own Greek style swaps, albeit with smaller haircuts for creditors because the other nations are not as deeply indebted as Athens is. "Lee probably could not say this, but I can because I don't have clients," Mr. Gulati said with a chuckle, as he offered his apologies that Mr. Buchheit could not attend. "Although I wish these were the views of Lee's clients." During his 35 plus years at Cleary Gottlieb Steen Hamilton, in New York, Mr. Buchheit has secured groundbreaking debt restructuring deals in numerous countries in Latin America, and more recently in Iraq and Iceland. Mr. Gulati's argument was fairly straightforward. Instead of repeated bailouts and a lost decade of austerity in Southern Europe, countries should at least soften the blow by cutting a deal directly with their creditors to reduce their debt loads. Indeed, he argued, no time is better than now, with investors fearing that some other country Portugal, in the eyes of many will copy Greece's move to unilaterally impose so called collective action clauses that require even reluctant bondholders to go along with the majority on a deal. Portugal's finance minister has said in interviews that his country plans to fully honor its debts. But investors' skepticism is presumably a reason that the yields on Portugal's long term bonds have risen by two percentage points in the last two weeks. "I asked them, 'Why not?' " Mr. Gulati recounted. "And they said, 'Because then everyone will do it.' " By any measure, Mr. Gulati and his longtime mentor, Mr. Buchheit, have become the most potent double act now playing on the sovereign debt circuit. It was their joint paper in May 2010 that first proposed a way for Greece to force investors who reject a deal to suffer the same loss as those who agreed. Greece, which hired Mr. Buchheit and his team of lawyers last July, has followed this strategy to the letter. On Thursday night Greece will disclose what percentage of investors have agreed to the deal. It is widely expected that the collective action clause will be invoked to reach the official target of 95 percent participation. "Lee has seen this movie many times before," said Petros Christodoulou, the director general of Greece's debt management agency. "He is always five steps ahead of the game." Dollar Tree will raise prices to 1.25 by the end of April. On the face of it, the two debt exorcists are a bit of an odd couple. Mr. Gulati, 44, is a bond contract specialist who enjoys digging into the ins and outs of negative pledges, pari passu and other boilerplate arcana. He skillfully cloaks his power resume Harvard Law and a clerkship with Samuel A. Alito Jr. before he became a Supreme Court justice with a slightly slouchy demeanor. He delivered his address last week while wearing chinos and a casual pullover. Mr. Buchheit, a graduate of Middlebury College in Vermont, with law degrees from the University of Pennsylvania and Cambridge, is 61 and has more of an old world mien with his dapper mustache, nicely cut suits and gentlemanly manner. Mr. Buchheit is recovering from an illness and could not be interviewed for this article. "Everyone in this field is a D.O.B." disciple of Buchheit "whether they like it or not," said Adam Lerrick, a sovereign debt expert at the American Enterprise Institute. "Lee has spent his career trying to create a system where debtor countries and their creditors can restructure government debt without intervention by the official sector." The tools of Mr. Buchheit's trade collective action clauses, exit consents and trust indentures may be complex, but they serve a basic aim: giving a debtor country the necessary leverage to compel all of its unhappy creditors to accept losses on their holdings when necessary and thus achieve meaningful debt relief. Which doesn't earn Mr. Buchheit popularity among bondholders. Many of them see him as an evil genius, confecting legal tricks that make it easier for indebted countries to shirk their financial obligations and in the process saddle investors with losses. So what does it feel like to be on the other side of the table with a Buchheit client? "Brutal," said Hans Humes of Greylock Capital, who agreed this week, along with representatives of 11 other financial institutions, to accept an effective 75 percent loss on the value of his Greek bonds. "Creditors have less recourse when he is involved but that is his job." Mr. Buchheit's most recent move was to figure out how to take advantage of the fact that Greece's bonds were governed by local law, as a way to drive a hard line with creditors. Mr. Gulati and Mr. Buchheit were perplexed. How could Greece restructure its debt without the necessary tools? Then the answer hit them. Far from being a disadvantage, the fact that Greek bond contracts were in effect amendment free meant that smart lawyers like Mr. Buchheit could custom design a collective action clause in Greece's favor. In their May 2010 paper the two men argued that Greece was actually in a better position than any country in modern history to achieve meaningful debt reduction. The paper was little noticed at the time, especially because European leaders were then refusing to accept even the possibility of a debt restructuring. But a clever campaign of media outreach and global conference hopping by the two soon brought the idea to a wider audience. Eventually the Greek Finance Ministry came calling. In many ways, Mr. Buchheit's prodigious publishing output makes him more of a deal professor than a deal maker. Sean Hagan, the top lawyer for the International Monetary Fund, says that the Greek debt deal is just the latest example of Buchheit blue sky thinking's becoming policy. "Lee has shaped the law in this area," he said. Still, as the latest act in the Greek debt drama approaches its climax there is no sign yet that other countries are ready to adopt the Buchheit Gulati model. At the conference in Madrid, a senior official from Spain's central bank took immediate issue with Mr. Gulati's debt swap proposal, calling it "very risky" and wrongheaded in every way. In Portugal, where Mr. Gulati is teaching a class this week and many see a debt restructuring as inevitable, officials continue to insist that the country's debt burden is manageable. Investors, however, appear unconvinced. The country's 10 year bond yield has almost doubled to 13.5 percent since Portugal's 78 billion euro bailout, then worth 116 billion, last spring. With markets already pricing in a debt restructuring of some sort in Portugal, a voluntary haircut would probably not spur a broader rout. For larger countries like Spain and especially Italy, however, the contagion risk would be greater from an attempt to renegotiate the terms of debt. Nonetheless, Mr. Gulati argues, the longer that deeply indebted countries postpone the inevitable, the more expensive the ultimate bill to taxpayers will be. "Let's show everyone that we have learned something from Greece's suffering," he said. "But our time to do this is limited."	N24News: A New Dataset for Multimodal News Classification	Global Business
It's the season for family travel and photos and perhaps enlarging some of those images of snowy landscapes or tropical getaways to decorate your home. There are, of course, the usual print services and methods. You can choose a glossy or matte finish, print a photo on canvas, or make it into a poster with a few clicks online at photo sites like Snapfish and Shutterfly, professional photo shops like Adorama and Mpix, or drugstores and big box chains like Walgreens and Costco. But the web is also home to many lesser known printing services, as well as uncommon surfaces on which to enlarge photos for display, be it burlap, wood boards, acrylic or stick and peel fabric. Why not try some fresh sites and methods? I recently sent some ho hum quality iPhone vacation photos to a handful of companies that I'd never used before and had them enlarged to various sizes and printed on different surfaces. I've also offered some guidance about bulk digitizing those boxes of old travel photos sitting in your closet or basement so that you can begin the New Year if not with a vacation, then with a clutter free home. Of all the ways to turn photos into wall art, I was most interested in trying engineer prints, named for the large, lightweight prints used by architects. For less than the cost of a couple of movie tickets, you can make huge enlargements. Mind you, it's a particular aesthetic, one that's most likely to appeal to people who are after an industrial, shabby chic or bohemian look. The paper is thin and the lines of the images are softer than a fine art print. And engineer prints need not be formally framed. People stick them to their walls with washi tape, a crafting tape that comes in innumerable colors and prints; or they hang the prints using wood poster rails or skeleton clips. For a while, engineer prints from photos were primarily available in black and white, but now you can find them in color, too. One of the easiest ways to order them online is through Parabo Press, which is run by Photojojo, an online photography gear shop, and Zoomin, a photo printing service in Asia. As with all printing sites, you upload your image, zoom in closer if you like, and then click to buy. The site's engineer prints are 4 feet by 3 feet, and cost 20 in black and white, and 25 in color. I sent out two different photos to be made in black and white, and they came out, to my surprise, beautifully. I was impressed that they were able to be enlarged to such a degree and not look blurry. And the paper (while so thin I was worried about accidentally tearing it) lends it an artful, careless look rather than the expected framed print over the couch. Parabo Press is a breeze to use: It's clean and easy to read, your options are straightforward, and there are no annoying upsells. The site also offers prints on metal, glass, newsprint and Zines (handmade magazines); calendars; photo books; and prints from its Risograph machine, which uses soy based ink and is described by Parabo as having "a cult following since its invention in 1980s Japan." A fabric print not soft like a bedsheet, more like a place mat made of matte woven fabric is another departure from a traditional photo enlargement. Order one from a site such as SnapBox and instead of framing it, you can peel and stick it on your wall. The site's fabric posters adhere to (and can be peeled off) smooth surfaces such as untextured walls, glass, ceilings, tile and finished wood surfaces (avoid surfaces like stucco, concrete blocks, brick, unfinished wood, canvas or freshly painted walls). SnapBox offers fabric posters in more than a dozen sizes from 4x4 to 36x54, from less than 2 to about 80. SnapBox is a user friendly site with clear instructions and pricing. In addition to fabric posters, it also offers fine art prints, photo books and prints on canvas and pillows. While many places can print photos on hard surfaces such as metal and acrylic, printing on wood boards is less common. The grain shows through your photos, which, thematically speaking, seems to make sense for certain subjects, like nature photos taken at, say, the beach or in a park. But what would something more modern, like a skyscraper or a tower, look like on wood? I decided to give it a try and put an image of Tokyo Tower on an 8x12 board ( 65). I sent the photo to PhotoBarn, a family business that makes its products by hand in a "barn/warehouse" in Tennessee. The result was a lovely departure from framed prints and from canvas, which can sometimes make striking photos look like amateur paintings. The wood was smooth and thick, and the image was crisp with a slight sheen a perfect complement to the steel of Tokyo tower and the silver and glass of surrounding skyscrapers. For the most part the site is intuitive, though a few too many holiday sale buttons on the home page made for a disorienting start. PhotoBarn will also print your photos on canvas, burlap, and other wood products, like ornaments. I noticed a number of complaints about PhotoBarn on Yelp and the Better Business Bureau website regarding shipping speeds and customer service. I didn't have a problem, but if time is of the essence, you may want to check with the company before placing an order. Once you've turned the best of your travel photos into art, it's time to store the rest. If boxes of prints are taking up closet (and psychic) space, there are plenty of sites online that will scan your old photos (as well as negatives, slides and videos) so you can store them digitally. But there are several things to keep in mind. In general, these sites are a pain to navigate. They're cluttered with too much text and fine print, and they offer so many options Do you want your photos scanned in order? Do you want both sides of the photo scanned? that if you don't have a goal in mind before you go in, you can quickly be overwhelmed. Decide ahead of time what exactly you want to scan, how many photos you have and how you might use whatever you scan. Also, note that some of these companies by default send DVDs or CDs of your digital files. Not everyone has a CD or DVD player. If you want a thumb drive instead, be sure to select that option (if it's offered) or call the company and see if it will provide one. Be aware, too, that it's not unusual for these companies to have long lead times. A number of them digitize your photos in other countries, so it can take weeks to get your images back. For affordable bulk scans, ScanMyPhotos.com is an old standby (you can read David Pogue's review on nytimes.com). The company will scan about 1,800 photos at 300 dpi for 145 at its headquarters in Irvine, Calif.; the cost of sending the photo box to you, as well as the shipping of the box to ScanMyPhotos and back to you again is included in the price. That's one of the least costly and most uncomplicated deals around. Other companies charge for shipping photo boxes. I asked a photo editor at The Times if 300 dpi is sufficient for scanning and she said that to print photos at larger sizes, a higher dpi is preferable. ScanMyPhotos has such an option: a prepaid box for 259 for the same number of scans at 600 dpi instead of 300 dpi. A thumb drive is an additional 15.95 a box. To find the best all around place to scan photos and film, the Wirecutter, a consumer review site owned by The New York Times, researched 37 different scanning services and tested the top 12 contenders. Memories Renewed took the number one spot. The company, based in Minneapolis, Minn., offered "the best combination of price, quality, and turnaround time of any service we tested," Wirecutter said. I was planning to try the service however, according to the Memories Renewed site, demand is so high at the moment that the lead time for most projects is more than two months. Scanning photos of any size up to 8.5x11 is 60 cents a photo; a thumb drive is 10 for 8 GB or 15 for 16 GB. Scan It Yourself (at No Cost) Let's say you don't want to ship your irreplaceable photos in the mail. Or maybe you'd rather that strangers not see your photos and home videos. You could buy a scanner and scan your photos yourself, perhaps doing a batch for half an hour each day. Personally, I don't want machines around my home collecting dust (and fast becoming outdated). So I decided to try the new PhotoScan app by Google Photos. It's free and enables users to scan prints with a smartphone. First things first: These are not professional quality scans. If you have prized photos in need of restoration, then go with a professional. However if, like me, you have a bunch of travel photos landscapes, food, monuments that you're keeping simply because you want to remember where you were when, you may want to consider trying the app instead of giving up some privacy and spending upward of 150. By and large, PhotoScan is simple and quick, with almost no learning curve. If you try it, just make sure to hold your phone level when asked to move it over the image. Remember these words: Don't tilt your phone! Most of the scans I made looked as good as the prints in terms of color and clarity. That said, this is unlikely to be your solution if you want top notch prints or have thousands of photos to scan. Once you get the hang of PhotoScan, using it becomes a repetitive, vaguely Zen like activity. That is, unless the app crashes, which it did several times. But I was still glad for it. Even when it crashed, it took only the tap of a finger to begin again. And you can't beat the price.	N24News: A New Dataset for Multimodal News Classification	Travel
In the five years since Netflix started streaming original series like the Emmy winning "House of Cards" and "Master of None," the shows have had a question hanging over them: How many people are watching? Outside of Netflix, nobody knows the answer. That's because, much to the frustration of those in the industry who would like to have a firm idea of just how popular those shows are, the streaming services Amazon and Hulu included have been fiercely protective of their numbers. Now, Nielsen, the 94 year old company that for decades has had an effective monopoly on measuring television ratings in the United States, has announced that it has found a way into the great unknown of Netflix viewership. What Nielsen's data shows, exactly, and how rigorously it is measured remains something of a mystery, because Nielsen did not release the data publicly. The move, however, is a step toward finding a reliable third party ratings system for streaming services.	N24News: A New Dataset for Multimodal News Classification	Media
The Pyramids of Giza Are Near a Pizza Hut, and Other Sites That May Disappoint You You're probably familiar with those sweeping, romantic shots of the pyramids of Giza. In photos, movies and textbooks, there's sand as far as the eye can see and maybe a figure in the distance obscured by haze. It must surely take a train or a bus to get there. At least a camel ride. Well, for those who have never visited the Pharaonic structures or thought about what may surround them, this might come as a surprise: The pyramids are flanked on three sides by the roads and neighborhoods of Giza, a major city with a population in the millions. The same goes for the Great Sphinx. A mere quarter mile or so away sits a Pizza Hut with expansive views of the historic site. The images most people are familiar with are shot from a specific angle and include an expanse of sand to the south. The pyramids can look remote because they sit on a limestone plateau and are on a higher elevation than their surroundings. But if you look closely, you'll probably see city lights in the background of many pictures. So it's your first time in Paris. Like many tourists, you'll probably drop off your luggage and make a beeline for the Mona Lisa, Leonardo da Vinci's early 16th century masterpiece. The downside of its status as the world's most famous painting is that it's protected as such. The portrait, which hangs in the Louvre museum, is a mere 30 inches by 21 inches and is kept behind multiple, alternating layers of glass and sheets of protective plastic. And then there's the rope barrier . Behind that rope, six million visitors crowd the painting each year. Even if you get as close as is allowed, and you manage to catch a glimpse through the gap between two iPhones, you'll probably still have to contend with a barrage of camera flashes. But don't give up on the Louvre. It's over 650,000 square feet and has a lot of important artwork that can be enjoyed in peace, like the sculptures Venus de Milo and Nike of Samothrace. This medieval architectural structure in Pisa, Italy, also suffers from technology pollution. That obligatory "I'm holding it up" photo is hard to resist the building now leans at about four degrees (it used to lean more ). And these days, with smartphones in hand, no photos are "one and done." At about 190 feet tall, the leaning tower is somewhat underwhelming in size as well. And aside from the Piazza dei Miracoli, a cathedral complex of four buildings including the leaning tower, the city of Pisa doesn't have much more to offer. If you envision yourself lying in the grass, gazing upward at the mysterious Neolithic monument while ruminating on the meaning of life, you will be disappointed. Those who visit Stonehenge during normal business hours have to enjoy it from afar, about 30 feet away, and with a group. About a million people visit the site, in southern England, every year. But the trip could eat up your day if you're staying in London; it's about a two hour drive each way. "I always say to people that if they want to see Stonehenge" they should stay in the car, a commenter on Reddit said, "and take a look out of the window as they go past. That's all you need." If getting close to the stones tops your bucket list, you can book a special access visit, which lets about 30 people a day go beyond the barriers. Demand is high, though, so tickets sell out months in advance, and they're not available year round. Much like the Leaning Tower of Pisa, the Alamo in San Antonio, Tex., is not as big as you might assume. The primary structure of the 300 year old mission era church is only 75 feet by 62 feet, and its limestone walls have been steadily crumbling for years; air conditioning may be to blame. No photos are allowed inside, which might be a good thing, depending on your preference. Lines to enter can be long and parking can be tough, but it is free. Plans to significantly redevelop the area are in the works, including more green space for visitors, though these plans have been complicated. And on the flip side, a destination that may exceed your expectations:	N24News: A New Dataset for Multimodal News Classification	Travel
WASHINGTON The eye popping improvement in economic fortunes last year raises the question: If incomes are up and poverty is down, why is Donald J. Trump's message of economic decay resonating so broadly? The answer is in plain sight. While the economy finally is moving in the right direction, the real incomes of most American households still are smaller than in the late 1990s. And large swaths of the country rural America, industrial centers in the Rust Belt and Appalachia are lagging behind. "We ain't feeling too much of all that economic growth that I heard was going on, patting themselves on the back," said Ralph Kingan, the mayor of Wright, Wyo. "It ain't out in the West." That bleak reality helps to explain why the good news the Census Bureau issued Tuesday about a rise in household income was greeted gleefully by economists but is unlikely to change the complexion of the presidential race. The recent upswing is real. While economic growth has been modest, the expansion is now in its eighth year. The economy has added millions of jobs and incomes increased last year for households on every rung of the economic ladder. The economic gains have been particularly strong for people who live in the nation's large metropolitan areas and for those who have college degrees. Yet the repeated assertions by Mr. Trump, the Republican nominee, that the middle class is being decimated and the economy is in decline ring true to his supporters. Many Americans, even those who are prospering, remain pessimistic about the fragile recovery. Hillary Clinton, his Democratic rival, has been careful to acknowledge the economy's problems alongside its progress. The economic dislocations of recent decades may be contributing to the polarization of the electorate, according to research by David Autor, an economist at the Massachusetts Institute of Technology. By emphasizing the nation's economic troubles, the candidates are going where the voters are. In a new paper, Mr. Autor and three co authors found that voting patterns had shifted most in the parts of the country that lost the most jobs as a result of increased trade with China. The study, which focused on congressional elections, found that voters in districts with heavy job losses have tended toward ideological extremes, replacing moderates with more conservative or liberal representatives. "There is this undercurrent of economically driven dissatisfaction that works to the benefit of candidates who are noncentrist, and particularly right wing candidates," Mr. Autor said. In Wyoming's coal rich Powder River Basin, where mines have laid off hundreds of workers in a wave of bankruptcies, workers scoffed at the reports of rising wages and falling unemployment. "We are waiting on the election with high hopes that we do get a Republican in there who does understand about working men and women," said Mark Perkins, 49, who shut down his electrical storefront in the coal town of Wright earlier this year as he lost once plentiful jobs servicing mines and large generators. Mr. Perkins said miners and their families had been streaming away from town as the unemployment rate in surrounding Campbell County soared to 7.5 percent in July, from 3.8 percent a year earlier. Families dropped keys on counters and bolted, Mr. Perkins said, leaving quiet streets and a deep resentment at the economic policies supported by President Obama and Mrs. Clinton. "I'm just doing small electrical jobs to dog paddle my way through till Mr. Trump gets elected," he said. "You're not going to see very many Hillary or Killary as we call her here fans. She was so vocal about putting us out of work and putting us down. We're the scum of the earth." Even in regions that are prospering, many workers have seen little wage growth in recent years. The rise in median income was driven mostly by increased employment rather than wage gains. Kevin Spacey was ordered to pay 31 million to the 'House of Cards' studio after sexual harassment allegations. Netflix buys a visual effects company in a move to support its global ambitions. Cheri Klug, 56, works as a cashier at a Walmart in southern Minnesota, making almost 12 an hour. Her husband, Dave, 62, draws federal disability benefits. Mrs. Clinton has proposed an increase in the minimum wage to 12 an hour, which would modestly increase the couple's income, but Mr. Klug said he planned to vote for Mr. Trump. He likes the idea of a businessman in the White House, he said. Moreover, he does not like the idea of a government imposed pay increase. His wife has spent eight years climbing up to her current pay grade, he said, and it wouldn't be fair for workers who have just joined Walmart to be lifted to the same level. David Pilot, 56, works as an analyst for a telecommunications firm in Colorado Springs. He said his pay had increased modestly in recent years, by no more than 2 percent a year. Before the recession, he said, he sometimes got 6 percent raises. Mr. Pilot works in the service sector, as most Americans now do, but he said he was voting for Mr. Trump because of his promises to return industrial jobs to America. "I like the fact that he recognizes we are playing on an unlevel field," Mr. Pilot said. He added that he did not think globalization had done any harm to his own career, but that he knew other people who lost work when companies moved overseas. Polls also show that Americans remain pessimistic about the nation's economic prospects. They are worried that the floor is going to fall away from under them, just as it did in 2008. Last week, 26 percent of people surveyed in Gallup's poll of Americans' confidence in the economy rated current economic conditions as excellent or good, while 30 percent labeled them poor. Thirty seven percent of those surveyed said their economic outlook was "getting better" compared with 57 percent who said it was "getting worse." Sheryl Fetzer, 58, who lives in suburban Columbus, Ohio, said she missed the 1990s. "Everybody was fat in the '90s," she said. "Everybody had money. It's not like that today." Not even in her well groomed suburb? "The grocery stores are full," she allowed. "The mall is full. People are spending. You can say things look good. But I think we're about to have a big crash." The gloom is deepest, however, in the regions where the recovery has been weakest. Sara Flynn, 55, says she is lucky to be living in "God's country," otherwise known as Hebron, Ky., but she is still trying to regain her footing since her high end design business collapsed in 2010 at the height of the recession. She got a job paying 8.25 an hour as a cashier in a big box store, working her way up to supervisor at nearly double the salary, but she hated it. "One day I just said 'I can't do this anymore,'" said Ms. Flynn, who quit last year. With a degree in architectural design and drafting and contacts in the business, she quickly moved to another job at a kitchen design store, but got laid off after six months when business fell off. Having learned how to type on an electric typewriter in high school, she is now taking a computer course at the Brighton Family Center, a nonprofit in Newport, Ky. Ms. Flynn has four sons in their 20s. Two graduated from college and two did not. "The ones with the degrees have really good jobs," she said. As for two who have high school diplomas, "Well, they're still living at home." One is juggling three different restaurant jobs, while the other works at a pizzeria and turned their yard into a makeshift service center where he fixes cars. Ms. Flynn said her parents were "dyed in the wool" Democrats. Her father worked at G.E. for most of his life, designing airplanes, before retiring with a pension, while her mother raised six children. But Ms. Flynn said she planned to vote for Mr. Trump. She said she had liked Mr. Trump ever since watching his television show, "The Apprentice," and she believes him when he says he can "make America great again." "That's a bygone era, that's when America was great," Ms. Flynn said of her parent's generation. "It hasn't been like that for me."	N24News: A New Dataset for Multimodal News Classification	Economy
As surely as we turn ahead the clocks in March, in late May thousands in the publishing industry authors, publishers, agents, booksellers, librarians and others put on their ID lanyards and mill around New York's cavernous Jacob K. Javits Center for BookExpo. But not this year. One of many cornerstone industry events canceled over safety concerns amid the coronavirus pandemic, BookExpo salvaged what it could last week, offering live events on Facebook from May 26 to May 31. The result was a shadow of the usual spectacle, but it reached a lot of people and offered lessons for the industry as future prospects for mass gatherings remain clouded. Reedpop, the event's organizer, had initially postponed until late July, with hopes of still staging it at the Javits. It soon became clear that the revised dates would also be unfeasible, and in early May the company announced the migration online. Reedpop had to quickly decide, in consultation with publishers, which parts of the event to preserve. "We went for quality over quantity," said Jennifer Martin, the event director. "We wanted to pick out the pillar events and do them really, really well. That was better than scrambling to do all we usually do, when we have eight panel rooms and three stages on the conference floor and so on." Some of those pillar events were the "buzz panels," at which editors talk about forthcoming books by authors they believe are most primed to break out. In the new setup, the editors were in conversation with those authors on Zoom. Sally Kim, the editor in chief of Putnam, spoke with Robert Jones Jr. about his debut novel, "The Prophets," which will be published in January. Kim surprised Jones with the final dust jacket of his novel, wrapped around another book to give him a sense of what the finished product will look like. Jones's emotional reaction, seen intimately up close in his home office, would likely not have been as powerful in the hangar like Javits Center. 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. Dawn Davis, the publisher of the imprint 37Ink at Simon Schuster, spoke on a buzz panel with Nadia Owusu about Owusu's memoir, "Aftershocks," also coming in January. Davis thought the new format allowed for a more focused and personal interview, but also said the cozier feel came at the expense of the crowds who normally mingle during the fair. "I missed the energy of interacting with the other editors who are presenting," Ms. Davis said. She also missed the opportunity to expand her social circle. "Some booksellers I've known for over 20 years are people I met at BookExpo; serendipitous encounters, and you look up two decades later and you have these deep friendships with emails and phone calls and maybe even visits if you're in their town." Despite the lack of face to face contact, the number of eyeballs available online is always greater than in the nonvirtual world. On the first day of BookExpo online, a series of panels in which librarians across the country discussed their response to the coronavirus crisis attracted nearly 21,000 viewers, according to Reedpop. The company said that about 400,000 viewers joined over the weekend for BookCon, a relatively new part of the expo during which the public about 20,000 people last year at the Javits is invited in for author readings and panels. In 2019, 8,260 people attended the industry side of the expo. Nearly 500 companies exhibited on the event floor, an experience that was impossible to replicate online. Valerie Koehler, the owner of Blue Willow Bookshop in Houston, said she went to BookExpo in person for 20 consecutive years, and she credited the networking she's done there as a big part of her store's success. This year, she especially missed meeting with "the small guys, independent publishers," she said, or companies offering products like games or stationery. But she's well versed in what the biggest publishers are doing because, being in a major metropolitan area, she knows field representatives for all of them. She said the opportunity for publishers to extend outreach efforts online was an important one. "I think they're going to make a lot of information more available all the time, instead of waiting until people get to New York to talk," she said. "This is a way to reach out to people who don't go to BookExpo or don't talk to field reps on a regular basis. They can bring a lot of programming to a lot more people than can afford the airfare, the hotel and all that goes with it." Ramiro Salazar, the director of the San Antonio Public Library, said that he received "quite a bit of positive feedback" about his panel, and that conducting the expo virtually spoke to "what I think the future holds for all of us." He added: "This virus has changed the environment. Libraries are expected to continue to impact communities in a very real way. We have to figure out how we can do it digitally. Virtual experiences are going to dominate our way of doing things. I'm not saying it's going to replace; at some point, I see libraries being what they used to be, but not anytime soon." The same goes for book fairs. The London Book Fair was canceled in early March, less than a week before it was scheduled to begin. The Paris Book Fair (March), PEN America's World Voices Festival in New York (May) and the Edinburgh Book Festival (August) have also been canceled. The Frankfurt Book Fair in Germany, a major date on the industry's calendar, is still "set to take place" in October, according to its website, but HarperCollins, Macmillan, Simon Schuster, Bloomsbury and the French arm of Hachette have all said they would not be sending staff to the event because of safety concerns. Martin acknowledged that even if the Javits is open for business next year, things will look different. "I don't think any part of what we used to do is going to be 'rinse and repeat' for the future," Martin said. "What's happened will change us as a people, and if anyone thinks we're going to go 'back to normal' and everything will be as it was, they're kidding themselves."	N24News: A New Dataset for Multimodal News Classification	Books
Magic Leap, the maker of augmented reality goggles, has already raised 2.3 billion, an extraordinary amount for a start up. Now it has secured yet another investment and could raise still more cash. The company said Friday that it had garnered 280 million from NTT DoCoMo, Japan's biggest cellphone service provider, as part of a new partnership between them. It will also reopen its most recent fund raising round to potentially accept even more cash from new and existing investors. It is the latest move by Magic Leap to build its vision of making its flavor of augmented reality where people see computer generated images in the real world, thanks to a special headset ubiquitous. (The company calls its version of the technology "spatial computing.") That pitch has enabled the company to become one of the best funded start ups around. But it also raises questions about whether Magic Leap, which began shipping its headset last year for 2,300, can make good on its promise, especially as it faces competition from technology giants like Microsoft.	N24News: A New Dataset for Multimodal News Classification	Technology
I first came across the name "Gilgi" on a page of my grandmother Kathe's diary from 1932, tucked between mentions of "Shanghai Express" with Marlene Dietrich and a performance by the Jewish cabaret star Dela Lipinskaja. "Such courage!" Kathe wrote, of the character Gilgi. I was curious for any glimpse into my grandmother's mind during this chapter of her life when she was an expressionist dancer in Hamburg and sported boyish haircuts and berets. She had recently fallen in love with my grandfather Hermann and was summoning the courage to divorce her husband. From Wikipedia I learned that "Gilgi" was the first novel by a writer named (1905 82), who had been the It Girl of the German literary scene in the final years of the Weimar Republic. Intrigued, I ordered a copy. When I read "Gilgi" I was struck by how contemporary the novel feels, with its portrait of a woman fighting to maintain control over her life and her body in a politically polarized society. Gilgi's experiences of workplace harassment, her scruples about privilege and her unease with the narcotic effects of romantic love are all colored by Keun's left leaning politics. But they're sketched with a light hand: This is a beach worthy read with a social conscience. A female Times reviewer in 1932, praising the novel's "wholesome freshness," noted that "countless hard working, industrious, healthy young girls recognized themselves in the heroine." I suspect many members of our MeToo generation will do so as well. It's impossible to trace the parallels between our time and those interwar years without thinking of what came next: a vicious backlash against female freedom and ruthless suppression of the open society that had made it possible. The specter of Nazism stays on the periphery of "Gilgi" like a weather front darkening distant skies. The novel's protagonist, an office girl in a company that makes hosiery, lives at home with her middlebrow parents. On her 21st birthday the couple reveal to her that she was adopted, setting her on a search for her birth mother. One candidate is an indigent seamstress, another the then teenage daughter of a wealthy family. Gilgi becomes painfully aware of how much she owes to the circumstances in which she was raised. 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. In the meantime Gilgi's boss at the hosiery company is showing an unhealthy interest in his young typist. She concocts a plan to divert his attentions onto her more glamorous friend Olga, who will be able to shake him off without risk to her career. There are more roving hands and wounded male egos at the carnival parties in Gilgi's native Cologne. Like Virginia Woolf, Gilgi recognizes the need for a room and a typewriter of her own. She rents a space where she retreats to do freelance work and listen to records. When Gilgi falls in love with Martin, a charming but work shy writer, her discipline is tested. Suddenly the girl who juggled two jobs and evening language classes, took cold showers and exercised by the open window each morning finds it hard to get out of bed at all. Martin, bemused by what he calls her incurable independence complex, suggests she drop everything and emigrate somewhere more exotic. But even with Communists and Nazis fighting in the streets Gilgi feels an obligation to stay though she wants no part in shrill nationalism. "Even at school I was ashamed when they sang 'Deutschland, Deutschland uber alles' such a revolting song so oily when you were saying the words, so oily when you were thinking them, your whole mouth full of cod liver oil. Those people who force their love for the fatherland on you do you understand that : instead of being quite humble and grateful when they get the chance to love something they're proud of it as though they'd created it themselves and they make what they've created into an obligation for other people." Gilgi has no time for the virtue signaling of her activist friend Pit, who mansplains socialism to her and calls her a "superficial little thing" when she prods his vanity. And she certainly has no patience for the condescension of the "pathetic medical school Mickey Mouse" of a doctor who delivers the news of her pregnancy. "Listen, Doctor," she says, "there's nothing more immoral and unhygienic and absurd than making a woman have a child which she doesn't want." But in the end it's not an abortion she chooses but single motherhood, a train ticket to Berlin and a chance to build a life on her own terms. But there's also something sadly familiar in Gilgi's strained drive for self actualization. It shows in the hard edges of her can do personality, on guard against unwonted sentimentality and unneeded calories, sidestepping leery co workers with a breezy smile. The difference between Keun's novel and women's magazines today lies in the book's shadows the moments where Gilgi realizes she won't be able to have it all, or get ahead without leaving someone weaker behind. When the Nazis seized power in 1933 they lost no time in silencing Keun, then 28. Her books, including a best selling second novel, "The Artificial Silk Girl," were among those denounced as "asphalt literature with anti German tendencies" and banned. In a move of unequaled chutzpah, Keun went to court and sued for lost earnings. She also applied for membership in the Reich Literary Chamber, headed by Goebbels. Denied on both counts, she emigrated in 1936. From the Netherlands she published a bitter satire, "After Midnight," about Germans adapting to the new regime. In it one character tells a writer that dictatorship has made his profession redundant because it has turned Germany into "a perfect country." His advice: "Do yourself in, or learn the harp and play the music of the spheres." Those words would prove darkly prophetic. In exile Keun began a torrid affair with the Austrian Jewish novelist Joseph Roth, who died in 1939 after hearing that a fellow emigre writer had hanged himself in a New York hotel. Keun faked her own suicide and survived the war, unrecognized thanks to a pseudonym, in her native Rhineland. She wrote sharp clawed columns in postwar newspapers, but by then public appetite for her blend of feminism and acid wit had paled. In 1955, no one seemed to know whether Keun was dead or alive. The Times investigated. My grandmother Kathe married Hermann in the spring of 1933. From there on photos show her in high collared blouses with demure pinned up hairstyles. A decade later war turned her city to rubble and her husband was hauled to a concentration camp as a political prisoner. Courage now meant walking up, unannounced, to the gate of Buchenwald and politely requesting to see the camp doctor. I found Kathe's diary amid risque costume designs from her days as a dancer and her correspondence with the camp's effects chamber as she fought for answers, possessions and ashes. "There are two layers in me," Gilgi thinks as she watches Martin sleep, contemplating what to do about her pregnancy. The upper one belongs to the "little clockwork girl" and dictates everyday words and actions. But beneath it lies a layer, Gilgi reflects, that is "always wanting, always searching, always longing and darkness and not knowing." And, she continues, as she works up the courage to make her decision: "Cover your dark world with the diamond lie of shame cover your dark world with the golden lie of the will cover your dark world with the silver lie of contenting yourself cover your dark world with the iron lie of belonging to the everyday but don't cover your dark world with the tarnished copper lie of cowardice."	N24News: A New Dataset for Multimodal News Classification	Books
Sarahbeth Maney for The New York Times SAN FRANCISCO Facing longstanding criticism that they had not done enough to protect people from harassment, YouTube executives announced Wednesday that the video service would start policing material that insulted or demeaned others because of their race, gender or sexual orientation. The policy applies to videos and comments directed at anyone, including public officials, private individuals and YouTube creators. Enforcement will roll out over the coming weeks and months, the company said. Thousands of so called raters eventually hired by YouTube will screen flagged videos for prohibited content. YouTube said it had put together guidelines for weighing the context of the videos and comments to properly identify harassment. The new policy is one of a number of adjustments that YouTube has made over the last few years in an attempt to make the site less toxic. The company has introduced a range of policies restricting hate speech, extremist content and the exploitation of children. YouTube's handling of harassment came under scrutiny in June when the company said a prominent right wing personality who used homophobic slurs and racist language to harass a journalist in videos on the site did not violate its policies. But YouTube eventually decided that the conservative commentator, Steven Crowder, who has more than four million subscribers on the service, had broken its rules by using slurs about the Cuban American ethnicity and sexual orientation of Carlos Maza, a video journalist. Mr. Crowder said he had not intended the comments to offend anybody. YouTube suspended Mr. Crowder from making money selling advertising on his videos. He is still not allowed to participate in that money sharing program, the company said. The episode highlighted a persistent issue on YouTube. People who post videos on the service say they are often harassed, and they argue that the company doesn't do enough to curb the behavior of YouTube personalities with big followings. YouTube started a review of its harassment policy in April, and the incident involving Mr. Maza and Mr. Crowder informed some of the rule changes, the company's chief product officer, Neal Mohan, said. Enforcing the policy will be challenging, Mr. Mohan said. YouTube does not want to stifle debate, disagreement or legitimate criticism of public officials, he said, but it wants to draw the line at harassment. "There's a lot of nuance and context that's important here, but it is really something we want to get right on our platform," Mr. Mohan said in an interview before the announcement. "We don't want this to be a place where individuals are harassed. We want to take a clear line about that." Mr. Mohan said that YouTube wanted to protect free speech, but that unchecked harassment could curtail discussion if people were too intimidated to speak. YouTube said the new policy expanded its definition of harassment which has covered making explicit threats, inciting people to harass someone else and revealing confidential personal information to include implied or veiled threats. If YouTube finds a pattern over multiple videos or comments, channels that "repeatedly brush up against our harassment policy" could be punished even if no individual video violates its policy.	N24News: A New Dataset for Multimodal News Classification	Technology
Even critics liked it. "As portraits of artists go," Jesse Green wrote in The New York Times, "there may never have been anything as real and beautiful on Broadway." Mr. Springsteen, on stage alone at the 948 seat Walter Kerr Theater, has generally been doing five shows a week, and has taken some weeks off. (His wife Patti Scialfa joins him for a few songs.) He began performances last Oct. 3 and opened Oct. 12, with an initial planned closing date of last Nov. 26. He extended to Feb. 3, and then to June 30, and now to Dec. 15. Mr. Springsteen said on Twitter that this will be the show's final extension. Tickets will only be available to those who had earlier registered to buy them, but were not successful. This extension will inevitably revive conversations about whether the show should be considered for Tony Awards, which recognize plays and musicals on Broadway. Mr. Springsteen's producers his longtime manager Jon Landau and his longtime road manager George Travis have thus far chosen not to invite Tony voters to his show, which automatically makes it ineligible for competitive awards.	N24News: A New Dataset for Multimodal News Classification	Theater
History offers strange consolation: No matter how alarming current events (or a presidential election) may be, historians can usually point to analogous episodes we survived in the past. So who better to consult about our imminent election than the Pulitzer winning presidential historian and biographer Doris Kearns Goodwin and the MSNBC host and political commentator Rachel Maddow? Ms. Goodwin, 73, has written five critically acclaimed and best selling presidential biographies, including "Team of Rivals: The Political Genius of Abraham Lincoln," the basis, in part, for Steven Spielberg's film "Lincoln"; "No Ordinary Time: Franklin and Eleanor Roosevelt: The Home Front in World War II"; and "Lyndon Johnson and the American Dream," which grew out of Ms. Goodwin's tenure as a White House fellow at age 24. She worked directly with President Johnson in his last year in office and later assisted him with his memoirs. Ms. Goodwin received her Ph.D. in government from Harvard. Ms. Maddow, 43, has hosted "The Rachel Maddow Show" weeknights on MSNBC since 2008. It is currently the network's highest rated program. Like other shows on MSNBC, it leans liberal. But Ms. Maddow has been praised by many for the civility with which she treats all guests, prioritizing information and context over the hysteria so often evident on cable news. She is the author of the best selling book "Drift: The Unmooring of American Military Power." Ms. Maddow earned a doctorate in politics from Oxford University, where she was a Rhodes scholar. Over an early lunch of eggs and toast at the Gotham Lounge in the Peninsula Hotel in Midtown Manhattan, a few days before the final presidential debate this month, the pair discussed the coming election in historical terms: the temperamental forebears of Hillary Clinton and Donald J. Trump among our presidential ranks, the ambitions of candidates and their skills for the job. Philip Galanes: So, in terms of crazy, does this election have an historical peer? Rachel Maddow: For sure. It's not like we've never had a figure like Donald Trump in public life before. RM: There's some Huey Long there, and some P. T. Barnum. Some George Wallace. Doris Kearns Goodwin: We've had plenty of populist figures in our past, but they had a different degree of substance than Mr. Trump. William Jennings Bryan the Democratic nominee for president in 1896, 1900 and 1908 came out of a period like today. The industrial revolution was like our tech revolution and globalization. The pace of life had sped up and made people anxious. Telegrams and telephones were fast. Immigration was huge. And Bryan's supporters, like Trump's, were fearful about the way the country was changing. DKG: This is where history can give us solace. When parties split up, as the Whigs did in the 1850s, over slavery, we got the Republican Party and Abraham Lincoln, our greatest leader. DKG: But then you have 1912, when Teddy Roosevelt decided to run against Taft. He knew that Taft had the Republican delegates, so he created the primary system: "Let the people rule!" It was democratic, no doubt about it. But the race was so vitriolic, it sounds like today. Taft calls Teddy a dictator; Teddy calls Taft a pinhead. And The New York Times says, "If this is the first attempt at the primary system, we sincerely hope it's the last." PG: Has the temperament of a candidate ever been so center stage before? RM: In 1964, for sure. The bead on Barry Goldwater was that he was a nut. L.B.J. successfully characterized him as someone who couldn't be trusted with the nuclear codes. DKG: But it's come to the surface more today. RM: Maybe because we get more access to the president as a human being than we used to. With the White House photographer posting all those moments on Instagram. And so much attention on his family. DKG: Good point. Before, the candidates were leaders of one party or the other. The parties had platforms, and you were voting on what they promised you. You didn't really know them as human beings. PG: And is temperament just code for hotheaded? DKG: No, temperament is your basic orientation toward life. The Elizabethans boiled it down to four types: You were choleric or sanguine or melancholy or aggressive. You can be a good leader from any of them. Lincoln was melancholy, but what a president! It's more to do with how you grow, how you learn from your mistakes. PG: How do you feel about Hillary's guarded temperament? RM: I think it's a form of emotional maturity. It takes intellectual stamina to stay open, as a leader and a mind, to absorb information and adversity. DKG: And criticism. That's what Eleanor Roosevelt decided. When people were against her, it meant they were against her ideas, not against her personally. True or not, it gave her enormous leeway not to take criticism personally. DKG: Where Trump goes wrong is when he says, "I have the best temperament of anyone who's ever run for president a winning temperament." That's completely a historical. Our best presidents have all gone through adversity. Whether it's Lincoln's suicidal depression, or Teddy Roosevelt losing his wife and his mother on the same day in the same house, or F.D.R. getting polio, they all went through trials by fire and emerged stronger for it. Nobody wins all the time. RM: It's also too on the nose. You can never say, "I am humble." You have disproved the assertion by saying it. Same with "best temperament ever." PG: Which president does Hillary most remind you of? RM: Fascinating! It's so hard not to factor gender. Which dude is she most like? DKG: It would have to be someone who had a lot of experience in different forms. Teddy Roosevelt probably came to the presidency with most experience: police commissioner, Civil Service commissioner, state legislator, governor, vice president, president. Bush Sr. also had a lot of title positions and brought an array of experiences. RM: But there's often an alienation factor when people like Hillary or Bush Sr. come to you with all those experiences. They're no longer seen as a person to have a beer with. It makes it harder for people to empathize with them. I think George H. W. Bush suffered from that enormously. DKG: They become personages rather than people. PG: Have you met the candidates? RM: I met Hillary in a professional capacity. I interviewed her. But what happened off camera was almost more interesting. I don't think of her as an extrovert, but when we were done, she met every single person on set, my entire staff, the whole floor, including the cleaning crew. Shook hands, took pictures. She was being kind to people who had an interest in her. But to see her do that, willingly, at the end of her 11th event of the day, that surprised me. RM: I've only spoken to Trump on the phone. He was warm and charming. I enjoyed talking to him. But a funny thing happened when I was negotiating with his staff. They insisted that the conversation was off the record. I could never even refer to the fact that it had happened. But at the end of it, Mr. Trump said: "Well, this has been a good conversation. You can run it." I said: "I'm not taping it. Your people said I couldn't even refer to it." And he said, "This wasn't on TV?" PG: I bet you're a go to person for candidates, Doris, with your presidential patina? DKG: I was on the radio when my Roosevelt book came out, talking about how most of the action takes place on the second floor of the White House. Roosevelt invited all these people to live with them during World War II: His foreign policy adviser moved in and never left; Lorena Hickok, who had a crush on Eleanor; Princess Martha from Norway. Winston Churchill would stay for weeks at a time. So, I said, "I'm obsessed with all the great conversations they must have had in their bathrobes." It turned out that Hillary was listening. She was in the White House then. And she called me up at the radio station and said: "Come stay overnight at the White House, and we can figure out where everyone slept." And she followed up on her promise. So, the president and Mrs. Clinton and my husband and I go through every room on the second floor with my map, and we figure it out. Bill and Hillary were sleeping where F.D.R. was. And my husband and I are in Winston Churchill's room. No way could I sleep with Churchill in the corner, drinking his brandy and smoking his cigar. RM: Have you stayed in touch with Hillary over the years? DKG: Not for a while. I went to see her after they won the race in 1996. Chelsea was going off to school, and my kids had gone to college. We talked about missing them. And she told a funny story about Jackie Kennedy telling her which designers to wear. Hillary said, "Clearly, I'm never figuring that out." She was very open. RM: Does she seem different to you now? DKG: Oh, I don't know. Maybe a little more defensive. But my guess is that if she's able to win, knowing: "I'm the first female president of this country," that is such a huge thing. It's been totally overshadowed in this election. That would give her the confidence to say, "I'm going to be like F.D.R. and meet the press twice a week." She could get out of that insular world. PG: Let's stick with that: ambition and evolution. Most of us can track our ambitions in life to some childhood hurt: chilly parents, poverty. We work to overcome it. But when I talked with Jimmy Carter for this series, he spoke about a transformational moment a political defeat and deep depression that galvanized his desire to help all Americans. Does that happen with the great presidents? PG: How about your ambitions? DKG: My parents died when I was young my mother of a heart attack when I was 15, my father when I was in my 20s. I think it made me want to tell stories of people who were dead to somehow bring them back to life. I didn't think about it at the time. But it is stories that keep people alive. That's where my ambition for history came from. RM: My ambitions were scattershot. I've never been a planner. I find myself with an opportunity and decide if I want to take it. Then I dig in. I just want to be good at it. And I'm more motivated by fear of failure than ambition to succeed. PG: But that makes sense for someone who started as an AIDS activist. RM: I grew up in the Bay Area, which was the epicenter of the AIDS epidemic. And when I came out, it was a community that was fighting for survival. People my age and immediately older were dying. There aren't many circumstances in life, unless you're in the military, when you know a lot of people in your marching order who die before you're 25. That's humbling in terms of ambition. DKG: It does what Teddy Roosevelt did: It makes you want to do well whatever you're doing at that moment. RM: Because you don't know if there's going to be another. PG: It's the empathic crisis that Jimmy Carter talked about. Do you see that in Hillary or Trump? DKG: I see it in her. There's a doubleness of purpose there. That's what you're looking for in a good politician. Of course they want power. But you also hope that they want to do something with it. That's what L.B.J. said when he first got in: "I'm not just going to strut to 'Hail to the Chief.' I want to do something for poor people, for black people." And when you look at what Hillary's done through her career, it's been there, too. She needs to communicate that: not just what she did for children, but what she wants to do for all of us. PG: And now the election rigging RM: But let's imagine Trump wins. Anything can happen. Is there anything about him that could be a good building block for a leader? DKG: You just have to hope. The worrisome thing is that we keep imagining that he's going to become presidential at some point, that he'll put behind him all the things he says about people, that he won't react so personally. Then he keeps doing it. RM: One thing that's underappreciated about Trump is his sense of humor. DKG: Where do you see this? RM: When he talks about how great he is, sometimes I think he's doing it in a self deprecating way. And that makes me worry less about what seem to be his toxic insecurities. DKG: Well, he has been a master at breaking news. RM: Which is a kind of political genius, orchestrating coverage the way he has, if you don't care about seeming offensive or hurting your party. RM: Look, I'm not persuading you. I'm just trying to imagine him as president and prepare for it as a country. DKG: There's something about the office. In 2000, there was a fear that George W. Bush would never be a legitimate president. But he was, despite that incredible election and how it looked like it would shadow him. Something happens when they get in the presidency.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
And now we were wondering what it was going to be like to spend the night in the car, in a vast, sparsely populated patch of far West Texas. But, after a few deep breaths and a modicum of quarreling, we carefully reversed course and slipped and slid 9.2 miles back to the main road, taking comfort in the jackrabbits playfully crossing our path in a single bound and Don Williams serenading us with "I Believe in You" on the satellite radio ("I don't believe ... that right is right and left is wrong, and north and south can't get along"). Back on blessed pavement, and this time following the explicit instructions I had confidently ignored, we made our way to Terlingua Ranch, a community nestled in the snow dusted Christmas Mountains, to a gorgeous rental house (where, incidentally, the heat would malfunction and we'd sleep fully clothed in a 41 degree bedroom, blue with cold and tickled pink to be alive). It's hard to convey how humbling it is to visit this little pocket of the United States Mexico border, a place the National Park Service calls "one of the last remaining wild corners of the United States." Boosters market Texas as a "whole other country," but the land within and without Big Bend National Park really is. One of the least visited of the federal park system, Big Bend is four hours by car from each of the nearest international airports, in El Paso and Midland. You have to really want to get here (or live here, which makes you a different breed altogether). And those who do, those inclined to make the long trek to the park and its attendant ghost towns (Lajitas, Study Butte, Terlingua), are seekers of a sort, not entirely unlike the homesteaders and fortune hunters drawn to these badlands long ago. But nowadays the treasures are silence and darkness and undeveloped natural beauty and all those other things that seem to be in short supply of late. If you're longing for a respite from this era's relentless beeping and buzzing and yelling and "Dear God, what now?" news alerts, what better place than one with limited cell service and unreliable electricity, where you step outside in the morning and hear nothing but the grumbling of your stomach and the muffled flap of a bird's wings high above? Big Bend's dramatic confluence of river, desert, and mountains makes it easy to wax poetic with words like "majestic" and "epic," and even those fall short. There's enough in these 800,000 acres for a lifetime of exploring, the tangible result of a landscape that has borne witness to shallow sea and coastal plain and volcanic upheaval. Eons of geological time are visible in everything from the walls of a towering canyon to the dull, dusty stone at your feet that hides the lacy remains of some ancient sea creature. From the grassy banks of the Rio Grande to the cactus studded expanse of the Chihuahuan Desert to the oak and juniper carpeted Chisos Mountains, Big Bend is a dream for photographers, a paradise for birders (more than 400 species), the promised land for amateur (and professional) geologists. Huge swaths of land are accessible for day hikes and backpacking (200 miles of trails), camping and river trips. More specifically, there's the Fossil Discovery Exhibit, where you can gaze upon a life size replica of the skull of a Bravoceratops ("wild horn face"), pieces of which were unearthed in the park in 2011. At the Boquillas Hot Spring, situated smack dab against the Rio Grande, you can sink into a 105 degree pool contained by the remnants of an early 1900s bathhouse and dangle an arm over the rock boundary into the swift moving, considerably colder water as it passes you by on its 1,900 mile journey to the Gulf of Mexico. (Some advice: Decide when you're going to visit ahead of time, so that you can don the proper attire in advance. There are no changing rooms, and the vault toilets are like something out of "Trainspotting." I'd like to take this moment to apologize to whichever park ranger found the bra I left behind in my haste to get out of there.) At any location in or near the park, you can simply look to the ever changing sky, particularly in the evening, when fiery sunsets of pink and orange and dusty blue give way to an unfathomable darkness spattered with a breathtaking bounty of stars, including a clearly visible Milky Way (Big Bend is a stargazing mecca, officially designated by the International Dark Sky Association); like me, you may have the stupefying realization that this is what the night sky actually looks like. If you do nothing else but motor around in your car, you'll have a blast. On our various drives, my friend and I spotted a little family of javelina lumbering across the blacktop, a coyote leaping effortlessly over a fence, numerous roadrunners dashing headlong across the pavement, and a golden eagle resting in some creosote along the side of the road, as if patiently waiting to cross. Finally, where else can you, at least for now, cross the border into Mexico in a rowboat? The Rio Grande (or the Rio Bravo del Norte, from a southerly perspective) is all that separates Texas and Mexico within the boundaries of the park, winding its way for 118 miles between forbidding canyon walls; making the abrupt southeast to northeast shift that gives Big Bend its name; and changing in color (chocolate milk in one light, celadon in another) and flow (sometimes grande, often pequeno). There's hardly a more delightful way to pass over a border; on our first of two trips, we had barely rounded the bend of the descending trail from the Boquillas Crossing Port of Entry before a young man in a "Houston Strong" T shirt was rowing his way across the river to get us in a waterlogged metal boat, the "seats" covered in what looked like bathmats. It's 10 round trip for this makeshift ferry, which hauls its tiny load of camera wielding tourists back and forth all day during official crossing hours. Once on shore it's up the hill by foot, burro, or bed of pickup truck to a trailer, where your passport is stamped and you're granted formal entry into Boquillas del Carmen, the colorful, sparsely settled remains of a former mining town. Borders are always porous, particularly the riverine kind, and so it goes for this one. "Maps that split country into zones of topography, climate, vegetation, and such things have much more neatly sweeping lines of demarcation than nature has usually been willing to go along with," wrote John Graves, Texas's beloved chronicler of land and lore, and that goes for people too. For decades the Boquillas border crossing was decidedly informal, illegal but never monitored, a conduit for supplies, a lifeline for loved ones residing on opposite sides, a day's amusement for tourists. But it always was an international boundary and as such subject to the day's prevailing sociopolitical anxieties. The crossing was shut down in 2002, in response to Sept. 11, and reopened 11 years later, this time with automated passport control. And now looms another threat. In Boquillas proper, the specter of the wall seems to be just that, haunting the dish towels and koozies for sale on every corner, their hand embroidered wildflowers, roosters, and javelinas accompanied, in slightly crooked letters, by a simple phrase: "No wall." A succinct "Trump no bueno" was all we got from a congenial gentleman who walked us into town, that and the declaration in small black letters on his white baseball cap: "The border makes America great" (that message brought to you by El Paso's Beto O'Rourke, the Democratic congressman running against Senator Ted Cruz in November). The people here exhibit a sort of seen it all before serenity, which seems appropriate, as this battle royal is going down a few miles from rock formations whose strata reveal the Cretaceous Paleogene boundary, i.e., a visible record of the extinction event 66 million years ago. Existential musings aside, a visit to this village of a few hundred people feels much as it has for years. We perused the blankets and molcajetes at the shop at Jose Falcon's, then took a seat on the colorful patio of the adjoining restaurant for cheese enchiladas, clay copitas of sotol and sweeping views of the Sierra del Carmen range (and, incidentally, a fellow skinning rabbits and goats next door). The joy in a trip to Boquillas, other than its old world charm, is the hospitality of the people, allowing a visitor brief proximity to the kind of community you'd expect to find in a remote, only recently electrified town 150 miles away from the nearest city. At Boquillas Restaurant, the proprietor offered to give us the souvenirs we happily picked out before realizing we had run out of cash (had too many of the excellent margaritas). We promised we'd return the next day, which we did, to find our items waiting for us in a neat pile on the counter. "Here's a song about building bridges instead of walls," said singer songwriter Trevor Reichman, the featured talent the night we visited the Starlight Theatre, Terlingua's main watering hole and music venue. As in Boquillas, you can walk the length of this onetime mining camp in a couple of minutes. And you'll meet eccentric locals who possess the same equanimity that comes from living in isolated and unpredictable terrain. You'll even detect the same age old tension between insider and outsider, though the boundaries are a little less fraught. This seemed to me best encapsulated by a sign on the door of a nearby shop that trades in rocks and cactuses and sundry dusty things: "Keep investors, hipsters, and trust fund babies out of Terlingua. Just look at what happened to Marfa." Of course, right next to that is another sign, this one directing customers to just slide a check or cash under the door if there's no one minding the store. Out here one ranch flies the "Don't Tread on Me" flag; next door is "Just Resist." But it seems, to this outsider, at least, that once again community trumps ideological differences among people who look out for one another and demonstrate a surprising forbearance of city folk unaccustomed to the extremes of weather and limits of technology, city folk who awake night after night to the howling of coyotes and, in the morning, find their prints in the frosty dust outside the door. Over an excellent made from scratch breakfast at the Bad Rabbit at the Terlingua Ranch Lodge ("Do you want your grits thick or runny? Eggs soft or hard?"), our server warned us away from an "unimproved" road to a nearby city, because of course we hadn't learned our lesson from the start of our trip. "You'll have an adventure whether you plan it or not," she said, after we regaled her with our back road brush with death (from embarrassment, likely). She's right. Heed warnings regarding rapidly changing weather and full tanks of fuel. Follow directions, literal and otherwise, regarding flashlights and high clearance vehicles, snakes and scorpions. Avoid the entire area altogether during the more temperate weeks of Spring Break and Thanksgiving (or, as our white hatted friend in Boquillas put it, "the fiesta of the turkey"). Do all that and you'll have a wonderful experience, against a backdrop of almost inconceivable magnificence, along a stretch of border where, for now, you can climb to the top of a bluff pockmarked with perfectly round mortar holes left by ancient civilizations, look down on the gently moving river, and wave to people on the other side, a stone's throw away and a world apart.	N24News: A New Dataset for Multimodal News Classification	Travel
Swords slashed, bodies soared, and streamers whirled in "Sword Dance Under the Moon: In Memory of Jenneth," a burst of energy from 11 members of the Chinese American Arts Council. (That troupe returns to the festival on Thursday at Damrosch Park.) Picking up on their colorfully combative spirit, imbuing it with scuffling spontaneity, the choreographer Yoshiko Chuma offered "Duo," really more like a trio with the composer Robert Black and his hulking double bass. Ms. Chuma, her knees gently bent beneath ballooning pants, carved the air with flat palms as if preparing to pounce on her partner which she did, sneaking up on him from behind and attempting to hijack the instrument. Lighthearted sparring continued in Paul Taylor's galumphing "3 Epitaphs," gamely performed by Taylor 2. The action shifted to the shores of the plaza's reflecting pool for Elaine Summers's "Flowing Rock/Still Waters," a contemplative study for three elastic dancers with a surging, brassy score played by the Skymusic Ensemble. The program also included stirring musical contributions from Elder Edward Babb, Imani Uzuri's Mosaic, LaTasha N. Nevada Diggs, the Mingus Dynasty and, leading us out of the plaza in a cacophonous parade, the Hungry March Band. The composer Pauline Oliveros guided the crowd in her "World Wide Tuning Meditation," which required us to hum collectively, replicating tones we heard around us. It was a gesture of building community, albeit a dissonant one, that honored Ms. Webster's efforts to do the same.	N24News: A New Dataset for Multimodal News Classification	Dance
NEWPORT BEACH, Calif. Maxine Maly was 5 years old the first time she visited Balboa Island, the harborside neighborhood in Newport Beach, Calif., about 40 miles south of Los Angeles. It was 1963, and she was on a day trip with her father a visit, she said, that would influence the course of her life. "I thought it was the most magical place I had ever seen," said Ms. Maly, 62, a retired portfolio manager for JP Morgan. "I just fell in love with the place." In 1995, she convinced her family to stay on her beloved island during a visit to California. They rented a small house on Garnet Avenue, and it took only a few days of watching the electric Duffy boats on the harbor and strolling along the shops on Marine Avenue, Balboa Island's main drag, for Ms. Maly to make up her mind. "I cried because I realized how much I missed Balboa Island and California," she said of that visit. She and her husband bought a three bedroom, two bath cottage on Diamond Street for 580,000. Like so many homes on Balboa Island, where candy colored houses are packed tightly on streets named for gemstones, and pedestrians stroll in via a bridge or ride in on the ferry, it was small but charming, with easy access to Marine Avenue and the community's long, paved boardwalk. It became the family's summer home. "In Connecticut, we had four acre zoning, lots of wildlife, no neighbors," Ms. Maly said. "We would have to drive somewhere to go trick or treating. And we would come to Balboa Island for eight weeks every summer, where the kids would have so much freedom." But while the house was perfect, Ms. Maly's life was not. Her mother, who still lived in Newport Beach, was in poor health. And back home in Connecticut, her marriage was ending. She left the East Coast with her sons, moving into the house on South Bay Front while she cared for her mother. In 2014, faced with mounting bills, Ms. Maly sold the home on South Bay Front, which was now worth 7.2 million. She bought a sunny, three bedroom cottage for 2.7 million back on Garnet Avenue, where it had all begun. She's about 13 blocks from her first home on the island, and at last, she says, she's found a home on Balboa Island that she never plans to leave. She worries about rising sea levels, and the noise from nearby John Wayne Airport can be bothersome. But neither is enough to drive her out. "Some people say living here is like living in Disneyland, but you can't replicate Balboa Island," she said. "It has walkability, water, gardens. Everyone knows everybody. Neighbors look out for each other. I can't find any other place like it." John Scudder, 74, also visited Balboa Island for the first time as a child. Mr. Scudder's parents began traveling from Los Angeles to Balboa Island in the 1930s after his mother decided she had had enough of traffic and air pollution. In 1930, he said, they purchased a lot for 2,000 and spent an additional 6,000 on construction. Mr. Scudder, the grandson of Laura Scudder, the entrepreneur who created the first sealed bag for potato chips, still lives in the home his parents built, a four bedroom, five bath house that he estimates is now worth 4.5 million. Today on Balboa Island, homes are being built to the edges of their lots, and prices have risen to the point that only the very wealthy can afford to buy. Yet Mr. Scudder, who has watched the changes through the decades, said there are some things about the area that will never change. Marine Avenue is an old fashioned main street with stores, restaurants and a handful of sweet shops (including Dad's Donuts and Sugar 'n' Spice, both of which claim they invented Balboa Island's classic chocolate dipped indulgence, the Balboa Bar). Cars and pedestrians alike cross onto the island via the Marine Avenue bridge, or the ferry that makes regular trips to Balboa Peninsula. To prepare for rising sea levels, the city of Newport Beach in 2018 added a nine inch cap to the sea wall that surrounds Balboa Island. With nearly 3,000 residents sharing 0.2 square miles, Balboa Island has a population density of 13,636 people per square mile, a tighter squeeze than many major cities including Los Angeles, where the population density is 7,544 people per square mile, according to the most recent U.S. census data. There is little room for green spaces or swimming pools. Jonathon Curci, an agent with Compass Real Estate who grew up on Balboa Island and continues to sell homes there, said the community is undeniably wealthy, but it holds tight to its relaxed beach vibe. "As a kid, I was surrounded by people living in these 3 million cottages, but they drove around in Hondas they had had for 20 years," he said. Many homeowners live in duplexes or triplexes, with parts of their houses rented as vacation homes for supplemental income. But Balboa Island embraces its "island in the city" vibe, or as the tour guide and historian Carolyn Clark put it, "When people would drive over the bridge into Balboa Island, their whole mind set would change, and their attitudes, because now you were on island time." The population on Balboa Island also skews considerably older than in most communities the median age is 60.4, compared with 47.3 in Newport Beach, 37.8 in Orange County and 36.7 across California, according to 2018 data in the American Community Survey by the United States census. Older students attend Corona del Mar Middle High School. During the 2017 18 school year, 96 percent of students taking the SAT exam there met benchmarks for English, compared with 83 percent districtwide and 71 percent statewide; 87 percent met benchmarks for math, compared with 63 percent districtwide and 51 percent statewide. (For the SATs, the College Board defines students as "college ready" when their tests scores meet a benchmark of 480 in English and 530 in math). The Balboa Island ferry runs from 6:30 a.m. to midnight every day; the five minute ride costs 1 for adults, or 2 if they're in a car. Commuters driving from Balboa Island to downtown Los Angeles can expect a ride of one hour to 90 minutes; those driving into work in Irvine should budget 20 to 40 minutes. William S. Collins, a property developer, dredged Balboa Island and created its three distinct sections between 1905 and 1913, according to the Balboa Island Museum. Collins failed to raise enough revenue to add sewers, power and water, so the city of Newport Beach stepped in and incorporated the land in 1916. It remained primarily a vacation spot until after World War II. For weekly email updates on residential real estate news, sign up here. Follow us on Twitter: nytrealestate.	N24News: A New Dataset for Multimodal News Classification	Real Estate
A photomosaic of corals made using 2,700 individual images taken at a reef at the Palmyra Atoll in the Pacific Ocean. A century ago, if you wanted to document ocean life, you'd throw on a 60 pound glass helmet, dive in and sketch whatever passed by with a lead pencil on a zinc tablet. Today most scientists studying corals still dive with an hour's worth of oxygen and a plastic piece of paper, using their personal judgments to jot down all they can before the air runs out. But over the last few years, technology has catapulted oceanography into a new era of discovery. Now a scientist can carry along a camera in a waterproof box, take thousands of photographs an hour and upload those images to computers too fast to exist a decade ago. Powerful software then stitches together the photos and identifies unique features, creating billions of reference points that help to calculate the location of corals in 3D space. "It's like doing one of the most crazy jigsaw puzzles you can ever imagine," said Stuart Sandin, a coral reef ecologist at Scripps Institution of Oceanography at the University of California, San Diego. He and his colleagues have just analyzed some of the first of these 3D photomosaics in a study published last month in the journal, Coral Reefs. With the help of computer scientists and engineers at their university, Dr. Sandin and his team created their digital maps using more than 39,000 photos of about 44,000 coral colonies living on reefs at Palmyra Atoll near Hawaii. In analyzing digital reconstructions of about 1,000 square feet each, they discovered for the first time that rather than distributing themselves randomly wherever larvae happened to fall, coral follow somewhat of a pattern. Corals of every species and type, especially those that have similar forms and structures, cluster together across the reef. And some types are more clustered than others. Perhaps the most clustered corals were those with a particular body type that more easily breaks apart with waves or other disturbances and then regrows, like staghorn coral. These corals grow up from the bottom of the reef and stretch out like antlers. They form colonies, "but you can break off one of those antlers and put it somewhere else, and it will grow." The scientists think breaking and clustering is how forms of coral such as these hold onto space and survive on a highly competitive reef. They believe it's a sign of health in this protected atoll, where bleaching, overfishing and disease are not really threats. "The 800 pound gorilla is that the climate is changing," and the prevailing story is that it affects corals disproportionately, Dr. Sandin said. But some corals are doing well and others are recovering. He wants to know where they are and how they're doing it. He hopes new data will change public perception that only bad things happen to corals. The researchers' finding that corals grow in clusters also has practical applications for conservationists planting corals for new colonies: It's probably best to plant them in patches. With time reduced and accuracy improved by technological advances, "It's an exciting time to see the way that we can explore the ocean," Dr. Sandin said.	N24News: A New Dataset for Multimodal News Classification	Science
LONDON How should a video exhibition be? In light filled galleries optimized for painting and sculpture, moving images can get lost: diminished to washed out projections, or exiled to old, round edged monitors. Video, film and other moving image works need the same care as other media to look right in a museum and they don't always get it. Any biennial habitue knows the experience of walking jetlagged from white cube to black box, and discovering some three hour documentary projected in poor light conditions without even a bench for seating. Or the bank of 13 inch televisions, below eye level, with cheap headphones attached. Video art is more than 50 years old now, but you can still hear museumgoers not just modern art haters, but committed cinephiles brush off the whole premise of exhibiting video in art galleries: "If I wanted to watch a film I'd go to a movie theater ..." Looped or linear, projected at small scale or filling a wall, Mr. McQueen's art manifests the same cool exactitude as his movies "Hunger" or "Shame," and his admirers from the multiplex ought to take the time to discover his immersive, elusive fine art in the darkened galleries of Tate Modern. The show is something less than a mid career retrospective, on the order of his praised to the skies 2013 exhibition at the Schaulager in Basel. It includes only 14 works. It leaves out nearly all the film installations he made before winning the Turner Prize in 1999, and also omits important recent works like "Gravesend" (2007), an icy, abstract exploration of global capital filmed in the Democratic Republic of Congo. Most of this show's videos are projected on a loop, which you can look at freely, but two are projected at set times and can only be seen from the beginning. (Guards are stationed at the entrances; both are about 25 minutes and run on the half hour.) One of those is the murky, claustrophobic, absolutely relentless "Western Deep" (2002), hands down Mr. McQueen's greatest work in either art or cinema. Commissioned for Okwui Enwezor's now legendary Documenta 11 exhibition of 2002, "Western Deep" drives us into the underworld of the global economy, via a descent into the world's deepest mine, the TauTona goldmine near Johannesburg. Its first shot unspools in near darkness, as we go down with the miners down a near infinite elevator, espying their faces only in flashes, listening for minutes to the screech and rattle of the machinery. (Long takes are a McQueen signature, preserved in "Hunger" and "12 Years a Slave.") This is the heart of darkness, retained in South Africa's post apartheid state. Beneath the earth, the miners hazardously loose gold from the mine walls, but we see their labor only in flashes, whatever their headlamps allow. Mr. McQueen's cuts are awkward and disjunctive, plunging us in and out of the mine; the sound oscillates between the clatter of the mining equipment and an even more disturbing silence. At last, surfacing, we behold a terrifying (and unexplained) sequence of dozens of miners stripped to their boxers, performing calisthenics as doctors pace alongside, intercut with a blinking red light and a horribly loud buzzer. We learn nothing of these men's lives, nor, for that matter, of the profits of the mining company. "Western Deep" denies us the pat liberal satisfactions of documentary, and forces us, with its harrowing soundtrack and flashes of color and darkness, to look in the face of an economy that strips humanity to bare life. (I'd seen it before, but after watching it again I still had to lean against a wall to catch my breath.) Mr. McQueen shot "Western Deep" with a Super 8 camera the only one small enough to take underground, 20 years ago and converted the footage to video, with all its graininess conserved. It's projected here on a giant screen, with a booming sound system, faced by custom built bleachers. And these conditions matter not just for the comfort and focus of the spectators, but the very meaning of his art. Ask yourself here: Is the film projected on a fixed screen, or does it stretch to the ceiling and floor, creating an installation? Or else does the screen hang in the center of a gallery, encouraging you to circle it like a sculpture? Is the projector visible and, if it's spooling celluloid rather than video, is it an antiquated projector? Are the gallery walls white, like a gallery for painting, or black, like a theater? These are an artist's questions. And in part because of his recent success in the movie business, the Tate's McQueen exhibition seems to foreground these matters of display and, with them, the ways of watching that a moving image work demands and deserves. Certainly compared with other British video artists of his generation (think of Douglas Gordon, say, or Jeremy Deller), Mr. McQueen has been fastidious about what happens to his art films after the final cut. He also doesn't have a touch for more traditional media; this show's only sculpture, a prison bed draped with a 24 karat gold mosquito net, looks like a ripoff of the British based Palestinian artist Mona Hatoum, and a cheap souvenir of Mr. McQueen's engagement, from "Western Deep" to "12 Years a Slave," with the denial of freedom. But in "Ashes" (2015), the most accomplished of his most recent video works, Mr. McQueen confirms that his movie years have not dulled his sensitivity or his style. On one side of a suspended screen, he projects archival footage he shot in 2002 in Grenada of a beautiful young man nicknamed Ashes, sitting on the prow of a fishing boat, smiling, carefree, lost in blue. On the other side, more recent footage recounts Ashes's death and burial in a pauper's grave. His story, recounted in voiceover, has only the barest details; it would never be optioned by a Hollywood studio. But on gritty 8 millimeter fim he is preserved, looped for eternity as he sails to a future he will never reach. "Ashes" is a melancholy, magisterial work, of big dreams and sudden death. It can only be appreciated properly in a gallery, with one's body as well as one's eyes. (It echoes the earlier, single shot "7 Nov.," also here, in which the artist's cousin Marcus recounts the excruciating tale of accidentally shooting his brother.) So too "Western Deep," which you can easily screen in bootleg form with a quick Google search, but which re emerges at the Tate as a corporeal experience, rattling your ears and accelerating your pulse. They make demands of you in ways that only the best art does, and that, in the age of Instagram, happens less and less. Funny, given how much time I spend worrying about the role of the cameraphone in contemporary art, that I never thought of this. But here it is: Video art, once dumbly condemned by traditionalists as a mass media takeover of the fine art gallery, now offers more of an escape from the hellscape of our digital feeds than other artistic media.	N24News: A New Dataset for Multimodal News Classification	Art & Design
Per Olov Enquist in 2011. "One of the world's most underrated great writers," Kirkus Reviews once wrote. Per Olov Enquist, an acclaimed Swedish novelist, playwright and journalist who for decades was a leading voice in Scandinavian literary and cultural life, died on April 25 in Vaxholm, Sweden, a village northeast of Stockholm. He was 85. The cause was organ failure after years of declining health, said Hakan Bravinger, the literary director of Norstedts, Mr. Enquist's publisher. A prolific writer who grew restless when not working on a book, Mr. Enquist, better known to his many readers as P.O., published more than 20 novels, along with plays, essays and screenplays. His work has been widely translated and won numerous literary prizes throughout Europe, including the August Prize, twice, the Independent Foreign Fiction Prize and the Nordic Council Literature Prize. Mr. Enquist was a co writer of the screenplay for "Pelle the Conqueror," a father son story, based on a novel by Martin Andersen Nexo, set in early 1900s Denmark. Starring Max von Sydow and directed by Bille August, it won the Academy Award for best foreign film in 1988. Kirkus Reviews once referred to Mr. Enquist as "one of the world's most underrated great writers." Many of his novels used historical scenarios or famous figures to explore philosophical, religious and psychological themes. He favored self questioning, truth seeking narrators and perfected a semidocumentary storytelling approach that borrowed from journalism. His big breakthrough, "The Legionnaires" (1968), was written in the style of a documentary novel. It was based on true events surrounding a group of Latvian, Lithuanian and Estonian men who were drafted into the German army during World War II. Although the soldiers surrendered to the Swedish authorities, they were imprisoned and later deported a lingering wound in Swedish politics that Mr. Enquist probed unreservedly. It was a role he relished: Mr. Enquist became something of a public intellectual, weighing in on issues of the day in his columns for Scandinavian newspapers and on TV. "The Royal Physician's Visit" (1999), a rowdy historical novel about sex and politics, was the Enquist work perhaps best known to American readers. "The Royal Physician's Visit," perhaps the Enquist work best known to American readers, is a rowdy historical novel from 1999 about sex and politics in the Danish court of the 1770s, when the rule of young King Christian VII was usurped by his German doctor, who took the queen, Caroline Mathilde, as his lover. Writing in The New York Times Book Review, Bruce Bawer said Mr. Enquist had "shaped this remarkable story into a gripping, fast paced narrative," calling his prose "rich in arresting epigrams and marked by calculated repetitions that give the novel a touch of hypnotic power." Tiina Nunnally, who translated "The Royal Physician's Visit" and three other Enquist books, said his writing style was "unlike any other." She recalled a debate she had with the author's American publisher, Overlook Press, regarding Mr. Enquist's use of punctuation. "The editors were a little taken aback because in 'Royal' he has hundreds of exclamation marks sometimes in the middle of a sentence," Ms. Nunnally said in a phone interview. "They said, 'Should we normalize it?' I said, 'No, it's his style.'" Mr. Enquist would study a historical subject exhaustively before writing. But he wasn't interested in just rendering the costumes, furniture or other atmospheric details of the period, Mr. Bravinger said. "He is interested in the psychology, in the characters," he said. "It's never a costume drama. It's a psychology drama." In his novels, stories and essays Mr. Enquist was equally penetrating in drawing on his childhood in a small village in northern Sweden, his success as a track athlete and his time as a visiting professor at the University of California, Los Angeles. In his 2008 memoir, "The Wandering Pine," which he narrated in the third person, Mr. Enquist was unsparing in describing his years spent drinking, which nearly destroyed his writing career and himself along with it. After emerging from alcoholism in the 1990s, he wrote some of his most celebrated books. Mr. Enquist's work was frequently characterized as dark or melancholic. But it could also be funny and life affirming, Mr. Bravinger said. Speaking on a radio show in 2009, Mr. Enquist described puzzling over the meaning of life until, finally, he asked his dog, Pelle. In the end, Mr. Enquist said, he and Pelle determined that it wasn't that complicated: "One day we shall die. But all the other days we shall be alive." Per Olov Enquist was born on Sept. 23, 1934, in the isolated village of Hjoggbole, roughly 300 miles south of the Arctic Circle. As he wrote in his memoir, most villagers never left. His father, Elof Enquist, a laborer, died when Per was an infant. His mother, Maria (Lindgren) Enquist, was a schoolteacher who raised her son in an evangelical community. He wasn't introduced to the movies until he was 16. Driven to succeed in the world, he earned a degree in literature at Uppsala University, Sweden's oldest university, and published his first novel before he was 30. He lived much of his life in cosmopolitan cities like Stockholm, Copenhagen and Paris. But his insular, pious childhood remained with him. "If you have had an upbringing like mine, you never get away from it," he told The Guardian in 2016. "You get to be 80 and read the Bible again. It's an upbringing that marks you like a branding iron." On his 70th birthday, in 2004, the journal Swedish Book Review devoted an entire supplement to Mr. Enquist. "This Northern Swedish environment, with its strong evangelical influences, has turned out to be not only the background for much of Enquist's fiction, but also the stimulus for his lifelong search for truth," Ross Shideler a professor of comparative literature and Scandinavian at U.C.L.A., wrote in his introduction. But, Mr. Enquist told The Guardian, "I wouldn't want to change it if I could." Being free of distractions and steeped in life's big questions, he said, was good training for a writer. After establishing himself as a journalist and novelist, Mr. Enquist discovered that he had a gift as a playwright. His first play, "The Night of the Tribades," written in 1975, examined the chauvinism of another Swedish literary star, August Strindberg. It had a brief run on Broadway in 1977 and led to several more plays, as well as a lucrative side career writing for film and television.	N24News: A New Dataset for Multimodal News Classification	Books
Pickets outside the Amazon fulfillment center in Shakopee, Minn., on Monday, the start of Amazon's annual Prime Day. The Week in Tech: Some Workers Hate Robots. Retraining May Change That. Each week, we review the week's news, offering analysis about the most important developments in the tech industry. Want this newsletter in your inbox? Sign up here. Hi, I'm Jamie Condliffe. Greetings from London. Here's a look at this past week's tech news: So Prime Day rolled round, and chances are you bought a Kindle or an electric toothbrush or whatever because, well: cheap! I say "chances are" because Amazon sold over 175 million products globally during the two day event this year more than 2018's Black Friday and Cyber Monday combined. I don't know what's more impressive: that Amazon created a huge shopping holiday in five years, or that it keeps up with the demand. I mean, how does it meet demand? Well, as The Washington Post reported: As a "rebinner" at an Amazon fulfillment center outside Minneapolis, Meg Brady says she is expected to handle 600 items per hour, constantly pivoting on her feet to grab one item and place it in a nearby chute. Brady, 55, compared the job to an aerobics workout. Ms. Brady was among a hundred or so workers, according to some media outlets, at the Shakopee, Minn., facility who went on strike during Prime Day. Amazon says it believes that about 15 of its associates participated in the event. Fellow pickets at Shakopee held a placard, stating: "We're human, not robots." Among their complaints about workplace conditions was that they feel overwhelmed by the rate of work required to keep up with the automated systems. "Clearly there's concern over the intensity of work, and whether technology has intensified the work," said Carl Benedikt Frey, an economist at Oxford University who specializes in technology and employment. People also view robots as a threat to their jobs: In a 2017 Pew Research Center survey, 58 percent of the respondents said they thought there should be limits on the number of jobs that companies could replace with machines. In reality, jobs aren't automated. Tasks are. That means that working with robots, rather than being replaced by them, is likely to become the norm for many people as companies like Amazon automate to increase productivity and profits. That the trend is already troubling Amazon employees is a problem for the company, though. "The biggest barrier to getting technology rolled out is the organizational resistance to adoption," said Erik Brynjolfsson, director of the Initiative on the Digital Economy at the Massachusetts Institute of Technology. "So companies need a strategy not only for how to get it to work, but also how to get the work force behind getting it rolled out." That provides another way to think about Amazon's recent commitment to spend 700 million on a retaining program for a third of its work force in the United States. That's a push to make its work force fit for a technologized future, and one no doubt encouraged by the tight labor market. But it can also be viewed as a way to coax workers into supporting the deployment of more technology. Robots increase productivity and hence profits, and retraining gives employees a clearer view to taking a larger slice of the growing pie. Whether that will appease the workers in Shakopee remains to be seen. Big Tech got an earful about its market power in Washington during the week, but that got us little closer to changing things. Lawmakers from the antitrust subcommittee of the House Judiciary Committee grilled Amazon, Apple, Facebook and Google on Tuesday. Representative Joe Neguse, Democrat of Colorado, didn't mess around, pointing out that Facebook controls four of the world's six largest social networks (itself, Instagram, Messenger and WhatsApp). "We have a word for that," he said. "It is called monopoly." Criticism ran the gamut from dual roles as seller and platform (hello, Apple and Amazon) to search dominance (howdy, Google) and came from both parties. Still, not every lawmaker was on the offense: Representative Jim Sensenbrenner, Republican of Wisconsin, said that "just because a business is big doesn't mean that it is bad." What to make of it? "There's clearly political interest in this whole area," said Harry First, an antitrust law professor at New York University. But, Mr. First added, "substantive things don't usually come out of these hearings," and that seemed particularly the case here, where there was so little agreement on the best route forward. Mr. First invoked a lyric from Buffalo Springfield's 1966 song "For What It's Worth" to describe the situation: "There's something happening here. What it is ain't exactly clear." President Trump. Treasury Secretary Steven Mnuchin. The Fed chair, Jay Powell. The International Monetary Fund's chief economist, Gita Gopinath. The Securities and Exchange Commission. Central bankers from Britain, China, France, Singapore and beyond. That's just a handful of the influential critics of Facebook's new cryptocurrency project, Libra. And joining them this past week were lawmakers, as David Marcus, who leads Facebook crypto initiative, sat through more than six hours of hearings before the Senate Banking and House Financial Services Committees. Concerns were numerous. "Facebook's plans raise serious privacy, trading and monetary policy concerns," said Representative Maxine Waters of California, the House committee's Democratic chairwoman. She added that Libra could "yield immense economic power that could destabilize government." But the common thread was a deep seated mistrust of Facebook. Or, as Senator Sherrod Brown, Democrat of Ohio, put it: "Like a toddler who has gotten his hands on a book of matches, Facebook has burned down the house over and over, and called every arson a learning experience. We would be crazy to give them a chance to experiment with people's bank accounts, and to use powerful tools they don't understand, like monetary policy." Ouch. Everyone loves a challenge, but this seems overwhelming. Mr. Marcus said during the hearings that Facebook was "owning" its mistakes and "working to remedy them." And he insisted that the company wouldn't launch Libra until regulators' concerns were addressed. But what will that take? With so many critics, there's a risk that Libra may require a fundamental redesign, said Jerry Brito, the executive director of Coin Center, a cryptocurrency advocacy group. "I don't know whether they will want to move ahead with something like that," he said. Peter Thiel called Google's China work "seemingly treasonous." Google denied it; Mr. Trump said his administration would "take a look." Google and Facebook are tracking you on sex websites. Because, of course they are. When is a photo app a national security threat? When it's developed in Russia, according to critics of FaceApp. Security researchers said the claims were overblown. Most of the Googlers who organized walkouts have now left. Four of seven of them have resigned since orchestrating protests over the company's handling of sexual harassment claims. Alan Turing is the new face of Britain's 50 pound Note. The pioneering computer scientist's huge achievements in code breaking during World War II were overshadowed at the time by a conviction under Britain's Victorian laws against homosexuality.	N24News: A New Dataset for Multimodal News Classification	Technology
For the past few years, I have been a naysayer on one feature of smartphones: their growing size. My position was unusual given the increasing prevalence of larger screen devices. The world's top phone makers have all added more substantial glass screens to stretch from one edge of their smartphones to another, on the theory that people can better enjoy their apps and content on an ample display. Apple helped seal the deal last week when it announced that its new phones this year the iPhone XR, XS and XS Max would have screens that measured between 5.8 inches and 6.5 inches diagonally, compared with 4.7 inches and 5.5 inches two years ago. In fact, the 6.5 inch screen on the iPhone XS Max is Apple's biggest ever. (The original iPhone in 2007 started with a 3.5 inch screen.) I have been troubled by this trend. These devices spend a lot of time in your pocket and your hand, and there are often compromises in portability and comfort when the screens balloon in size. For those reasons, I never liked the Plus phones, the line of iPhones that Apple introduced in 2014 with 5.5 inch screens. They felt impossible to use with one hand and far too bulky in a pocket. So it's humbling to come to you now with another confession: The iPhone XS and the iPhone XS Max may be making me a convert to bigger smartphones. Last week, I began testing both new iPhone models. I had predicted that the larger display on the XS Max would be unwieldy in my pocket and make the phone cumbersome to hold with one hand while typing and reaching for buttons inside apps. There were other things I figured I would dislike. The prices of Apple's phones, for one, have shot up. The XS will start at 999 and the XS Max at 1,099 when both become available on Friday, compared with 699, 799 and 999 for new iPhones last year. The iPhone XR, which will be released on Oct. 19, is starting at 749. None of the new phones were making huge technological leaps from last year, either. The iPhone XS and XS Max have a dual lens camera, while the XR has a single lens camera. All three iPhones include Face ID, the feature for unlocking the phone using face recognition. Yet after running the 6.5 inch XS Max alongside the 5.8 inch XS through different situations and conditions for a week, I was surprised by my reaction. Far from being disappointed by the supersized devices, I was delighted. The trade offs of the new jumbo model felt minor. By eliminating the bezels, which are the screen's borders, Apple did a terrific job of increasing screen size without adding bulk or compromising the usability of the XS Max. I still think the smaller XS is a better fit for most people, but many would enjoy the XS Max. I began by testing the iPhone XS Max because why not start with the biggest device? I moved my SIM card and all my data from an older iPhone to the new gadget and took it with me to dinner parties, bars, meetings and the gym. After three days, I was surprised by how good it felt to use the XS Max with one hand. A key factor was how Apple had managed to cram a bigger screen into a slightly smaller body. (The body of the Plus phones was 6.24 inches by 3.07 inches, while the XS Max's body is 6.2 inches by 3.05 inches.) These changes amounted to meaningful improvements in ergonomics and overall convenience. I was able to hold the XS Max in one hand and type messages easily. In contrast, my thumb could not reach keys on the sides of the older iPhone 8 Plus, like the shift key or the backspace key, because of the space taken up by the bezel. And I found the jumbo screen XS Max particularly beneficial in several instances. While driving, it was easier to read maps. The bigger screen made writing longer emails a task that I usually do on a laptop more pleasant. The display was also nice for reading recipes in the kitchen. While browsing Instagram next to my partner, I said to her: "If you can use this thing with one hand, who would want the smaller phone if you only have to pay 100 more for this huge screen?" "But does it fit inside your pocket?" she asked. That brings me to the iPhone XS. After taking the larger XS Max everywhere with me for three days and feeling good about it, I switched to the iPhone XS and immediately experienced a sense of relief. I found I simply preferred the XS's smaller body for the very basic task of moving around. Having the smaller phone in my pocket felt less obtrusive during dog walks, long hikes and gym sessions. I also found the XS easier to use as a camera. While the XS and XS Max share identical camera systems, which produce excellent, clear photos with natural looking colors in normal and lowlight conditions, the smaller phone worked better in a pinch because it was easier to pull out of a pocket and quickly stabilize to take a clear shot. As a self diagnosed phone addict who is trying to cut down on screen time, I decided the XS also felt healthier for me. The XS Max screen was so good looking that I wanted to keep reading articles and looking at photos on Instagram. When I used Apple's new Screen Time feature to monitor my use of each device, I discovered that I spent an average of roughly five and a half hours a day on the XS Max, two hours more than on the XS. So where does that leave us? I concluded I no longer had any real objection to the bigger size of the iPhone XS Max, but felt that the smaller XS was still a better mobile phone because it was just as capable but more portable and pocketable. That means if you are a more casual technology user who wants a superb smartphone that is comfortable to carry, I recommend you go for the XS. If you plan to treat your phone as a primary computer, go for the XS Max. One flaw frustrated me in both iPhones: the poor design of Reachability, the software feature that was designed to make larger phone screens easier to use with one hand. On past iPhones, Reachability let people tap the home button twice to lower the top of the screen and reach for the buttons up there. Now there is no home button, so the new way to trigger Reachability is to swipe down from the bottom of the screen. That's problematic because when you swipe from the bottom, it's easy to unintentionally hit a button on the bottom of an app, like the search tab inside Instagram or the video tab inside Facebook. There is a clear opportunity here for Apple to use the iPhone's pressure sensitivity, called 3D Touch, to let you press hard on the bottom of the screen to trigger Reachability. But for now, we are stuck with swiping down. For years, Apple customers have gotten in the habit of buying a new iPhone sight unseen. But now that there are several sizes for different prices, I encourage you to try before you buy. It may not hurt to wait for the XR's release next month so you can test all three in a store. Play with the cameras and pay close attention to how each phone feels in one hand and inside your pocket. It's important that you find the right fit: Since you have to pay so much for your next iPhone, you will probably live with it for a long time. And who knows? You might assume you will dislike a bigger screen and then change your mind just as I did.	N24News: A New Dataset for Multimodal News Classification	Technology
How to watch: From noon to 6 p.m. Eastern time on ESPN; 7 to 11 p.m. on ESPN2; and streaming on the ESPN app. As the United States Open inches closer to its final weekend, the matches are now taking place on just two courts. All of today's singles quarterfinals will be at Arthur Ashe Stadium, and the lone doubles semifinal at Louis Armstrong Stadium. With so many top players facing off, it should be an interesting day. Here are some matches to keep an eye on. Because of the number of matches cycling through courts, the times for individual matchups are at best a guess and are certain to fluctuate based on the times at which earlier play is completed. All times are Eastern. Williams, a 23 time major singles champion, on Monday won her 100th match at Arthur Ashe Stadium. It's a testament to her dominance and longevity that the next best performer at Arthur Ashe is Roger Federer, with 77 victories. Although the rabid fans that usually accompany such wins are not present this year, the change appears to have had almost no effect on Williams. "This is my job," she said after her win over Maria Sakkari on Monday. "This is what I wake up to do. This is what I train to do 365 days of the year." That resolve was clear in her past two matches. Against Sakkari and Sloane Stephens, she dropped a set to an opponent who knew she needed to play her best tennis in order to unseat Williams. But with aggressive returns and tenacious rallies, Williams refused to allow either of them the opportunity to win. Pironkova, in her first professional tournament since Wimbledon in 2017, has reached the quarterfinals in style. Though the unseeded Pironkova has been a dark horse for the average viewer, she has gained two comprehensive victories over seeded players: Garbine Muguruza and Donna Vekic. This is only Pironkova's third Grand Slam quarterfinal appearance out of 50 appearances, and she has reached the round of 16 at the U.S. Open just once before. Pironkova prefers a faster court, but it will be tough for her to outgun Williams today. The experience that Williams has been building not just throughout her career, but also in the past few months of competition in preparation for the U.S. Open will probably allow her to adjust to her fellow veteran's style of play. In the early rounds, Medvedev and Rublev made it clear that they both had the potential to reach the final this year. Rublev has dropped only one set, against the big serve of Berrettini, but ultimately became the first player to break Berrettini's serve as he secured a four set victory. Medvedev has not dropped a set, and has lost only seven games on average in each match. Both Russians possess unique games. Rublev hits with a very open stance, a technique that has recently grown in popularity, but that is generally reserved for situations in which a player is on the run and needs to play defensively. Rublev uses this open stance even when in control of the point, which can make it difficult to tell where he intends to hit. Medvedev, an extremely lanky player, has an erratic and transfixing game. He seems able to hit the ball in almost any way, depending on the position he finds himself in. He appears equally comfortable to shape up in perfect form, or to hit a winner by swinging his arm wildly over his head. This matchup could leave viewers transfixed, making them ask just how the modern game of tennis works. There is no simple answer anymore. There were times during Azarenka's round of 16 matchup against Karolina Muchova that one could see just how mentally tough the Belarusian veteran is. After battling through the first set, and being kept at bay by the 20th seed, Azarenka adjusted, finding weaknesses in Muchova's game and exploiting them with almost no fuss to charge ahead and win the next two sets. Azarenka, the champion at the Western Southern Open last month, has shown this ability time and again in the past few weeks. For Mertens, the 16th seed, this match will be a tough task. Even though Mertens has yet to drop a set through the first four rounds and she upset the second seed, Sofia Kenin, an in form Azarenka poses a different set of complications. The two have met in doubles a few times, including in the 2019 U.S. Open doubles final, but there, the challenges posed to opponents tend to be about placement, not power. Mertens is an exceptionally consistent player. That works well against players who can be forced into mistakes, but with the way Azarenka has been playing, it's unlikely that Mertens will be able to withstand an onslaught of groundstrokes for long enough to find that one mistake. Thiem, the world No. 3 and the highest seed left in the men's competition, is primarily a defensive player. Having reached the final at three major events, only to be foiled by one of the "Big Three," Thiem has developed a reputation as a champion in waiting. Now that he is one of the favorites, it will be interesting to see how he handles the pressure. Thiem prefers slow clay courts and has some tendencies that don't seem to fit a hard court match. He returns from deep behind the baseline, plays high looping balls during points to reset himself and almost never comes to net. These strategies, for an average player, would be a distinct disadvantage on faster surfaces. Yet Thiem manages to chase balls down and to keep himself in points. Tonight, he will play another resolute defender. After his round of 16 victory over Vasek Pospisil, de Minaur, the 21st seed, was asked about his defensive style of play, which is predicated on his speed. "Well, if I could definitely blast people off the court, then trust me, I would rather do that," he replied wryly. "This running thing gets tiring, that's for sure." To watch him, you could imagine that de Minaur, known as Speed Demon, is never tired. It can be discouraging for any opponent to hit a nearly perfect drop shot, only to see the wiry 21 year old chase it down, then immediately pop up to chase the following shot. This will be the first appearance in a Grand Slam semifinal for Muhammad and Townsend. Throughout the tournament, they have seemed remarkably calm, letting each match stand on its own, without heeding the usually worrisome context of a Grand Slam appearance. Xu and Melichar, who began playing together this year, have a bit more experience with deep runs. Melichar has one Grand Slam doubles title, and Xu made it to the finals at Wimbledon last year. Each pair has shown stoicism, but the deeper the run, the more difficult that can be to maintain. Today's match may end up being a test of nerves, more than a measure of physical abilities.	N24News: A New Dataset for Multimodal News Classification	Sports
PHILADELPHIA At first glance, the placid seascape might blend in with the paintings around it, were it not for the tarlike substance clinging to the panel. The neon sculpture could be mistaken for a similar piece just down the road at the Philadelphia Museum of Art . In fact, Minerva Cueva s's chapapote dipped paintings found works she sources at flea markets or on the internet and dips in tar offer commentary on the vulnerability of the waterways to oil spills. Mungo Thomson 's glowing spiral, which reads "Insanity is doing the same thing over and over and expecting different results," is a response to Bruce Nauman 's "The True Artist Helps the World by Revealing Mystic Truths." And it's hard to look at General Idea 's "Great AIDS (Ultramarine Blue)" stretching 10 feet across a gallery wall without seeing the resemblance to Robert Indiana's "Love" a block away (sans photo snapping tourists). There is no one chapter of art history referenced in "Ancient History of the Distant Future" a variety of social and political topics are addressed in this new exhibit of contemporary works woven through the galleries of the Pennsylvania Academy of the Fine Arts (PAFA). "I think the key for this exhibition is that we are interested in artists who are looking to the past, thinking about historical points of reference, about historical art and reframing them for the contemporary moment," said Joseph del Pesco , co curator of the exhibition and the international director of Kadist, a contemporary art organization based in Paris and San Francisco. Mr. del Pesco and Kadist partnered with the Pennsylvania academy's curator of contemporary art, Jodi Throckmorto n. The exhibition grew out of their conversations about contemporary art and museums in America. PAFA is one of the oldest museums in the United States, established in 1805 by Charles Willson Peale who is best known for his portraits of the Founding Fathers as a center for art education and exhibition. Even today, the museum's reputation is closely linked with that back story. "I've had members tell me, I know what's in there, Brooke, I've seen it already," said Brooke Davis Anderson , the museum's director . "I think for a while there was that idea that the permanent collection was hung in a chronological way," Ms. Throckmorton said, "and that it's pretty static, and really it pretty much stopped at 1950." But she is rapidly acquiring 21st century artworks to add to the museum's 16,000 piece collection. Less than 3 percent of the collection is on view at any given time, which means art is constantly cycling through the galleries, new work mixing with the old. The museum plans a complete reinstallation in the next few years. The Pennsylvania academy has always been a home for contemporary work, even if that isn't the public perception. Paintings used to be bought straight out of the annual exhibitions, acquired within a few years of being made. "The truth is," Ms. Anderson said, "this historical collection was bought as contemporary art." What is noteworthy is how the contemporary art is integrated with older works, not relegated to separate wings. While the Mungo Thomson and General Idea works have reference points outside the Pennsylvania academy, other works in "Ancient History of the Distant Future" respond to paintings that have long hung on its walls. There are two commissioned works from Alex Da Corte . A phototex of "Scabby," the giant inflatable union rat, clings to the wall in a gallery with "Penn's Treaty with the Indians" by Benjamin West and portraits of people who made their money from the slave trade. In the hall, an iPhone shot of Mr. Da Corte's hand holding a Wawa "Hoagiefest" doughnut encircles Thomas Birch's "Perry's Victory on Lake Erie," a painting of a War of 1812 battle over a trade route, creating a juxtaposition of 21st and 19th century views of capitalism. "To propose there is something behind what you're looking at," Mr. Da Corte said, "it makes the painting, in some ways, a mask, or proposes the painting has some sort of artifice and isn't the whole truth." In the Salon Gallery , where paintings are stacked to the ceiling in the salon style, Carla Zaccagnini's "Elements of Beauty" takes over half the room. Empty rectangles painted on the wall represent paintings slashed by suffragists in the United Kingdom a century ago and face one of the first female nude paintings exhibited in the United States. Ms. Zaccagnini learned about the damaged paintings through her research into art related crimes such as robbery and forgery. Each of the representations has a short audio guide to go along with it that tells about the paintings depictions of mythical women controlled by men's desires, or well behaved Victorian women as well as descriptions of women's roles at the time and accounts of the destruction. "What I see in these actions," Ms. Zaccagnini said, "is even if they attacked artworks, that's also a sort of belief in the importance art has in society. It's not against art. On the contrary, it's because they know art is important they go for it."	N24News: A New Dataset for Multimodal News Classification	Art & Design
If you thought the volume on the Trump Twitter Fox noise distraction machine was turned up extra loud in the past few weeks, it was not only to deflect attention from the nearly 100,000 Americans who've died from Covid 19, but also from the confirmation that on President Trump's watch our country suffered the first deadly terrorist attack on U.S. soil since 9/11 that was planned abroad. You read that right. Last week, Attorney General William Barr and the F.B.I. said that data from cellphones of a Saudi Air Force trainee who killed three U.S. sailors and wounded eight others at a Navy air base in Pensacola, Fla., on Dec. 6 confirmed that it was an act of foreign planned "terrorism." The phone data "definitively establishes" that the trainee, Mohammed Saeed Alshamrani, had "significant ties to Al Qaeda in the Arabian Peninsula not only before the attack, but before he even arrived in the United States" in August 2017. He had actually joined the Saudi military to carry out a "special operation." The Trump administration clearly had no idea what was happening under its nose. As The Washington Post noted: After the attack, investigators found evidence that 17 fellow Saudi students "had shared Islamist militant or anti American material on social media, and others had possessed or shared child pornography. As a result, 21 cadets from Saudi Arabia were disenrolled from the training program and sent home." That sort of intelligence failure the first foreign planned terrorist attack on U.S. shores since 9/11 is something you'd expect Secretary of State Mike Pompeo to be particularly upset about. After all, it was Pompeo, when he was in Congress, who spearheaded the investigations into then Secretary of State Hillary Clinton's supposed responsibility for the death of four U.S. diplomats in a terrorist attack on the U.S. Consulate in Benghazi, Libya, on Sept. 11, 2012. Oh, you forgot about Congressman Pompeo's endless campaign to nail Hillary with Benghazi? Well, let me jog your memory. Here is how The Guardian described the conclusion of the 800 page, House select committee investigation on Benghazi, led by a Republican representative, Trey Gowdy, and issued on July 28, 2016: It "found no new evidence to conclude that Hillary Clinton, secretary of state at the time, was culpable in the deaths." A few hours later, the Obama White House "noted tersely that this was the eighth congressional committee to investigate the attacks and went on longer than the 9/11 commission and the committees designated to look at Pearl Harbor, the assassination of President John F Kennedy, the Iran contra affair and Watergate." So, let's do some math here: Then Congressman Pompeo led the utterly contrived campaign to blame Hillary for the Benghazi deaths a charge that a Republican led committee found to be without merit. But Pompeo used his crusade to gain the attention, via Fox News, of Trump and was named Trump's C.I.A. director. And now we learn that while Pompeo was C.I.A. director, the first foreign planned terrorist attack on U.S. soil since 9/11 was being organized here and abroad, and while he was secretary of state it was carried out. I don't know much about Pompeo's time as head of the C.I.A., except that he was notorious for spending long hours at the White House sucking up to Trump. But I do know he has been the worst secretary of state in American history, without a single diplomatic achievement. I know you thought that Rex Tillerson had retired that title. Tillerson was ineffective, but Tillerson had integrity and ethics. Pompeo has none. American taxpayers deserve a refund from him for his education at West Point. Pompeo's two most notable accomplishments as secretary of state are, metaphorically speaking, shooting two of his senior State Department officials in the back. One was the distinguished U.S. ambassador to Ukraine, Marie Yovanovitch, whom Pompeo removed on the orders of Trump and Trump's nut job lawyer Rudy Giuliani. The other was the department's inspector general, Steve Linick, whom Pompeo got Trump to fire, reportedly because he was investigating wait for it now Pompeo's own efforts to evade a congressional ban on arms sales to Saudi Arabia and for improperly asking a State Department employee to run errands for him and his wife. Hell, if that were me if the first foreign planned terrorist attack on American soil since 9/11 developed on my watch and if I had just gotten rid of the State Department inspector general without explanation I'd also be trying to distract attention. I mean, if it were me, I might even claim that China concocted the coronavirus in a lab in Wuhan. Wait that's what Pompeo did! "There is a significant amount of evidence that this came from that laboratory in Wuhan," Pompeo told ABC News's "This Week" on May 3. "The best experts so far seem to think it was man made. I have no reason to disbelieve that at this point." Pompeo has a well earned reputation for pushing conspiracy theories. I certainly think it is possible that a coronavirus from bats being studied in the Wuhan lab might have escaped by accident. But the "best" expert virologists and U.S. intelligence agencies say there's no proof it was man made, which would leave DNA tracks. When Martha Raddatz, the ABC interviewer, told Pompeo that U.S. intelligence has said no such thing, he just reversed course and said: "I've seen what the intelligence community has said. I have no reason to believe that they've got it wrong." What? The secretary of state first accuses China of manufacturing a virus that has killed over 340,000 people worldwide and then, when reminded that our intelligence agencies have concluded no such thing, he backs off with no explanation. Can you be any more unprofessional? But that's not the only slimeball story that Pompeo wants to distract attention from. On May 19, NBC News revealed that since 2018 he and his wife, Susan, had held some two dozen "elaborate, unpublicized" dinners "in the historic Diplomatic Reception Rooms on the government's dime. State Department officials involved in the dinners said they had raised concerns internally that the events were essentially using federal resources to cultivate a donor and supporter base for Pompeo's political ambitions."	N24News: A New Dataset for Multimodal News Classification	Opinion
With some 200 timepieces on display until Nov. 13, "To Break the Rules, You Must First Master Them," an exhibition at the Yuz Museum in Shanghai, is Audemars Piguet's largest display ever staged outside Switzerland. "We didn't want to make a classical museum exhibition with just display showcases containing watches," said Sebastian Vivas, director of the Audemars Piguet museum in Switzerland and the exhibition's curator. "We wanted the exhibition to be a place of experiences, where people can meet watchmakers and where they can hear minute repeaters and see the mechanism out of their case." Twelve rooms within a large metal ring structure, reminiscent of a giant watch dial, retrace the manufacturer's journey, highlighting two common threads throughout four generations of the Audemars and Piguet families: a commitment to complex horological mechanisms and a desire to remain creative. Highlights include the 1875 Jules Louis Audemars school watch, which has several complications. "It is historically very important not only because it demonstrates that the founder of Audemars Piguet was a highly skilled watchmaker but because it is, in its way, a 'manifeste' during the era of industrialization," Mr. Vivas said. "Until 1951, Audemars Piguet produced only unique pieces, and even since, the production has remained very low."	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Elisabeth Suzanne Trissel and Patrick James McKenna were married Sept. 1 in their backyard in Denver. The Rev. Liliana Stahlberg, a Lutheran priest, performed the ceremony. Mrs. McKenna, 53, is a senior project manager at AT T in Denver. She graduated from the University of Colorado, Denver and received a project management institute certification from Colorado State University. She is a daughter of Deborah R. Trissel of Denver and the late James N. Trissel. The bride's father retired as a professor of fine arts at Colorado College in Colorado Springs. Mr. McKenna, 55, was until June working in New York as a consultant at Templar Advisors, a London based financial services consultancy. He was previously the general counsel of the American Cancer Society. He graduated from Siena College and received a law degree at Albany Law School.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Let's face reality: It is likely, for now, that no further economic relief is coming from Congress before the election. For months, negotiations between Democrats and Republicans over a follow up package have alternated between stopping, starting and stalling. Congress and the White House became mired in partisan politics as soon as a tenuous recovery from the worst of the pandemic began. Congress started strong this March, passing the 2 trillion Coronavirus Aid, Relief, and Economic Security (CARES) Act. The measures taken, though imperfect, worked. But we are now the victims of that success, as Congress has lost the will to do more. The outcome is as predictable as it is tragic: as soon as the crisis stabilized enough for partisan inaction to not be political suicide, legislative paralysis returned. In the meantime, coronavirus deaths continue to mount and normalcy remains elusive. It was far too soon to end relief but Congress did it anyway. Temporary job losses have become permanent. Through no fault of their own, businesses have closed their doors forever. Communities have laid off even more teachers. That leaves the Federal Reserve gatekeeper of the world's reserve currency, America's central bank and lender of last resort as the only game left in town. And its game is not good enough. As with Congress, the Fed acted boldly in March. Financial markets were seizing up and stock prices plunged. The Fed stepped in and pumped trillions of dollars into credit markets to put them back in sync. They offered to lend vast sums to financial institutions and corporations temporarily short on cash. However, shortly after, the Fed fell prey to politics and, perhaps most crucially, to its own longstanding technocratic obsessions and misconceptions. The first signs of the Fed walking away from this crisis began with its two failed lending facilities: one meant for middle sized businesses and the other meant for municipalities with gaping budget shortfalls. As I wrote in April, these new programs were a watershed; the Fed was poised to support Main Street, for once, not only Wall Street. Even so, these two innovative facilities, authorized in the CARES Act, were rolled out too slowly and months later have made only a handful of loans, largely because the terms of the loans are needlessly onerous. Why is politics to blame? Both Democrats and Republicans took aim at the facilities. Democrats chastised the Fed for making midsize oil companies eligible, and Republicans scoffed at the idea of a "blue state bailout." In turn, the Fed decided to essentially do nothing. 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." They shifted responsibility to the Treasury and claimed victory with the lending facilities; a victory few strapped businesses or municipalities can see. With financial markets stabilized and stocks rising again, the Fed, in essence, appears to see its job as done. That mistaken view of a mission accomplished doesn't stem from any malice among the Federal Reserve's staff or leadership. Rather it comes from expertise that remains out of touch and stubborn fears of inflation that were bred during the crises of the late 1970s and early 1980s. A little over 40 years ago, it took the Fed raising interest rates into the double digits to fight the double digit inflation that was stifling the economy. No one wants that level of inflation again. But no serious person thinks the economy is in danger of such a precipitous rise in prices. Still, the current leaders of the Federal Reserve, who came of age as students of that inflation crisis, remain chastened by it and continue to overcorrect for it. Even after the central bank was given a "dual mandate" by Congress to fight for more job creation, and not just stabilize prices, it has fought to keep prices stable at the expense of promoting maximum employment. "The Making of Hawks and Doves: Inflation Experiences on the Federal Open Market Committee," a research study by Ulrike Malmendier, Stefan Nagel and Zhen Yan, tracks how the lived experiences of Fed officials with inflation decades ago has sustained a hawkish culture in American monetary policy in which inflation prevention has always overshadowed employment. In fact, the word "maximum employment" did not appear in an official Fed statement until September 2010. Four months later, the Fed adopted an explicit inflation target of 2 percent. Yet, to this day, it refuses to define full employment. To its credit, in recent years, the Fed has wrestled with whether they have the right tools and if they've made the right decisions. They surveyed academic research and reflected on the efficacy and room for improvement in its policies following the Great Recession. They also did something new and scary for the Fed: they talked with people. The Fed held listening sessions across the country to understand what people thought it should be doing. Again and again, people said we need more good jobs, said they thought inflation is not a big deal and scoffed at the notion that the nation might already be at "full employment," as many powerful economists thought. For one, unemployment for people of color, those without a college degree, and in many rural areas remained high several years into the expansion after the Great Recession. I was there for much of this self evaluation which we labeled a framework review including the Fed Listens events, as a section chief in the Division of Consumer and Community Affairs. And I saw how hard change would be. (I heard, for instance, condescending remarks about the tour from some senior staff.) In the end, the Fed was better at holding events than listening or truly reforming itself. In August at the Fed's annual, exclusive retreat, Fed Chair Powell unveiled the outcomes of the framework review. The supposed big reveal was that the Fed would now try to achieve inflation that averages 2 percent, instead of exactly 2 percent annually. Wall Street and Fed watchers heralded it as a sea change in monetary policy. In reality, it did nothing about the here and now. It only promised it would not overreact to inflation in the future. Yet inflation has rarely reached its modest 2 percent target since 2008. Why should we believe it will be any different after this severe recession? Nevertheless, we cannot give up on the Fed, especially now, as it has consistently been the most effective, stable force in the Covid 19 crisis. And because it appears to be the last bastion for hope of further remedies. The Fed must combine the urgency of its response in March with the creativity of its world saving actions in the Great Recession. What more can the Fed do? First, it must get its Main Street and Municipal Lending facilities truly working for medium sized businesses and state and local governments: Lowering the interest rates on the loans, which are currently above market rates, and extending the repayment time to five or more years. The Fed must also be willing to make loans to businesses and communities that might not be able to repay in full. Generous loan forgiveness would effectively turn the loans into grants a helping hand that the Fed has been willing to lend to struggling large firms in the recent past. Second, the Fed must think big. As trouble was brewing in financial markets in 2007, Ben Bernanke, then Chair of the Fed, sent an email to senior staff with the subject line "Blue Sky." They needed new thinking new ways to calm markets and support the overall economy. They used obscure emergency powers in 2008 and later purchased over one trillion dollars in mortgage back securities after the housing bubble imploded. Tools that were new and untested in the United States at the time. The same goes for 2020. We need blue sky ideas, and they exist. One example, a proposal by former Fed economists Julia Coronado and Simon Potter, is that the Fed could get money directly to people, using digital currency not unlike a direct deposit. To avoid politics, this emergency support would be tied to macroeconomic conditions, like the unemployment rate. Such policies would blur the line between fiscal and monetary policy, but if done well, the independence of the Fed from Congress could be preserved. Finally, the Fed must get serious about exorcising its hawkish demons. It must commit not simply promise to meet its dual mandate. They must define maximum employment with numbers not good intentions. They must explain, in detail, what hitting their new average inflation target will look like. Then they need a plan to get it done.	N24News: A New Dataset for Multimodal News Classification	Opinion
President Trump continued to criticize his handpicked Federal Reserve chair, Jerome H. Powell, saying, "It is only the naivete of Jay Powell and the Federal Reserve that doesn't allow us to do what other countries are already doing." WASHINGTON President Trump urged Wednesday for the Federal Reserve to cut interest rates to zero or even usher in negative rates, suggesting a last ditch monetary policy tactic tested abroad but never in America. His comments came just one day before European policymakers are widely expected to cut a key rate further into negative territory. In a series of tweets, Mr. Trump said, "The Federal Reserve should get our interest rates down to ZERO, or less, and we should then start to refinance our debt," adding that "the USA should always be paying the the lowest rate." Mr. Trump continued to criticize his handpicked Fed chair, Jerome H. Powell, saying, "It is only the naivete of Jay Powell and the Federal Reserve that doesn't allow us to do what other countries are already doing." He concluded by calling Mr. Powell, whom he nominated to head the central bank in 2017, and his Fed colleagues "Boneheads." Read more about Mr. Trump's feud with the Fed, which is rooted in history. Mr. Trump's request is extraordinary for several reasons. The United States economy is still growing solidly and consumer spending is strong, making this an unusual time to push for monetary accommodation, particularly negative rates, a policy that the Fed debated but passed up even in the depths of the Great Recession. It is also typical for countries with comparatively strong economies to pay higher interest rates, not the "lowest" ones. But Mr. Trump is facing an economic slowdown in the United States as the effects of his trade war with China and slowing global growth begin to rattle consumer confidence and threaten business investment, particularly in the manufacturing sector. With the 2020 election looming, Mr. Trump has begun looking for ways to keep the economic expansion going strong. Along with calling on the Fed to lower rates, he's also mulled additional tax cuts. The president's call for negative rates is a significant escalation from what the White House was demanding from the Fed even six months ago. Mr. Trump and his colleagues have quickly gone from calling for a moderate rate cut to urging negative borrowing costs. Mr. Trump's economic advisers met on Wednesday to continue discussing ways to push through more tax cuts, such as a payroll tax cut, along with the legality of using executive authority to index capital gains to inflation, according to an administration official. Treasury Secretary Steven Mnuchin, who attended the meeting, said on Tuesday that the Trump administration would be examining "tax cuts 2.0" as something to consider in 2020. The president has said repeatedly that the economy is doing "great" and has accused the news media and Democrats of trying to sow economic uncertainty. Mr. Trump's optimistic economic diagnosis makes his demand for negative rates, essentially an emergency policy option that central banks turn to after having exhausted more conventional ways of stoking economic growth, all the more striking. Ford and Rivian no longer plan to work jointly on electric vehicles. Elizabeth Holmes took the stand in her trial. Follow along with our reporters. Ken Griffin, head of Citadel, bid highest for a copy of the Constitution. But Mr. Trump increasingly sees the global economy as a winner take all game, one in which countries compete on exchange and interest rates. The president has repeatedly criticized other governments for trying to protect their economies by lowering rates or providing more stimulus, viewing those actions as working against America's growth. Negative rates, which have been used in economies including Japan, Switzerland and the eurozone, mean that savers are penalized and borrowers rewarded: Their goal is to reduce borrowing costs for households and companies to encourage spending. But they come at a cost, curbing bank profitability. While it's unclear how effective they have been as a policy tool some research suggests negative rates could curtail lending they are increasingly a reality in much of the world as central banks rush to support economic growth and investors look for safe assets. The timing of Mr. Trump's tweet is significant. The European Central Bank is expected to cut a key interest rate to a record low negative 0.5 percent and roll out additional stimulus measures at its meeting on Thursday, in a bid to shore up very low inflation and waning growth in important economies like Germany. Central banks around the world have been lowering their policy rates, partly because Mr. Trump's trade war is combining with Brexit jitters and a global manufacturing slowdown to threaten growth in many nations. The American president has commented on foreign central bank rate moves before, tweeting in June that "they have been getting away with this for years," when Mario Draghi, who heads the European Central Bank, indicated that officials might provide additional stimulus to shore up the eurozone economy. The Fed itself has already cut rates and is poised to lower borrowing costs further as risks to economic growth loom. Mr. Powell and his colleagues lowered interest rates for the first time in more than a decade in July to a range of 2 percent to 2.25 percent, and they are widely expected to cut by another quarter of a percentage point at their meeting next Tuesday and Wednesday in Washington. "The Fed has, through the course of the year, seen fit to lower the expected path of interest rates," Mr. Powell said in a speech last week, adding "that's one of the reasons why the outlook is still a favorable one, despite these crosswinds we've been facing." Since Bill Clinton's presidency, the White House generally avoided commenting on Fed policy. Mr. Trump broke with that tradition starting last July, and economists say that his now frequent attacks on the central bank and Mr. Powell personally carry a risk for the institution. The Fed is tasked with setting monetary policy with an eye toward the longer term figuring out how to keep employment and inflation steady over time. But Mr. Trump's regularly voiced opinions create a risk that anything the Fed does could be seen as either capitulation or resistance. "Anything they say or do will be seen against the backdrop of Trump's attacks," said Eswar Prasad, an economist at Cornell University and former International Monetary Fund official. That's especially tough at a time when the Fed is already puzzling over what to do with rates, given strong economic data but mounting risks to the outlook. "If the data were unanimous and if there were consensus on the Federal Open Market Committee, which lately there is not, it would be different," Mr. Prasad said. "The risk is that a rate cut could get interpreted as the Fed just trying to placate Trump."	N24News: A New Dataset for Multimodal News Classification	Economy
In these isolated times, many people are inside reading, but the book business, like others, is bracing for catastrophe. Major literary festivals and fairs around the world have been canceled. Public libraries have closed. Author tours, signings and bookstore appearances have been scrapped. As the severity of the coronavirus outbreak continues to intensify, authors, publishers and booksellers are struggling to confront and limit the financial fallout. Many fear the worst is yet to come, including more store closures and potential disruptions to warehouse and distribution centers, as well as possible paper shortages and a decline in printing capacity. "There's no question we're going to see a drop in sales," said Dennis Johnson, co publisher of the Brooklyn based independent press Melville House, who has directed staff to work from home. "It's unprecedented. Nobody knows what to do except hoard Purell." The Sydney Writers' Festival, which typically draws an audience of 80,000 and was scheduled to begin on April 27, was called off this week, following cancellations of major book fairs in England, France, Germany and Italy. In the United States, The Los Angeles Times Festival of Books, Tucson Festival of Books, the Virginia Festival of the Book and The Believer Festival in Las Vegas were among the many shuttered events, which draw tens of thousands of readers and can be a critical sales venue for authors and publishers. On Monday, PEN America announced that it was calling off its World Voices Festival, which was set to take place in early May in New York, with planned appearances by Margaret Atwood, Zadie Smith, Jenny Slate, Elif Shafak and others. BookExpo, a pivotal annual trade show for publishers, booksellers and librarians, is currently still scheduled to take place at the end of May at the Jacob K. Javits Center in New York, according to the event's organizer, Reed Exhibitions. "We remain optimistic that we can take the appropriate measures to see ourselves on the other side of this by the end of May and carry on as planned," BookExpo's director said in a statement on its website. "That being said, we will continue to follow guidelines and precautions suggested by the Centers for Disease Control and Prevention." The potential long term effects for book retailers are sobering. Many in the industry are worried that independent bookstores will be devastated as local and state officials mandate social distancing and order some businesses to temporarily close. "The irony of all this is that what makes bookstores so potent, our ability to be community gathering places, has become our biggest liability," he said. 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. The public health crisis and the resulting economic fallout have hit at a moment of relative calm and strength for the industry, after a period in which independent stores across the country had rebounded, print sales had stabilized and digital audiobook sales had soared. In 2019, total sales across all categories rose 1.8 percent from 2018, reaching 14.8 billion, according to the Association of American Publishers. Now, those gains are likely to be erased as booksellers confront a bleak and uncertain economic future. A growing number of independent booksellers have responded to the public health crisis by closing their stores and sending employees home. On Monday, the Strand bookstore announced that it was closing its flagship store in Manhattan and its kiosks elsewhere around the city. Emily Powell, the owner and chief executive of Powell's Books in Portland, Ore., announced that Powell's was closing all five of its locations through at least March 31. Some independent booksellers, including Powell's, have already begun cutting staff. On Monday, Powell's announced to employees that it will begin involuntary layoffs after determining the minimum number of employees it needs to keep the online store functioning. A representative of the local union that represents 400 Powell's workers said that about 85 percent of them had already been affected by temporary layoffs, and that the company has signaled that permanent layoffs are likely to follow. McNally Jackson, an independent chain in New York, let a substantial number of its employees go after deciding to shutter its stores for the time being. On Twitter, the company said it had temporarily laid off many of its staffers while "facing down a massive, unprecedented loss in revenue," and added that "we intend to hire back our employees as soon as we can." A note on the company's website said that it is still accepting phone and online orders while the stores are closed, and offering delivery. Other bookstores, which often serve as community hubs as well as businesses, are trying to offset falling foot traffic by offering customers free delivery or curbside pickup. The novelist Ann Patchett, a co owner of Parnassus Books in Nashville, Tenn., said her store is offering curbside book delivery and free shipping for orders over 50, and is putting together video book recommendations for its website. "It does seem like a great time to get some reading done," Ms. Patchett said. The Booksmith in San Francisco is also offering free local shipping, and has seen a rise in online sales. "Fulfilling those orders has turned into a constant, full time, all day thing for now," said Camden Avery, the store's manager. The American Booksellers Association said it has been lobbying publishers to support independent stores by offering discounts, free shipping to customers and a removal of the cap on returns of unsold titles, among other measures. Other groups have been raising money to donate to hard hit independent stores. The Book Industry Charitable Foundation, which gives financial support to independent stores, released a statement offering potential assistance to stores that have been impacted by the epidemic and are unable to pay their rent or utilities bills as a result of lost sales. Still, many in the industry worry that financial losses stemming from the outbreak will cripple a significant number of stores and cause them to close permanently. Others fear that the lockdowns and government guidelines mandating social distancing will give an even greater advantage to Amazon as more homebound customers turn to internet shopping. Another looming concern for publishers and authors is the impact of the rapidly unfolding crisis on Barnes Noble, the largest bookstore chain in the United States, which is already ailing. James Daunt, the chief executive of Barnes Noble, said the company is anticipating a blow to business, even as it has seen a lift in online sales. "We'll suffer disruption along with everybody else. It's going to be hugely challenging for retailers, perhaps slightly less for us than most," Mr. Daunt said, noting that bookstores aren't usually as crowded as restaurants and bars. "Most of our events will be canceled, if not all. This is a really tough time for every retailer, and unquestionably we will suffer." In an effort to replace book tours and foster a sense of community, some are turning to virtual events through platforms like Zoom, Crowdcast and Instagram Live. Erik Larson canceled the remainder of a planned 33 city tour for his best selling book about the London Blitz, "The Splendid and the Vile"; his publisher is now looking at ways to livestream a conversation with him, and plans to post a series of short videos online in which he discusses his research and writing process. Andrew Altschul, promoting his new novel, "The Gringa," held an online discussion on Instagram Live last Friday with Twenty Stories, a bookstore in Providence, R.I. The art critic Jerry Saltz was scheduled to launch his new book, "How to Be An Artist," at the Strand in New York on Tuesday, but will instead appear in a livestream conversation broadcast on the store's Instagram account, which has 225,000 followers. Some stores see virtual events as the best alternative for the foreseeable future, and perhaps the only way to stay connected with readers and their communities as more physical spaces are forced to close. Politics and Prose, in Washington, is aiming to turn all of its scheduled author appearances into virtual events, with writers hosting a conversation about their books remotely by web video through the platform Crowdcast. "Authors are self isolating along with the rest of us," said Liz Hottel, the director of events and marketing at Politics and Prose. "I'm sure they are as starved for meaningful dialogue as readers are."	N24News: A New Dataset for Multimodal News Classification	Books
Preston Chamblee, a member of the New York City Ballet corps, making his debut as the Sugar Plum Fairy's Cavalier. The role starts with tricky partnering and then requires high speed virtuosity. Early in Act II of "George Balanchine's The Nutcracker," the Sugar Plum Fairy summons the populace of the Realm of Sweets to join her in welcoming the Little Prince and his new friend Marie, who has saved him from the Mouse King. Oddly, one person who doesn't join her for this gathering is her own Cavalier. He makes his appearance much later in the act, when she now wearing a high tutu in a new color takes the stage for the spectacular Sugar Plum pas de deux, with him at her side. So who is this man? Her rented escort, her cultural attache, her camp follower, her prime minister? Whoever he may be, this unexplained use of a supportive male functionary is one of the greatest yet most characteristic oddities of Balanchine ballet theater. (There are similar male consorts in "Concerto Barocco" and "A Midsummer Night's Dream.") She's a ballerina; ballerinas need support; ask no further. And soon we see, at least, that he embodies chivalry: He's there to serve her, and then to cast some sparkle of his own. This December, an unusually diverse group of four City Ballet men have made their debuts as this Cavalier: Preston Chamblee, Daniel Applebaum, Sebastian Villarini Velez and Daniel Ulbricht. However anonymous, the role is a taxing one. No sooner has the Cavalier entered than he embarks with Sugar Plum upon an extensive, grand, thrilling adagio that can be seen as a nonstop obstacle course for him: a series of different high exposure partnering exercises. Then, without leaving the stage, he has to change gear immediately into top speed virtuosity, with full throttle sequences of jumps and turns. All four were remarkably well prepared; while making their ballerinas shine, they came through all the partnering hurdles without mishap. Mr. Ulbricht, whose usual persona cutely assertive is familiar to City Ballet audiences, seldom gets to do any partnering. After many seasons of dancing Puck in the Balanchine "Midsummer," he showed a new side of himself valiant, authoritative when he was given the chance to play Oberon in 2015. His support in "The Nutcracker" helped Erica Pereira's Sugar Plum become more decisively adult than ever before. Mr. Chamblee, with his strong physique, beautifully effaced himself behind the tall, long limbed, febrile Claire Kretzschmar. Mr. Applebaum partnered the brightly precise Lauren King with a remarkably light touch. Mr. Villarini Velez, a sternly intense action man, served the marvelously jubilant Sara Adams as if nothing in the world could be of greater urgency. In 2015, Peter Martins, then the company's ballet master in chief, said of the Sugar Plum Cavalier pas de deux: "There are 13 places that are very precarious, that can conceivably go very wrong to the visible eye of the layperson, not just us. So whenever I watch it, I'm like: 10 more to go, seven to go, four to go, O.K., only two left." The most notorious of these places is a twice performed sequence in which the Cavalier stands aside while the Sugar Plum executes unsupported pirouettes into a powerful arabesque gesture. That gesture (she throws one hand high) will take her way off balance if he doesn't catch her in time. It was remarkable to see how well all these four intervened, some coolly solving the task with just one steady hand. Three of these casts brought a happy development: The restoration of a moment, late in the adagio, that has been smudged away by most other dancers this century. The Sugar Plum, after taking multiple pirouettes in her partner's arms, suddenly arches back toward us, her arms opening as she bends. For years, most Sugar Plums have performed this backbend while being whooshed around in a rapid promenade by the Cavalier. (Mr. Chamblee, partnering Ms. Kretzschmar, still does this version.) Balanchine, however, insisted on a momentary full stop before that whoosh, and most of these casts showed you why, with the ballerina flourishing her arms and hands in that backbend, catching an instant of glory in the music. It's just a flash, but it happens twice in quick succession, and it can count, powerfully. Its return is a good deed to be applauded. Roles like the Cavalier are rapid marathons. It's tough if the men who learn them have to wait a year for a second chance to perform them, as often happened in the past. City Ballet has been run for over a year now by an interim artistic team: Craig Hall, Rebecca Krohn, Justin Peck, Jonathan Stafford. I admire their decision to give two performances each to the three younger men, so that they can gather immediate experience in this tricky role. And while these casts had atypical, and welcome, diversity, there's nothing new in having racially diverse casting of the Cavalier at City Ballet. In 1957, shortly after the Little Rock school integration crisis, Balanchine cast the African American dancer Arthur Mitchell as a Cavalier, telling him, "This is my greeting to Governor Faubus." (Orval Faubus, of Arkansas, had mobilized National Guard troops to prevent black students from attending Central High School in Little Rock.) In general, the City Ballet "Nutcracker" is showing more faces of color in the opening party, amid the Snowflakes, and in the Realm of Sweets. Good. But I remember the Royal Ballet in London importing a guest Sugar Plum couple from Dance Theater of Harlem around 1990. Shouldn't City Ballet audiences in 2018 be used to seeing black Sugar Plum Fairies and Dewdrops?	N24News: A New Dataset for Multimodal News Classification	Dance
Alistair Cooke once described New York as "the biggest collection of villages in the world," and I dreamed of living in them all. That wanderlust, rather than my work as an academic physicist or diplomat, had compelled me to move constantly between continents with my wife, Elaine Kuok, for more than 15 years. Last fall, we decided to follow her art career as a painter and sculptor to New York and finally settle down. But after we had searched for a home to buy or rent long term, Elaine realized she didn't want to take the plunge without first knowing the city and its neighborhoods better. Here was my chance to live the dream. I proposed that we do an experiment and move to a different neighborhood every month for a year. We would find apartments using Airbnb, the website that has rocked the travel industry by offering short term rentals, often in private homes. Elaine said yes, her fears allayed by the service's safeguards. She liked that we could check out user reviews of our prospective hosts and in particular, Airbnb's policy of refunding your money or finding you a replacement if, within 24 hours of moving in, you realize the place isn't as advertised. And my wish to village hop aside, I wondered if Airbnb could fundamentally alter the way we live, not just the way we travel. We initially focused on the downtown name brand neighborhoods Chelsea, West Village, SoHo which happily also seemed to have the most Airbnb listings. We read the reviews closely, screening for noise and other potentially nasty surprises, from among the listings for places within our budget, which we based on the median rent in New York roughly 100 a night, or 3,000 a month. Our intent, actually, was to stay at least 30 days at each place, so our hosts would be on the right side of the law. Rental of a private room in the city for less than 30 days is legal only when a permanent resident is present during the stay, and we wanted the places to ourselves. A handful of hosts denied us, presumably because we were new to the Airbnb system and there were no host reviews of us as guests, another Airbnb feature. But finally, after a week of back and forth with hosts, we found a place just a few days before the date we wanted to move in. As winter set in, and while the bulk of our belongings made their languorous journey across the Pacific from Bangkok, we took our three suitcases to Chelsea for our maiden Airbnb foray. Here was artsy New York, where Sid and Nancy became Sid and Nancy, and from which an imposing branch of the Gagosian Gallery presides over the art world today. A residential neighborhood of walk ups, cafes and rats, right in the center of it all, Chelsea epitomized our image of city living, a fitting first stop on our home free journey. But as soon as we entered our one bedroom rear facing walk up, we were struck by the smell of gas. Worried, we alerted our host, who came over and called the fire department. Within minutes, sirens drew near. Helmeted men burst into the apartment. "Smells like garbage," said one. And they were gone. A shrug of the shoulders, and our host was gone, too. We set out bowls of vinegar, scattered charcoal briquettes, and dusted the floors with baking soda, to no avail. Defeated, Elaine bought a pint of Ben Jerry's Chubby Hubby for consolation, but in a few hours it had turned to sludge the freezer was warmer than the fridge. Mercifully, Airbnb took control of the situation and moved us within days upstairs to one of our host's street facing one bedroom units bigger, brighter and mostly odorless (albeit with a daily wake up call of honking and a blitzkrieg of profanities from frustrated drivers). We later came to recognize the cold, commercial experience offered by this host and others of his ilk, with multiple listings of impersonally furnished places and a willingness to let non reviewed guests stay, was something we wished to avoid. According to a 2014 state report, though only 6 percent of Airbnb hosts rented out more than two units, they represented more than a third of the reservations in New York. The same report found the majority of the city's short term rentals to be illegal and that short term rentals have made thousands of apartments unavailable as long term housing, both key reasons Airbnb is controversial in New York and other places. We enjoyed the homier experience of staying in someone's actual place at our next stop, on the north side of Williamsburg, Brooklyn, two blocks from where Frank Serpico was shot. A studio, it was decorated with Titanic style suitcases, the leather boxlike kind made for voyages, not trips; a big white "S," perhaps from the sign of a defunct drugstore; a big red "O" in a font that made me think of an old time movie theater; a manual typewriter; and so forth. But beneath this vintage look was a morbid vibe. A fractured skull of some horned animal hung from the wall could have been a deer, but I'm no zoologist. A porcelain hand on a shelf grasped upward, suggesting a drowning man. The dark iron overhead light with its squirrel cage filament bulbs screamed torture chamber. A window into our host's soul, or perhaps just the passing fashion. Williamsburg is set against a backdrop of exposed brick. The shops go overboard with individual touches, yet somehow they all look the same; the residents seem similarly afflicted. With some neighborhoods you wish you could stay longer, but a month here was sufficient long enough to do a field study of hipster subspecies, to discover gems like Best Pizza (which really does have the best pizza) and to realize that having been born in the late 1970s, we were too old for this party. As the taxi pulled up to our next address, Hamsterdam of "The Wire" came to mind. We were in an edgy part of Gowanus, an industrial strip in Brooklyn on the early side of transitional, centered on a canal so polluted it won a mention on the Superfund National Priorities List. There was no key inside the designated black shoe so, as instructed by our host, we used a credit card on the lock (accidentally jimmying the neighbor's lock first without success, thank goodness) and found the previous occupant's suitcases still there, open. The central heating had apparently been broken for years and the weather forecast predicted a blizzard. When dealing with the frustrations of city living, it's nice to have folks on speed dial incentivized to help. Airbnb went beyond its 24 hour policy of issuing a refund for substandard accommodation, sending us by taxi to a swanky hotel in Times Square for the night, all expenses paid. It suggested some alternative listings, but we ended up finding a new place ourselves, and by the next day, we were on our way to the border of East Harlem and the Upper East Side. Our rear facing prewar one bedroom, where the couch sagged and the shower was in the kitchen, was as silent as a padded cell. Here, the heat blasted unbidden, from which we escaped by opening the windows to winter's coldest month. That first night, on the way to the corner store to get some food, we dodged mice scurrying between bags of trash. Back in the kitchen, Elaine fired up the stove by the bath towels, but when the pasta from the corner store hit the boiling water, a few little worms floated to the top. I skipped dinner that night. At one point, we took a trip back to my hometown in Alabama to escape the bitter cold and paying rent a nice perk of living home free. Our 108 boxes of household effects had arrived from Bangkok, and we realized we hadn't missed my heretofore cherished books, Elaine's cookware or the stacks of clothes we had accumulated over the years. We sold or donated the majority, storing only things of sentimental value in my parents' closets. Then it was back to trawling through Airbnb listings. Frustrated with the stock of apartments in our price range, I started contacting hosts of more expensive places, up to triple our budget. Whereas before only a handful had met our constraints, now there were dozens upon dozens. I spent hours sorting through these, each listing providing a glimpse at how people in this city live. I learned to recognize red flags. In addition to the hosts like the guy in Chelsea (you're probably looking at one if the same profile picture keeps popping up, or if the host has scores of reviews for other listings), and fifth floor walk ups (if you can't tell from the reviews or the photos, don't book until the host tells you what floor the apartment is on), drawn curtains and limited photos suggest spaces that might have something to hide. To the hosts of places that resonated, I would explain our back story, our home free experiment, and ask if he or she would let us stay for a month for our budget or thereabouts. As E. B. White said, "No one should come to New York to live unless he is willing to be lucky." Within days, the owner of a chic SoHo one bedroom who admired Elaine's paintings on her website actually said yes, and we and our suitcases moved in. Her home was filled with one of a kind things from her travels. I remember in particular the Kashmiri rug in the entryway, handmade in a style that isn't used anymore. I avoided stepping on it even barefoot. Elaine was taken by the Peugeot pepper grinder and the toaster with a digital display counting down to crusty perfection. However, even this high tech assistance and Le Creuset pots couldn't put her back in gourmet mode. It always takes her time to get going in a new kitchen, my sad sacrifice to the home free lifestyle. Fortunately, I never tire of two of New York's finest attributes its pizza and bagels. SoHo today is more boutiques than the wild artist enclaves depicted in Scorsese's "After Hours," but some magic remains. As a parting gift, Elaine left her painting of Patti Smith near our host's special edition of "Just Kids." Taken by the image, our host planned to show it to the punk rock poet, who happened to live down the street. Our luck continued, taking us to a two bedroom in the West Village filled with works by South African artists and a wine cooler kept precisely at 52 degrees, just blocks from where Hitchcock's "Rear Window" took place, and near the corner that is said to have inspired Edward Hopper's "Nighthawks." Our host did not ask us to hide the fact that we were Airbnb ing the place; typically we were told to say we were the host's "friends." Even when a place is being rented legally, many hosts feel it best not to alert the neighbors. We were there on the cusp of spring, in time to watch the skeletons by the roadside slowly reveal themselves to be cherry trees a glorious sight up and down the tangle of streets dotted with what looked like amazing restaurants (we wouldn't know because we couldn't afford them). Sumptuous though the West Village is now, I wish I had been there when it was the Bohemian mecca of Joseph Mitchell's writings full of poets and artists. Would these natural wanderers have embraced this new home free lifestyle or dismissed it simply as an indulgent take on minimalist living? Our growing reputation as responsible guests, measured by our hosts' reviews, made us increasingly attractive to potential new hosts on Airbnb. We came back to Brooklyn in style a massive three bedroom duplex apartment and techie start up headquarters in Fort Greene, near a former home of John Steinbeck. Enamored of mobile homes in his later years, Steinbeck reflected on America's migrant heritage and rootlessness, ruminations that have some bearing on living home free: "Perhaps we have overrated roots as a psychic need. Maybe the greater urge, the deeper and more ancient is the need, the will, the hunger to be somewhere else." Since Steinbeck's time, Fort Greene bottomed out with widespread crime and poverty in the 1970s and '80s, and now has come full circle to once again be a welcoming home for aspiring young writers. Next, we hit the jackpot in the East Village with space enough to dance in a subsidized co op dominated by Chinese and Ukrainian old timers. The common areas looked strictly institutional and occasionally smelled like pot, but our apartment windows framed a magnificent view over this varied city. The two bedrooms looked out to the Empire State and Chrysler buildings in the distance, and down upon the psychic on the corner; the balcony faced Alphabet City next door. We had been attracted to the East Village ever since a memorable dinner we shared with some new friends a pleasant lesbian couple in their late 60s at a tiny Thai restaurant in the area. Everyone there knew everyone else from decades of being neighbors. A 6 year old customer, the very image of the actor Joseph Gordon Levitt, made the rounds in the dining area and the kitchen where, from the sound of it, he was received with enthusiasm. Given our chosen lifestyle, it might seem strange that the rootedness of this community resonated with us. But looking back over the time that, together, Elaine and I moved between London and Paris, Tokyo and Bangkok, the southern tip of Africa and the high desert of New Mexico, I realize that I had always been rooted, just not by a fixed address. With the sharing economy, a home free lifestyle is now becoming accessible to normal people, not just the superrich. And as out there as living this way may sound today, the city is replete with shareable stuff that was initially seen as bizarre: Uber and Citi Bike, for instance. Our experiment has taught us many things, among them that our initial choice of neighborhoods, such as the West Village and SoHo, was lovely for visitors, celebrities and bankers, but less ideal for the proletariat. It showed us also that there were gems to be discovered, such as Cobble Hill, Brooklyn, which we liked so much we extended our stay to two months. Living home free requires the right temperament. If I'm anything to go by, it's a combination of wanderlust and an urge to diversify the risk of, say, being stuck next to a construction site. Elaine, on the other hand, sometimes finds this lifestyle disorienting, though fortunately she is anchored by a work space she found in Chinatown. She is a creature of habit and on more than one occasion has taken the wrong train, returning to one of our former abodes. While we laugh about that, what I do find disconcerting is that she no longer goes out of her way to connect with the community the way she used to not getting to know the Bengali fruit sellers, the supers, the dog walkers, the crazies.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Less than a year after a Supreme Court decision legalized same sex marriage in Bermuda, the government of the British Overseas Territory has outlawed it, a reversal that is poised to roil the waters of the cruise industry and potentially threaten travel to the island. The country where a ship is registered influences how cruise lines conduct marriages at sea. Cruise Lines International Association, a trade group comprised most of the industry's cruise lines, said that about 10 percent of its members' ships are registered in Bermuda, accounting for about 13 percent of passenger capacity. Subsequent to the reversal, cruise ships registered in Bermuda that offered same sex weddings have determined they can no longer do so. When same sex marriage was legalized in Bermuda last May, Cunard, which registers its fleet in Bermuda, announced it would extend its wedding at sea packages to same sex couples, with marriage licenses issued in Bermuda. Cunard held its first shipboard same sex marriage in January. Given the repeal, another couple, who had planned to marry next fall on a ship, has decided to wed before the sailing, according to a company spokeswoman. Of the 17 ships in its fleet, Princess Cruises has 13 ships registered in Bermuda, and began offering same sex weddings on them after the change in law last year. "Because Princess had not yet formally launched a same sex wedding program we had only a few couples with bookings," wrote Negin Kamali, a spokeswoman for Princess, in an email. Two weddings previously approved by Bermuda will be allowed to proceed in March, but another two couples with shipboard marriage plans later in the year will be offered a refund if they wish to cancel. Catering to British travelers, P O Cruises, which, like Princess and Cunard, is part of the Carnival Corporation group of cruise lines, began offering same sex ceremonies at sea last spring. Most of its eight ships are registered in Bermuda. "What we know is that both the cruise industry and L.G.B.T.Q. cruisers are eager to have the option to marry same sex couples at sea. The reversal was a huge setback for both," wrote Colleen McDaniel, the senior executive editor of Cruise Critic, a website dedicated to cruising, in an email. There are alternatives for couples seeking to wed at sea. Celebrity Cruises, which registers most of its ships in Malta where same sex marriage was legalized last summer, held its first gay wedding in January. Beyond cruise ships, the marriage reversal risks tourism cancellations on the island. Bermuda is coming off a record year in tourism, likely boosted by the America's Cup yacht race, which took place there last May and June. According to figures recently released by the Bermuda Tourism Authority, some 692,947 visitors traveled to the island, the largest in recorded history dating to 1995. Tourism was up 7 percent over 2016. The tourism authority, which is an independent, nongovernmental agency, publicly lobbied against the ban. In December, it sent a letter to island senators, predicting tourism losses in the wake of same sex marriage restriction. It cited the case of the transgender bathroom bill, rescinded last year, that cost North Carolina an estimated 3.76 billion in business and the Religious Freedom Restoration Act signed in 2016 by then governor Mike Pence in Indiana, which allowed business owners to deny services to patrons based on their sexual orientation. In its wake, Indianapolis lost 12 conventions representing up to 60 million in spending. "Significantly, it's not only L.G.B.T. travelers that care about equal rights based on sexual orientation. Our research indicates many companies, consumers and travelers, including the overwhelming majority of the younger visitors powering Bermuda's growth, care about this issue," said the letter, signed by Kevin Dallas, the chief executive officer of the Bermuda Tourism Authority. The global value of L.G.B.T. travel is over 211 billion, according to Out Now, a marketing and consulting firm that specializes in the L.G.B.T. market. Jack S. Ezon, the president of Ovation Vacations, a travel agency based in New York, said that the prime season for travel bookings to Bermuda, which is seen as a last minute getaway, is May. But already nearly 5 percent of the firm's reservations to the island have been canceled not just by L.G.B.T.Q. couples but friends who "feel they do not want to support an economy that is, in one person's words, 'backward,'" Mr. Ezon wrote in an email.	N24News: A New Dataset for Multimodal News Classification	Travel
The new building at 74 Grand Street will feature the 1886 front of the previous building on the site but, oh, what a trip it's been! A Cast Iron SoHo Facade and Its Odyssey to New Jersey and Back After a heavy rain in 2004, the iron fronted 1886 loft building at 74 Grand Street suddenly began listing to starboard, terrifying the people inside and earning the five story structure the nickname the Leaning Tower of SoHo. Over time, the tilt toward Wooster Street grew to an alarming 30 inches or so, and in 2010 the troubled building was demolished by order of the Buildings Department. But this was no simple wrecking job. Because 74 Grand was located within the SoHo Cast Iron Historic District, the Landmarks Preservation Commission negotiated a legal agreement that required its owner, a cooperative called SoHo Equities, to dismantle the facade piece by iron piece, then store these architectural elements in a dry, secure, indoor location and reinstall them on any new building erected on the site. In committing the owners to such rigorous salvage and reconstruction, the commission sought to avoid a repetition of perhaps the most darkly comical episode in its history, the loss of the disassembled cast iron facade of the 1849 Laing Stores, a city landmark, which was brazenly stolen from a TriBeCa lot in 1974. And though the 330 salvaged iron elements of 74 Grand have changed hands several times over the past decade, enduring an extraordinary odyssey to multiple storage facilities and states, the facade's improbable journey appears likely to end with a proper homecoming. After a 940 mile detour to Alabama for restoration, the well traveled facade was being bolted to a new building on its original SoHo site last month, until construction was suspended over coronavirus concerns. "I think that is in the back of everyone's mind at Landmarks," Cory Herrala, the commission's preservation director, said of the ignominious theft of the Laing Stores facade. He added that he was "very relieved" that 74 Grand's cast iron elements were not broken or lost and that "an awful lot of the material that was put up and taken down is going up again." In 1971, the 150 ton Laing facade, which wrapped around the northwest corner of Murray and Washington Streets in Lower Manhattan, was disassembled for future reconstruction. The fragments were stored by the landmarks commission behind a padlocked fence in a triangular lot on Reade Street, where they languished until June 25, 1974. On that day, The New York Times reported, Beverly Moss Spatt, the commission's head, ran into the press room at City Hall "and shouted, 'Someone has stolen one of my buildings.'" An investigation revealed that two thirds of the iron elements had been sold for scrap in the Bronx. A major appeal of iron front facades in the second half of the 19th century was their modular construction technology, which allowed their architectural elements to be quickly bolted together on site at a fraction of the cost of the ornate stone facades they were intended to simulate. Today SoHo boasts what the commission deems the largest concentration of full and partial cast iron facades in the world. The iron front brick store at 74 Grand was designed with fine neo Grec detailing for Ambrose Kingsland, a wealthy sperm oil merchant, by George DaCunha. As mayor of New York City in the 1850s, Kingsland had initiated the movement that ultimately led to the creation of Central Park. A half sister building or more accurately a one fifth sister stands at 89 Grand, a five story red brick building with a cast iron storefront, also the work of DaCunha. The rosette adorned pilasters and slender free standing columns of all three iron fronts, each built between 1885 and 1887, were probably cast by a local foundry from the same set of molds. In 1892, 74 Grand was home to the Model Dress Steel Company, which sold metal tipped Ever Ready Dress Stays. ("Warranted water proof. Beware of Imitations.") Smolian Pellman, another firm involved in the hidden infrastructure of women's clothing, manufactured skirt binding there at the turn of the century, but was soon in a bind itself, with one partner suing the other for embezzlement. In 1960, Ron Gorchov, an abstract painter, moved into the second floor, as a wave of artists colonized SoHo's commercially zoned buildings. His loft's 14 foot ceilings handily accommodated his large, saddle shaped canvases, and the 100 monthly rent, which he paid to a landlord who made shipping boxes next door, was a bargain. "It wasn't a problem to be illegal until the fire department started to get interested," said Mr. Gorchov, now 90. "Then we got a permit to be artist in residence." There was a lot of artistic exchange in the building, Mr. Gorchov said, because the floors upstairs also housed artists, including the painter Brice Marden. (In 2006, the two former neighbors both had major solo exhibitions, Mr. Marden at the Museum of Modern Art, and Mr. Gorchov at MoMA PS1.) After the building was demolished in 2010, the 32 ton salvaged iron facade began what amounted to a Grand Tour of New Jersey. The first stop was a warehouse in Newark, where the iron pieces were inspected by John Weiss, the landmarks commission's deputy counsel, and Mr. Herrala, its preservation director. There followed a parade of four owners and multiple architects as proposed reconstruction projects were brought before the commission. Along the way, "the cast iron was moved at least once without L.P.C. being informed," a commission spokeswoman said. In 2016, the property was bought by 74 Grand Street Equities, and by spring the next year the itinerant iron facade pieces had landed in Jersey City, where a commission employee inspected them. Photographs show that much of the iron was laid out, rusting, in the open air. By June 2018, the facade pieces had been trucked to yet another location: Egg Harbor, N.J., some 25 miles northwest of Atlantic City. "It was truly in the middle of nowhere," said Elizabeth Canon, a project manager for the architect Joseph Pell Lombardi, who had been hired by yet another new owner of 74 Grand, Churchill Real Estate, to design a new building that incorporated the old facade. "I don't want to say it was a junkyard, but it was kind of a storage area that had a bunch of drop in swimming pools there and a school bus." Once again, the rusting facade pieces were lying outside, exposed to the elements. After being shipped to Allen Architectural Metals in Talladega, Ala., the iron facade elements ranging from a one pound rosette to a 3,500 pound pilaster were restored. Pieces deemed too broken to repair were recast, either by creating a new mold from an undamaged element of the same type or by scanning that element's every contour with a three dimensional laser scanner. "You plug it into a laptop and essentially paint the surface you want with a laser, and in real time you can see the image pop up on the laptop," said Jeremy Alexander, Allen's field operations director. That data was then imported into three dimensional modeling software, which a pattern engineer used to clean up inconsistencies in the image. Thus far, all the iron front's handsomely restored pilasters and columns have been installed on the new six story building at 74 Grand, which has a setback penthouse atop five stories that align with the old window openings. On the fourth and fifth floors, window arch assemblies have also been installed. But the return of the prodigal facade, after a decade of wandering, remains incomplete. Roughly two thirds of the iron elements, many of them small and decorative, are still in storage in Alabama.	N24News: A New Dataset for Multimodal News Classification	Real Estate
How Much Weed Is in a Joint? Pot Experts Have a New Estimate How much marijuana is in a typical joint? Believe it or not, the question has perplexed experts for years. A new study claims to have an accurate estimate based on federal arrest data, and it's less than regular users think. Arriving at a trustworthy estimate is important for many reasons, including informing policy makers, law enforcement officials, health care providers and researchers. Casual and scientific analyses have yielded a wide range of guesses as to the average contents of a marijuana cigarette, whether purchased or prepared at home. At least one study placed the typical weight at 0.66 grams. The federal government has said it is closer to 0.43 grams. The estimates from pot smokers are, shall we say, higher: Roughly one in four people responding to an informal poll last year by High Times, the cannabis magazine, said a typical joint contained one gram of marijuana. But nearly as many said it contained half that amount. Perhaps it depends how you roll. The actual average may be much less. The new study, an analysis of federal drug arrest data published in the journal Drug and Alcohol Dependence, found the average amount of weed in a joint to be much smaller than those estimates: just 0.32 grams. Such estimates about more than better understanding a high. Many users report marijuana consumption in terms of joints smoked, a statistic that is useless to researchers, authorities or policy makers without an accurate approximation of what that means. "In order to get good projections, you need to be able to turn those answers 'I've had one joint in the last 30 days' into a quantity," said Greg Ridgeway, a professor of criminology and statistics at the University of Pennsylvania who helped write the study with Beau Kilmer, a director of the RAND Drug Policy Research Center. "These estimates can be incorporated into drug policy discussions," the two researchers wrote, "to produce better understanding about illicit marijuana markets, the size of potential legalized marijuana markets, and health and behavior outcomes." Their estimate is based on marijuana purchase data collected from interviews with people who were arrested from 2000 to 2003 and from 2007 to 2010 under a Department of Justice program. While the answers came in many forms, Dr. Ridgeway and Dr. Kilmer focused on the more than 10,000 responses in which marijuana was measured in grams, ounces or joints. The average price per gram, they found, was 6.81; the average joint was 3.50. They couldn't stop there. Although dividing the joint price by the gram price yields a rough estimate of a joint's weight about half a gram it ignores how prices vary by location, time and quantity. Those factors can significantly influence the estimates. Bulk discounts, in particular, modulate price. For example, the average price per gram jumps to 9.30 if the analysis is limited to purchases of five grams or less. "When people buy an ounce of marijuana, they get a real volume discount," Dr. Ridgeway said. To account for those variations, the researchers applied a mathematical drug pricing model to the data, yielding their answer of 0.32 grams in the average joint. Dr. Kilmer and Dr. Ridgeway acknowledge that their estimate is imperfect. It reflects just one population of marijuana consumer people who have been arrested and only in a smattering of counties across the United States. But it is a convincing measurement nonetheless. Indeed, in 2015 a global drug survey conducted by academics found that most users get about three joints from a single gram of marijuana, or roughly 0.33 grams per joint. Of course, weight is just a piece of the puzzle. Tetrahydrocannabinol, or THC, the chemical that produces the main psychoactive effects of marijuana, matters. And, like weight, THC content fluctuates, too: In a 2014 report, the White House Office of National Drug Control Policy estimated that marijuana's average THC content rose from roughly 5 percent in 2000 to 8 percent in 2010.	N24News: A New Dataset for Multimodal News Classification	Science
OAKLAND, Calif. Uber and Lyft, which are facing mounting pressure to classify their freelance drivers as employees in California, are looking for another way. One option that both companies are seriously discussing is licensing their brands to operators of vehicle fleets in California, according to three people with knowledge of the plans. The change would resemble an independently operated franchise, allowing Uber and Lyft to keep an arms length association with drivers so that the companies would not need to employ them and pay their benefits. The idea would effectively be a return to the days of how groups of black cars were run. Lyft has presented the plan to its board of directors, one person said. Uber, which already works with fleet operators in Germany and Spain, is also familiar with the business model. The companies have not committed to the franchise like plans, said the people with knowledge of the discussions, who asked to remain anonymous because the details are confidential. Uber and Lyft are waiting to see how California's legal situation around drivers, who have been treated as independent contractors, plays out first, they said. Matt Kallman, an Uber spokesman, said the work on establishing fleets was "exploratory" and that the company was "not sure whether a fleet model would ultimately be viable in California." A Lyft spokeswoman, Julie Wood, said the company had looked at alternative models but favored an approach where drivers "remain independent and can work whenever they want while also receiving additional health care benefits and an earnings guarantee." The ride hailing giants are considering how to retool their businesses as they grapple with a new California law, Assembly Bill 5, which could upend their services. The law, which was designed to grant employment benefits to gig workers, could force Uber and Lyft to categorize drivers as employees if it was shown that the drivers' jobs were part of the companies' core business, among other criteria. Although the law went into effect in January, Uber and Lyft have not complied with it, arguing that they are simply tech platforms and are not transportation businesses. In May, California sued Uber and Lyft to enforce the new law. Their clash with the state is set to come to a head this week. This month, a San Francisco Superior Court judge ordered the companies to employ their drivers by Thursday. Executives at Uber and Lyft, who have argued that they cannot meet that deadline, have appealed the decision and warned that they would be forced to shut down their services as soon as Friday if the order was not reversed. "If our efforts here are not successful, it would force us to suspend operations in California," John Zimmer, Lyft's president, said in an earnings call last week. California accounts for about 16 percent of Lyft's business, he said. Dara Khosrowshahi, Uber's chief executive, also said last week in an MSNBC interview that the company's ride hailing services in California would stop, at least temporarily, if the order was not changed. "It's a fork in the road situation," said Dan Ives, a managing director at Wedbush Securities who tracks the ride hailing industry. "These are some of the tough decisions they need to make to save their business model." Uber and Lyft, which are based in San Francisco, have long considered their drivers to be contractors. That means that drivers are responsible for their own vehicle and maintenance costs and that Uber and Lyft do not pay for overtime, unemployment insurance or other expenses. The companies have argued that this freelance model allows drivers to drive only when they want to. But critics have said it places unreasonable financial burdens on drivers and gives Uber and Lyft unfair advantages over businesses that follow employment laws. Uber and Lyft have strenuously objected to A.B. 5 and have been fighting its reach. The companies have poured tens of millions of dollars into a ballot measure that would exempt them from the state law. Uber has also made changes to its product, such as showing fares to drivers upfront and allowing them to decline rides without facing penalties, to reinforce their status as independent contractors. But behind the scenes, officials at Uber and Lyft also began discussing just in case options for their California businesses last year, the people with knowledge of the plans said. At Uber, many of the proposed ideas were code named with the names of characters from the Mario Bros. video game, like Luigi, the people said. The Washington Post reported earlier on Project Luigi, which included the changes to Uber's app that give drivers more control over fares. Another option that policy teams at both of the companies floated was the franchise like model, the people with knowledge of the plans said. Under the proposal, Uber and Lyft would invite other businesses to establish ride hailing fleets using their platforms. That could bolster the companies' claims that they were simply tech companies that built sophisticated dispatch services and that providing transportation was outside their core business, protecting them from A.B. 5's requirements. At Uber, the effort drew inspiration from the company's operations in Germany and Spain, where transportation rules have already forced it to work with fleets, Mr. Kallman said. Lyft based its plan on FedEx, which franchises some of its delivery routes to local operators, current and former employees said.	N24News: A New Dataset for Multimodal News Classification	Technology
President Trump's executive actions restricting travel from predominantly Muslim countries caused confusion and erroneous detentions at airports and are potentially having a negative impact on the United States tourism industry. Further actions by the administration could have a wider effect on travelers when it comes to the cost of air travel and airline fee transparency. The Department of Transportation recently suspended the process of collecting public comments on two previous administration rule proposals related to airfare transparency. The more recent rule, proposed by the D.O.T. in January under President Barack Obama, would require more transparency regarding passenger baggage fees. The other proposal, made in October, was looking into whether airlines were withholding valuable fare and scheduling information from consumers searching on third party travel websites. The baggage fee proposal would have required that airlines and ticket agents make evident all such fees at the beginning of the booking process. This action followed an executive order issued last April by Mr. Obama that was aimed at making the use of such fees clear to consumers and several years of consideration on related issues by the department. The D.O.T., under Mr. Trump, suspended the public comment period for both proposals in March to "allow the president's appointees the opportunity to review and consider" the actions. As part of his budget, Mr. Trump has also proposed raising a tax on airline tickets to help cover Transportation Security Administration costs. The fee per leg of a flight would rise to 6.60, up from 5.60, and would raise 40 billion in the first 10 years. The decision to delay the proposals was supported by Airlines for America, a trade organization that represents most of the country's largest airlines, including American, United and Southwest. "We believe these are exactly the type of regulatory actions the administration had in mind when issuing the regulatory freeze and review process," said Vaughn Jennings, the group's managing director of government and regulatory communications. The organization believes airlines are already fully transparent, with all pricing information readily available on websites, Mr. Jennings said. While the suspension of the most recent proposal on baggage fees could be interpreted as a setback for transparency advocates, the Travel Technology Association a trade group that represents travel websites like TripAdvisor, Skyscanner and others that allow consumers to compare airfares and refer them to booking sites said it was hopeful that the department's new staff would carefully review this and other transparency considerations. The larger concern with this proposal, the group said, was that it was too narrow in its aim and did not address whether consumers could purchase add ons for checked baggage on third party travel sites. The group's president, Steve Shur, said that a 2014 Transportation Department proposal was a more comprehensive attempt to address ancillary fee transparency. The latest proposal was boiled down to addressing only baggage fee information, which, for the most part, is already transparent, Mr. Shur said. "We saw that as not a great outcome after all that time." Mr. Shur said. Mr. Shur said that what consumers should have when searching for airfare is "an apples to apples comparison of the airlines participating, with all those costs included, so you would know the true cost of the trip and could comparison shop, and that's what's not happening right now." Rafi Mohammed, the author of "The 1% Windfall" and a pricing strategy consultant, agreed that airlines more or less already make baggage fees apparent on their websites, but he doesn't necessarily think they should be obligated to. "I feel like checked baggage fees are really an optional thing; it's akin to an a la carte option anywhere you go," Mr. Mohammed said. Mr. Mohammed said that fees for carry on luggage, like those charged by budget airlines like Spirit and Frontier, are a different story, since almost all passengers have carry on items when flying.	N24News: A New Dataset for Multimodal News Classification	Travel
Credit... By the age of 10, he was playing the video game Minecraft, in part to escape what he told friends was an unhappy home life. In Minecraft, he became known as an adept scammer with an explosive temper who cheated people out of their money, several friends said. At 15, he joined an online hackers' forum. By 16, he had gravitated to the world of Bitcoin, appearing to involve himself in a theft of 856,000 of the cryptocurrency, though he was never charged for it, social media and legal records show. On Instagram posts afterward, he showed up with designer sneakers and a bling encrusted Rolex. The teenager's digital misbehavior ended on Friday when the police arrested him at a Tampa, Fla., apartment. Florida prosecutors said Mr. Clark, now 17, was the "mastermind" of a prominent hack last month, accusing him of tricking his way into Twitter's systems and taking over the accounts of some of the world's most famous people, including Barack Obama, Kanye West and Jeff Bezos. His arrest raised questions about how someone so young could penetrate the defenses of what was supposedly one of Silicon Valley's most sophisticated technology companies. Mr. Clark, who prosecutors said worked with at least two others to hack Twitter but was the leader, is being charged as an adult with 30 felonies. Millions of teenagers play the same video games and interact in the same online forums as Mr. Clark. But what emerges in interviews with more than a dozen people who know him, along with legal documents, online forensic work and social media archives, is a picture of a youth who had a strained relationship with his family and who spent much of his life online becoming skilled at convincing people to give him money, photos and information. "He scammed me for a little bit of money when I was just a kid," said Colby Meeds, 19, a Minecraft player who said Mr. Clark stole 50 from him in 2016 by offering to sell him a digital cape for a Minecraft character but not delivering it. Reached via a brief video call on Sunday from the Hillsborough County Jail in Tampa, Mr. Clark appeared in a black sleeveless shirt, his hair tumbling into his eyes. "What are your questions?" he asked, before pushing back his chair and hanging up. He is scheduled for a virtual court appearance on Tuesday. Mr. Clark and his sister grew up in Tampa with their mother, Emiliya Clark, a Russian immigrant who holds certifications to work as a facialist and as a real estate broker. Reached at her home, his mother declined to comment. His father lives in Indiana, according to public documents; he did not return a request for comment. His parents divorced when he was 7. Mr. Clark doted on his dog and didn't like school or have many friends, said James Xio, who met Mr. Clark online several years ago. He had a habit of moving between emotional extremes, flying off the handle over small transgressions, Mr. Xio said. "He'd get mad mad," said Mr. Xio, 18. "He had a thin patience." Abishek Patel, 19, who played Minecraft with Mr. Clark, defended him. "He has a good heart and always looks out for the people who he cares about," he said. In 2016, Mr. Clark set up a YouTube channel, according to the social media monitoring firm SocialBlade. He built an audience of thousands of fans and became known for playing a violent version of Minecraft called Hardcore Factions, under user names like "Open" and "OpenHCF." But he became even better known for taking money from other Minecraft players. People can pay for upgrades with the game, like accessories for their characters. One tactic used by Mr. Clark was appearing to sell desirable user names for Minecraft and then not actually providing the buyer with that user name. He also offered to sell the capes for Minecraft characters, but sometimes vanished after other players sent him money. "I was just kind of a dumb teenager, and looking back, there's no way I should have ever done this," Mr. Jerome said. "Why should I ever have trusted this dude?" In late 2016 and early 2017, other Minecraft players produced videos on YouTube describing how they had lost money or faced online attacks after brushes with Mr. Clark's alias "Open." In some of those videos, Mr. Clark, who can be heard using racist and sexist epithets, also talked about being home schooled while making 5,000 a month from his Minecraft activities. Mr. Clark's real identity rarely showed up online. At one point, he revealed his face and gaming setup online, and some players called him Graham. His name was also mentioned in a 2017 Twitter post. Mr. Clark's interests soon expanded to the video game Fortnite and the lucrative world of cryptocurrencies. He joined an online forum for hackers, known as OGUsers, and used the screen name Graham . His OGUsers account was registered from the same internet protocol address in Tampa that had been attached to his Minecraft accounts, according to research done for The Times by the online forensics firm Echosec. Mr. Clark described himself on OGUsers as a "full time crypto trader dropout" and said he was "focused on just making money all around for everyone." Graham was later banned from the community, according to posts uncovered by Echosec, after the moderators said he failed to pay Bitcoin to another user who had already sent him money to complete a transaction. In 2019, hackers remotely seized control of the phone of Gregg Bennett, a tech investor in the Seattle area. Within a few minutes, they had secured Mr. Bennett's online accounts, including his Amazon and email accounts, as well as 164 Bitcoins that were worth 856,000 at the time and would be worth 1.8 million today. Mr. Bennett soon received an extortion note, which he shared with The Times. It was signed by Scrim, another of Mr. Clark's online aliases, according to several of his online friends. "We just want the remainder of the funds in the Bittrex," Scrim wrote, referring to the Bitcoin exchange from which the coins had been taken. "We are always one step ahead and this is your easiest option." In April, the Secret Service seized 100 Bitcoins from Mr. Clark, according to government forfeiture documents. A few weeks later, Mr. Bennett received a letter from the Secret Service saying they had recovered 100 of his Bitcoins, citing the same code that was assigned to the coins seized from Mr. Clark. It is unclear whether other people were involved in the incident or what happened to the remaining 64 Bitcoins. Mr. Bennett said in an interview that a Secret Service agent told him that the person with the stolen Bitcoins was not arrested because he was a minor. The Secret Service did not respond to a request for comment. By then, Mr. Clark was living in his own apartment in a Tampa condo complex. He had an expensive gaming setup, a balcony and a view of a grassy park, according to friends and social media posts.	N24News: A New Dataset for Multimodal News Classification	Technology
Patterned tile isn't the only way to add drama to a bathroom: By combining muted color tiles in two shapes hexagonal and rectangular ( 35 and 28 a square foot, from Fireclay Tile) Megan Gilger of the blog Fresh Exchange created a Zen like space with visual interest. To update a bathroom, you could swap out the cabinet pulls and switch the faucet. But if you're ready for a bigger change, almost nothing is more effective than new tile. Replacing tiles that are damaged, stained, outdated or just not to your liking is an opportunity not just to refresh a bathroom, but to give it a whole new style. And with all of the materials, shapes and colors currently available, you have the chance to create something extraordinary. But that's also the problem: With all those choices, how do you know you've made the best one? Susana Simonpietri, a partner in the Brooklyn interior design firm Chango Co., said she prefers cement tiles when she wants a graphic punch, because they often come in vibrant colors and patterns. "Most of these companies have so many different colors," she said. If you want something unique, she added, "they can customize the tiles for you really, the choices are endless. It's a lot of fun." For the bathrooms in a recent project on the North Fork of Long Island, she chose two types of cement tile: rectangular tiles with a blue and white pattern of elongated triangles from Popham Design for one bathroom floor, and hexagonal white tiles with blue outlines from Cle for another. Of course, the dramatic effect tiles like these create, Ms. Simonpietri noted, doesn't appeal to everyone. "A lot of people want that classic white bathroom," she said. For those clients, she often chooses large rectangular tiles made of white marble, as she did in a beach house she recently designed in Amagansett, N.Y. Whatever you choose, it will set the design direction for the room especially if the tile has a graphic pattern or bold colors. "When you're driven by a specific color or pattern, it really informs all the other decisions," said Keren Richter, who runs the Brooklyn interior design firm White Arrow with her husband, Thomas Richter. For the walls of a bathroom they renovated in a 19th century loft in Williamsburg, Brooklyn, they collected an assortment of vintage blue and white Portuguese azulejos. "I found them on eBay over the course of a year," Ms. Richter said. Using patterned tile is just one way to add drama to a bathroom. The shapes of the tiles can also add visual interest, especially when you use different forms on different surfaces. For instance, you "might do one wall of a walk in shower in a particular shape, like hexagons," said Jamie Chappell, the creative director of the San Francisco company Fireclay Tile. Then you could use a rectangular subway tile on the other walls. She pointed to customers like Megan Gilger, of the blog Fresh Exchange, who installed hexagonal tiles with an earthy blue glaze on a bathroom floor and rectangular tiles with a silvery green glaze on the walls. Anna Liesemeyer, of In Honor of Design, used hand painted square tiles on the floor of her bathroom and star and cross shaped tiles on the walls. If all that feels like a little too much drama, there is a subtler way to introduce visual interest to a bathroom: Instead of choosing a vividly patterned tile, focus on the installation pattern. Simple square and rectangular tiles don't have to be installed in a grid. In fact, while a grid, or straight stack, looks modern and clean, it can also feel cold or institutional. A common option is an alternating, or running bond, pattern that staggers tiles like bricks in a wall. Or if you're using rectangular tiles, "you can do what is called soldier stack, which is where you set the tile on its short end. Especially in a low ceilinged environment, it gives you verticality," Ms. Chappell said. "Or you could do herringbone to introduce something a little different that's still classic." Some designers prefer to mix tiles with the same finish and varying proportions, for a less symmetrical installation. Matching the grout as closely as possible to the tile color and using thin lines will make the grout almost disappear. A contrasting color and thicker lines will make individual tiles visually pop, and can be used to give budget tiles a stylish lift. For the bathroom in their office, the designers at White Arrow installed inexpensive square white tiles on the walls in a straight stack, then finished them with thick black grout lines to create a bold grid. "We were trying to maximize the visual impact with a very minimal budget," Ms. Richter said. Chip Brian, the chief executive of the New York general contractor Best Company, said his installers sometimes use grout lines as thin as one thirty second of an inch. But such installations usually require precisely cut, or rectified, tiles that are perfectly uniform in shape. For tiles with slight irregularities, thicker grout lines are a better choice. "Any time you're installing super irregular tiles, the assumption we have is that you want an artisanal hand laid visual, and to do that you're typically imparting a much thicker, very substantial grout line," Mr. Brian said. "That's when the color of the grout becomes so important." And if you don't enjoy standing on a frigid bathroom floor in the winter, that's a relatively easy problem to fix when you're retiling. An electric radiant heating mat, made by companies like nVent Nuheat or Warmly Yours, can be rolled out on the floor before the new tiles are laid to eliminate the chill. For homeowners who opt to install the tile themselves, Mr. Brian had some advice. Different batches of tile, he explained, often have slight color variations. "We carefully unpack all the boxes, mix the tiles and then lay out the tiles on the floor to mimic the walls," Mr. Brian said, to ensure the color will look consistent across the room. He had the same advice about grout: Mix the contents of each container to blend pigment that may have settled to the bottom, and then mix multiple containers together to create a consistent color. Finally, if you have never tiled before, remember that your first attempt almost certainly won't be your best. "From the time you start the bathroom to the time you finish, your skill set usually comes up the curve pretty quickly," Mr. Brian said. "You might focus on the area behind the toilet first." For weekly email updates on residential real estate news, sign up here. Follow us on Twitter: nytrealestate.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Adrienne Kennedy, whose surrealism tinged dramas have addressed race and violence in American society since the 1960s, will have a new play, her first in nine years, as part of the coming season at Theater for a New Audience. "He Brought Her Heart Back in a Box" is set in 1941 in New York City and Georgia, and "braids together the indignities of Jim Crow, rising Nazism, sexual hypocrisy, Christopher Marlowe, and the lingering shadow of a terrible crime," according to a news release. The play will run at the theater's Polonsky Shakespeare Center home from Jan. 17 to Feb. 11. Evan Yionoulis will direct; she oversaw Ms. Kennedy's "The Ohio State Murders" at Theater for a New Audience in 2007. Ms. Kennedy, 85, is an influential figure in experimental theater, whose work has been regularly taught in college courses. Her first major play, "Funnyhouse of a Negro," was a revelation when it opened in 1964; a new production ran last year as part of a Signature Theater triple bill. The Theater for a New Audience season also includes "Marcel The Art of Laughter," a double bill of comic one acts, running Oct. 27 to Nov. 19; and two Shakespeare plays. "The Winter's Tale," directed by Arin Arbus, will run March 11 to April 15, and "Twelfth Night," a coproduction of the Acting Company and the Resident Ensemble Players of Delaware will be directed by Maria Aitken and run May 10 27. More information is available at	N24News: A New Dataset for Multimodal News Classification	Theater
Dance at the Joyce Theater tends to stay at a safe distance, the fourth wall intact. But through a new initiative, Joyce Unleashed, the theater is expanding its reach, presenting work that doesn't square so neatly with the trappings of a traditional stage. So long, Chelsea. The Joyce is heading to Brooklyn. Or, at least, it's partnering with the Invisible Dog, a versatile, three story space in Cobble Hill. The series features back to back shows of SuperGroup (a Minneapolis trio making its New York debut) and Laurie Berg, one of the minds behind the anything goes performance collective Aunts. Both are inclined toward comedic social commentary. And for both, dance is powerful but not sacred. In "The Tent Has Been Pulled Down," SuperGroup addresses feminism, the Internet and folk music. In "The Afterlife," Ms. Berg lets her performers cycle through many identities with equal regard for creation and destruction.	N24News: A New Dataset for Multimodal News Classification	Dance
"Hotel de Crillon is Paris," the renowned French Caribbean musician Henri Salvador wrote in the namesake hotel's guest book in 1984. "Paris is Champagne, Champagne is France and France is my heart so Hotel de Crillon is my heart." What would Mr. Salvador, a frequent guest at the Crillon, think of his beloved hotel now? After a renovation that has kept its doors closed since March 2013, the Parisian property, now managed by Rosewood Hotels Resorts and officially called Hotel de Crillon, a Rosewood Hotel, is reopening on Wednesday, more than 98 years after its original opening on March 12, 1909. Occupying three buildings on a corner of Place de la Concorde, a square off the Champs Elysees, the property itself, like any hotel worthy of more than a brief mention, has a notable history, this one dating to the 18th century. In 1755, King Louis XV commissioned the architect Ange Jacques Gabriel to build two palacelike facades, eventually the exterior of the Crillon, overlooking Place de la Concorde. These ornate structures, completed in 1758, were considered to be an emblem of fine 18th century architecture, but they remained as facades until another architect, Louis Francois Trouard, bought the land behind them at auction and built a sumptuous private mansion. From a grand mansion to a grand hotel: The building's life as the Crillon began in 1906 when a luxury hotel group, the Societe des Grands Magasins et des Hotels du Louvre, bought the mansion and its two adjacent buildings with the intention of creating Paris's most luxurious palace hotel catering to a growing demand from the international elite. When the Crillon opened in 1909, said Brice Payen, the Paris historian who consulted on the property's renovation, it had electricity, hot water, an elevator and a hair salon. And while the Majestic, the Astoria and the Ritz Paris were already part of the city's luxury hotel scene, the Crillon may have been the most formal, he said. "The decor was in a typical 18th century style, and the standard of service was very high," he said. Gen. John J. Pershing of the United States Army and Franklin D. Roosevelt, the assistant secretary of the United States Navy, were guests in 1918, and President Woodrow Wilson stayed there during the Paris peace conference in 1919. President Wilson, Prime Minister David Lloyd George of Britain and foreign delegations met numerous times at the hotel in early 1919 and drafted the covenant of the League of Nations in a salon. The lengthy list of high profile guests in subsequent years included Charlie Chaplin, Shah Mohammed Reza Pahlavi of Iran, Queen Sofia of Spain, Orson Welles, Bette Davis, Sophia Loren and the composer Leonard Bernstein, who was a regular guest and wrote in the hotel's guest book in 1989, "What a pleasure being once again on my terrace over Place de la Concorde." Fine hotels, however, can age over time, and the Crillon closed because a face lift was in order, said Marc Raffray, the hotel's managing director. (The hotel has been owned since 2010 by Prince Mitab bin Abdullah bin Abdulaziz Al Saud of Saudi Arabia.) For one, the property had no central air conditioning, he said; most guests cooled themselves by opening the windows or using fans. And the chief architect of the renovation, Richard Martinet, who lives in Paris and visited the Crillon over the years, said that the hotel felt old. "It was dark and somewhat outdated," he said, in an interview in the hotel's redesigned lobby. The new Crillon, central air conditioning now fully in place, is intended to be the opposite of stuffy, Mr. Raffray said. "We want to be humble, approachable and non intimidating," he said. "Instead of having an air of formality, our staff will greet everyone with warmth like friends." Unlike the past, when the hotel was a hangout primarily for its wealthy overnight guests, attracting Parisians, he said, is a big priority. Locals won't have to cross the lobby to enter the new bar past the main entrance to the right. Formerly the fine dining restaurant, Les Ambassadeurs, the space still has its original 18th century sky blue ceiling and marble and gold walls, but the ornate antique furniture has been replaced with contemporary pieces, and patrons can expect a menu of creative cocktails and a lineup of regular live entertainment. Children, too, will be welcomed with extensive programming like treasure hunts at the hotel and activities that teach them about Paris. Design wise, Mr. Martinet said that his goal was to capture the Crillon's history while making it more modern. "I wanted to lighten up the hotel but make sure it still had soul," he said. In addition to Mr. Martinet, the design team behind the renovation included the artistic director Aline d'Amman and three decorators, Chahan Minassian, Cyril Vergniol and Tristan Auer. Mr. Auer faced redoing most of the public spaces, and, in an interview at the hotel, he said that one of the most significant changes he made was to raise the ceilings in the lobby by three feet to create a more spacious and airy appearance. And instead of one large room, the lobby is now a series of smaller spaces with numerous sitting areas. "I tried to replicate the feeling that you're in a private home, not a hotel," he said. Other additions include a white marble and brass hued spa called Sense; a men's grooming room offering shaves and shoeshines; a high end restaurant, L'Ecrin, overseen by Christopher Hache, who was the chef at Les Ambassadeurs; a casual restaurant with a crudo bar, Brasserie d'Aumont; and a basement level with a pool under a glass ceiling, all of which construction workers created by digging two levels underground. And always a treasure in the center of any big city, there's a new garden with 35 varieties of plants and trees in what was once an unused courtyard; the pool's glass ceiling looks up to the garden. Rooms for overnight guests have been pared down to 124, from 147, and 43 are suites (nightly rates begin at 1,200 euros, about 1,345). The Bernstein Suite, inspired by the composer, has new furniture and accessories but still in place is the long, private terrace overlooking Place de la Concorde that Mr. Bernstein wrote of fondly in the Crillon's guest book. The Duc de Crillon Suite, named after the mansion's first Crillon occupant (the count became a duke in 1815), and the Marie Antoinette Suite, adjacent to the salon where the queen took piano lessons, have also been redesigned with new furnishings but with an 18th century aesthetic.	N24News: A New Dataset for Multimodal News Classification	Travel
are to be married Aug. 19 at B'nai Jeshurun synagogue in Manhattan. Rabbi Mark Wildes is to officiate. The bride and groom met at Columbia, from which each graduated, the bride summa cum laude. Ms. Fisch, 26, is entering her first year of law school at Yale. She is a daughter of Rachel N. Davidson and Mark Fisch of New York. The bride's mother, who is retired, was a superior court judge with chambers in Newark. She is on the national board of the Israeli American Council in Los Angeles. Her father is a managing partner of Continental Properties, a residential and commercial real estate development firm in New York. He also serves as a trustee of the Metropolitan Museum of Art, and is on the board of the Municipal Arts Society, both in New York. Mr. Cotton, 29, works in New York as the executive director of retention and customer experience at The New York Times.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
No U.S. Open on Father's Day This Year? It's a Gift for This Correspondent For the first time since the 1970s, the final round of the tournament will not be played on the holiday. Our reporter reflects on what golf fans have lost and he gained this year. None Starting in 2004, it became an annual expectation that I would not be home on Father's Day. Don't feel sorry for me, especially if you're a golf fan. I was covering the final round of the United States Open, held on Father's Day every year since 1976. It will be different this year, as it will be for millions of golf fans, and the fathers among them. Because of the coronavirus pandemic, the 2020 U.S. Open at the Winged Foot Golf Club in Westchester County, N.Y., was postponed to Sept. 17 20. The symbiotic relationship between America's national golf championship and Father's Day will be interrupted on Sunday. And so the pandemic again jars our routines. There will be competitive golf to watch this weekend because the PGA Tour has filled the vacant spot with the RBC Heritage, an event in Hilton Head Island, S.C. It is a good tournament, but it will not provide the traditional Father's Day television viewing because we won't be watching several golfers late on a holiday Sunday struggling to endure the crucible of pursuing a victory at a major championship. And in many homes across the country, there also will not be a shared experience exclusive to Father's Day. Not every household is filled with golf fans (ask my wife), but alluring drama isn't defined by the stage but by the adversity, perseverance, exaltation and pathos depicted on it. Fathers who play golf and the many more who simply like to watch it enjoy the fruits of many gifts on Father's Day. Having their children and others important to them assemble to partake in OK, put up with a yearly ritual of watching the final hours of the U.S. Open is one of them. I know this because in my earliest days as a father of three, I was not usually covering the U.S. Open. But I camped out in front of the television, and my children and my wife mostly pretended to care about what was going on. (I did occasionally bribe them by setting up a prize filled lottery, in which everyone in the house was allocated four contending golfers so that the winner of the tournament was not the only one celebrating.) But the point is, it was fun, and it indeed became tradition. It was togetherness. It was Father's Day. Things certainly changed between when I sometimes covered the U.S. Open in the 1990s and it becoming a standard June assignment. At the tournament, the camaraderie of colleagues who were also away from their families, and the feeling that you're lucky to be there and plenty busy made the day pass quickly. If the event wasn't too far from my home in New York, my family would occasionally surprise me and appear at my lodging on Saturday night so we could at least have a Father's Day breakfast. In time, my eldest daughter eventually got a job that sporadically intersected with golf, so she was working at U.S. Opens in the mid 2010s. As proof of the sibling bond, her younger sister and brother have found their way to two recent tournaments as well. I have noticed over the years that those kinds of family reunions happen often at the U.S. Open. Walking different courses over the decades, I've grown accustomed to seeing hundreds of parents and grandparents at the edges of fairways and greens with their children and grandchildren. It's a sight more common at a U.S. Open than at other major championships, probably because the tickets were bought as a Father's Day present. After beating Phil Mickelson, right, by one stroke to win the 1999 U.S. Open, Payne Stewart reminded him of the bigger picture, that he was about to become a father for the first time. Mickelson's daughter was born the next day. The golfers competing also bring their fathers. Some of the most heartwarming scenes near the final green have been between fathers and sons, including last year's winner, Gary Woodland, and his father, Dan. Twenty years earlier, immediately after Payne Stewart defeated Phil Mickelson on the final hole of the U.S. Open, Stewart had the selflessness to remind Mickelson that he was about to become a father for the first time. The next day, Mickelson's wife, Amy, gave birth to a daughter. Even when a father could not be at the climactic moment of a U.S. Open victory, he was not forgotten. In 2013, after Justin Rose sank the final putt in his victory, he looked and pointed skyward in a tribute to his late father, Ken, who had nurtured his love of the game. My streak of U.S. Open visits was broken last year, in a very literal sense, when I shattered an ankle while running in my neighborhood the day before my flight to the tournament. I spent my 2019 Father's Day in a medicated haze following reconstructive surgery two days earlier. This week, I was looking forward to my U.S. Open return, but being home, and fit, for Father's Day is a more than suitable outcome instead. Around the world, there are bigger things to weigh and solve than the interruption of a sport's connection to an annual holiday. Know this, however: The final round of the 2021 U.S. Open is scheduled for June 20. It is, as usual, the third Sunday of the month, Father's Day.	N24News: A New Dataset for Multimodal News Classification	Sports
Dotted around Houston, hidden in overgrown backyards and piles of old tires, are what look like 10 tiny models of Hollywood's iconic Capitol Records building. They are full of recording gear, but not to capture the vocals of Frank Sinatra or the Beastie Boys. These high tech devices catch mosquitoes though not in big batches, like typical traps. They catch them one by one, each in its own compartment, after inspecting each mosquito's wing beats to be sure it's a species that researchers want. "We were the first to have these," said Mustapha Debboun, director of mosquito control for the Harris County public health department. "I saw something on the internet about them, and I said, 'Whoa can I get some?'	N24News: A New Dataset for Multimodal News Classification	Health
He told a few friends last week that he had finished his will, an impressive gesture even for the famously unbridled Jean Claude Baker, irrepressible impresario of his own improbable life. Over the nearly three decades since wresting his bustling night spot Chez Josephine from the X rated morass of West 42nd Street, Mr. Baker who had been mothered as a destitute teenager in France by the fading erotic stage sensation Josephine Baker had delivered exhausting bonhomie to celebrity rich audiences of pre and post theater diners. But at 71 he was finding it increasingly wearisome. "I've been a little bit under the blue weather lately," he emailed me in late November, on why he had proposed lunch and then gone missing. Last summer, he wrote, "It's becoming very difficult to keep the dream alive" and "my brain is tired." Still, it seemed easy to discount his mood swings. "He'd been saying for 25 years, 'I can't go on, I'm going to kill myself,' " said Richard Hunnings, one of Mr. Baker's oldest friends and general manager of Manhattan Plaza, the artist friendly rental complex across 42nd Street at Ninth Avenue. Yet there he was, night after night, in his Shanghai Tang silks, red mandarin outfits and black soutane, embracing patrons, dispensing gigs to needy musicians and leaking juicy self promotional tidbits to the gossip columns. Last Thursday morning, he was found dead in his Mercedes that had been running in the enclosed garage of his East Hampton, N.Y., home. In the days that followed, disbelieving friends flocked to his mirrored scarlet bistro at 414 West 42nd, between the now flourishing playhouses of Theater Row, seeking missed clues and shared remembrances with Mr. Baker's three sisters, here from France. He left instructions for Chez Josephine to stay open, said Mr. Hunnings, a co executor of the will, along with the actor Michael Imperioli, another of Mr. Baker's closest friends. Mireille Miller, an artist who spent 1998 to 2000 painting the restaurant's entrance mural featuring A listers like Jacqueline Kennedy, Billy Joel and Al Hirschfeld, and who frequented the restaurant with her former husband, the food critic Bryan Miller, struggled with returning Sunday night. "Even in the cab, I choked up," Ms. Miller said. "But once I came in, it feels good." Another regular, the soprano Jessye Norman, didn't usually perform at Chez Josephine, but she recalled by phone that she made an exception last May when Mr. Baker hosted a party for her memoir, "Stand Up Straight and Sing." She did "Our Love Is Here to Stay." Mr. Imperioli, who was hired to wait tables at Chez Josephine in 1987 and through some epic battles became close to Mr. Baker, remembered when the police shut down Times Square in 2010 to defuse a smoking terrorist car bomb on Broadway and 45th Street. "One of the musicians came in screaming, freaking out about the bomb," Mr. Imperioli said. Mr. Baker hustled him aside and told him in the profanest of ways to shut up about a bomb. "Can't you see the place is filled?" His baroque life was fodder for countless writers. He was born Jean Claude Julien Leon Tronville to unwed parents in Dijon in 1943 and at 14 struck out for Paris, encountering La Baker, a onetime waif from St. Louis who set France afire in the 1920s with a scandalously bare dance act. Josephine Baker, a mercurial eccentric who had accumulated countless lovers of all sexes and served the Resistance in World War II, mothered the young man as an unofficial addition to the 12 adopted children of her orphan "rainbow tribe." He, in turn, as a budding showman of his own, fostered her twilight career, took her name and wrote, with Chris Chase, a well received 1993 biography, "Josephine: the Hungry Heart." Mr. Baker promised his vast archive on early African American entertainment to the Smithsonian National Museum of African Art, Mr. Hunnings said. In 1994 after I wrote about F.B.I. spying on Leonard Bernstein, Josephine Baker and others, Mr. Baker called to say that he had bought the columnist Walter Winchell's file on her and asked if I knew that the Stork Club had been bugged? I didn't (it wasn't), but I got a book out of it.	N24News: A New Dataset for Multimodal News Classification	Style
Children infected with the coronavirus produce weaker antibodies and fewer types of them than adults do, suggesting they clear their infection much faster, according to a new study published Thursday. Other studies have suggested that an overly strong immune response may be to blame in people who get severely ill or die from Covid 19. A weaker immune response in children may paradoxically indicate that they vanquish the virus before it has had a chance to wreak havoc in the body, and may help explain why children are mostly spared severe symptoms of Covid, the disease caused by the coronavirus. It may also show why they are less likely to spread the virus to others. "They may be infectious for a shorter time," said Donna Farber, an immunologist at Columbia University in New York who led the study reported in the journal Nature Immunology. Having weaker and fewer antibodies does not mean that children would be more at risk of re infections, other experts said. "You don't really need a huge, overly robust immune response to maintain protections over some period of time," said Deepta Bhattacharya, an immunologist at the University of Arizona in Tucson. "I don't know that I would be especially worried that kids have a little bit lower antibody response." The study looked at children's antibody levels at a single point in time, and was too small to provide insights into how the levels may vary with age. But it could pose questions for certain antibody tests that may be missing children who have been infected. Dr. Farber and her colleagues analyzed antibodies to the coronavirus in four groups of patients: 19 adult convalescent plasma donors who had recovered from Covid without being hospitalized; 13 adults hospitalized with acute respiratory distress syndrome resulting from severe Covid; 16 children hospitalized with multi system inflammatory syndrome, the rare condition affecting some infected children; and 31 infected children who did not have the syndrome. About half of this last group of children had no symptoms at all. Individuals in each group had antibodies, consistent with other studies showing that the vast majority of people infected with the coronavirus mount a robust immune response. "This further emphasizes that this viral infection in itself, and the immune response to this virus, is not that different from what we would expect" from any virus, said Petter Brodin, an immunologist at Karolinska Institutet in Stockholm. But the range of antibodies differed between children and adults. The children made primarily one type of antibody, called IgG, that recognizes the spike protein on the surface of the virus. Adults, by contrast, made several types of antibodies to the spike and other viral proteins, and these antibodies were more powerful at neutralizing the virus. Children had "less of a protective response, but they also had less of a breadth of an antibody response," Dr. Farber said. "It's because those kids are just not getting infected as severely." Neither group of children had antibodies to a viral protein called the nucleocapsid, or N, that is entangled with the genetic material of the virus. Because this protein is found within the virus and not on its surface, the immune system would only see it and make antibodies to it if the virus were widely disseminated in the body, she said. "You don't really see any of that in the children, and that suggests that there's really a reduced infection course if these kids are getting infected," she explained. The finding could undermine the results from tests designed to pick up antibodies to the N protein of the virus. Many antibody tests, including those made by Abbott and Roche and offered by Quest Diagnostics and LabCorp, are specific to the N antibodies and so may miss children who have successfully cleared the virus. "That's absolutely an interesting implication of that finding," Dr. Brodin said. Lower levels of virus in the body would also explain why children seem generally to transmit the virus less efficiently than adults do. But experts urged some caution in interpreting the results because they represent samples taken from people at a single point in time. Samples from the more severely affected children and adults were collected within 24 to 36 hours of being admitted or intubated for respiratory failure; those from children with mild or no symptoms were banked after medical procedures. The type of antibodies produced by the body varies over the time course of an infection. This was a limitation of this study because the researchers may have been comparing people at different points in their infection, Dr. Brodin said. "You risk comparing apples and oranges." Other experts cautioned that the study was too small to draw conclusions about how the immune response may vary in children of different ages. The children in the study ranged in age from 3 to 18 years, with a median age of 11. But some studies have suggested that teenagers may be just as much at risk from the coronavirus as adults. "It's very important to understand what happens in children," to understand the nature of their illness, but also how they contribute to spread of the virus in the community, said Dr. Maria L. Gennaro, an immunologist at Rutgers University. But "to try and stratify by age, it's a little bit of a stretch in the analysis," she said. The researchers were also not able to explain why children have a more limited antibody response. Having fewer types of antibodies may seem like a bad thing, but "having a ton of antibody isn't necessarily a marker of a good thing," said Dr. Bhattacharya. "It usually means that something went wrong early in the response." At least one other study has suggested that children have a powerful inborn immune system, intended to combat the many new pathogens they encounter, and that this first line of defense may clear the infection early without needing to rely on later antibodies.	N24News: A New Dataset for Multimodal News Classification	Health
NBC News pushed back against the investigative journalist Ronan Farrow on Monday, denying his allegations that the network tried to conceal complaints about the former "Today" host Matt Lauer and obstruct Mr. Farrow's reporting into the film mogul Harvey Weinstein. "We have no secrets and nothing to hide," the NBC News president, Noah Oppenheim, wrote in an extensive memo, which was sent to employees of NBC News and MSNBC in response to reporting in Mr. Farrow's new book, "Catch and Kill." Mr. Oppenheim, who is portrayed in the book as failing to understand the newsworthiness of Mr. Farrow's investigation into sexual misconduct allegations involving Mr. Weinstein, described the reporting in it as a "smear" and a "conspiracy theory." Mr. Farrow has also blamed the NBC News chairman, Andrew Lack, for impeding his reporting on Mr. Weinstein. Mr. Farrow left the network in 2017 and later won a Pulitzer Prize for his work on the article, which was published in The New Yorker.	N24News: A New Dataset for Multimodal News Classification	Media
Kevin Delaney, the editor in chief of Quartz and one of the digital publication's co founders, is stepping down as part of a shake up of the company's leadership. Quartz announced the change on Monday, adding that another of its co founders, Zach Seward, had become the chief executive officer. Mr. Delaney had previously shared that role with Jay Lauf, the publisher, who was named chairman of the company on Monday. Katie Weber, previously the chief commercial officer, was elevated to president in the series of moves. The job of editor in chief was left open, with Quartz saying it was looking for a new one. Mr. Delaney will leave his role at the end of the month and remain an adviser to the company. Yusuke Umeda, co chief executive of Quartz's parent company, Uzabase, said, "I am particularly excited for the next chapter and to work with Zach and Katie to aggressively build on this momentum, to the benefit of readers, partners and members."	N24News: A New Dataset for Multimodal News Classification	Media
Picking the pain reliever that's best for you can be a confusing task. Pharmacy and supermarket shelves are lined with a dizzying array of boxes, names and labels describing the symptoms the medications are intended to address. While they all share the same goal, making you feel better, their active ingredients vary, and all have potential drawbacks. Dr. Robert A. Duarte, director of the Pain Center at Northwell Health in Great Neck, N.Y., cautioned that consumers should not be lulled into thinking that over the counter pain relievers are free from potential harm just because they are available on store shelves. Sales of over the counter medications exceeded 30 billion in 2015, with pain relievers ranking near the top, according to industry statistics. Consumers need to be informed about what they are taking, and in what doses. A survey conducted in 2001 for the National Council on Patient Information and Education found that only one third of those polled could identify the active ingredient in their pain reliever. A similar fraction of consumers said they had taken more than the recommended dose of nonprescription medication because they believed it would increase its effectiveness. Dr. Sadiah Siddiqui, an anesthesiologist specializing in interventional pain medicine at Weill Cornell Medicine in Manhattan, said consumers need to read the labels of the medications for their active ingredients. Those who take any kind of over the counter pain reliever around the clock for a week or more should see a specialist or their doctor, she added. Here are the major categories of nonprescription pain relievers and some of what you should know about them: Potential side effects:The Food and Drug Administration recommends a maximum of 4,000 milligrams per day. Exceeding that level can mean the liver has to work harder. Clinicians recommend a daily maximum dose of 3,000 if it is taken for an extended period. What else you should know: Concerns about potential liver damage from taking acetaminophen have been clouded over time, Dr. Duarte said. The warnings surfaced because patients were taking Tylenol with other over the counter medications or prescriptions that also contained acetaminophen. For instance, the prescription painkiller Percocet and over the counter cold and flu remedies have Tylenol in them. When patients take those drugs as well as Tylenol, they can unwittingly get higher doses of acetaminophen than they should, he said. "You may not think you are taking that much Tylenol, but yes you are," he said. Recommended to treat: Arthritic, joint and dental pain and headaches Potential side effects: Stomach bleeding and kidney problems are risks, particularly for patients who are 60 or older, Dr. Duarte said. What else you should know: Ibuprofen is an anti inflammatory that combats prostaglandins, the chemicals associated with pain such as menstrual cramps, joint pain and headaches that are released in the body. Common brand names: Bayer and St. Joseph. It is also found in Excedrin. Recommended to treat: Headaches and pain from inflammation. It is also used to prevent strokes and promote heart health. Potential side effects: Gastric bleeding and kidney dysfunction; children up to their mid teenage years should not take aspirin because it is linked to Reye syndrome, which causes brain and liver damage. What else you should know: When it comes to Excedrin and Excedrin for migraines, opt for the less expensive basic product because they both have the same active ingredients, Dr. Duarte said, adding, "Don't be fooled by packaging." In general, he said, regardless of what product you take, don't think that if some is good, more is better. If you have an underlying history of headaches and you are regularly taking over the counter pain relievers, you can be at risk of a "rebound headache" caused by the drugs wearing off and the onset of another headache. Some natural products, such as magnesium (400 to 600 milligrams a day) or riboflavin (400 milligrams a day), or using aromatherapy with peppermint oil can help with migraines and muscle pain, he said. Patients should discuss all the medications they take with their doctor. "A simple over the counter, in fact, has risks just the way a prescription does," Dr. Duarte said. "A lot of the patients don't take these medications seriously."	N24News: A New Dataset for Multimodal News Classification	Health
Kevin Harvick won the battle, but Jimmie Johnson may have won the war on Sunday in Nascar's Sprint Cup Series race at Phoenix International Raceway. On the white flag lap, Harvick passed the leader, Carl Edwards, who was running out of fuel, and then held on for the final lap to take the checkered flag. Kasey Kahne came in second. Johnson was third, earning a decisive number of points in the quest for his sixth Sprint Cup season title. Johnson, who started on the pole, had a seven point lead over Matt Kenseth in the title chase coming into the Phoenix race the penultimate event on the 2013 calendar. But Kenseth battled a poor handling racecar all day and ended up finishing a dismal 23rd. Johnson goes into the season finale at Miami Homestead Speedway next Sunday with a 28 point lead. In Nascar's other national series, Austin Dillon holds a small lead over Sam Hornish Jr. in Nationwide Series points, and Matt Crafton needs only to start the season's final event to clinch the Craftsman truck series title. In other racing news from the past week: Jorge Lorenzo won the season ending MotoGP race Sunday in Valencia, Spain, but the third place finisher, Marc Marquez, became the youngest rider to win the MotoGP world championship.	N24News: A New Dataset for Multimodal News Classification	Automobiles
As I was watching the new animated film "Wonder Park," about a young girl's imagined amusement park come to life, I wasn't buying the physics of a roller coaster. "The hills are way too high and steep," I thought, "the curves too sharp." And for a moment, it was lost on me that I was analyzing something carrying a giant blue talking bear. Welcome to my coaster nerd world. I spend a lot of my summer on some of the wildest roller coasters around the country. While indulging in the thrills (hands up, always), I'm also taking these rides very seriously, thinking about the quality of the engineering and scrutinizing the mechanics of each rise and fall. But I did ultimately give in to the hyperbolic wonders of "Wonder Park." In dreaming up attractions like the Sky Flinger spheres with riders that are sent sailing through the air June, the film's young lead, displayed the outsize creativity of the best inventors. I admired that, and I could relate. June had her Wonderland. I had my Fun World. When I was 10, I laid out detailed plans for a theme park and built an entire narrative around it in a notebook that filled up over the years. There were a series of crude ride sketches and a map. Fun World was founded by the pioneering, conveniently named genius H.G. Fun. He divided his park into gloriously themed sections, like Car Land (well before Disney's Cars Land, thank you), Up Down and Around Land and, yes, Coaster Land. There were 90 rides in all, as well as a giant Fun World Globe and a Fun Dome. But the coasters were what mattered most to H.G. During visits to the state fair with my family, I discovered my penchant for thrill seeking in carnival attractions like the Scrambler and the Tilt a Whirl. But the fair was missing the majesty of larger than life roller coasters. We seemingly had to travel to another country for those: Texas. Each summer, we would drive three hours to Fort Worth to see my cousins and go to Six Flags Over Texas together. On the highway as we approached the park, one of the most beautiful, most terrifying sights came into view: a steel beast called the Shock Wave. It had not one, but two loops, back to back! I avoided it at all costs. I feared I'd faint after the first loop, leaving my limp, unconscious body gliding through the second. And yet, I was obsessed with it. Another fearful obsession was the Runaway Mine Train, a coaster with a track that seemed endless and disappeared through the woods. It was even more frightening than the Shock Wave because I couldn't see the dastardly places it might be going. There were rumors it went underwater. Underwater! It sounded like something a maniac would dream up. But one time, waiting outside the ride, one of my sisters put the pressure on me to ride it. She convinced me, assured me, that it didn't, couldn't possibly, go underwater. I finally relented. Lo and behold, the very last part of the ride went through a makeshift saloon and plunged down into an underwater tunnel. I'd never known such deception. But I'd also never known such excitement. It was a true rush, the moment that solidified my coaster love. I became braver and more willing to give bigger rides a try. I met the Shock Wave head on, and made it through both loops with my consciousness intact. Theme parks became the place where I, and my imagination, could run wild. Just as momentous was our epic family trip to Los Angeles. After a three day Greyhound bus ride that was an adventure in itself, we headed to Six Flags Magic Mountain. Pulling into the parking lot, I faced Colossus, a giant white wooden coaster that was bigger than any I'd seen. (Using many of its original materials, it has now been converted into a wood steel hybrid called Twisted Colossus, my favorite coaster.) That trip also brought me in touch with the glamour of Hollywood, entertainment having long been a way that I bonded with my family. Thanks to packed trips to the drive in and Saturday afternoons spent watching movie marathons on cable, we became steeped in pop culture. In Los Angeles, we were pros at spotting the most minor of celebrities on the street or at the beach a backup dancer from the TV version of "Fame," that one guy in that Michael Keaton movie. My entertainment passions and my amusement passions were merging in one magical city, and I didn't want to leave. So back in Oklahoma, I started building the world, Fun World, I wanted to live in. My rides were far from practical. Why have a log flume with one big drop when you could build it on multilevel terrain and have three giant splashes? Or how about the ultimate indoor coaster, with the kinds of spirals, inversions and 90 degree straight down dives that would put Space Mountain to shame? O.K., there would be no Fun World without Disneyland and Six Flags as inspirations. (Also a shout out to Wally World, the fictional park from one of my favorite movies as a kid, "National Lampoon's Vacation," which was partly filmed at Magic Mountain.) But I wanted to create something that would match up. That notebook started filling up with showbiz inventions, too, including a movie star I named Edrall Casceese. He made blockbuster comedies, mind blowing sci fi spectacles, musicals, you name it. And there was a pop star, Jayson. All of his songs were chart toppers; I even recorded them on a cassette. Years later, indie movies would be of great interest to me, but as a kid, I craved hits. As I got older, the characters and the park stayed in my head. By high school, my interest in movies had only grown, and I wanted to learn more about how they operated. The interest in roller coasters also expanded, leading me to more parks in many more places over the years.	N24News: A New Dataset for Multimodal News Classification	Movies
A Shakespeare play is a dangerous place. Swords can kill you. So can poison, grief and bears. Eleven corpses crowd the stage in "Richard III." "King Lear" does away with 10 characters. But at 14 deaths, "Titus Andronicus" with its beheadings, live burial and disgustful approach to pastry making takes the Shakespearean cake. T.S. Eliot called "Titus Andronicus" "one of the stupidest and most uninspired plays ever written." That doesn't mean it hasn't inspired others. The image of a mother made to eat her children was hard to shake, and a couple of decades after its 1594 premiere, artists had already begun to appropriate O.K., fine, cannibalize its plot for uses comic, tragic and savagely satirical. Directors have staged it with almost no gore and with nothing but gore. It has been modernized, musicalized, performed by puppets and adapted to Kabuki. Stephen K. Bannon sent it into space. Its blood has spattered everything from bootleg Dutch tragedies to Japanese anime to "Game of Thrones." "Unbreakable Kimmy Schmidt" gifted us the character Titus Andromedon, played by Tituss Burgess. (His rival: Coriolanus Burt.) Now comes Taylor Mac's "Gary: A Sequel to Titus Andronicus," which picks up, figuratively and literally, after the final murders. It opens on April 21 at Broadway's Booth Theater. But before audiences tally whether Mac outdoes Shakespeare on the body count, let's look back at some of the play's more memorable appearances in culture, pop and otherwise. In the mid 19th century, the African American actor Ira Aldridge and the English playwright C.A. Somerset collaborated on a new version that transformed Aaron, a Moor and the lover of the barbarian queen Tamora, from villain to hero, subverting racial stereotype. Aldridge and Somerset cut out most of the carnage and interpolated at least one scene from a contemporary melodrama that Aldridge had also starred in. Aldridge's opinion: "I will venture to say that there is not a play on the stage with a more powerful climax." A Scottish critic praised Aldridge's performance as Aaron as "remarkable for energy, tempered by dignity and discretion." A British horror comedy beloved of theater reviewers and the people who hate them. "Theater of Blood" stars Vincent Price as Edward Kendal Sheridan Lionheart, a depraved classical actor, bad in every sense. After faking his death Lionheart revenges himself on his critics, with murders inspired by Shakespeare. After executing six critics and convincing a seventh to kill his wife Othello style, Lionheart turns to "Titus Andronicus" to snuff the eighth. Meredith Merridew (Robert Morley), who refers to his poodles as babies, is invited onto a cooking show and served a pie. No prizes for guessing the filling. Lionheart suffocates him with the crust. Stephen Sondheim's Tony winning chiller, written with Hugh Wheeler, doesn't directly descend from Shakespeare. An adaptation of Christopher Bond's 1973 play, its key source is a gristly 19th century penny dreadful, "The String of Pearls: A Romance," which describes a homicidal barber and the baker Mrs. Lovett, his unsavory accomplice. Still, the revenge plot, with its abductions and threats of rape, echoes "Titus Andronicus" and the use of human mincemeat as the symbol of ultimate inhumanity smacks of homage. As Mrs. Lovett sings, "It's man devouring man, my dear/And who are we to deny it here." Heiner Muller, the experimental German playwright who specialized in grimly absurdist Shakespeare rewrites, refashioned "Titus Andronicus" as a postmodern, postcolonial debauch. His version lays bare the violence of the original (arguably pretty bare already) while reframing it as a political allegory of how wealthier nations exploit impoverished ones. Drawing on the 1973 Chilean coup and a divided Berlin, Muller explores the failure of culture and human progress to make the world a less brutalized place. As one character says, "Poetry is murder." Before Mr. Bannon became Donald J. Trump's chief strategist, he fell for another populist leader, albeit one with more military experience: Titus. The play obsessed him and in the early '90s, he and the screenwriter Julia Jones collaborated on an interplanetary adaptation of "Titus Andronicus." Here, Titus is the leader of the Andronicii, incorporeal beings who come to earth and take on human form. Shakespeare never included erotic scenes of ectoplasmic sex. Mr. Bannon did. Shockingly, studios passed. He and Ms. Jones also rewrote "Coriolanus" as a rap musical set during the Los Angeles riots. Though Mr. Bannon's space guignol wouldn't fly, he is listed as an executive producer on Julie Taymor's 1999 film version of the tragedy, which reset the play in a Rome both ancient and modern. Anthony Hopkins said that his Titus referenced both King Lear and Hannibal Lecter, another character with outre taste in fine dining. Reviews were generally positive, with a Times critic writing that the movie "makes the best possible argument for a cautionary drama that contemplates the absolute worst in us." But not only Rome loses big in "Titus." The movie cost 25 million and made back just 2 million at the box office.	N24News: A New Dataset for Multimodal News Classification	Theater
On one level, this was the silliest of questions. Mr. Pickens, after all, is a man who abruptly quit his corporate job at 25, with 1,500 in the bank, to start his own company, which he called Mesa Petroleum. He spent the next four decades poking holes in the ground, searching for oil and natural gas without question one of the activities with the highest risk in all of business. In the 1980s, he famously made a series of audacious takeover attempts aimed at companies Gulf Oil, Phillips, Unocal that were 10, 20, 30 times the size of Mesa. For years he covered his company's general overhead budget by playing the commodities market. In the 1990s, he bet big, and bet wrong, on the price of natural gas. That, and a lengthy bout with depression, which was undiagnosed for years, caused him to lose his company in 1996 at the age of 67. Rather than retire, Mr. Pickens decided to start a hedge fund to trade commodities, primarily natural gas futures. In the of 1997, he raised 37 million 8 million of which was his money. By early 1999, however, the fund had lost more than 90 percent, and was under 3 million. But by the end of 2000, with his depression lifted and his faith in his own judgment restored, the fund was up to 252 million, a gain of more than 9,000 percent. By 2008, he was worth 3 billion, according to Forbes. So yes, it's pretty obvious that T. Boone Pickens enjoys risk. But as it turns out, that's not the whole answer. I've known Mr. Pickens for more than three decades, ever since I was working for Texas Monthly and wrote about his first takeover attempt in 1982. Over the years, we've stayed in touch, and I've written about him or quoted him any number of times, including in several of my old "Talking Business" columns for The New York Times. But even though I've always known about his adventures as a commodities trader, I realized recently that I had never talked to him about risk about how he thinks about it, and why his tolerance for it is so high. And whether ordinary investors can learn something from the way he invests, just as they do when they pay attention to Warren Buffett. Thus it was that on a recent morning in Dallas, I found myself in a large conference room in the offices of Mr. Pickens's investment firm, BP Capital. One wall was dominated by a large screen as big as anything you'd see on Wall Street, blinking instantaneous prices for crude oil, natural gas, some energy related stocks (BP Capital also now manages an energy stock fund) and a handful of other things Mr. Pickens likes to keep track of. CNBC and Fox News were on but muted. Mr. Pickens's wealth has dropped to 500 million, in no small part because he had chosen to give much of it away. At 88, his most serious physical problem is his hearing. As he sat down, he pulled out a small amplification device and placed it on the table. Even so, he often had to ask the others in the room there were five of us to repeat things. Which is not the same as saying he didn't ultimately understand what was being said. He has always had a voracious appetite for information, and he is the unquestioned decision maker at BP Capital. His team's role, in no small part, is to help supply the information he needs to make decisions. All year long, Mr. Pickens's funds there are now a half dozen, managing around 1 billion had been "long" on oil, meaning that they had been betting that the price, which is currently in the mid 40 range, was going to rise. Less than two years ago, the price of oil was as high as 120 a barrel. As the price dropped, big, expensive exploration projects had been canceled, and the number of wells being drilled had dropped sharply. Pickens's thesis was that this drop in supply was bound to make demand tight which, in turn, would cause the price of oil to rise. He had put on his long position eight months early, and was completely unruffled by the market's daily ups and downs. Which is one thing that you quickly learn about him as an investor. As he puts it, "We're not traders." If he has looked at all the available information, studied the fundamentals and believes his thesis is still right, he'll stick with it even if the price isn't going in his direction. If he believes strongly enough, he'll use the drop in price as a buying opportunity. That is one of those attributes that separates great investors Mr. Buffett does the same thing from the rest of us. And then there is the information itself. I saw Mr. Pickens speak a few months ago in Texas and was thunderstruck at how much information about the current state of the oil and gas industry he had at his fingertips. In the conference room at BP Capital, I got a strong sense of how that information is accumulated and used. They talked about when the weather was supposed to turn cold, which generally pushes natural gas prices higher, and why Exxon Mobil's stock had been rising lately. They dissected a few of the big exploration projects that had been canceled. One member of the Pickens team put up some charts showing vehicle miles driven against the price of gasoline. "Does a 10 percent rise in price impact demand?" he said. "So far, the answer has been no." "We're seeing supply coming down," someone else said. "That was predictable," replied Mr. Pickens, "because there aren't any rigs." And then there were the Saudis and the other oil producing nations. An important part of Pickens's investing thesis is that OPEC, led by the Saudis, was going to have to lower production to get the price higher. Over and over again, they reviewed the logic: The oil producing countries needed higher oil prices to fund their societies; they just couldn't keep letting oil drop. Saudi debt had gone from 40 billion to 280 billion, someone said. "It's killing them," Mr. Pickens said. "What we do is check, check, check," he told me when the meeting had ended. "You are always checking to see if you have screwed up on your conclusions. The market doesn't believe the Saudis will cut oil production to get the price up, and I can't believe they haven't done it so far. We'll see by the end of the year." In the meantime, he had no intention of changing his position. "Boone is an educated risk taker," said Michael Ross, who until 2010 was Mr. Pickens's primary futures trader. "He takes a position and if it goes against him, he'll start asking questions. And if he still thinks he's right, he'll double up. He bets on himself. When you have conviction, you can withstand risk."	N24News: A New Dataset for Multimodal News Classification	Your Money
In 2010, a graduate student named Tamar Gefen got to know a remarkable group of older people. They had volunteered for a study of memory at the Feinberg School of Medicine at Northwestern University. Although they were all over age 80, Ms. Gefen and her colleagues found that they scored as well on memory tests as people in their 50s. Some complained that they remembered too much. She and her colleagues referred to them as SuperAgers. Many were also friends. "A couple tried to set me up with their grandsons," Ms. Gefen said. She was impressed by their resilience and humor: "It takes wisdom to a whole new level." Recently, Ms. Gefen's research has taken a sharp turn. At the outset of the study, the volunteers agreed to donate their brains for medical research. Some of them have died, and it has been Ms. Gefen's job to look for anatomical clues to their extraordinary minds. "I had this enormous privilege I can't even begin to describe," she said. "I knew them and tested them in life and in death. At the end, I was the one looking at them through a microscope." Ms. Gefen and her colleagues are now starting to publish the results of these post mortem studies. Last month in The Journal of Neuroscience, the scientists reported that one of the biggest differences involves peculiar, oversize brain cells known as von Economo neurons. SuperAgers have almost five times as many of them as other people. Learning what makes these brains special could help point researchers to treatments for Alzheimer's disease and other kinds of mental decline. But it is hard to say how an abundance of von Economo neurons actually helps the brain. "We don't know what they're doing yet," said Dr. Mary Ann Raghanti, an anthropologist at Kent State University who was not involved in the new study. As soon as the Northwestern scientists began enrolling SuperAgers in their study in 2007, the team took high resolution scans of their brains. The SuperAgers had an unusually thick band of neurons in a structure called the anterior cingulate cortex, the scientists found; it was 6 percent thicker on average than those of people in their 50s. After some of the SuperAgers died, the Northwestern scientists looked more closely at these structures. The researchers stained the tissue, put it under a microscope and were struck by an obvious abundance of von Economo neurons. "It really jumped out," Ms. Gefen said. The Ukrainian anatomist Vladimir Betz first noticed these giant "spindle shaped cells," as he called them, in 1881. In the 1920s, the Austrian anatomist Constantin von Economo carried out the first detailed study of the cells, but his research sank into obscurity. It wasn't until the 1990s that researchers rediscovered the stick shaped neurons, calling them von Economo neurons in 2005. These neurons grow only in a couple of regions of the human brain, including the anterior cingulate cortex, and they can be four times bigger than other brain cells. Instead of a typically cone or star shaped body, von Economo neurons are long and thin, with branches that extend far across the brain. Scientists have found von Economo neurons in only a few other mammals, such as apes, whales and cows. It's possible that they emerged repeatedly when different mammals faced the same evolutionary challenges. But it's not clear what challenges such diverse species might have in common. Clues to the purpose of the neurons have come from researchers studying brain disorders. People who suffer from a form of senility called frontotemporal dementia lose many of their von Economo neurons. Alcoholics have 60 percent fewer von Economo neurons than average in one region of the brain called the frontal insula. John M. Allman of Caltech, who has studied von Economo neurons for 20 years, suspects that the neurons provide long distance transmission of nerve impulses. The large size of the cells helps maintain electrical signals as they travel across the brain. "My guess is they represent a fast relay," he said. Certain kinds of thought may create a special demand for speed in large brains. By transmitting signals from the anterior cingulate cortex and frontal insula to other regions of the brain, said Dr. Allman, von Economo neurons may help us manage impulses and stay focused on long term goals. The possibility that these neurons also may keep old minds sharp is intriguing, Dr. Allman said, although he noted that the new results were based on a small number of subjects. Ms. Gefen and her colleagues examined the brains of five SuperAgers, comparing them with five average people in their 80s and five others with mild memory impairments.	N24News: A New Dataset for Multimodal News Classification	Science
"This inhuman world has to become more humane. But how?" A version of that quote, attributed to the playwright Friedrich Durrenmatt, opens "In the Land of Pomegranates," and its question hangs over each scene. Everyone interviewed in this sobering documentary Israeli or Palestinian agrees that something must be done to stop the bloodshed in their land. But even talking about solutions proves problematic. The film centers on "Vacation From War," a retreat in Germany that brings together young Israelis and Palestinians. They live and travel together for a few weeks, often gathering for discussion and debate in the hope of fostering tolerance. Intercut with excerpts from their meetings is bloody footage of violent encounters in Israel and the occupied territories and conversations with a handful of residents, including a bus passenger who was severely injured in a suicide bombing attack and a Palestinian mother whose ailing child is being treated by an Israeli physician. Like several recent films on Israel, including "Wrestling Jerusalem" and "Rabin in His Own Words," "In the Land of Pomegranates" holds no illusions about a quick end to the conflicts there. Hava Kohav Beller, the director, avoids false optimism and feel good moments. Though the young people she interviews at least attempt to speak with one other, their rage runs deep, and few find common ground with those who hold opposing views.	N24News: A New Dataset for Multimodal News Classification	Movies
Justine Thorner and Tom Burke had been to Greenpoint, Brooklyn, once, for a concert, and really liked the neighborhood. So, nearly three years ago, they rented a one bedroom in a walk up there, paying 2,100 a month. Ms. Thorner rode the ferry to work in Manhattan. Mr. Burke fished on the East River. They parked their car on the street. "We felt this was our neighborhood," Ms. Thorner said. Shortly after arriving, they began a hunt for something more permanent: a one or two bedroom, preferably in a small, not too old condominium building with a tax abatement. "We came from a railroad long, narrow everything and we were sick of that," said Ms. Thorner, director of marketing for Crave Crush, a lozenge intended to stop sugar cravings. Storage space was important, too. The two, both 28, have plenty of sports equipment, including surfboards, skateboards, snowboards, camping gear and bicycles. Mr. Burke is a public school physical education teacher who also works as a lifeguard in summer and coaches lacrosse. More than two years ago, Ms. Thorner emailed David Kazemi, a real estate salesman at Bond New York, about a small one bedroom he had listed for 625,000. Their budget, she told him, was 500,000. Nothing came of that, but half a year later, she emailed again, and the couple began hunting seriously with Mr. Kazemi, who specializes in Greenpoint. The couple, who married last summer, sometimes found themselves disagreeing. Mr. Burke hated lofts, spiral staircases and basement bedrooms. Ms. Thorner was willing to settle. "When you are in such a tough market, you start to rationalize things that are pretty crazy," she said. Their budget rose, hitting the low 800,000s. Early on, they saw a large one bedroom in a 15 unit condo building on Huron Street. For 740,000, it had a small balcony, a common roof deck and a deeded parking spot. Monthly charges were around 300. Mr. Kazemi encouraged them to buy it. "The parking spot is rare," he said. "It is a real asset." But the timing was off. "I think we were too early in our search," Ms. Thorner said. "We didn't quite get how valuable the parking spot was." The apartment later sold for 735,000. The timing was also bad at a 10 unit condo building on Java Street where a two bedroom had two bathrooms and a roof deck. The price was 839,000, with monthly charges of around 300. At that point, they were planning their wedding and nervous about assuming too much debt. "At the last second we hesitated," Ms. Thorner said. "It was a really good deal in retrospect." They had a frustrating time with a two bedroom featuring a suburban size backyard. The owner, who was selling it herself, kept raising the price, while failing to return messages, Ms. Thorner said. Another two bedroom duplex with a huge backyard had an odd layout. "They were enamored with the garden space," Mr. Kazemi said. "I talked them out of it. It was one of the most unfunctional apartments I've ever seen." But at a small condo building on India Street, they found almost all of what they wanted. The one bedroom had an extra nook, suitable for a dining room, office or nursery. Instead of a yard, it had a large balcony and a common roof deck. The basement held a private storage room. The price was 792,000, with monthly charges of almost 400. It was occupied by renters and wasn't advertised; Mr. Kazemi had a relationship with the developer, Belvedere. "There was nobody else we were going to have to fight to get this," Mr. Burke said. "It was so much better than having to walk into an open house where you see 10 other couples." They finally arrived in the winter with Taj and their cat, Roxy. Most neighbors also have pets. "The walls are very well insulated," Mr. Burke said, "so we never hear the dogs except going into and out of the building." They do, however, smell smoke from the neighbors. Their storage room is packed, and the balcony is furnished with seating and a grill. In the neighborhood, street parking has become scarce, with parking spots taken by equipment for the many construction sites. "All those cars now congest the surrounding blocks," Mr. Burke said. They still park on the street, following the alternate side parking signs. "It gets a little tedious and repetitive," he said. In the worst case, "I will park on the wrong side and look in the morning, or my wife will."	N24News: A New Dataset for Multimodal News Classification	Real Estate
Philippe P. Dauman, the chief executive of Viacom, has been ordered to sit for a deposition in the legal battle over the mental competency of the media mogul Sumner M. Redstone, a New York judge ruled during a hearing Thursday. The development is a victory for Manuela Herzer, the former companion of Mr. Redstone, who claims in a lawsuit that Mr. Redstone, who is 92 and in frail health, lacked the mental capacity to remove her from a directive that would have put her in charge of his health decisions. Mr. Dauman replaced her on the health directive. Mr. Redstone's lawyers have called the suit "meritless" and said that Ms. Herzer is motivated by money. On the same day that Mr. Redstone changed the health directive in October, he removed Ms. Herzer from his estate plan, in which he had planned to leave her 50 million and his Beverly Hills mansion worth about 20 million. Ms. Herzer has said that she is fighting the court battle out of concern for Mr. Redstone's well being. A Los Angeles judge is scheduled to decide at a hearing Monday whether to dismiss the suit.	N24News: A New Dataset for Multimodal News Classification	Media
A new survey of a large number of streetwear enthusiasts suggests that the influence of influencers has been wildly overstated. Only a third of those surveyed said social media influencers were the most credible figures in streetwear. They were more likely to be impressed by musicians and "industry insiders." Still, in a second survey of people who work in the streetwear industry, a majority of the respondents said that they spent between a quarter and three quarters of their marketing budget "on influencers." All this information comes from the first Streetwear Impact Report, which was released Tuesday. Published by Hypebeast, the prominent streetwear and culture publication, the report comes from survey responses submitted by 40,960 people and is intended to provide insight and analysis about how and why people buy streetwear. It also highlights the way that a collection of fashion subcultures were lassoed together and pulled toward the mainstream. Angelo Baque, the former brand director of Supreme, probably the biggest streetwear brand of the moment, said that the term "streetwear" had barely existed before 2010, when brands long favored by rappers, surfers, graffiti artists and skateboarders became interesting to the fashion industry . "Prior to that it was urban wear, which was just a nice way of saying these were clothes that blacks and Puerto Ricans wear," Mr. Baque said. In the late 1980s and early 1990s, a certain kind of independent clothing brand began to proliferate. On the West Coast, there were surf and skate brands like Stussy and Freshjive, and hip hop brands like X Large and Cross Colours. On the East Coast there were Triple Five Soul, Ecko Unlimited and Supreme, among others. The timing of the Hypebeast report made sense to Mr. Baque. Streetwear, he said, had reached the 10th inning. As social media created more awareness, and as internet incubated rap groups like Odd Future came around, streetwear started to become a mainstream pursuit, evolving into the familiar cycle of lines, drops and resales. "There's money to be made, and it's not a secret anymore," he said. "That's why, for me, I think about that moment when Odd Future started blowing up and it all started blowing up." "In the early '90s, we were all rooted in some sort of subculture," said Erik Brunetti, the designer behind the label FUCT. "For example, skateboarding or graffiti or punk rock. Versus brands today, they're not really rooted in any sort of subculture. They just sort of appeared out of nowhere." Like comic books or underground music, a 1990s streetwear habit required devotion. DJ Ross One, a leading collector of rap T shirts, said that traveling to New York had been like making a pilgrimage, in which the holy sites were Triple Five Soul, Canal Street Jeans and Phat Farm. "The thought of reselling, it would have been devastating to me to lose even one of those shirts because it was so hard to get and I wanted it so badly," he said. "Also, nobody would have bought it." The internet, Ross One said, is "the beginning and end of any conversation about things that used to be sacred that are now not. There's no more underground culture. It's really hard today for a kid to have something that's all their own." The report was a joint effort by Hypebeast and the waviest auditing firm around, PricewaterhouseCoopers. Dr. Axel Nitschke, an expert on fashion, sports and luxury at Strategy , PwC's in house consulting agency, said that he was interested in the lessons streetwear had to teach. "Streetwear managed to create desirability for the product, something that the bulk of the fashion industry has increasing challenges in doing," said Mr. Nitschke, who co authored the report with Enrique Menendez, Hypebeast's senior features editor. "Those brands, sneaker brands, have tremendous credibility within the peer group, and that comes out of the community." Has that community of creators and customers, many of them people of color, been left behind by the larger industry's interest? The report defines streetwear as "fashionable casual clothes" the suggestion being that you know when you see it and makes room for "luxury streetwear brands," including Off White, AMBUSH and Vetements. "There is definitely a whole appropriation conversation, and there's a thousand more conversations as well to be had on that point," Mr. Menendez said. "As a brand and as a company the answer is not to inauthentically try to tap into this movement. In my perspective, the best thing that brands can do is put people in positions of power who came from those communities." Forty percent of North American and European respondents said that " community " had been key to their interest in streetwear; only 12 percent of Asian respondents said the same. "The safeness of it today goes against what it originally stood for," Mr. Brunetti said. "It was very similar to punk or early hip hop. It was a rebellion and now it's become the opposite of rebellion. It's become corporate, sanitized and pasteurized." Mr. Menendez insisted that corporate buy in did not in itself hurt a brand's authenticity. As an example, he pointed toward Supreme. In 2017, Supreme accepted the Carlyle Group, a private equity firm, as an investor. "Supreme is doing well," Mr. Menendez said. "They haven't lost any hype." Mr. Baque and Ross One agreed that Supreme continued to make great clothing. But each said that the brand's clientele had changed.	N24News: A New Dataset for Multimodal News Classification	Style
INDIO, Calif. It was just after 1 a.m. and Jeremy Scott, the forever young fashion designer, held court in a wooden D.J. booth above a synthetic grass dance floor. His annual party, timed to the Coachella Valley Music and Arts Festival, was just starting. Over the next few hours, Kylie Jenner, Jared Leto and Diplo would come through, but at that moment Mr. Scott beamed and bounced as if on a tiny trampoline, hugging friends and scanning the crowd for standout looks. He snapped a photo of Katy Perry, who wore a baby blue guitar dress from his fall 2016 collection. "I just wanted to have this feeling of when I am on the fields, and the mix of clothes," said Mr. Scott, 40, who wore a studded leather suit of his own design. "Sometimes there are things that are a little more flamboyant and things that are a little more utilitarian. It 100 percent translated directly to a whole collection." Unlike fashion brands that have glommed on to Coachella as a marketing opportunity, Mr. Scott, the creative director of Moschino, comes to the festival to see, sketch and get inspired. The Coachella look, as anyone who has recently scrolled through Instagram knows, revolves around crop tops, see through slips of fabric and fringe galore, all of which Mr. Scott has reinterpreted with flower power colors, cartoonish prints and a cheeky sense of humor. "I'm very organic in nature with my creativity," he said. "It just kind of wraps around me, or it's a moment I have, a click of inspiration. It's never calculated." And while he's at it, he's also having a good time. "Give it a little bit, because it'll get wild by 3 a.m.," he said, shouting over thumping music. How long did he plan to stay? "Forever, till it's no more fun." Mr. Scott's immersion into Coachella began with Bjork. "I had just moved to L.A., and she was like, 'Come to this music festival. I'm performing,'" he said, the day before his party, lounging in a house in Rancho Mirage, Calif., that he had rented. "I had no idea. It was also still in its infancy." Bjork was also responsible for Mr. Scott's treating Coachella as a fashion incubator. In 2007, when she headlined again, Mr. Scott dressed her in a hair fringed corset dress printed with pictures of bones. "With the clothes I design, I think about my friends, how I'd want them to dress, what I'd want them to wear," he said. He has created looks for other Coachella performers as well. In 2010, Beth Ditto wore a black shift dress of his with stained glass like accents. In 2014, Rihanna wore leopard print sneakers he designed for Adidas. And last year, Madonna strutted on stage with Drake in a Moschino dress printed with cartoonish jewels. Inspiration flows the other way, too. Mr. Scott said his spring 2015 collection, a riot of baby doll dresses in psychedelic swirls, was a homage to Coachella. A candy colored headpiece, which Miley Cyrus helped design, evoked the flower crowns once favored by young women at Coachella. (Brimmed hats were more abundant this year.) Likewise, festivalgoers inspired the Daisy Duke style gold hot pants and a multicolored plaid shirt tied above the navel that he sent down the runway. Men also served as muses. One male model wore gold pants, orange combat boots and a yellow sweatshirt tied around his waist, a look ripped straight from the desert fields. "I just love the mix of the way things are worn," Mr. Scott said, pointing to the plaid shirt tied around his midsection. Mr. Scott is not the only fashion designer to find inspiration at Coachella. Alexander Wang frequently attends, as does Hedi Slimane, the former Saint Laurent creative director. But Mr. Scott's status as Coachella's reigning designer was solidified in 2008 when he started his own party on the first Saturday night of the festival. What began as a gathering of up to 100 friends at a rented estate in Palm Springs, Calif. (one that once belonged to Frank Sinatra), has grown into one of the festival's hottest tickets. This year, Mr. Scott moved the invitation only party to the Corona Yacht Club, a 20 acre tree shaded estate in Coachella, the town. While it doesn't have any boats, it does have a two acre lagoon and no neighbors who might complain. "We can be later and louder," Mr. Scott said. "It's nicer than having to try to damper the party at two in the morning." His was not the only party of the night. In recent years, the number of fashion brands holding events at Coachella has ballooned. This year, H M was an official sponsor of the festival. Calvin Klein hosted a "brand experience" event that featured top tier D.J.s at a warehouse plastered with its logo. Mr. Scott brushed off these efforts as "inauthentic." "I think it's funny because a lot of them don't have an organic connection to it, so it's kind of an odd fit," he said. "I don't really care because I've owned the Saturday night slot now since, like, a decade. It's my party night, and everyone knows that." When Mr. Scott isn't at a party, he relaxes and tries to channel his ideas into sketches. This year, he and 10 friends took over a 6,300 square foot Rancho Mirage house once owned by former President Gerald R. Ford and his wife, Betty. On the Friday afternoon before his party, Mr. Scott could be found padding over the silk shag carpeting in faux denim pants, a cutoff Batman T shirt and a plaid shirt tied around his waist. Out by the pool, four well toned young people splashed around in swimwear made by their host. Beneath an umbrella, a buff man smeared sunscreen on the areas not covered by black and gold Moschino bathing trunks.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
The single achievement of "I Hate Kids," a new comedy directed by John Asher, is that it is simultaneously tepid and offensive. Tom Everett Scott (once upon a time an engaging screen presence in Tom Hanks's "That Thing You Do"; here, not so much) plays Nick, a best selling author whose latest book is titled "I Hate Kids." It's also the jovial theme of a dinner party celebrating his engagement to Sydney (Rachel Boston), who's similarly committed to a childless existence. Mason (Julian Feder), a 13 year old with eyeglasses and hair that suggest a middle school nerd from an episode of "The Brady Bunch," spoils the event by announcing that he's Nick's son. Abetted by an eccentric and possibly fraudulent radio psychic played by Tituss Burgess, Mason wrangles Nick into a mini road trip around Los Angeles here a magical place where good nonfiction book sales translate into a studio exec lifestyle to find the kid's birth mother.	N24News: A New Dataset for Multimodal News Classification	Movies
'We're going to do our best to make sure we're worth watching.' Gardner Minshew of the Jacksonville jaguars, who completed 19 of 20 passes and threw for three touchdowns. None Plans change quickly with running backs. Only one running back Kansas City's Clyde Edwards Helaire was taken on the first day of this year's draft, but this year's crop of rookies is already looking particularly strong. Edwards Helaire found himself starting for the Chiefs after Damien Williams opted out of the season, and he ran for 138 yards in Kansas City's win over Houston on Thursday. Jonathan Taylor, a second round pick out of Wisconsin, had 89 yards from scrimmage in the Colts' loss to Jacksonville on Sunday, and J.K. Dobbins, a second rounder out of Ohio State, had two touchdown runs in Baltimore's romp over Cleveland. None Sometimes the obvious call is the right call. In a classic case of overthinking things, Carolina faced a fourth and inches play in the closing minutes of the team's game against the Las Vegas Raiders. With everyone expecting a run, or pass, to Christian McCaffrey, Teddy Bridgewater instead handed off to fullback Alex Armah, who was crushed to the ground at the line of scrimmage for no gain, ending Carolina's comeback attempt. McCaffrey finished the day with 134 yards from scrimmage and two touchdowns. Armah carried the ball twice for 1 yard. Smith, who last played on Nov. 15, 2015, looked like his old self, with 11 tackles, two quarterback hits and a sack. Explaining all of Smith's off field problems would take quite a bit of space, but for reference, the "Legal Issues" section of his Wikipedia page has nine separate entries, and includes drug and alcohol incidents, a domestic violence accusation and a bomb threat at an airport. Ravens 38, Browns 6 Cleveland beat Baltimore on Sept 29 of last season, and the Ravens have not lost a regular season game since a streak that will reach at least 357 days thanks to Lamar Jackson throwing for 275 yards and three touchdowns, with a sparking passer rating of 152.1, in a game that was not nearly as close as the final result suggests. Saints 34, Buccaneers 23 For much of the games, the shall we say, experienced? quarterbacks of these teams looked their age, but Drew Brees had an undeniable highlight with a 46 yard completion to tight end Jared Cook, and New Orleans took care of business at home. Rams 20, Cowboys 17 Playing for the first time in the team's new stadium in Inglewood, Calif., the Rams were not exactly back to their world beating ways of two seasons ago, but thanks to a solid effort from veteran running back Malcolm Brown, and a somewhat questionable illegal contact call against Dallas wide receiver Michael Gallup late in the game, Los Angeles was able to hand the Cowboys an opening week loss. Asked afterward about the illegal contact call, referee Tony Corrente said the decision was "obvious." Jaguars 27, Colts 20 Indianapolis added quarterback Philip Rivers to complement the team's power running game. Rivers threw for 363 yards (and two extremely costly interceptions), but the Colts struggled to run the ball and lost starter Marlon Mack to what could be a season ending injury. That and the team's defense falling apart resulted in the day's biggest upset. Washington 27, Eagles 17 It was an incredibly messy off season for Washington, but the season got off to a shockingly happy start with the Footballers fighting their way back from a 17 point deficit thanks to some tough play from the team's defense, two rushing touchdowns from Peyton Barber, and steady play from second year quarterback Dwayne Haskins. Cardinals 24, 49ers 20 It seems like DeAndre Hopkins is going to work out just fine for Arizona, as the wide receiver, acquired in a trade with Houston this off season, had 14 catches for 151 yards against one of the best secondaries in football. Chargers 16, Bengals 13 Rookie quarterback Joe Burrow looked awfully great on a 23 yard touchdown run, but the Bengals were the Bengals, with wide receiver A.J. Green being flagged for offensive pass interference in the closing seconds, ruining Cincinnati's chance at a come from behind win. Bills 27, Jets 17 Given a stiff test to start the season, the Jets failed, with quarterback Sam Darnold looking pedestrian against Buffalo's (admittedly terrific) defense, and running back Le'Veon Bell missing the second half with a hamstring injury. That left the team's defense minus safety Jamal Adams, who was traded to Seattle to deal with an onslaught led by Josh Allen of the Bills. Patriots 21, Dolphins 11 It's not particularly fair to judge a journeyman quarterback for a developing team when he's up against one of the best secondaries in the N.F.L., but Ryan Fitzpatrick's zero touchdown, three interception effort certainly didn't quiet calls for Tua Tagovailoa to get a shot under center for Miami.	N24News: A New Dataset for Multimodal News Classification	Sports
Sean Higgins may be a vegetarian, but he still knows what meaty ingredients go into a juicy barbecue. That's evident in his eye poppingly colorful poster art for the Cleveland Public Theater's production of "Barbecue," Robert O'Hara's dark comedy about two families one white, one black who confront their differences as they gather over grills. Revealing too much more would give away what one critic called "a stunning twist" that "pretty much tops any first act closer I've ever seen." Mr. Higgins said he liked to fill his designs "with stuff," so for "Barbecue"" that meant "lots of smoke and stylized dreamlike barbecue foods" in the background. "I build on top of things, having mistakes happen as I get into the drawing," said Mr. Higgins, who with Nicholas Rezabek is the team behind the design firm the Bubble Process. "There is a lot happening."	N24News: A New Dataset for Multimodal News Classification	Theater
"I want to deepen the work," Evangeline says. Evangeline (Molly Parker) is a theater director and Josephine Decker's film "Madeline's Madeline," which opens on Aug. 10, eavesdrops on her rehearsals for a theater piece starring Madeline (Helena Howard), a high school student and her troupe's newest member. As the play develops, Evangeline draws more and more blatantly on Madeline's own life, destabilizing a young woman who is already pretty unstable. Evangeline isn't wrong. Not about that, anyway. Acting's demands are personal as well as technical. Actors often have to perform a role badly, over and over and over again, before they can perform it well, which is embarrassing and exposing. This conspires to give a director or teacher or coach a lot of power and an actor unless that actor is a star very little. How does a director fix reasonable boundaries? Where is the line between exploration and manipulation? "My God, I wish that I knew!," Ms. Decker said in a telephone interview. She devised the film with her actors, practicing "deep listening," she said. Evangeline, who listens a lot more shallowly and doesn't recognize her art making as exploitative, is a skewed self portrait. In characterizing the relationship between a director and her actors, Ms. Decker unconsciously echoed Evangeline's own words. "It's sticky," she said. "It's intimate and, you know, it's sticky." "Madeline's Madeline" is only the most recent work to color this relationship as fraught, even predatory. It's a trope that first found its light with "Trilby," George du Maurier's 1894 gothic melodrama, now best known in the 1931 film version, "Svengali," in which John Barrymore's ultracreepy vocal coach (the title role) makes crazy eyes at a naive soprano, Marian Marsh's Trilby. His hypnosis frees her voice. Then it kills her.	N24News: A New Dataset for Multimodal News Classification	Theater
Shortly after graduating from Muhlenberg College in Allentown, Pa., Melissa Miller returned home to Baltimore and prepared to head to New York to pursue an acting and voice over career. She briefly considered living in Hoboken, N.J., where a friend was moving, until she realized it would make for a three leg commute to Manhattan to, on and from the PATH train. "I wanted to be in New York City so I could take the subway and be anywhere," said Ms. Miller, 22. Specifically, she wanted easy access to Times Square, Penn Station and the theater district, where she takes classes and goes to auditions. For her new home, her requirements included a doorman, a laundry room and not too many stairs. "I wanted to live alone," she said. "I had too many bad roommate experiences with people I thought I knew." Unlike some of her friends, she had no nearby relatives to stay with, so she hunted while living briefly with the family of a college friend on Long Island. In mid fall, with a rental budget of 2,000 a month, she went to see a 1,975 studio in a Murray Hill co op building that met her criteria. The unit had a main room of around 200 square feet plus pink bathroom charm. "It was exactly what she was looking for: a studio in a lower price range," said Jessica Flynn, a licensed sales agent at Keller Williams TriBeCa, who showed her the apartment. Ms. Miller was ready to sign on. But "her parents wouldn't let her," Ms. Flynn said, "because it was the first one she saw." She continued hunting on her own, unable to find anything suitable: Most places were tiny or far from the subway. So she contacted Ms. Flynn again, this time with a budget of up to 2,250. "She needed one of those larger studios, where you feel you've found a gem," Ms. Flynn said. Ms. Miller mentioned her interest in the theater district. She liked one spacious studio there, in a condominium building a block from the Broadway musical "Mean Girls." For 2,300, it included a foyer, a separate kitchen and ample closet space. She called her parents on FaceTime and declared, "Welcome to Melissa's dream house." But her father objected to the busy neighborhood, teeming with theatergoers. "He said, 'If you can buy pizza for a dollar, you are not in the right neighborhood they are targeting tourists,'" Ms. Miller said. "He didn't actually care about the cost of pizza, but there was no sense of community." She wanted a neighborhood where she could find "a restaurant where people knew me," she said. "I can take the subway to the theater district, but I don't have to live there." She saw more tiny studios west of Times Square and east of Grand Central Terminal. One had a pole in the middle, which she didn't mind, although she did mind the "micro kitchens." Heading uptown, Ms. Miller went to see another spacious studio with Ms. Flynn, this one in the West 80s, for 2,450. She applied, only to learn that another application had arrived just minutes earlier. The landlord chose the other person, possibly because it was someone with a regular job and regular hours. "Melissa is in and out of the house all the time," Ms. Flynn said. "They wanted a tenant who wasn't going to be home and using the space." On a fifth day of hunting, Ms. Flynn scheduled more places with a dwindling sense of optimism. "This was the last of what was available," she said, at least until the following month. They entered another large studio, in an Upper West Side co op building, for 2,500. It had a small renovated kitchen with a peninsula, a large closet and three windows overlooking an air shaft. "The second I walked in, I knew it was the one," Ms. Miller said. "I loved the location, the doormen were friendly, and the people going in and out seemed happy." The broker's fee was 15 percent of a year's rent, or 4,500. She arrived in the fall with the family cat, and furnished the place with pieces from Ikea. "It is my first apartment, so it is a really big deal," said Ms. Miller, one of four siblings. "I am on my own for the first time, living by myself. It's different when you're not around your family all the time. You don't have people you can always go and get a hug from. When I talked to my cat about my problems, she didn't give me the same advice my parents would give me." In addition to spotty advice, the cat kept her awake all night, poking and meowing, and was sent back to Baltimore.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Is the choreographer Sean Dorsey really the first established openly transgender artist in the dance world? Mr. Dorsey is an important figure in the field, but by no means the only one; in terms of grants and awards, his San Francisco company, now in its 15th season, has made strides. And in November, he celebrated an unequivocal first: Wearing a T shirt that read "I heart Being Trans," he became the first openly transgender artist to land on the cover of Dance Magazine. As always, the work matters, and the two act piece, "Boys in Trouble" that his company, Sean Dorsey Dance, brought to New York Live Arts on Sunday as part of its Live Artery series, was unremarkable and unsophisticated. (It continues through Tuesday.) A highly emotional rumination about the toxic side of contemporary masculinity, "Boys in Trouble" looks at the struggle to fight, adhere to and ultimately rebrand what it means to be masculine. At his best, Mr. Dorsey, who also performs, maintains a kind of goofy demeanor; he leans heavily toward humor in attempts to break down stereotypes about gender, race and, of course, the art of machismo. "My arms grow the wrong kind of feathers for flight," he says in the opening voice over while stretching and undulating them under a spotlight. "At least that's what they told me all my life. You won't fit, you won't fly, you won't find your pack." But as "Boys in Trouble" attests, he did. Joined by four dancers who stand in their own spotlights in a pyramid formation, Mr. Dorsey leads the cast in unison steps: turns with head circles and spiraling arms that scoop through the air alongside the audible (and tedious) sound of their breath.	N24News: A New Dataset for Multimodal News Classification	Dance
This week, Lorrie Moore discusses her life as a reader in By the Book. In 1985, Moore wrote for the Book Review about "Galapagos," 's novel about a group of survivors stranded on the Galapagos Islands because of an apocalypse. Yes, American culture is more smart than wise. But , that clown poet of homesickness and Armageddon, might be the rare American writer who is both. He dances the witty and informed dances of the literary smart, but while he does, he casts a wide eye about, and he sees. He is a postmodern Mark Twain: grumpy and sentimental, antic and religious. He is that paradoxical guy who goes to church both to pray fervently and to blow loud, snappy gum bubbles at the choir. Mr. Vonnegut has probably always been a better teller than maker of stories. One continually marvels at the spare, unmuddied jazz of a Vonnegut sentence and too often despairs of his ramshackle plots. But Mr. Vonnegut seems eventually to get where he wants, shining his multicolored lights and science fiction "what ifs" on the huge spiritual mistake that is the Western world. He wants to tell us things: It is not the fittest who survive it is merely those who happen to survive who survive. The earth is a "fragile habitat" that our big brains have failed to take care of. We must hope for flippers and beaks or nothing at all. We are all, finally, being too mean to one another. "I'll tell you what the human soul is," a character in "Galapagos" says. "It's the part of you that knows when your brain isn't working right."	N24News: A New Dataset for Multimodal News Classification	Books
How different are whisky and coffee? Yes, one gets you drunk, and the other wakes you up. But they also linger in different ways. A spilled drop of coffee leaves a stain with dark, sharply defined edges. When whisky dries, it leaves a more uniform, often beautiful film. An unlikely research team of five scientists from Princeton and a photographer from Phoenix described the complex dynamics of evaporating whisky in a paper published this year in Physical Review Letters. The Phoenix photographer, Ernie Button, first noticed the whisky dregs at the bottom of his glass a decade ago and started photographing them under colored lights to accentuate the patterns. Mr. Button was curious about the underlying science and, through a Google search, found Howard A. Stone, a professor of mechanical and aerospace engineering at Princeton, who does not drink much whisky but is fascinated by how fluids flow.	N24News: A New Dataset for Multimodal News Classification	Science
THE CATALOGUE OF SHIPWRECKED BOOKS Christopher Columbus, His Son, and the Quest to Build the World's Greatest Library By Edward Wilson Lee Hernando Colon was the illegitimate second son of Cristobal Colon (known to us as Christopher Columbus). He was educated in royal households; accompanied his father on a disastrous voyage to Central America; represented his philandering half brother, Diego, in a paternity lawsuit at the Vatican; began a geographic survey of Spain; debated the Portuguese on the circumference of the earth; and drafted a Latin dictionary so detailed he was forced to stop, after almost 1,500 pages, at "Bibo," "I drink." Along the way, Hernando bought books. He went on sprees through the shops of Rome, Venice, Nuremberg and Cologne, often snapping up hundreds of titles on a single visit. He bought fine volumes and ephemera, collecting pamphlets and song sheets with as much fervor as the works of the humanist Erasmus. He bought books in languages he couldn't read, like Arabic and Ethiopia's Ge'ez, and amassed an impressive collection of printed images. In order to manage his vast library, Hernando imported multilingual scholars from the Low Countries to serve as its librarians and developed an elaborate cataloging system to index the books' contents. If ever there was a case of life imitating Borges, this is it. In "The Catalogue of Shipwrecked Books" (which takes its title from a list of volumes lost from his collection at sea), Edward Wilson Lee follows Hernando's life in the usual fashion, from his earliest recorded childhood memories to his deathbed. Wilson Lee's main subject, however, is an intellectual hunger at once dazzling and monstrous: Hernando's insatiable urge to know and to possess. As befits a geographer, the story of Hernando is one of places. The most exciting section of the book relates Columbus's fourth and final voyage to the New World, on which he is joined by 13 year old Hernando. Wilson Lee conveys the drama of this catastrophic journey, complete with violent storms, crippling disease, an attempt to establish a settlement in what is now Panama that ends in bloodshed and a desperate wait off the coast of Jamaica that brings Columbus's men to mutiny. It's a captivating adventure that allows us to see how Hernando's outlook on the world was shaped. Facing a rebellious crew of starving men, Columbus uses an almanac he has on board to predict a lunar eclipse, convincing the local Taino that his god will destroy them and the moon unless they provide him with food. And the moon darkens. The young Hernando would have learned from this that books offer power in the most immediate sense. It's a testament to Wilson Lee's skill as a writer that the businesslike trips Hernando took during the rest of his career, whether in service to his family or to his king, are nearly as engaging to read about as his exploits in the Caribbean. The book's rich descriptions of Spain, Italy and the Low Countries bustle with local detail, and the early printed images interspersed throughout make it feel like a travel guide to the past. For lovers of history, Wilson Lee offers a thrill on almost every page, like the plot of a 16th century novel about a charismatic Spanish prostitute navigating the Italian underworld, or the case of a Dutch humanist scholar who teaches two West African slaves to speak Latin so as to prove his educational theories. To top it off, Wilson Lee includes the menu for a feast thrown by Pope Leo X featuring figs in muscatel, cockerel testicles and roasted peacocks "sewn back into their skins, to appear living." "The Catalogue of Shipwrecked Books" offers a vivid picture of Europe on the verge of becoming modern, but still holding tight to its ancient baggage. Here is a continent of astonishingly versatile Renaissance men, hyperactive printing presses and dangerous new religious ideas. But in Wilson Lee's telling, it's also a culture shaped by the encyclopedias and scriptural commentaries that organized medieval thinking. As a case in point, Christopher Columbus argued in "The Book of Prophecies" that his discovery of the New World was part of a divinely ordained plan for the End Times, recasting Bible passages to make himself the hero of the coming apocalypse. Hernando must have seen in his father's writing an important lesson: In an age of abundant and unreliable information, the person who can impose order can shape history or at least command a comfortable pension. His own tools were less violent and narcissistic, but hardly humble: lists of authors and works, book indexes, a hieroglyphic code used in an early version of the card catalog, keywords and content summaries that would allow readers to find the volume they needed. In short, "Hernando had created a search engine." He had even grander designs for the future of the library, involving teams of dedicated book buyers and a complex cage system to keep readers from stealing. If Hernando comes across as a control freak, it may be because life taught him about fuzzy categories and the destructive power of time. "The Catalogue of Shipwrecked Books" is an intellectual biography, but its beating heart is the tangled love of a son for his father. While the fickle Diego received Columbus's inheritance, Hernando was the spiritual heir. He fought to preserve his father's legacy and territorial claims, attributing his own discoveries to Columbus and papering over his father's excesses. Ultimately, both his library and the family name declined. Edward Wilson Lee's magnificent book helps us understand his obsessive desire to gather and preserve, even in the face of chaos.	N24News: A New Dataset for Multimodal News Classification	Books
Reading Garth Greenwell's new book, "Cleanness," you might sense a bit of deja vu. You might even feel, for a moment, that you're still reading his 2016 debut novel, "What Belongs to You." After all, they seem to share its unnamed narrator: a gay American man teaching in Sofia, Bulgaria. "I opened it up at first and thought, Oh, more of the same," said Edmund White, an elder statesman of gay literature. "But then I thought, Well, nobody ever complained that Proust was more of the same." Yet "Cleanness" out on Tuesday from Farrar, Straus Giroux is not quite more of the same. While it bears surface level similarities to "What Belongs to You," it is not even really a novel, nor is it a story collection. "It's a lieder cycle," Greenwell said, borrowing a term from classical music. "That's what the ideal, platonic version of the book is in my head." Indeed, the nine stories of "Cleanness" have the cohesion of a song cycle, the genre of Schubert's "Winterreise" and Schumann's "Dichterliebe." While they don't appear in chronological order, there is a symmetry to their organization, with a life altering love affair rippling out from the center. Garth Greenwell's "Cleanness" comes out on Jan. 14. Greenwell, 41, has taken a long time, and tried out different roles, to find the artistic environment in which he has truly blossomed: prose, for which he has garnered widespread critical admiration, including a spot on the longlist for the National Book Award. But growing up in Louisville, Ky., he began as a singer, which earned him a spot at the Interlochen Arts Academy in Michigan, and later, the prestigious Eastman School of Music in Rochester, N.Y. 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. While there, in the mid 1990s, he befriended people who are now luminaries in contemporary classical music including Alan Pierson, the artistic director and conductor of the ensemble Alarm Will Sound, who described Greenwell as "fiercely devoted and very intense," with a literary approach to singing. But he was also self critical, and unsure of his future in performance. "Garth always wants to be the best," Pierson said, "and he always felt a little inadequate as a musician." Finding himself increasingly interested in poetry and literature, Greenwell decided to study them full time. The Pulitzer Prize winning poet Frank Bidart, a mentor of Greenwell's and one of his teachers at the New York State Summer Writers Institute, recalled someone who was "serious and ambitious in a way most students aren't." Greenwell's poetry, he added, always aimed for more than mere description and "tested the idea of what poetry should be." Pierson, who keeps the poetry Greenwell has sent him over the years in a treasured Google Drive folder, said it contains "really beautiful language mixed with something deep from Garth's experience mixed with profound observations about human nature." Greenwell followed his poetry practice to a Ph.D. program at Harvard, but left in his third year to become a high school teacher in Michigan and, eventually, Bulgaria. All the while, he continued to work on his poems, assembling what was shaping up to be a collection. But Greenwell began to write prose, and, he said, "it destroyed my poems." Bidart felt as though Greenwell has found what he had been aiming at all along. Greenwell wrote about topics that were rife with complication: desire, Bulgaria, privilege and at times a confluence of all three. It came together in a novella, "Mitko," which was published in 2011. That little book, he recalled, sold only a few hundred copies, but it fell into the hands of gay writers like White and Peter Cameron and was a Lambda Literary Award finalist. "Mitko" would later become the opening section of "What Belongs to You," which expanded on the story of an American teacher's fraught relationship with a hustler picked up in a public bathroom. Greenwell added a second section an extended paragraph about internalized homophobia, shame and the narrator's father and a third to provide closure on the novel's initial plot. The book was a career maker in the United States, and a firecracker in Bulgaria, where homosexuality remains taboo and is extremely rare in literature. Greenwell expected scathing reviews and hate speech, but they never came. The first printing sold out within two days. "For me, it was the literary event of the year," said Dimiter Kenarov, a journalist in Bulgaria who has become a close friend of Greenwell's. "Sometimes when foreigners come in, their vision of Bulgaria is very skewed, and the place is either romanticized or demonized. But Garth's writing presents the city I live in and the culture I live in so objectively and so humbly, with a real sense of depth. It's almost like I've been asleep in a city that he awakens me to." By the time "What Belongs to You" was published, Greenwell had already completed four sections of what would become "Cleanness." From the start, he said, both books were "one project," though the world of his newer one is more expansive. Physical gestures are enormously significant, each movement a germ of drama and scrutiny. "He'll make an assertion," White said, "then question it and turn it over and massage it." These passages in particular evoke Greenwell's former lives within his current prose: poetic lyricism, and comma splices deployed like musical phrasing. Two chapters in "Cleanness" recount sexual encounters with unrelenting candor and earnestness. Greenwell said that he doesn't often give himself assignments but that here he wanted "to write something that was 100 percent pornographic and 100 percent high art." Often, he said, pornography goes to great lengths to "expunge personhood" from people's bodies. He aimed to do the opposite, to show intimacy while exploring the ways in which S M encounters make representations of power visible, and therefore malleable. Greenwell's frankness in writing about sex has made for uncomfortable encounters with fans. Because he bears a resemblance to his protagonist, they often assume his writing is autobiographical. (It's not.) Someone once showed him a Facebook profile and asked whether it was one of his characters, and he has been sent explicit photos on social media. In reality, Greenwell doesn't volunteer conversations about sex. He presents more modestly, and lives a settled down life with his partner, the poet Luis Munoz, who runs the Spanish language M.F.A. program at the University of Iowa. "If you would ask me seven years ago whether I would ever own a house, I would say no," Greenwell said. "I certainly would not be in Iowa City. And I certainly would not be in a life that had an affective center based on one person. It's been an interesting, pretty wondrous thing to be in a life that is different from anything I imagined for myself." His next book won't be set in Bulgaria, but in Kentucky, where Greenwell has rediscovered Louisville and become fascinated by its gay history. So he isn't done writing about queer lives. To some degree, that's because he doesn't buy into the dated belief that gay literature can't reach a wide audience a criticism once popular among critics and publishers. "That's just homophobia," he said, "and I refuse to treat it seriously." "If there is a gay ghetto," Greenwell added, "then that's where James Baldwin is, and Thomas Mann is, and Virginia Woolf is, and that's the only place I would ever want to be. And that's not on the margins of the literary tradition: That's right at the heart of it." Follow New York Times Books on Facebook, Twitter and Instagram, sign up for our newsletter or our literary calendar. And listen to us on the Book Review podcast.	N24News: A New Dataset for Multimodal News Classification	Books
This week, we roam France, sampling three regional cuisines: the richness of Gascony, the earthy pleasures of Medoc (below), and the new vibrancy of Bordeaux. Also check out the Food section's guide to French cooking and our survey of five classic specialties, from bouillabaisse to galettes. The Gironde Estuary cuts like a knife into southwest France, dividing the famous Bordeaux wine region into left and right banks. On the left bank, stretching from the Atlantic tip down toward the city of Bordeaux, are the vineyards of the Medoc. In the 17th century, this land was mostly marsh, until an enterprising team of Dutch engineers drained it, revealing a gravelly, mineral rich soil perfectly suited to viticulture. Today, several wines made in the Medoc are so expensive, and so thoroughly commodified, they should be thought of less as beverages and more as complex financial instruments. Their high cost can be traced back to a famous list, drawn up in 1855, that divided Bordeaux's best vineyards into categories (called crus, or "growths"). Almost all vineyards that made the cut were in the Medoc, including four of five to carry the highest ranking (premier cru). Just rattling off their names Latour, Lafite, Margaux, Mouton is enough to make a Chinese billionaire purr. Big ticket labels like these have turned Medoc into arguably the most famous wine producing area in the world. But they have also cast a snooty shadow over this region, concealing its earthier, more sensual side. That realm belongs to the Franco Chinese food writer Mimi Thorisson, whose blog and cookbooks lavishly photographed by her Icelandic husband, Oddur have transformed the image of Medoc from the stodgy preserve of pretentious chateaus into something like a peasant paradise. In 2010, the Thorissons uprooted their very large family eight children and eight dogs, at last count from Paris to a farmhouse in the northern Medoc. There they discovered a wild patch of France sandwiched between rough beaches and thick pine forests crawling with wild boar. The villages were deathly quiet, fringed by abandoned, vine choked estates that looked as if they were being slowly swallowed by the countryside. Some of the locals made wine, but they had the air of farmers, not investment bankers. Mrs. Thorisson plunged herself into their simple existence. She spent her days picking mirabelles, raiding brocantes, charming charcuterie recipes out of her butcher. Wherever she went, a gaggle of smartly attired French Icelandic Chinese children toddled behind her, as if she were some glamorous Mother Goose in a fairy tale version of French country life. When it rained, she and the children pulled on their matching Camper wellies and went mushroom hunting in the forest. When they got hungry, they ate poached eggs and asparagus tips out of little Staub cast iron cocottes. The family's kitchen was always a portrait of seasonal abundance: piles of cepes, crates of pears, freshly killed game waiting to be roasted over dried vine stalks in the hearth. The earthy cooking, the rusticated backdrops, the antique tableware, the children, the dogs, the wine it all proved a bit too perfect for some. "I'm actually not sure if Mimi Thorisson is a real person, or just an elaborate fiction created to make everyone else feel bad about their lives," wrote one of her readers. "I hate her a little bit, but I also want her life." Who wouldn't want that life? Or at least a taste of it? To get a fuller picture of the Medoc, I took a weekend last spring and flew down from Paris. The plan was to drink and eat my way up the Gironde, from the fancy villages of the Haut Medoc (like Pauillac and Margaux) to the tousled beach towns along the Atlantic Coast. Driving from the Bordeaux airport toward Margaux, I was almost immediately surrounded by vines. I love a brisk ride through wine country, but I was surprised at how hard it was to enjoy the passing landscape. The flat terrain, narrow road and low hanging sky all conspired to give me an unexpected feeling of claustrophobia. Every scrap of land was covered in vines, and at every turn there was another pompous chateau trumpeting its existence with tall gates, formal parterres or Palladian columns. In the fields, the little bushels of green, ripening grapes cowered beneath gigantic Transformers style watering vehicles. The chateaus of the Medoc don't exactly hang out big welcome signs. Tastings are possible, at even the best estates, but as with most things in France, you have to make a reservation. As for spending a night, that privilege is usually reserved for the best customers or big shots in the wine trade. I was the only guest the night I stayed at Beychevelle and felt dwarfed by the property's size and its strenuous display of luxury: all tapestries, gilt and carved wood ceilings. I poured myself a glass of wine and stepped out of my room into the chateau's gardens. I strolled, admiring the marble statues, feeling slightly ridiculous alone among all this splendor. A light, Evian mist kind of rain was falling, and by squinting through it I could just make out the silky gray of the Gironde at the edge of the estate. Passing boats once lowered their sails as a nod to the Duke of Epernon, the fearsome naval man who owned the chateau in the 16th century. This tradition, however apocryphal, inspired the name of Beychevelle (from the Gascon, meaning "lower the sail"). The chateau's kitchen prepares meals for guests if arranged in advance. I was served a filet of John Dory with some of the season's first white asparagus and slices of cured ham from black pigs raised in the Pyrenees. That scrumptious course was followed by another: roast lamb, thought to be the perfect accompaniment to the wines of the Medoc. I'm an overenthusiastic lush, so you should be skeptical of my tasting notes, but I really liked Beychevelle's wines, which combined power with a bit of finesse and earthiness. I was able to drink with abandon until the cheese course, before feeling my face turn red hot and slinking off to my room only to get completely lost among the chateau's endless identical doorways. An attendant finally directed me to the right one. Starting in 1945, the baron asked an artist to illustrate each vintage. The original designs whose creators included Picasso and Jeff Koons are now collected in a permanent exhibition that's a fascinating fusion of branding and art. Many artists used the commission to spoof their own style: Andy Warhol silk screened and collaged the baron's face; Francis Bacon submitted a disembodied, abstracted limb gripping a wine glass; Balthus simply offered a pencil sketch of a reclining nude nymphet. My 45 euro tour culminated in a tasting of the most recent vintage. Consumer psychology robs moments like these of the illusion of objectivity. How can anyone discount the fact that the average retail price of a bottle of Mouton Rothschild is 700? I knew I would be swayed by that price, by the palatial surroundings, by the lovely white blazered guide who waxed on about the wine's "creamy tannins" and "slightly saline attack." And swayed I was. After Mouton, I visited the Thorissons, who had kindly invited me to lunch. Since arriving in Medoc, the family has left its rented farmhouse by the coast and bought a rambling old stone house in the deserted village of St. Yzans, not too far from St. Estephe. The house, once an important provincial hotel, sits in the heart of the dusty town center. When I arrived, Mrs. Thorisson, eight months pregnant, was dressed in a chic little black dress and tan leather apron. She was decapitating freshly butchered quails with the same nonchalance that one might bring to peeling carrots. Over Champagne, her husband gave me a history lesson on the house, explaining how it once belonged to the town's mayor, whose mistress presided over the kitchen, while her cuckolded husband, the town's baker, supplied bread for the restaurant. "It was a very French arrangement," Mrs. Thorisson said. For dinner, I asked Mrs. Thorisson to recommend someplace unstuffy, unsubtle and inexpensive. She suggested the Lion d'Or restaurant, a little auberge in the nearby town of Arcins with yellow wood shutters on the windows and an Art Nouveau style glass awning. I arrived early, which is always a mistake in France. The sober room checkered floor, white tablecloths was empty save for a table of three dweeby Swiss guys trying to eat pencil thin foie gras canapes with a fork and knife. "It would give me pleasure if you used your fingers," the proprietor said, saving them further embarrassment. I ordered an aperitif to run out the clock, let the restaurant fill up a bit. Before long, the winemakers started to stream in. They carried their own bottles or took some out from the brushed wood cases that lined the restaurant's walls. Each estate has its own private locker here, from the fanciest premier cru chateau like Lafite to the affordable cru bourgeois vineyards that surround the restaurant. No one, including visiting tourists, pays a corkage fee. I started with the grenier medocain, a gnarly looking local cut of charcuterie made of a pig's stomach that is stuffed (with intestines, organ meat and ham), garlicked, spiced, boiled in broth and served cold. It's the kind of thing you congratulate yourself for loving. Next came a blanquette de veau, the monochrome veal stew cherished by French schoolchildren textbook buttery deliciousness. I never expected to find such a time capsule of simple, frugal French country cooking within shouting distance from some of the world's most elite wine estates.	N24News: A New Dataset for Multimodal News Classification	Travel
There are plenty of reasons to avoid doing business in Europe: sluggish economic growth, concerns over security and terrorism, as well as political uncertainty. But venture capitalists and tech start ups across the region have considered those risks and met them with a collective shrug. Funds have continued to raise large amounts of money to finance start ups from Berlin to Bratislava, despite the rise of populist parties ahead of elections in France and Germany this year, questions over Britain's exit from the European Union and terrorist attacks that have left many on edge. In another sign of that sentiment, Niklas Zennstrom, a founder of Skype who now runs Atomico, a venture capital firm, on Thursday announced a new 765 million fund, one of Europe's largest ever tech venture capital fund raisings. The money will primarily be used to find fledgling European companies that can eventually compete on a global stage still dominated by Silicon Valley. "We've had some political headwinds, but the underlying European tech ecosystem remains strong," Mr. Zennstrom, 51, said in an interview. "Success of tech companies is very binary: They will work or they will not," he added. "Some macroeconomic ups and downs are not going to make a big difference." European tech start ups received a combined 17.1 billion in venture funding last year, an 11 percent rise over 2015 and more than four times the amount that start ups pocketed in 2012, according to Tech.eu, a website that tracks regional fund raising. "Going forward, Silicon Valley won't be as important if you're an entrepreneur building a start up," said Jeppe Zink, a partner at Northzone, a Scandinavian venture firm that raised a new 316 million fund last year and was an early backer of Spotify, the Swedish music streaming service. "But right now, it's still the place to beat when growing a company." Analysts say that Europe's smaller pool of venture capital may have helped the region's start ups to avoid some of the excesses of Silicon Valley, where many new companies have received millions, if not billions, of dollars often at eye watering valuations only for their business ideas to fall flat. Some privately held companies like Uber and Airbnb have become global giants through such venture backing. And while fears of a major downturn in United States venture capital failed to emerge last year, several prominent start ups like Theranos, the blood testing company, imploded after the technology was found wanting. Ciaran O'Leary, a partner at BlueYard Capital, a Berlin based venture firm, said most European start ups still did not have the luxury of burning through their fund raising at record speeds. Instead, he said, they must focus on generating revenues at an early stage, even if that hurts their global expansion plans. "There hasn't been a chilling effect on funding, but start ups really have to focus on getting their operations right," he said. For Mr. Zennstrom, who moved to London in 2002, before the creation of Skype, the drastic fall in the cost of technology and an increasingly global talent pool of engineers mean that it has never been easier to start a company in the region. But Europe's tech sector still faces significant difficulties in its attempt to keep pace with Silicon Valley. Entrepreneurs are now questioning whether London, Europe's largest tech hub, will remain an attractive place to start a tech company after Britain leaves the European Union. The region's venture funding is also still significantly smaller than what is available in the United States. "In Europe, we don't have the luxury of endless amounts of money," Mr. Zennstrom said. "We've had to work in a smarter way."	N24News: A New Dataset for Multimodal News Classification	Technology
LEXINGTON, Ky. Reid Travis needed to play one more year of college basketball. A Stanford senior, Travis had been working out privately last spring in anticipation of the N.B.A. draft. But an invitation to the combine never came. A few teams had him work out, but the message was clear that he would not be among the N.B.A.'s precious 60 draft picks. Six feet 8 inches and solid, but used to playing near the rim, Travis said he was told he needed to add another dimension to his game "be more versatile, become a better passer, decrease turnovers, become more athletic." Given that, he suddenly had to decide whether to stay at Stanford as a graduate student or to pursue a graduate degree in basketball somewhere else. Follow our live coverage of the N.C.A.A. tournament here. And thus was created a different kind of one and done at college basketball's top finishing school: John Calipari's Kentucky, the famed lair of uber talented high schoolers who play one N.B.A. mandated season of games before entering the draft. "Granted I'm four, five years older than these guys," Travis said last month, sitting in a lounge outside the locker room of Kentucky's practice facility. "But I am here for a year, similar to them." Travis's decision was striking because, for more than a decade, Calipari has been the most popular host of raw freshmen rather than seasoned seniors. His modus operandi at Kentucky has been to accept, without apology, the best 17 and 18 year olds in July, coach them up and send them off to the N.B.A. the following June. Since Calipari arrived in Lexington in 2009, Kentucky has averaged three first round picks a year, most of them freshmen. The team has also reached four Final Fours and captured a national title. Enter Travis, a two time All Pac 12 first teamer who turned 23 in November. He was injured most of one season at Stanford, and a medical redshirt left him with one more year of eligibility. But before leaving Stanford, he walked at graduation with his class; he majored in Science, Technology and Society, a course of study that attracts many of the tech minded who arrive in Palo Alto with dreams of staying in Silicon Valley after college. That is why moving to Kentucky also made perfect sense. A highly recruited prospect from Minneapolis five years ago, Travis had one year left and he sought out a school that could help him get to where he wanted to be as a basketball player. "You're playing 30 something games a season, but you're in practice almost 200 days," said Travis, analyzing the problem like an engineer. "So where can I go where I'm playing against a pro every day in practice?" he added. "I felt like this was the best platform, where everyone can potentially be a pro at their position, and that's who you're training with at night, that's who you're practicing with, that's who you're hanging out with, eating with. Everyone has the same mind set of trying to be a professional." The jury is still out on whether he has sufficiently improved his draft stock. Two N.B.A. front office executives, who declined to be named because N.B.A. rules ban public discussion of prospects, delivered mixed reviews. One predicted Travis will not be drafted, and the other argued that thanks to Travis's time at Kentucky, he had played his way into the low or mid second round. Calipari has had Travis confined mostly to the paint. But James Clark, a private coach who worked with Travis last summer, said that Travis had improved his shooting to the point where he could play as a "stretch four" the valuable kind of power forward who can create more space for his offense by serving as a threat to score away from the rim. "I also think people are seeing how strong he is," Clark added. "He's smart with the basketball he doesn't have a lot of turnovers." At Kentucky (27 6), which faces Abilene Christian in the first round of the N.C.A.A. men's tournament on Thursday in Jacksonville, Fla., Travis emerged as a starter and key force near the basket. Because he is playing fewer minutes on the star stocked Wildcats, most of his per game statistics are down from the previous two seasons (although his block total has skyrocketed), but his impact has nonetheless been powerful. Calipari credited Travis with wrestling Grant Williams, the resident bruiser on rival Tennessee, to a draw in Kentucky's victory over its fellow No. 2 seed last month. As if to prove Calipari's point, Tennessee won the next meeting between the teams, when Travis was out with a sprained knee. Tennessee also won the rubber match by 4 points in the Southeastern Conference tournament, with Travis back on the court but probably not at full strength. For Calipari, the education of Travis is a task at once unusual and familiar. "Here's a kid that works like this, that needs a little extra stuff to be able to go reach his dreams, and it appealed to me," Calipari said during an interview in his office. At one point, Calipari referred to Travis as "a good kid," and then scolded himself for calling Travis a "kid." The two bonded last fall during the contentious hearings over Brett Kavanaugh's Supreme Court nomination. "We talked about the Supreme Court stuff that was going on," said Calipari, a politics junkie. "Haven't been able to do that in the last eight or nine years." One night at a team dinner, Calipari told Travis he thought Senator Amy Klobuchar of Minnesota, who played a prominent role in the hearings, might make a compelling Democratic presidential candidate. Travis agreed: his family and Klobuchar's are family friends; he went to high school with the senator's daughter, Abigail Bessler. (Klobuchar entered the presidential race in February.) Travis will spend the next few years trying hard to earn an N.B.A. spot. Calipari is optimistic, because Travis can shoot, create off the dribble and score. "He's going to be one of those guys in that league who you want in your locker room, you want on your team, that has the toughness to guard anybody," Calipari said. The process might take time, a lucky break, more improvement, or a combination of all three. Periods of frustration seem likely. It is also easy to see Travis eventually ending up in business school. He aspires to athletic administration; at Stanford, he took the time to get to know the athletic director, Bernard Muir.	N24News: A New Dataset for Multimodal News Classification	Sports
ATLANTA Desperate to find a way to get the nation's long term unemployed back to work, President Obama and Republican leaders are supporting the expansion of a novel jobs program in Georgia to any other state that wants it. Whether the program can be replicated on a scale big enough to make a dent in the unemployment rate, though, is far from clear. Since the recession began, the Georgia program has been held up as a national example, and a close look shows that it has pleased employers and produced steady paychecks for workers. But economists say there is little evidence that participants find work faster. And a lack of promotion, limited oversight and budget constraints have limited the program, Georgia Works, to a tiny portion of the state's nearly half a million unemployed workers. Only about 120 people have been hired because of it this year. That such a blip of success has been hailed as a central plank of the president's jobs plan, and one of the few with consistent bipartisan support, shows just how few viable solutions have emerged for perhaps the nation's most intractable problem how to get 14 million unemployed people working again. Already replicated by several other states, the Georgia initiative does not create jobs but allows workers to try out an existing position, unpaid, while continuing to receive unemployment benefits. At the end of eight weeks, the employer may take the worker on permanently. The program is voluntary, and participants may not work more than 24 hours a week. Since the program began in 2003, only 18 percent of those who completed the training have been hired by the employer that trained them, according to data released this week by the state labor department. More recently, job placement has declined to about 10 percent. New Hampshire, North Carolina and Missouri report far better results from their programs, though they are still quite small. The Obama administration estimates that if every state opted in, the program would cost 1 billion to 1.5 billion. Supporters of the effort say that hirings are not the only measure of success. The program keeps the unemployed tethered to a workplace environment. It can provide training under federal labor laws that forbid unpaid labor, it is required to, though the state labor department's literature refers to it as a "free trial" for employers. Still, the program has given Lis Cap, 26, who lost her job as a graphic designer in August, the chance to acquire a valuable skill: writing code for smartphone apps. On a recent morning, she sat at a laptop in the dining room that serves as headquarters for a small technology company called AppedOn. From an iPad screen, an AppedOn programmer based in Asheville, N.C., coached her. "It's a great opportunity for me to learn all I can about this area that I was interested in but had no solid experience in," said Ms. Cap, who taught herself to build Web sites but needed help when it came to apps. "Without this, this would not be a job that I could apply for." It also might not be a job that AppedOn could fill, said Sosh Howell, the chief executive. App writers are in short supply, even at salaries of 40,000 to 50,000 a year. "It's so hard to find people," he said, "that our options come down to training someone, which is something we can't afford as a small business, or outsourcing to another country, which is not our preferred method." At the end of eight weeks, Mr. Howell will either hire Ms. Cap, or she will walk away with what she considers valuable training that she could not have gained any other way. At Georgia State University, however, the story is different. Georgia State has hired 37 workers through the program, out of 54 who have begun trial periods. But the overseers of the program there acknowledged that for many, the program was more valuable as a foot in the door than as a learning experience. One auditioner was so proficient at Microsoft Access that she showed her prospective bosses how to improve their system. She was hired. Another employee, Belinda Robinson, said she had repeatedly sent her resume to Georgia State but heard nothing until she volunteered for Georgia Works, thinking, "I just need to meet someone who's in a position of power so I can sell myself." Unions and labor advocates like the National Employment Law Project have criticized the program as free labor for employers rather than training. The White House has tried to neutralize that complaint by ensuring that under its proposal, called Bridge to Work, the worker would receive the equivalent of minimum wage. States may apply for money to bolster unemployment benefits and to provide stipends for travel and child care, which would come out of a 4 billion federal fund meant to cover that and other re employment programs in the jobs bill. The White House proposal tweaks the program to focus on the long term unemployed by restricting it to those who have been receiving benefits for more than 26 weeks, and seeks to curtail abuse by barring employers who use it repeatedly without making hires. Timothy J. Bartik, the senior economist at the W. E. Upjohn Institute for Employment Research, said that he saw no problem with trying out programs like Georgia Works, but that wage subsidies would have a greater impact, even if they were more expensive. "As far as I can see, there's nothing in this that creates jobs," he said. "It's mainly reshuffling jobs among the folks that are unemployed." The Georgia Works program began in 2003 as part of a multipronged attempt to modernize an unemployment system that was still heavily geared toward jobs in manufacturing, said Michael L. Thurmond, the Democrat who was the state's labor commissioner at the time. It was meant to allow workers with outdated skills to try new fields without jeopardizing their unemployment check. When the recession hit, the program's goals shifted. "At first it was helping job seekers who had multiple barriers to employment," Mr. Thurmond said. "Now the focus has shifted to incentivizing hiring by employers in the private sector." In 2009, Republican leaders including John A. Boehner and Eric Cantor put the program in a "no cost jobs plan" they submitted to President Obama. But the program was not cost free. Mr. Thurmond gradually expanded eligibility until, last year, it opened up to unemployed people no longer receiving benefits. At the same time, he increased the stipend from 300 over eight weeks to 600 over six weeks. The program swelled, and stipend costs rose from 500,000 a month to more than 2 million. Still, Mr. Thurmond said, the costs were offset by savings to the unemployment trust fund and to employers, whose savings he estimates at 4,600 for each trainee hired. Mr. Thurmond ran unsuccessfully for a United States Senate seat. His successor, Mark Butler, a Republican, said the program was unaffordable and rolled back eligibility and the stipend. Enrollment fell to fewer than two dozen new participants a month.	N24News: A New Dataset for Multimodal News Classification	Economy
"It's almost like being a wounded animal," is how one former athlete describes the psychology of a gymnast in Erin Lee Carr's "At the Heart of Gold: Inside the USA Gymnastics Scandal." "You don't show your weakness. You don't show that you're hurt." As Carr's documentary demonstrates, Lawrence G. Nassar, the former doctor for the American gymnastics team, exploited this mind set when he sexually abused hundreds of girls for decades. His victims were often so young as to not realize what was being done to them, but had also bought into the stoic philosophy of a sport in which pain is a constant. The many revelations about Nassar have already been widely reported, but Carr's film, which is also available on HBO, works as a worthwhile precis, featuring interviews with many of the women who came forward. Nassar had been active for so long that the victims' ages vary widely; some had known him for years and even considered him a friend.	N24News: A New Dataset for Multimodal News Classification	Movies
Given the political tensions that have sent spasms through the nation over the past two years, you might have expected hoped that the 2019 Whitney Biennial would be one big, sharp Occupy style yawp. It isn't. Politics are present, but with a few notable exceptions, murmured, coded, stitched into the weave of fastidiously form conscious, labor intensive work. As a result, the exhibition, organized by two young Whitney curators, Rujeko Hockley and Jane Panetta, gives the initial impression of being a well groomed group show rather than a statement of resistance. Yet once you start looking closely, the impression changes. Artist by artist, piece by piece, there's a lot of quiet agitation in the air. And the basics are strong. Demographically, the show which fills the museum's fifth and sixth floors, spreads down to the third, into the lobby, and out to the street adheres to what seems to have become a new Whitney norm: namely, a view of American art far more inclusive than it once was. The 75 participants include artists hailing from Canada and Puerto Rico and non coastal points in between, as well as several born in Africa and Asia and at least a few United States citizens living abroad. The ethnic and gender mix is balanced to a degree unimaginable even a decade ago. And it's a young show: three quarters of the artists are under 40, with 20 of them under 33. So that's all good. Topical politics, present, if low keyed, begin at the fifth floor elevator, where you're greeted by soft, melancholic instrumental music that takes a minute to place: It's a largo version of "The Star Spangled Banner," which is also the soundtrack of a video animation by the German born, California based Kota Ezawa depicting N.F.L. players taking a pregame knee to protest police violence against African American men and women. Nearby hang a set of eight photographic prints by the Brooklyn artist Josh Kline, each encased in a boxy metal frame. The pictures, dyed lurid oranges, greens and violets, encompass shots of a statue of Ronald Reagan in the United States Capitol Rotunda in Washington, the reception desk at Twitter headquarters in San Francisco and the exterior of a Park Avenue high rise. Within each frame, water, fed by pumps, is rising, like climate denial payback in progress. Reagan can barely keep his head above the flood. And while the current occupant of the White House goes undepicted in the show, he's very much part of a powerful new work by Alexandra Bell. It's made up of 20 prints reproducing pages of New York City newspapers dating from the time of the Central Park jogger case in 1989, when a group of black and Latino teenagers were convicted and imprisoned falsely, it turned out for assaulting and raping a white woman. The show's only other example of what might be termed hard politics is a 10 minute video called "Triple Chaser" by the London based activist collective Forensic Architecture with Praxis Films, run by the filmmaker Laura Poitras. The piece was made specifically for the Biennial and addressed to a controversy in which the Whitney is now deeply embroiled: a demand by protesters that one of its trustees, Warren B. Kanders, founder of a company, Safariland, that produces police and military weaponry, leave the board. (Ms. Hockley signed a staff letter to that effect. Nearly half the Biennial artists signed another one.) A Triple Chaser is a type of tear gas grenade manufactured by Safariland that has allegedly been used against civilians at the U.S. Mexico border and elsewhere. The video, narrated by the musician David Byrne and proposing a digital method for tracking use of the tear gas, has the pulse pushing tone and pace of effective agitprop. It gives a show otherwise geared to slow reading a jolt of real time sizzle, and importantly it calls attention to the institutional framework in which the reading is taking place. (As of this writing, Mr. Kanders is still on the board.) This is not to say that other work doesn't deal with in the now issues. Eddie Arroyo's small paintings of a shop in the Little Haiti section of his hometown, Miami, over the course of four years is both a homage to, and a lament for, a place and way of life being erased by gentrification. And embedded in otherwise abstract collage paintings by Tomashi Jackson are references to the seizure of African American property in New York City, from the 19th century onward, in the interest of urban "renewal." By rethinking culture, Ms. Ortman reclaims and revivifies history. Gala Porras Kim does this, too, in her non linguistic approach to accessing inscriptions the spirit of them, not the letter on a single pre Columbian stele. So does Ilana Harris Babou who, in a video, casts a sardonic eye on the too easy Western consumption of the Middle Passage by recasting Goree Island in Senegal, once a departure point for the trans Atlantic slave trade, as a contemporary lifestyle destination. And in a truly extraordinary video triptych, Ellie Ga, an American artist living in Sweden, weaves together archaeology, oceanography and social justice by recording the recovery of ancient remains from the Aegean, the tidal drift of Japanese tsunami debris to the Greek islands and the arrival of asylum seekers and refugees to those same islands. Circulating throughout all of this is an account of her being unmoored by grief at the death of her parents. Each part of the triptych runs about 13 minutes; all three reward watching, start to finish. If the Biennial can be said to favor one medium, it's sculpture, which is enjoying robust health on the evidence of the selection here, ranging from Robert Bittenbender's trash and treasure infested wire snarls, to Ragen Moss's polyethylene biomorphs, to attenuated figures, made in Nairobi and New York, by Wangechi Mutu, and ground hugging ones by the 2018 Hugo Boss Prize winner Simone Leigh. The ghost of many global modernisms filter through this art and concentrate, with panache, in the sculpture of the Chicago artist Diane Simpson. Ms. Simpson, who is now 84, has been awarded a solo showcase in the Whitney's lobby gallery. Her work, inspired by architectural design and clothing construction, is basically drawing brought into the third dimension. And, scaled to the human figure, it suggests a new kind of armor, soft but firm, protective but assertive. Rigorous in concept, faultless in execution, her art is sublime in a way no one else's is. Sublime is certainly not a word I'd use for the excellences of Nicole Eisenman's sculptural contribution. Spectacular is, particularly in the context of this anti spectacle Biennial. Installed on the sixth floor terrace over the High Line, her shambolic tableaus of lurching figures in plaster, metal and Fiberglass embody the exhibition's history conjuring, identity expanding, form scrambling tendencies, and projects them loud, with a rude anarchic belch of a kind that's otherwise missing from the show.	N24News: A New Dataset for Multimodal News Classification	Art & Design
Mr. Witt is a law professor at Yale and the author of the forthcoming "American Contagions: Epidemics and the Law From Smallpox to Covid 19." Alongside growing controversy over judicial nominations, court reform and Covid 19 policies, American law is in the midst of a little noticed paradigm shift in courts' treatment of public health measures. The Republican Party's campaign to take over the federal and state courts is quietly upending a long and deeply embedded tradition of upholding vital public health regulations. The result has been a radically novel and potentially catastrophic sequence of decisions blocking state responses to the coronavirus pandemic. For centuries, American constitutional law granted state governments broad public health powers. "Salus populi suprema lex," the old saying went: The health of the people is the supreme law. Such authority went back to the beginning of the Republic. In the famous 1824 case of Gibbons v. Ogden, Chief Justice John Marshall defended the "acknowledged power of a State to provide for the health of its citizens." States, he explained, were empowered to enact "inspection laws, quarantine laws" and "health laws of every description." Lemuel Shaw of Massachusetts, who was arguably the most respected state judge of the 19th century, supported vast public health powers and described states' authority to control epidemics as central to the sovereign power of government. The Alabama Supreme Court agreed, citing the old dictum of salus populi, and courts in states like Georgia and Louisiana followed. In New York, the state's highest court upheld disruptive health regulations like a ban on burials in urban church cemeteries. After the Civil War, New York's courts upheld the Legislature's decision to vest local boards with "absolute control over persons and property, so far as the public health was concerned." In 1900, when a suspected outbreak of bubonic plague led San Francisco authorities to quarantine the city's Chinatown neighborhood, the U.S. Court of Appeals for the Ninth Circuit struck down quarantine and inoculation provisions that irrationally targeted Chinese residents, but ratified the city's power to quarantine in general. Five years later, the U.S. Supreme Court in Jacobson v. Massachusetts upheld mandatory vaccination programs. States, the court ruled, were empowered to establish general regulations "as will protect the public health." As in the two Chinatown cases, however, the court aimed to preserved its authority to intervene in narrow circumstances. Justice John Marshall Harlan's opinion observed that certain "arbitrary and oppressive" vaccinations might be unconstitutional. Modest and careful judicial intervention was the norm in courts across the country. When courts in Illinois, Kansas, Michigan and Wisconsin overturned policies prohibiting unvaccinated children from attending school, for example, they did so on the ground that their state legislatures had not authorized such policies. Such decisions respected the salus populi principle by leaving the legislatures empowered to mandate vaccination if they saw fit to do so. The basic outlines of this approach remained in place for more than two centuries. Today, however, the tradition of salus populi is in collapse. In state and federal courts alike, Republican appointed and Republican elected judges are upsetting the long established consensus. This month, a bare majority of four Republican appointed justices on the Michigan Supreme Court struck down the state's 75 year old emergency powers law as an "unlawful delegation of legislative power to the executive." In dissent, Chief Justice Bridget McCormack (who was endorsed by Democrats when she campaigned for election to the court) correctly identified the majority's reasoning as "armchair history" that set aside decades of precedent. Last month, a federal district judge in Pennsylvania appointed by President Trump struck down the state's business closure rules and its limits on gatherings. The judge in the case, William Stickman, revived hoary ideas about freedom of contract and laissez faire economic policy that once led the courts to strike down protective labor legislation like wage and hour laws. And back in the spring, four justices connected to the Republican Party on the Wisconsin Supreme Court overturned their state's common sense emergency Covid 19 rules over the dissents of three colleagues. The U.S. Supreme Court threatens to get into the action, too. In May, four conservative justices (Clarence Thomas, Samuel Alito, Neil Gorsuch and Brett Kavanaugh) dissented from an order in South Bay United Pentecostal Church v. Newsom allowing California's Covid 19 related restrictions to remain in place for gatherings at places of worship. Then, in Calvary Chapel Dayton Valley v. Sisolak, decided at the end of July, those same justices dissented from a similar order leaving Nevada's restrictions intact. Next month, the court is scheduled to hear arguments on a startling and widely criticized decision from the U.S. Court of Appeals for the Fifth Circuit in Texas last year that offers yet another opportunity to strike down the Affordable Care Act. The health care of millions could be cast into question even as the pandemic rages. All of this is a sharp departure from a long history of judicial solicitude toward state powers during epidemics. In the past, when epidemics have threatened white Americans and those with political clout, courts found ways to uphold broad state powers. Now a new generation of judges, propelled by partisan energies, look to deprive states of the power to fight for the sick and dying in a pandemic in which the victims are disproportionately Black and brown. The results are already devastating. John Fabian Witt is a law professor at Yale and the author of the forthcoming "American Contagions: Epidemics and the Law From Smallpox to Covid 19." 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
Things happen. There are cryptic comments, sidelong looks, conspiratorial huddles. An empty house is apparently robbed. It isn't always immediately evident how and why these seemingly disconnected incidents fit into Claudio's life even as they're inexorably sliding into place. Working at the intersection of the cinematic mainstream and the art house, Naishtat oscillates between the obvious and the ambiguous, all while avoiding overt political messaging. Some visiting American cowboys, for instance, who are wedged into the narrative rather awkwardly, seem like totems of the United States, which provided support to military dictatorships throughout Latin America. Naishtat teases out his meaning slowly. It takes a while to grasp the significance of the empty house in the opener as well as the stakes at play during a weirdly hostile encounter between Claudio and a belligerent male stranger at a restaurant. It's a bravura scene, filled with haunting laughter, an eerier silence and unexpected camera movements and angles that, in tandem with the harshness of the two men's words, create an ominous sense of encroaching destabilization. At first, Claudio seems like the aggrieved party during this encounter, a perception that like so much else in "Rojo" is soon upended, this time by gunshots and a drive that leads to the abyss. It's a brutal trip, though Naishtat smartly balances the heaviness with moments of levity and absurd comedy. (Some much welcome relief is provided by the wonderful Chilean actor Alfredo Castro, a familiar presence in the movies of Pablo Larrain, whose influence is evident here.) Even so, the horrors of Argentina's military dictatorship which murdered thousands of civilians keep tap, tap, tapping, as when Claudio learns that an old friend has abruptly left the country. "The doctor had some issues," a woman says, eyes darting. Claudio nods, telling her that the doctor will return. "Don't worry," he adds. By then you know better, and obviously so does he. Not rated. In Spanish, with English subtitles. Running time: 1 hour 49 minutes.	N24News: A New Dataset for Multimodal News Classification	Movies
On a recent weeknight at Ahiru Store, a gastro wine bar in the Tomigaya neighborhood of Tokyo, the seven guests lucky enough to grab a spot at the counter noshed on dishes like freshly made pate, French style onion pie, avocado and octopus salad, and what might be best described as a pan fried take on shrimp tempura. Behind these diners, Japanese salarymen and expats in business attire crowded over two oak barrels serving as standing tables. Wakako Saito, half of the brother and sister team behind this boite specializing in modestly priced organic wines, had to politely turn away a steady stream of walk in guests, all the while delivering the dishes that her brother, Teruhiko, and another cook were whipping up in the open kitchenette. Above the shelves of wineglasses were chalkboards scribbled with the day's menu in Japanese. Tomigaya, which has retained its low rise silhouette, is one of Tokyo's latest "it" neighborhoods. While enclaves like boho chic Nakameguro and hipster Shimokitazawa have been cool for some time, Tomigaya feels markedly less touristy and more of a work in progress. Ahiru Store, just a brisk 10 minute walk from Shibuya Crossing, where hundreds of people scramble across the intersection at each green light, opened nine years ago. Back then, the buildings nearby "were only houses," Ms. Saito said while slicing a loaf of sourdough she had baked earlier that day. "It was not exciting. But these days, the number of fancy restaurants goes up year by year." Tucked behind office towers and department stores, Tomigaya has slowly become chockablock with matcha meets macaron cafes, Instagram ready shops and internationally inspired yet unmistakably Japanese gastro pubs squeezed between two story homes. "I don't want too many customers," Tomoyuki Kamiya said inside Archivando, his boutique that is steps away from Ahiru Store. In this three year old home furnishings shop with concrete and wood interiors, Mr. Kamiya rotates eclectic rosters of products by designers unfamiliar to many outsiders, like one of a kind shawls by Tamaki Niime, who uses the ancient dyeing and weaving technique called banshu ori, and handmade jewelry by Wataru Yamazaki, who creates metalware that straddles the nebulous zone between organic and geometric shapes. While half of Archivando's inventory are overseas finds like 30 year old German skillets, only about 5 percent of the foot traffic seems to be foreigners, he said. Mr. Kamiya, an interior architect by training, discovered Tomigaya while designing a hair salon nearby. "It's so quiet here," he said. "I always wanted a place where I can tell customers stories about all the things in the store." Those days of calm may be numbered, however. Tomigaya received its seal of approval from the international lifestyle magazine Monocle, which opened an office and shop here in October 2014, hawking everything from sweatshirts to brass candleholders emblazoned with the publication's logo. Other standouts include Pivoine, a florist cum cafe attracting the Pinterest set with its ceramics and easygoing knitwear; 365 Jours, an organic bakery whose fans line up for crunchy chocolate chip filled buns, and PATH, a brunch hot spot with unapologetically global fare like kale and quinoa salad and savory Dutch style pancakes topped with burrata. There is also Camelback, where a former sushi chef turns out creations like a wasabi accented egg sandwich and monkfish liver banh mi, and Minimal, a bean to bar chocolate maker. Just like its Oslo sibling, Fuglen metamorphoses from a caffeine fueled hangout into a cocktail bar, attracting a beautiful and self conscious crowd. From the clean lined chairs to the 1960s table lamp, many of the furnishings in the cafe bar are for sale. Not every local is thrilled with the ascendance of Tomigaya. Naosuke Hayakawa, who has run the vintage decor shop Provenance in its current location for a decade, fears the popularity has made the neighborhood less interesting. "Why do we need another cafe?" he asked rhetorically on a recent visit. "Why another wine bar?" His semi basement shop, bringing together flea market curiosities like an East German passport and beautifully restored early 20th century European furniture, would not feel out of place in Berlin's trendy Neukolln neighborhood. But when Mr. Hayakawa moved here, Tomigaya was anything but hip. "It was a wonderful mixture of new and old," he said, reminiscing about a century old tofu shop, now gone, where the owner lived upstairs. "Now may be the peak," he said. "Maybe it will go out of fashion by the Olympics. Maybe the cheap ramen restaurants and tofu shops will return."	N24News: A New Dataset for Multimodal News Classification	Travel
This is the Swiss artist Peter Fischli's first solo show at Reena Spaulings, a Chinatown gallery originally started by artists. It's a fitting place for an artist to start a career except that Mr. Fischli's last New York exhibition was a sprawling survey at the Guggenheim Museum that featured the witty and irreverent post Conceptual sculptures, films and photographs of Fischli/Weiss. (Davis Weiss, Mr. Fischli's artistic partner since 1979, died in 2012.) Mr. Fischli's "Cans, Bags Boxes," a remix and update of a show mounted at the gallery's space in Los Angeles last year, consists of 33 painted cardboard and newspaper sculptures and two lithographs. The sculptures look like traditional modern forms crafted in bronze or clay. They rest on solemn white pedestals, made of cardboard and painted white, and are accompanied by a news release that describes with earnest precision the methods and materials used to make them. But the news release is a bit of a ruse. The sculptures derive directly from humble and silly sources: pizza boxes and shipping cartons covered in newspaper and painted, or cans created out of cardboard cylinders. Part joke, part philosophical rumination on objects like Marcel Duchamp's urinal or the constellations of Neo Dada, Neo Realism and Pop Art that celebrated the mundane they elevate pointedly banal objects to the category of Art and question our concepts of aesthetics, art criticism and so forth. Inevitably, the show also feels like a memorial to Fischli/Weiss, who made sublimely puerile sculptures and dioramas with luncheon meat, rubber and unfired clay, as well as the classic art film "The Way Things Go" (1987), in which a lineup of everyday objects collapsed, domino style, in a combustible reaction. Mr. Fischli preserves the deadpan humor of Fischli/Weiss, although with so much history behind him, the show feels uncanny at times, like the sound of one artist laughing. MARTHA SCHWENDENER The Yoruba artist Romuald Hazoume's "Nettoyeur," one of 16 "masks" made from found plastic jerrycans that make up his latest New York show, is an astonishingly economical comment on the relationship between African and Western art. With a straight handle for a nose above the container's own gaping round mouth, and a semicircular indentation for drooping brows, the work becomes not merely a face but an expressive one. Originally golden yellow, its surface now has a complex texture of abrasion and encrusted gray filth. Instead of the feathers that adorn many of Mr. Hazoume's other masks, a sinuous wooden brush with thick, dirty bristles is wired to its dome. Using an everyday tool as a decoration rather than for its intended purpose is analogous to the way 20th century European artists decontextualized African masks. Substituting that tool precisely for the medium it's meant to work upon is a pretty good critique of Western culture in general: Mr. Hazoume replaces hair with brush just as we look to empty aesthetic symbols instead of a spirit world. Still, Mr. Hazoume, who lives and works in the Republic of Benin, ably plays both sides of the fence: With or without their satirical bite, his masks are also tremendously entertaining. Eight men's pipes mimic a crest of slicked down hair in "Cocotamba." Two projecting round buttons on the surface of "La Trompe" read as beady little eyes, while another two just disappear. The mouth of "Bisou," crushed into an open triangle, offers an eternal kiss. WILL HEINRICH Modernism, as the story goes, was a radical, era defining break with the past. It gave us new ways of seeing and shaping the world. But what if we're also giving it too much credit? What if we've been elevating it at the expense of other cultural production that deserves equal attention? These are some of the crucial questions raised by "Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art," an exhibition at the Whitney Museum featuring seven Latinx artists, the gender neutral term for those of Latin descent. The show highlights contemporary art that's steeped in indigenous American ideas; the three titular words are in Quechua, the most widely spoken indigenous language in the Americas. Significantly, each of those words has multiple meanings, suggesting a flexibility that mirrors each artist's use of a variety of media (though it's not reflected in the show's layout, which sequesters the artists in their own spaces). Claudia Pena Salinas and Livia Corona Benjamin point to specific failures of Modernism in Mexico. Their photographs, videos and sculptures are richly narrative and abstract, with the artists testing different approaches to their topics. Clarissa Tossin emphasizes the indigenous roots of the Mayan Revival architectural style. Her video of Crystal Sepulveda dancing around Frank Lloyd Wright's Hollyhock House is a standout. William Cordova, Jorge Gonzalez and Ronny Quevedo draw on indigenous constructions of space including pre Columbian ball courts, temples and weaving methods while thoughtfully infusing their installation with contemporary elements, in the process tracing lineages. Guadalupe Maravilla similarly merges past and present by collaborating with undocumented immigrants to draw mazelike lines on manipulated reproductions of a 16th century colonial manuscript written in Nahuatl, an indigenous language. On the strength of its artwork, this show is a success. Mounted in a Western museum devoted to modern and contemporary American art, its effect is even more powerful. JILLIAN STEINHAUER	N24News: A New Dataset for Multimodal News Classification	Art & Design
SAN FRANCISCO Taiwan Semiconductor Manufacturing Company has agreed to build an advanced chip factory in the United States, in a response to the Trump administration's growing concerns about the security of the global electronics supply chain and its competitive tensions with China. The decision by T.S.M.C., which operates enormous plants in Taiwan to produce chips used in most smartphones and many other devices, was confirmed late Thursday after earlier press reports. T.S.M.C. said the factory would be built in Arizona, with unspecified support from the state and federal government. T.S.M.C. estimated its own investment in the plant from 2021 to 2029 at 12 billion, predicting it will directly employ about 1,600 people while indirectly creating thousands of other jobs. But T.S.M.C.'s estimate of the plant's output indicates it would be roughly one fifth the size of the company's largest "gigafabs," as the company calls them. It plans to use production technology rolling out this year that is unlikely to be the company's most advanced when the plant is scheduled to begin operating in 2024. Still, the move appears to be a win for the Trump administration, which has called for building up U.S. manufacturing capabilities and has criticized the fragility of a tech supply chain heavily centered in China. Mr. Trump has made primacy over China a key tenet of his administration, waging a trade war last year and restricting the abilities of Chinese technology companies like Huawei to do business in the United States over national security concerns. The deal with T.S.M.C. may be coupled with looser restrictions on the use of American technology in the overseas manufacturing of products, said two people briefed on the deliberations. That would be a relief for Chinese leaders and for Huawei, the telecom equipment giant and a major customer of T.S.M.C., which had been facing potential limits on the amount of American technology it could use. T.S.M.C. did not mention any such offer in its announcement. A T.S.M.C. spokeswoman said the decision for the factory was based on its business needs, not part of any negotiation for eased trade sanctions. "This U.S. facility not only enables us to better support our customers and partners, it also gives us more opportunities to attract global talent," the company said in a news release. The administration's sanctions have been tied partly to White House concerns about Huawei. The Trump administration also appears poised to extend a temporary license on Friday that has allowed American companies to continue doing business with Huawei, said one of the people, even after the firm was placed on a blacklist last year. Officials at the White House declined to comment on T.S.M.C.'s plans, which were earlier reported by The Wall Street Journal. Defense Department officials have worried for years about the lack of secure U.S. factories capable of producing the most advanced chips, concerns that have prompted talks with companies that include Intel, Samsung Electronics and GlobalFoundries. Worries have spread to other branches of government as some chips made by T.S.M.C. have become critical to military and civilian hardware. The coronavirus, which sent shock waves through supply chains in Asia, along with growing tensions with the Chinese government, has added new pressures for government action, industry executives said. But money to create new chip plants has been a key obstacle. Advanced semiconductor factories, which process and slice up silicon discs to make chips, now frequently cost more than 10 billion to get up and running. Mark Liu, T.S.M.C.'s chairman, told The New York Times in October that T.S.M.C. had been negotiating with the Commerce Department about a possible U.S. plant, but said it would require substantial government subsidies. How much, if any, public money might be associated with the company's decision was unclear. In the investor call last month, Mr. Liu added that there was a "cost gap" to creating an American plant that was "hard to accept at this point. Of course, we are doing a lot of things to reduce that cost gap." Any U.S. subsidy to a foreign based chip maker could become controversial. Intel, which operates big factories in Oregon, Arizona and New Mexico, recently wrote a letter to Pentagon officials that described collaboration aimed at designing a commercial U.S. chip factory that could also make sensitive military products. "We currently think it is in the best interest of the United States and of Intel to explore how Intel could operate a commercial U.S. foundry to supply a broad range of microelectronics," said Robert Swan, Intel's chief executive, in an April 28 letter reported earlier by The Wall Street Journal.	N24News: A New Dataset for Multimodal News Classification	Technology
Credit...Valerio Mezzanotti for The New York Times At Milan Men's Fashion Week, Prada and Versace Take It Down a Notch MILAN Was it only Americans in the audience looking longingly at the beds provided as seating for some at the fall 2017 Prada show for both men and women? Or were others also secretly wishing they could lie down and yank the covers over their heads? In general, the surprise outcome of the United States presidential election has been greeted philosophically by many Italians in the fashion business, who say that, having lived through decades under the thumb of a media savvy businessman bully the former prime minister Silvio Berlusconi a long view helps. Still, the conservative designs that have dominated the season suggest an overall mood of caution. Despite a postelection spike in stock prices and strong retail sales, designers are playing it safe. Naturally, it was Miuccia Prada who articulated the new reality best when she evoked a need for simplicity and what she termed "essentiality" in design. Abandoning the immersive sets often used for her shows, Ms. Prada and the architect Rem Koolhaas's AMO studio chose instead to install sinuous wooden partitions lined with bench seats not unlike those seen outside confessionals. And they added some beds. Claiming to Vogue.com that her inspirations were too complex and varied to enumerate, she suggested that her current aesthetic disposition was best described in terms of what wearied her: "The big deal of fashion, the big deal of art, the big deal of everything." That bloat presents a cultural menace is something we can probably all agree on. The demagogues and bobblehead behemoths dominating public life inspire in all of us a degree of soul searching, an examination of core values. This notion was once taken up by the filmmaker Jean Renoir in a letter to the actress Ingrid Bergman. "The cult of great ideas is dangerous," Mr. Renoir said, "and may destroy the real basis for great achievements, that is the daily, humble work within the framework of a profession." Of course, it remains the case that Ms. Prada's are the big ideas driving her luxury goods label. Yet teams of humble, anonymous people keep her brand and Italian fashion alive, a point that was one unexpected takeaway from her show on Sunday. What elevated the clothes, and kept them from seeming like props from a Macklemore video, is Italian craftsmanship. Here (and throughout the fragile Schengen Area) workers still retain the skills to transform what appear to be bargain bin finds into covetable luxury goods. Ms. Prada knows that banality as an aesthetic default works only when you have skilled fabricators to realize your vision. Jeff Koons doesn't make those shiny bunnies himself. The women heading many big brands in an industry dominated by family owned enterprises often have a particular challenge when it comes to heritage. Take the zigzag knits developed by Angela Missoni's parents in the 1950s, which probably constitute one of the most enduring brand identities. Better than a logo, the Missoni knit patterns are also something of a design albatross, since if you alter them too radically you become just another knitwear label. Repeat them ad infinitum, though, and stale redundancy yawns. If it has taken some time for Ms. Missoni to grow into a design role she initially took on with some reluctance, the slow burn confidence she developed is now paying off. One of her best to date, Ms. Missoni's collection was filled with lushly hued, slouchy, rich slacker clothing easy to imagine on a Trustafarian playing hacky sack in Paepcke Park in Aspen. But a lot of less privileged (though still prosperous) men would look equally good in one of Ms. Missoni's zip up sweaters or jackets; her skater baggy houndstooth pajama pants; her stitched cashmere coats of many colors (70 different hues deployed to create one jacket); and particularly the heavy Aran Island sweaters overdyed in degraded rainbow stripes so alluring they made this viewer want to revisit his hippie youth. It suggests something about the anxieties induced by the current political climate that Donatella Versace another powerful woman designing for a storied and family owned label elected to bypass the flamboyance of previous seasons (togas and grommets, patterns and patches, stormtrooper coats and bovver boots) to produce a collection focused on suits. Sure, there were trousers notched at the hem to fit over boots with Vibram lug soles, patent leather backpacks, a few roomy overcoats patterned in an elegant serrated Jacquard weave and others in crinkled, wet look vinyl. And, yes, there were belted trenches that seemed designed for a gangster with a sideline as a flasher, and trousers in crayon red leather and blanket plaid puffers cinched tight enough to endanger circulation. Yet the overall mood of the new Versace collection was one of sobriety. Forget flights of fantasy and kitting yourself out for an extravagant club binge. Keep that interview suit pressed, Ms. Versace seemed to suggest. Take an uncertain future one day at a time.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
A program that trained first year female college students to avoid rape substantially lowered their risk of being sexually assaulted, a rare success against a problem that has been resistant to many prevention efforts, researchers reported Wednesday. Sexual violence is a serious hazard on college campuses. By some estimates, one in five female students are raped, and women tend to be at the greatest risk during their first year on campus. In the aftermath of several highly publicized campus rapes, the White House last spring issued guidelines directing colleges to address sexual assault. In a randomized trial, published in The New England Journal of Medicine, first year students at three Canadian campuses attended sessions on assessing risk, learning self defense and defining personal sexual boundaries. The students were surveyed a year after they completed the intervention. The risk of rape for 451 women randomly assigned to the program was about 5 percent, compared with nearly 10 percent among 442 women in a control group who were given brochures and a brief information session. "Only 22 women would need to take the program in order to prevent one additional rape from occurring within one year," the authors concluded. The risk of attempted rape was even lower 3.4 percent among women who received the training, compared with 9.3 percent among those who did not. "It's an important, rigorous study that shows that resistance and self defense training needs to be part of college sexual assault prevention," said Sarah E. Ullman, a professor of criminology, law and justice at the University of Illinois at Chicago, who was not involved in the research. "This won't solve the problem, but it's an important piece that has been overlooked." Other researchers praised the trial as one of the largest and most promising efforts in a field pocked by equivocal or dismal results. But some took issue with the philosophy underlying the program's focus: training women who could potentially be victims, rather than dealing with the behavior and attitudes of men who could potentially be perpetrators. Such a strategy could reduce risk for some victims, said Sarah DeGue, a behavioral scientist at the Centers for Disease Control and Prevention, who reviewed evaluations of prevention programs for the White House Task Force on campus sexual assault. But, she added, "It's possible that potential perpetrators could encounter individuals who have received training and just move on to more vulnerable individuals." To address sexual assault comprehensively, she and other experts said, colleges as well as high schools and middle schools should take multifaceted approaches that considered root causes of violence against women and men, compelled bystanders to intervene and gave guidance on healthy relationships. Charlene Y. Senn, the lead author of the Canadian study and a social psychologist at the University of Windsor, did not disagree. "It gives women the knowledge and skills they need right now, but the long term solution is to reduce their need to defend themselves," said Dr. Senn, who also supervises a campus bystander program. The two year trial at universities in Calgary, Alberta, and Windsor and Guelph in Ontario, expanded on components of other resistance programs and added a training session on sexuality and relationships. Students, largely recruited in psychology classes, could take all four three hour sessions over a weekend or in weekly classes. The structure was purposely dynamic, and included role playing, discussion and problem solving. One major hurdle, Dr. Senn said, was that the young women had been taught just to be on guard against the stranger rapist to fear the shadowy campus at night, the deserted parking lots. Rape by an acquaintance or a romantic partner, far more common, is not a concept they had considered, she said. At a session Lindsey Boyes attended at the University of Calgary, she said she was startled to learn that if someone had sex with a person who was intoxicated, the act could be defined as sexual assault: A person who is mentally incapacitated because of alcohol or drugs cannot legally give consent. "I felt an adrenaline rush and some shock," Ms. Boyes, 22, said. "It was eye opening to realize that I had been raped in high school." At 16, she had been at a party, drinking alcohol for the first time, and was very drunk. A boy offered to take her home and then assaulted her. She was devastated, for years thinking of herself as "damaged goods." But the resistance program brought some relief, she said. "I no longer felt shame and guilt about it being my fault," Ms. Boyes said. During the program, students learn strategies to protect themselves at social gatherings, such as buddy systems. Ms. Boyes said that now when she went to bars, she covered her glass to protect against date rape drugs. The Canadian program was also effective for women who, like Ms. Boyes, had been victimized before they went to college. A study about sexual assaults of first year college women, published this month in The Journal of Adolescent Health, noted that women who had been previously assaulted may be up to six times more likely to be revictimized during that first year than women who had never faced sexual violence. The acquaintance rape theme was continued in the self defense session. Women may be better prepared psychologically to be physically aggressive against a stranger, Dr. Senn said, "but if the attacker is your friend's boyfriend, you're not going to push your keys against his eyes."	N24News: A New Dataset for Multimodal News Classification	Health
Wondering Who Did That Painting? There's an App (or Two) for That At the Betty Cuningham gallery on the Lower East Side recently, I noticed an arresting painting: It showed a nude woman curled against a window, asleep, with the old New Yorker Hotel and Empire State Building in view and a fish above her, hanging or floating. I opened a smartphone app called Magnus, snapped a quick picture, and clicked "Use." Seconds later, I got that addictive, satisfying click. The app had found a match. The painting was by Philip Pearlstein, according to the app, known for reinvigorating the tradition of realist figure painting . It was titled "Model With Empire State Building." dated 1992, measured 72 inches by 60 inches, and was for sale for 300,000. In 2010, it had sold for 170,500 at Sotheby's in New York, the app told me. Magnus then slotted this information into a folder marked "My Art" for digital safekeeping and future looking. Magnus is part of a wave of smartphone apps trying to catalog the physical world as a way of providing instantaneous information about songs or clothes or plants or paintings. First came Shazam, an app that allows users to record a few seconds of a song and instantly identifies it. Shazam's wild success it boasts more than a billion downloads and 20 million uses daily, and was purchased by Apple for a reported 400 million last year has spawned endless imitations. There is Shazam for plants or Shazam for clothes and now, Shazam, for art. The art oriented apps harness image recognition technology, each with a particular twist. Magnus has built a database of more than 10 million images of art, mostly crowdsourced, and aims to help prospective art buyers navigate the notoriously information lite arena of galleries and fairs. Other apps are geared toward museumgoers: Smartify, for example, takes an educational approach, teaming up with museums and sometimes galleries to upload digitized versions of their collections, wall texts, and information about artists. Google Lens Google's advanced image recognition technology is making new forays into the art world. In June, Google Lens announced a partnership with the de Young Museum in San Francisco to show parts of the museum's collection. In July, Google began collaborating with Wescover, a platform oriented toward design objects, public and local art, furniture, and craft enabling you to learn the name of that anonymous painting in your WeWork space or coffee shop . There are some barriers particular to creating a Shazam for art. Magnus Resch, founder of the Magnus app , laid out one: "There is a lot more art in the world than there are songs." Cataloging individual artworks based in unique locations is far more difficult. Copyright law also poses challenges. The reproduction of artwork can be a violation of the owner's copyright. Magnus contends that because the images are created and shared by users, the app is protected by the Digital Millennial Copyright Act. Galleries and competitors, Mr. Resch said, complained about the uploading of images and data to the app; in 2016, it was removed from the Apple Store for five months, but Apple ultimately reinstated Magnus after some disputed content was removed. Another issue is that image recognition technology still often lags when it comes to identifying 3D objects; even a well known sculpture can baffle apps with its angles, resulting in the deflating, endless spin of technology that's "thinking" ad infinitum. Then there is a more salient question for these platforms: What information can an app provide that will enhance the user's experience of looking at art? What can a Shazam for art really add? Mr. Resch's answer is simple: transparency. Galleries rarely post prices and often don't provide basic wall text, so one often has to ask for the title or even the artist's name. Jelena Cohen, a brand manager for Colgate Palmolive, bought her first artwork, a photograph, at Frieze after using Magnus. Before trying the app, she said, the lack of information was a barrier. "I used to go to these art fairs, and I felt embarrassed or shy, because nothing's listed," Ms. Cohen said. "I loved that the app could scan a piece and give you the exact history of it, when it was last sold, and the price it was sold for. That helped me negotiate." Magnus doesn't give you an art history lesson, or even much of a basic summary about a work; like Shazam, it's a little blip of information in the dark. Smartify, on the other hand, wants to app ify what was once the purview of an audio guide. Hold it up to a Gustave Caillebotte still life, as I did, and the app provides information that's already available on the wall, including the chance to click to learn more. Part of the app's mission is ease of use and accessibility. People with visual impairments can use Smartify with their phones' native audio settings and the app is working to integrate audio. The app is elegant and straightforward, and the source is generally cited and fact checked. It's telling, perhaps, that even as these apps build out their databases, some museums themselves are starting to shy away from apps altogether. The Metropolitan Museum, which rolled out its own app with fanfare in 2014, shuttered it last year. "While the app was doing a lot of things well, we wanted to create something more seamless," said Sofie Andersen, the interim chief digital officer at the Met. This translates into content that loads directly in your phone browser as a website, no download required. Similarly, the Jewish Museum introduced a new set of audio tours in July, all on a web based interface. "A few years ago, there was an app craze, and now everyone's entering this post app phase in the museum industry," said JiaJia Fei , director of digital for the Jewish Museum. She noted that the vast majority of apps that people download sit unused on their phones. "You just end up using your email and Instagram." After a few weeks of trying out apps for art in museums and galleries, on street corners and in the occasional coffee shop, I found that they did not increase the quality of my visual encounters. Although the caliber of information in Smartify is quite high when it works I was able to learn more about specific figures in J.M.W. Turner's "Ulysses Deriding Polyphemus" the simple act of raising my phone to take a picture transformed a vibrant physical painting into a flattened reproduction. The extra information wasn't worth mediating my museum experience through a screen. And phones are already everywhere in museums, transforming a visit into cataloging as we go. Ms. Fei referred to this as "screen suck," and it's one reason audio is the preferred medium for the Jewish Museum. Like Shazam itself, the apps are best used for quick answers a lifeline in a contextless gallery. What is that? How much does it cost? Who made it? (Here, Magnus is the leader.) The Shazamification of art is a product of a time in which information overpowers the naked eye. But the app shouldn't be our sole guide through the visual world. Walking around the New Museum with the Magnus app, I found myself breezing past paintings, not looking too hard at details because the camera was looking for me, and the app knew much more than I did. There was that little addictive, satisfying click of recognition. It was hard to stop.	N24News: A New Dataset for Multimodal News Classification	Art & Design
The long running trade conflicts over solar panels between China and the United States and Europe have sown dissatisfaction all around, leaving many manufacturers of solar materials complaining that the market is still unfair. But one country not involved in the disputes has already benefited from them and, with Saturday's agreement between China and the European Union, stands to benefit again: Taiwan. Last October, after finding that Chinese companies were receiving unfair government subsidies and selling their merchandise below the cost of production, the United States imposed tariffs of roughly 24 to 36 percent on imported Chinese panels. But the ruling included a major loophole; it applied only to panels made from Chinese solar cells, the final major components that are assembled into finished modules. Many manufacturers were able to skirt the taxes by buying their cells elsewhere, mainly from Taiwan. This month, for instance, the Neo Solar Power Corporation, a leading cell manufacturer based in Taiwan, announced its sixth consecutive month of growth, with a 74 percent increase in revenue in June over the month before, in part because of increased production capacity since its merger with another manufacturer, DelSolar. Taiwanese producers, which have been able to command a 4 to 5 cent per watt premium over Chinese made cells, have been operating at fuller capacity and have sold out inventory faster than the Chinese, said Shayle Kann, vice president of research at GTM Research, which tracks clean tech industries. And Hareon, a solar cell and module manufacturer in China, recently announced plans to build a large cell production plant in Taiwan with Mascotte Holdings, which makes solar grade silicon in Taiwan. "Taiwan has benefited from the fact that the U.S. has left the Taiwanese loophole available for Chinese companies to essentially sneak into the U.S. market without paying the tariff," said Pavel Molchanov, an analyst at Raymond James. "Those extra few pennies that it costs the Chinese module companies, that's cheaper than paying the tariff," which would roughly cost an extra 20 cents per watt, he added. It is not just the trade loophole that has helped Taiwanese businesses, analysts said, but also strong demand for solar over all from China, the United States and Japan, despite the dire predictions that the trade conflict would lead to a rise in prices and stymie growth. "We're not seeing a lot of evidence of the market slowing down," said Adam Krop, vice president of equity research at Ardour Capital, an investment bank focused on energy technologies. The European trade settlement could help increase production as well. In that case, under the threat of 47.6 percent tariffs, China agreed that manufacturers would not sell panels below 56 euro cents per watt. But that price is even lower than panels were selling for when European manufacturers complained of dumping to the European Commission, and a group of them said over the weekend that they were preparing to file a lawsuit to overturn it. In China, 50 of 140 manufacturers rejected the settlement, which means that their merchandise will face the 47.6 percent tariff. Among that group smaller businesses that account for as little as 10 percent of Chinese exports to Europe, according to some estimates it would be economical to try to sell to Europe only for bankrupt or nearly bankrupt companies that were trying to get rid of inventories without warranty for as little as 30 euro cents a watt. For them, it would still be cheaper to ship to the United States, with tariffs as high as about 36 percent. The settlement could help the Chinese government reach its goal of consolidating the industry, which relied on heavy government subsidies and loans from state owned banks to rapidly scale up production. The resultant global glut of low price panels drove many European and American companies out of business. Open or closed on Thanksgiving? Here are stores' plans for Thursday and Friday. The high cost of gas is forcing families to cut back on activities and essentials. For Taiwan, the agreement opens the door for producers to make panels there and sell into the European market at an even lower price, analysts said. "You might still want to source outside China so that you can undercut the Chinese manufacturers in the European market," Mr. Kann said, adding that some Chinese manufacturers had been looking at establishing low cost production in India and Eastern Europe in addition to Taiwan in anticipation of the European settlement. That could happen, though not in the short term, said Arturo Herrero, chief marketing officer of JinkoSolar, a Chinese panel manufacturer that has been buying its cells there to make modules for the United States market since the tariffs went into effect. Most of Taiwan's production capacity is already taken up meeting demand from companies trying to avoid the United States tariffs, making it more expensive to produce there than in China. The immediate chief beneficiaries would be the "top players in this industry coming from China," he said. "Price will not be a differentiation customers will choose at this minimum price the best brands in the industry." But it leaves the United States, which wanted European leaders to work with them on a multilateral agreement, on its own in an escalating conflict that has not helped the American industries as much as intended. "It's hard to see how this decision helps anyone except companies in China and Taiwan," said Senator Ron Wyden, Democrat of Oregon and chairman of the Committee on Energy and Natural Resources. "In the end, the E.U. will not have just sold out its workers and companies that produce solar panels, but U.S. workers and employers as well." Beijing recently announced tariffs of up to 57 percent on American made polysilicon, the main material in solar panels, a big blow to the industry. Now, the United States Commerce Department is taking a closer look at whether Chinese manufacturers are truthfully reporting the sources of cells they say are from outside of China.	N24News: A New Dataset for Multimodal News Classification	Global Business
Adrian Piper's "Self Portrait Exaggerating My Negroid Features," 1981. In all of her work, our critic writes, "her aim is not to assert racial identity but to destabilize the very concept of it."Credit...The Eileen Harris Norton Collection, via Adrian Piper Research Archive Foundation Berlin She's an artist and scholar, and at "A Synthesis of Intuitions" you see thinking about gender, racism, art happening before your eyes. Adrian Piper's "Self Portrait Exaggerating My Negroid Features," 1981. In all of her work, our critic writes, "her aim is not to assert racial identity but to destabilize the very concept of it." Despite the show's retrospective cast, we find fiery issues of the present racism, misogyny, xenophobia burning in MoMA's pristine galleries. The reality that art and its institutions are political to the core both for what they do and do not say comes through. And the museum, for once, seems intent on asserting this. For the first time it has given over all of its sixth floor special exhibition space to a single living artist. The artist so honored is a woman, who has focused on, among many other things, the hard fact of racism and the fiction of race. The idea of consciousness altering and raising would remain essential to Ms. Piper's thinking. While at art school she immersed herself in the practice of yoga, a lifelong pursuit that would lead to an intensive study of Hindu thought. In 1967, she dropped out of the School of Visual Arts and enrolled in the City College of New York, where she majored in philosophy. (In 1981 she completed a doctorate in the field at Harvard.) More or less simultaneously, she shifted from figurative to Minimalist style abstract painting and sculpture. Then, attracted to Conceptualism's privileging of ideas over conventional forms, she began using arrangements of words, sometimes as instructions for actions, as a medium. But abstraction, in several varieties, proved to be double edged. On the one hand, it seemed to offer a new, expansive utopian dimension for art, beyond social, racial and aesthetic particularities. At the same time, it was inadequate to deal with undeniable realities of life in the Vietnam era. Traumatized by political events of 1970 the United States invasion of Cambodia, the killing of students at Kent State and Jackson State she began to come to grips with her own identity as an African American in a violent, racist society. Almost inevitably, Ms. Piper has become best known over the years for her art about racism, and for good reason: it's powerful work, brilliantly varied in form. Some of it draws on her considerable graphic skills. In a series of 1980s charcoal drawings called "Vanilla Nightmares" she inserts scowling, sexualized black skinned figures into news stories and upscale advertisements from The New York Times. In a 1991 installation called "What It's Like, What It Is, 3," she continues to explore direct address performance. Here, in what might be considered a Mythic Being update, an African American man, seen on a video monitor surrounded by bleacher like seating, slowly recites, and rejects, a long list of racial slurs: "I'm not pushy. I'm not lazy. I'm not noisy. I'm not shiftless. I'm not crazy. I'm not servile. I'm not stupid." Playing a role, as she usually does very little of her work is directly autobiographical she speaks directly to us, a very likely white art world audience, with the measured tone of a newscaster. She informs us that, despite her light complexion, she is black, and that chances are good, given the American history of racial mixing, that we are black too. This reality has negative fallout in two directions. It means that white listeners lose their politically privileged identity, and she now a self declared "black artist" is trapped in hers. Because race has often been her subject, a frequent and career shaping assumption is that it is her only one, a misperception that this retrospective makes a serious and successful effort to correct. It devotes considerable space to her early, abstract work. It reminds us that the references in her subsequent topical work has been broad based, ranging from the war in Vietnam to poverty in America. We are reminded that the images of difference generated by the performances were images not defined by ethnicity, and that the original Mythic Being series was as much about gender as it was about race. The image brings the retrospective full circle, back to Ms. Piper's solo performances of outsiderness of many decades ago. It's to the credit of the show's organizers Christophe Cherix, chief curator of the drawings and prints department at MoMA; David Platzker, a former curator in that department; Cornelia H. Butler, chief curator at the Hammer Museum in Los Angeles; and Tessa Ferreyros, a curatorial assistant at MoMA that they've been careful to make such links, and by doing so point up the fierce, steady logic of this artist's career. It's even more to their credit and a boon to the future that they've kept that career's difficulty, and toughness, and nowness to the fore. Historically, institutionally, MoMA has favored smoothness and symmetry, whiteness. It has tended to shave off the awkward corners of art, sand its sharpest edges down. In this case, the corners and edges stand firm in an art and a career that is entirely about them.	N24News: A New Dataset for Multimodal News Classification	Art & Design
LOS ANGELES Robert A. Iger, who delayed his retirement four times in recent years, abruptly stepped down as Disney's chief executive on Tuesday. But he will not be going far. The Walt Disney Company said that Mr. Iger, who has run Disney for nearly 15 years, would be replaced as chief executive by Bob Chapek, a 27 year veteran of the entertainment conglomerate who has most recently served as chairman of Disney's theme parks and consumer products businesses. Mr. Chapek will report to the Disney board, which will continue to be led by Mr. Iger, who will also take on the title of executive chairman and "direct Disney's creative endeavors," the company said, until the end of his contract on Dec. 31, 2021. Mr. Iger, 69, had been expected to remain chief executive until that date, with some people in the entertainment industry speculating that he would extend his reign for a fifth time. As such, the out of the blue passing of the baton to Mr. Chapek, 60, surprised Wall Street and Hollywood. Disney shares dropped 3 percent in after hours trading, to 125.30, before regaining some ground. Disney has a history of bumpy transfers of power. Mr. Iger's predecessor, Michael D. Eisner, tried to cling to his job, and in the end he turned over a struggling company. "It's only abrupt in other people's eyes because we haven't been talking about it publicly," Mr. Iger said by phone. "I have been discussing this with the board for a number of months. I basically described what I thought my best use was given that our asset base and strategy are pretty much in place. And that was to fully focus on the creative side of our business and make sure that our creative pipelines are vibrant." He added, "That is very, very important, especially as we roll out Disney Plus around the world. In thinking about what I want to accomplish before I leave the company at the end of '21, getting everything right creatively would be my No. 1 goal. I could not do that if I were running the company on a day to day basis." The Disney Plus streaming service is a make or break effort to reposition Disney for growth its traditional cable businesses are in decline and compete with the tech giants that are aggressively moving into Hollywood. Introduced in November, Disney Plus has nearly 30 million subscribers in the United States and will arrive in the coming months in Europe and India. Other significant near term challenges for Disney include the coronavirus outbreak; the Shanghai Disney Resort and Hong Kong Disneyland have been closed for a month and the virus could hurt parks in Japan, France and the United States. Mr. Iger said the Disney board "identified Bob actually quite some time ago as a likely successor." He said he decided not to elevate Mr. Chapek to an interim role perhaps chief operating officer, a job that has not existed at Disney since Thomas O. Staggs, once Mr. Iger's heir apparent, left the company in 2016. "I did not believe that would bestow on him the kind of autonomy that I wanted him to have during this transition," Mr. Iger said. Furthermore, "I'm not going to suddenly be working three days a week. My new role is a full time job." Mr. Chapek, who has limited creative experience, became the seventh chief executive in Disney's nearly 100 year history. He can come across as a bit stiff in comparison to the magnetic Mr. Iger, whose celebrated run at the company has made him a corporate celebrity. But what Mr. Chapek may lack in charisma, he makes up for with an uncynical admiration for Disney's sentimental style of entertainment, gladly clapping along with the parade when he visits the parks and gamefully engaging in scripted banter with costumed characters. Ford and Rivian no longer plan to work jointly on electric vehicles. Elizabeth Holmes took the stand in her trial. Follow along with our reporters. Ken Griffin, head of Citadel, bid highest for a copy of the Constitution. "I have absolute confidence in his abilities, as does the board," Mr. Iger told analysts on a conference call. "I intend to work very closely with Bob. My goal when I leave here is that he will be just as steeped in the creative part of the business as I am today." Mr. Chapek said that he had spent "the last couple weeks" talking with Mr. Iger and the Disney board about becoming chief executive. "I share his commitment to creative excellence, technological innovation and international expansion, and I will continue to embrace these same strategic pillars going forward," Mr. Chapek told analysts. "A lot of the heavy lifting has already been done, and now it's a question of refining that." Before joining Disney in 1993, Mr. Chapek worked in brand management at H.J. Heinz and J. Walter Thompson Worldwide. Raised in Hammond, Ind., Mr. Chapek has a degree in microbiology from Indiana University and received his M.B.A. from Michigan State University. Mr. Chapek first made a name for himself at Disney by spearheading the company's highly successful "vault" strategy for its iconic animated films, bringing them on and off the market in cycles that allowed Disney to sell the films repeatedly on DVD and Blu ray discs. He rose to president of distribution for Walt Disney Studios before serving as president of consumer products for four years. He was named chairman of Disney's theme park operation in 2015, overseeing 170,000 employees worldwide. He has quietly shined in that role, helping Mr. Iger open the Shanghai Disney Resort; overseeing the construction of two colossal "Star Wars" themed expansions at Walt Disney World in Florida and Disneyland in California; and finding numerous smaller ways to make the parks more profitable. While puzzled by the timing of the announcement, analysts were supportive of the choice. "Chapek is a really good, no brainer pick the other division leaders have been there too short of a time," Michael Nathanson, a media analyst and founding partner at MoffettNathanson, said in a phone interview. "He's a really nice person who is part of the Disney culture, which is important." Other candidates to succeed Mr. Iger included Kevin A. Mayer, chairman of Disney's direct to consumer and international division, and Peter Rice, chairman of Walt Disney Television. Mr. Chapek indicated that he hoped to rely on both of those men. "Obviously I have not spent as much time on the media side or the direct to consumer side, but we have some really great, experienced leaders that are in place in those businesses," he said. Even so, Mr. Chapek said that his years at Disney had given him "a bit of fluency" in those businesses. "I'm familiar with the opportunities and some of the challenges that they all face," he said. Since taking over as chief executive in October 2005, Mr. Iger has led Disney to record financial results, even in the face of economic downturns, the occasional horrendous movie write off and changing consumer habits that dented ESPN, the company's longtime profit engine. Last year, Mr. Iger completed a 71.3 billion acquisition that gave Disney the bulk of Rupert Murdoch's media empire, substantially altering the entertainment landscape. Mr. Iger then oversaw the successful introduction of Disney Plus. The downside to that success? Nobody seemed to measure up, complicating succession. One internal candidate to succeed Mr. Iger, the well regarded Mr. Staggs, abruptly left Disney in 2016 after losing the unqualified support of Mr. Iger and some other board members. Since then, Disney has been engaged in a quiet hunt for a successor. Even among media conglomerates, Disney has a unique mix of businesses, some of which are healthier than others. The company's movie studio is widely regarded as the strongest in Hollywood and the Disney theme parks are delivering record profits. But the company's vast consumer products division has been challenged, and Disney's television operation, which includes ABC, Disney Channel and Freeform, has been struggling with ratings weakness and a lack of breakout shows. Now it has entered the streaming era with Disney Plus, which has started strong but will lose money for the coming years as Disney spends billions of dollars on original content and technological infrastructure.	N24News: A New Dataset for Multimodal News Classification	Media
American brands dominate the full sized pickup market, moving over 2,000,000 of them in 2015. Ford racked up more F 150 sales in a week than Nissan Titan sold all year. This new version should muscle in on more of that sales action. (ON CAMERA) How much did Nissan need this new Titan? Well, the first generation went into production in late 2003. This is the second generation. It's 2016. I'll let you do the math. Gen two gets a brawnier look and more configurations, both important. Titan is a large pickup and feels that way from behind the wheel. This XD model that's creeping up on the three quarter ton segment is over a foot longer than a standard half ton Titan. Only XD can be had with a V8 diesel. I'm driving the gas engine with 4WD. The bed of the XD is 6.5 feet long, the standard Titan's is 5.5. If you can't find a way to tie down cargo here, chances are you shouldn't be trying to move it. Optional watertight cargo boxes are removable to make more space. They're usable even with a bed cap on and can double as a cooler (SOUND UP) they're lockable too. A Skil saw can be run off the 110 outlet deep in here. Wish the bumpers had boot cutouts. For everyday use (SOUND UP) Titan has definitely gone to finishing school (ON CAMERA) Modern pickups can be comfortable and quiet and that would describe Titan. I don't know that I would use the word nimble though. It's simply a matter of size, just like Silverado, Ram, and Tundra. With trailer sway control, adjustable trailer braking, and cameras specifically designed for hooking up solo no that's not a dating thing XD models can tow up to 12,300 pounds with payload rated at a full ton. (SOUND UP) The 5.6 liter V8 churns out 390 horsepower (SOUND UP) and 394 pound feet of torque. Moving the 7 speed gearbox selector up to here freed up more space on the console. (SOUND UP) (ON CAMERA) The V8 is responsive off the line it doesn't have that hand of God torque that the diesel offers, but it's pretty satisfying. The E.P.A. does not rate the fuel economy of large trucks like XD. I saw 16 mile per gallon. That should surprise no one. (ON CAMERA) In case I haven't made myself perfectly clear, Titan feels like driving a full on truck, an American pickup truck... with a capital "mur". I drove the XD diesel off road earlier this year and honestly, if you get into trouble in with one of these, well, it's your own darned fault. Pro4X adds Bilstien off road shocks, electronic rear differential and a raised ground clearance of 10.6 inches. (ON CAMERA) Eliminating running boards improves the off road ability. But getting in and out? Not exactly easy. I think I could BASE jump off this thing. Once in, owners should enjoy the space. Nissan has upped the quality of the materials, it had to really, all manufacturers have. Construction workers may not buy this model but they deserve a heated wheel and climate controlled seats. The chairs by the way are especially comfortable and supportive. While the interface is straightforward, the screen is small and there's no support for Android Auto or Apple CarPlay. (ON CAMERA) Those strong enough to hoist themselves into the back will be rewarded with seats that nearly as comfortable as those in front, there's loads of room back here. The warm feeling you get isn't just because computers can be charged. Those in back are in no danger of dehydration. There's a single cab model coming for those who don't need all this room or seats that flip and fold every which way from Sunday. Look, more places to stash tools. To prove it doesn't just look rugged, the warrantee is now 5 years or 100,000 miles bumper to tow hook. Starting at around 36,000 53 grand as tested the refined Titan is certainly capable at doing the stuff pickups need to do. But its toughest task will be luring loyal owners from other brands into the Nissan fold.	N24News: A New Dataset for Multimodal News Classification	Automobiles
THE BRONX, USA (2019) 9 p.m. on HBO. "Ahh, that's the sound I used to sleep to," the show business manager George Shapiro says in this documentary. He's walking down a street in the Bronx with a Brooklyn Dodgers cap on his head and a smile across his face. The soothing sound he's talking about? It's the clang of an aboveground subway. Shapiro, who grew up in the Bronx in the 1930s and '40s and went on to have a storied career working with comedians like Jerry Seinfeld and Carl Reiner, hosts this love letter to the Bronx, which collects interviews about the borough with a number of its famous natives. Among them are Reiner, the actor Alan Alda, the author and photographer Arlene Alda (Alan Alda's wife), the hip hop artist Melle Mel, the singer songwriter Melissa Manchester, the graffiti artist John Matos and the former Secretary of State Colin L. Powell. The documentary also includes interviews with members of DeWitt Clinton High School's class of 2017 , who graduated 68 years after Shapiro did. They speak to recent changes in the Bronx and to the borough's enduring character. THE KING'S SPEECH (2010) 11:05 p.m. on Flix. On Wednesday night in New York, the Swiss conductor Philippe Jordan will take the stage at Lincoln Center to conduct the New York Philharmonic in Beethoven's Symphony No. 7. A few hours later, TV audiences will have an opportunity to hear some of that symphony played during the climax of this acclaimed drama. The music comes as Colin Firth's King George VI delivers his famous declaration of war; the plot that precedes that moment follows the eventual king as he works to cope with a stutter, aided by a speech therapist played by Geoffrey Rush. The film won an Academy Award for best picture.	N24News: A New Dataset for Multimodal News Classification	Television
What to Consider When Looking for the Right Place to Retire Models of pre retirement planning, Don and Reina Weiner bought an acre of land almost a decade ago in the Woodlands of Chapel Hill, a mixed age community in North Carolina. The couple, living in Leesburg, Va., at the time, had visited several towns around the country in their hunt to find a place to live when Mr. Weiner was ready to leave his job as senior sales director at Airbus Americas. Chapel Hill met their three criteria: warm weather, access to top medical care and proximity to a university to continue learning, Mrs. Weiner said. So they paid 130,000 for a lot and 11,000 to an architect to design their dream home. They sold their townhouse in Leesburg and rented an apartment in Chapel Hill so they could supervise construction. That's when Mr. Weiner, now 68, and Mrs. Weiner, 67, hit a barricade. "I had a significant allergic reaction to the environment," Mrs. Weiner said. She felt an intense pressure in her head. Her throat hurt. There was sinus pain. "The question was, Could I live here?" she said. They decided to hold off breaking ground on the home while she tried to see if she could acclimate to the area. But she had an epiphany: "I decided you know what, this is crazy, I'm trying to do something that I can't do." So they regretfully put up the 'for sale' sign on the lot, and are back in the search for a place to live. "The whole experience was disappointing," Mrs. Weiner said. "There was money that just went flying out the door. On the other hand, when I decided I couldn't do it, I just felt it was the right thing to do. I haven't looked back." As people grapple with whether to pull up stakes and retire in another part of the country, there's small margin for error. Get it wrong, and it's hard and costly to undo. According to a report this year from Better Homes and Gardens Real Estate, 57 percent of baby boomers say they plan to move to a new home in retirement. When asked which type of community they were likely to choose, 39 percent said a small town, like Chapel Hill, or a rural community. The next choice was a 55 and older community (27 percent), followed by a metropolitan city (26 percent); 8 percent picked "lifestyle" communities (such as ones for active retirees, planned around golf courses). Almost one third of those canvassed plan to spend retirement in a different state from the one in which they currently live. Deciding where to move entails some careful planning, perhaps compromising with a partner, and setting priorities. "No place is perfect," Mrs. Weiner said. A recent report by Bankrate.com looked at several factors in determining which states offer the best quality of life for retirees, including local weather, cost of living, crime rate, health care quality, tax burden and well being (a measurement from the Gallup Healthways Well Being Index that quantifies how satisfied residents are with their surroundings). The five best states for retirement were South Dakota, Colorado, Utah, North Dakota and Wyoming. Popular retiree spots like Florida and Arizona don't even make the top 10. The five worst states for retirement, according to the report, were New York, West Virginia, Alaska, Arkansas and Hawaii. A shrewd relocation choice can reinforce a financial plan for living the longer and healthier life that baby boomers are expecting. One big reward of relocating to a smaller home, or one where the real estate market is more affordable, is taking advantage of the equity built up in the home that's left behind and paying cash for the new place. Locast, a nonprofit streaming service for local TV, is shutting down Capital One's chief executive was fined after being called a 'repeat offender.' If the timing is right, there's cash left over to reduce or eliminate credit card and other consumer debts. Moving from a high tax state to a low tax state is also strategic. Many people pick a retirement destination because there's no income tax. "While income tax considerations in choosing a place to retire are important, accounting for other forms of state and local taxes that are imposed in the new locale is a necessary step prior to the move," said Jamie C. Yesnowitz, state and local tax principal at Grant Thornton in Washington. Florida, for example, imposes no income tax but has sales and property taxes that may be significant. State and local sales taxes vary greatly, with some at 7 percent or more. Five states Alaska, Delaware, Montana, New Hampshire and Oregon have no state level sales tax. Property taxes are generally the biggest tax burden for homeowning retirees. According to the Tax Foundation, states with relatively low per capita real estate tax collections include Alabama, Arkansas, Louisiana, New Mexico and Oklahoma, while those with high per capita real estate tax collections include Connecticut, New Hampshire, New Jersey, New York and Wyoming. Most states give breaks to residents over a certain age, and there may be property tax credits or homestead exemptions that limit the value of assessed property subject to tax. But it's usually in the hands of a local assessor to determine the total taxable value. Review the total tax picture of each of your possible destinations as part of a balanced assessment of the optimal place to live, Mr. Yesnowitz advised. For many retirees, working is also part of a retirement plan, so moving to a town with plenty of retiree jobs is something to keep in mind. A new Merrill Lynch study, Work in Retirement: Myths and Motivations, found that 47 percent of today's retirees say they either have worked or plan to work during their retirement. But 72 percent of pre retirees age 50 and up say they want to keep working after they retire, and in the near future it will become increasingly unusual for retirees not to work. Work, paid or unpaid, provides a sense of purpose, being relevant, feeling connected and needed. And it helps keep the mind sharper. Researchers from the RAND Center for the Study of Aging and the University of Michigan published a study showing that cognitive performance levels decline faster in countries that have younger retirement ages. College towns in particular are attractive places to live and work in retirement. They tend to have entertainment and sports locales and offer a range of part time and seasonal jobs because these communities tend to be recession resistant. Each year, a new class of students moves into the area, which keeps the economy in gear. Plus, many towns are situated in regions with leading health care centers that are also a source of jobs for experienced workers. AARP's Best Employers for Workers Over 50 winners include several universities and health care providers like Cornell University in Ithaca, N.Y.; Blue Cross and Blue Shield of North Carolina in Durham, hometown of Duke University; West Virginia University in Morgantown; the University of Pittsburgh; and Virginia Commonwealth University in Richmond. The retired lawyers Joan Fencik Parsons, 57, and Dave Parsons, 68, aren't looking for work, at least for now. But when they decided in 2012 to move from their home in the Lincoln Park section of Chicago to The Cliffs communities in South Carolina on Lake Keowee, the fact that Clemson University was about 20 minutes away was one of the appealing factors. "It's nice to have a college town close you get some sports and some theater," said Mrs. Parsons. It has been a lifestyle change for the couple, though. In Lincoln Park, they could walk to the Steppenwolf Theater and to dozens of restaurants. They could walk to Whole Foods. There was an Apple Store down the street. "Here, I have to drive 12 miles if I run out of toilet paper," Mrs. Parsons said. The Parsons tested the waters before they packed their moving truck. They bought the property in 2008 and used it as a vacation house for a few years. "The year before we actually moved down here, we took a two week vacation here because I wanted to see what it would be like to live in the area," she said. One niggling drawback. "I miss the ability to fly nonstop anywhere in the world," she said. The tiny Greenville Spartanburg International Airport is about a 45 minute drive away, but unlike O'Hare International Airport in Chicago, most destinations require a connection. In addition to access to a good airport, before buying a retirement home, soon to be retirees and retirees should consider what their daily transportation needs will be when they are in their 70s and 80s. That's one reason the Weiners are now considering Portland, Ore., in addition to Charlotte and Asheville, N.C. "Don hates traffic, and there is a great light rail system" in Portland, Mrs. Weiner said. "Plus, our daughter, Laura, is living there now." What about the warm weather she said was a priority when they first started looking for a retirement home? "I figure we could always leave for a couple months in the winter and rent a furnished apartment in Maui," she said with a smile.	N24News: A New Dataset for Multimodal News Classification	Your Money
At first glance, it doesn't seem like a performance. The stage is a meadow, and the score is a collection of sounds, including the commands of a dog handler and the pounding of hooves. A woman extends her arms while four sheep, trailed by a determined dog, trot in a circular formation. In quick cuts, we see bigger flocks a blur of curly wool and strong snouts race by. Moments later, a young man holds a sheepskin and spins, before collapsing onto the grass. Is it silly? Is it pretentious? Is it art? An early video sketch of "Doggie Hamlet," a site specific work by the choreographer and performance artist Ann Carlson, has recently become fodder for conservatives intent on eliminating federal funding of the National Endowment for the Arts. I can't defend this strangely chopped together video, which undercuts the scope and mysterious splendor of Ms. Carlson's vision. But as a dance critic, I will fight for Ms. Carlson, a multidisciplinary artist whose work poignantly explores social issues through the lens of performance. Ms. Carlson is no joke. But under the headline "Taxpayers Foot Bill for 'Doggie Hamlet'" in the conservative online magazine The Washington Free Beacon, Ms. Carlson and her production were mocked in a piece subtitled: "Actors in federally funded show yell and run at sheep in field for 'postmodern dance.'" Art is subjective to be sure, but judging a three minute promo without context does no one any favors. "Doggie Hamlet," it should be noted, has not received National Endowment money directly but has been funded by the New England Foundation for the Art's National Dance Project (2015) and Creative Capital's Map Fund (2014). While Creative Capital is an independent organization, the New England Foundation for the Arts is one of six regional arts organizations established with funding from the National Endowment for the Arts; Ms. Carlson's production grant was 45,000. Although Ms. Carlson has been on a self imposed news blackout since the election, people informed her about the discussion of her work in political circles. Her reaction was disbelief. "It's such an innocuous, sweet work in a way, I felt at first like, really?" she said in a telephone interview from Los Angeles, where she lives. But she also realized early on that her project was easy to laugh at even by loyal presenters to whom she pitched the idea. "People are, like: 'What is this? You're working with dogs?' And they laugh." What exactly is "Doggie Hamlet"? The 70 minute production, which unfolds at dusk, includes five performers, three herding dogs, a dog handler, a dog trainer and a flock of sheep. Ms. Carlson was inspired by sheepherding trials and David Wroblewski's "The Story of Edgar Sawtelle," an Oprah book club pick that is structured like Shakespeare's "Hamlet" and tells of a boy who can hear but not speak. He learns American Sign Language to communicate with people, but he also uses a gestural language with the dogs he raises. "Doggie Hamlet" doesn't retell that story but borrows from it to look at, in part, what it means to be a citizen of the world, nature included. Ms. Carlson said that the production plays with how narrative lives in art. "It works with these very ancient practices and symbols of culture," she explained, "which are shepherding and dancing." The current funding debate feels like a return to the 1980s and '90s, when the National Endowment's relevance was questioned. Some conservatives attacked artists like Andres Serrano specifically his "Piss Christ" photograph of a crucifix in a container of what was supposedly his own urine and Robert Mapplethorpe, known for his homoerotic photographs. In 1990, there was another attack on the boundary crossing work of the artists Karen Finley, Tim Miller, John Fleck and Holly Hughes, who became known as the N.E.A. Four. But there is a big difference here: Ms. Carlson's productions aren't sexually explicit or provocative. Unlike the circumstances surrounding the N.E.A. Four, there is no decency standard at play, just a perpetual problem for modern dance and performance art: It is too easy to make fun of them. People want to know the meaning behind nonlinear work, yet the form, porous by nature, doesn't always allow for easy answers. As with all of Ms. Carlson's work, "Doggie Hamlet" lives in both the symbolic world and the real world, and while she might not be spelling out a message, she's asking questions: What does it mean to follow? What is instinct, and how does that differ from a reaction? What is our relationship to animals and to land? For Kristy Edmunds, the executive and artistic director of the Center for the Art of Performance at the University of California, Los Angeles, which will present "Doggie Hamlet" at Will Rogers State Historic Park, Ms. Carlson gives "exquisite attention to things that we don't see without her care." Speaking of what it costs to present "Doggie Hamlet," Ms. Edmunds said: "The total estimate that I have right now, including her fee, is 76,000. That is the production costs, the permits, lights, hotels, where to house and board the sheepherding dogs, then how to find the flock of sheep, getting all of the animal protections in place, finding a site, getting permits in place, the marketing and food and per diem." Ms. Carlson pays her performers out of her fee. "How many times would the project have to be performed," Ms. Edmunds said, "before the artist makes 5?" In her recent "Symphonic Body: UCLA," Ms. Carlson conducts 80 people from all walks of university life, including maintenance workers and personnel from the vice chancellor's office, in a performance of gestures. She cast it by asking people to recommend five others they admired. They didn't need to know them well. One, said Ms. Edmunds, who commissioned the work, was a beloved parking attendant. She called the piece "a symphony of silence." Ms. Carlson's projects are not slapdash. (As Ms. Edmunds put it, "You can't imagine how many flocks of sheep I've gone and seen.") They're considered, detailed and grand in their seeming simplicity. Few artists are so able and even willing to bridge the gap between art and the everyday at such a high level, but Ms. Carlson does so by documenting life's beauty and absurdity. She unearths what's wise in absurdity and shows how something that might appear banal can suddenly become luminous. And though I have no problem with certain kinds of elitism, Ms. Carlson is hardly an elite artist: She not only makes art for the people, but she also makes it with and about them. And if you believe that taxpayer money should support the arts and I do this fits. Because in answer to that earlier question, yes, on too many levels to contemplate "Doggie Hamlet" is art.	N24News: A New Dataset for Multimodal News Classification	Dance
For "Amazing Stories," Bryan Fuller, whose credits include "Hannibal," "American Gods" and "Heroes," will serve as executive producer. It was not clear if Mr. Spielberg would be actively involved in the series. "Amazing Stories" aired on NBC from 1985 to 1987. The series won several Emmy Awards but received mixed reviews and was a ratings bust, unable to beat its main competition the juggernaut that was "Murder, She Wrote" in its first season. But in an era when Netflix's science fiction anthology series "Black Mirror" has earned a lot of buzz and won two Emmys, there could be a market for it now. Back in the mid '80s, "Amazing Stories" had what was regarded as an enormous budget for a network series around 800,000 to 1 million per half hour episode and the new iteration is expected to cost around 5 million an episode, according to a person familiar with the budget. That number is a little north of what many TV networks regularly pay for dramas but a far cry from the 15 million an episode HBO is expected to spend on "Game of Thrones" for its final season. Apple has not said how it will distribute its programming, but a person familiar with the deal said the revived "Amazing Stories" would not air on NBC. In addition to Mr. Spielberg, those who directed episodes of the original series included Clint Eastwood, Martin Scorsese and Robert Zemeckis. Guest stars included Kevin Costner, Gregory Hines, John Lithgow and Kyra Sedgwick.	N24News: A New Dataset for Multimodal News Classification	Media
Stella Artois has big plans to promote itself during the Super Bowl. None of them involve a commercial. Instead of spending up to 5.6 million on a 30 second spot, the beer brand is sponsoring a three day event in Miami, the host city of the game between the Kansas City Chiefs and the San Francisco 49ers. The decision to skip what is typically the most watched broadcast of the year seems counterintuitive. During last year's N.F.L. championship, Stella Artois aired a commercial starring Sarah Jessica Parker and Jeff Bridges that was credited with pulling the brand out of a slump. The move seems even more unorthodox when you consider that many of Anheuser Busch's other major brands will advertise during the game on Sunday. But Peter Van Overstraeten, a vice president at the company, said it was smart to sit this one out. Fox, which will broadcast the game this year, said it quickly sold out all 77 of its national advertising slots and added more to accommodate demand. Many companies, including Porsche and New York Life Insurance, are returning to the game after decades away. Others, like Facebook and Saucony, are making their Super Bowl debuts. But some businesses are priced out. Even Hollywood studios have scaled back. Others have decided the exposure may not be worth it. In addition to the costs of producing a game worthy ad and booking a slot, there is the effort and expense that goes along with Super Bowl commercials, which have become the centerpieces of elaborate strategies rolled out across multiple platforms before, during and after the contest. There are advance teasers on social media, publicity stunts, behind the scenes videos, extended cuts a multifaceted approach known in the industry as a 360 degree operation. Some brands have come up with ways to get attention at this time of year without the cost and headache of suiting up for the game. Acreage Holdings made news last year when CBS turned down its pitch for a Super Bowl commercial, a rejection that still shows up in the marijuana company's marketing materials. Skittles also avoided last year's broadcast, instead producing a sold out musical at a New York theater on Super Bowl Sunday with the actor Michael C. Hall performing songs like "Advertising Ruins Everything." Television advertising remains an enormous business, worth 42 billion in the United States last year, according to the media intelligence firm Magna. But companies are spending less on TV as they shift their ad budgets to the digital realm. And with cord cutting on the rise, the number of viewers watching the Super Bowl television broadcast has gone down in recent years. In 2017, 111.3 million viewers watched the game on Fox, a number that dropped to 103.4 million in 2018, when it was broadcast by NBC. Last year the number of people who watched the Super Bowl on CBS fell to 98.2 million, with 2.6 streaming it. Companies that stay away take another factor into consideration: They are able to glean a lot more information about people clicking on online ads than the people who see their commercials on TV. The actor and entrepreneur Ryan Reynolds, who owns a wireless service called Mint Mobile, made much of his decision to stay away from this year's Super Bowl in a full page ad that ran in The New York Times. After noting that companies were spending more than 5 million to book time on the broadcast, he emphasized that he would not be doing the same, saying in the ad: "that's a HARD no."	N24News: A New Dataset for Multimodal News Classification	Media
We understand the cosmic calculus that leads to solar eclipses like the one that will enchant many Americans on Monday. But even for the most jaded skygazers, a solar eclipse can provoke a visceral sense of wonder that the phenomenon provoked long before it was understood. Here's a glimpse at the way that populations around the world understood solar eclipses, and used them to reinforce cultural norms and values. "If you were the Greeks, before they came to have an understanding of eclipses, you might think it was a bad omen, something the gods were telling you you had done wrong," he said. "If you were the Chinese, you thought dragons were eating the sun." "If you read the 'Anglo Saxon Chronicle' which is a really boring read but if you scan through it, you'll find lots of instances of eclipses, all related to other bad things," he added. Anthony Aveni, a cultural astronomer and the author of the 2017 book "In the Shadow of the Moon: The Science, Magic and Mystery of Solar Eclipses," said that in every culture that he was aware of, solar eclipses were seen as cosmic "interruptions." For instance, he said, the Arapaho Plains Indians, who saw the celestial bodies as siblings, a brother sun and a sister moon, were alarmed to see that the two were suddenly converging. An obvious question was prompted, Mr. Aveni said: "What are they doing having sex in the sky?" Understandably, the eclipse was thought by many cultures to herald the apocalypse. Susan Milbrath, the curator of Latin American art and archaeology at the Florida Museum of Natural History, provided a list of those who believed that solar eclipses could signal end times. The Ch'orti', indigenous Mayas, believed "an eclipse of the sun that lasts more than a day will bring the end of the world, and the spirits of the dead will come to life and eat those on earth," she wrote in an email, drawing on her book, "Star Gods of the Maya: Astronomy in Art, Folklore, and Calendars." Other Mayas including the Yucatec and the Lacandon associated eclipses with total destruction, she said. The Lacandon, who still live in what is now the Mexican state Chiapas, expected that the earth would split and that jaguars would emerge "and eat most of the people." The Florentine Codex, a ethnographic study of 16th century Aztecs in Mexico, described a solar eclipse in particularly vivid terms: There were a tumult, and disorder. All were disquieted, unnerved, frightened. Then there was weeping. The commonfolk raised a cup, lifting their voices, making a great din, calling out shrieking. People of light complexion were slain as sacrifices; captives were killed. All offered their blood. They drew straws through the lobes of their ears, which had been pierced. And in all the temples there was the singing of fitting chants; there was an uproar; there were war cries. It was thus said: "If the eclipse of the sun is complete it will be dark forever. The demons of darkness will come down. They will eat men!" In the below video, Dr. E. C. Krupp, the director of the Griffith Observatory in Los Angeles, relates some other early beliefs about the solar eclipse. Laura Danly, an astrophysicist and the curator of the Griffith Observatory, was one of many researchers who pointed out how commonly people interpreted solar eclipses as the sun being eaten by some horrible creature. "It's a natural thing to think if you've ever seen one," Dr. Danly said. "The moon literally looks like it's taking a bite out of the sun until it consumes it completely." Since the sun always reappears, she said, "some throwing up or regurgitation is often a part of the story as well." An intricate version of the story related by Dr. Danly involved the sun being eaten by a decapitated head of a Hindu demon, Rahu. The god Vishnu, warned by the sun and the moon, caught Rahu drinking the elixir of life and as punishment sliced off the demon's head before the elixir passed through his throat. The immortal head takes his revenge on the celestial bodies by devouring them, but because he has no body, they re emerge after he swallows them. Not all the tales are quite so elaborate. Many involve predators in a given region devouring the sun: in North America, dogs and coyotes; in South America, big cats like pumas; in what we now call Vietnam, unusually, a very large frog. Mr. Aveni pointed out that when we understand how myths functioned for the peoples who created them (rather than outsiders interpreting their tales), it is easy to see how they helped to reinforce cultural norms.	N24News: A New Dataset for Multimodal News Classification	Science
Trump Tweets 'All Is Well,' but Late Night Has Its Doubts Welcome to Best of Late Night, a rundown of the previous night's highlights that lets you sleep and lets us get paid to watch comedy. If you're interested in hearing from The Times regularly about great TV, sign up for our Watching newsletter and get recommendations straight to your inbox. On Tuesday, President Trump tweeted "All is well!" after Iran fired missiles at two Iraqi bases housing American troops. (No one was killed, it appears.) "'All is well.' That's not how you address the nation on matters of war. That's how a sophomore addresses his parents on a postcard from a trip abroad." SETH MEYERS "Which was hilarious because the tweet was composed like Trump was writing a letter from the front lines of the Civil War. As Trump 'My dearest Twitter, all is well. Missiles launched from Iran. So far so good. I hope to see you soon. Please kiss Ivanka for me and not Eric. Sincerely, Donald hashtag MAGA, hashtag read the transcript.'" TREVOR NOAH "It's like that joke about the guy who jumped off the skyscraper you know that joke? He's passing the 18th floor, someone yells out the window, 'How's it going?' and he yells back, 'So far so good!'" JIMMY KIMMEL Then on Wednesday, Trump gave a televised statement from the Grand Foyer of the White House. Late night hosts found his dramatic entry ripe for commentary, along with his flubbing of words like "tolerated" and "accomplishments." "He enters the room it's like the aliens in 'Close Encounters' coming out of the ship. What does he have in there, a tanning bed?" JIMMY KIMMEL "Trump's mouth was missing more targets than those Iranian missiles." TREVOR NOAH "You got to hand it to him he's the only person who makes typos out loud." JIMMY FALLON "Rest easy, America. That is the man deciding who ligs and who dibes." STEPHEN COLBERT "Today, Prince Harry and Meghan Markle announced that they'll no longer be senior members of the royal family and they might move to Canada. I give them a lot of credit tons of celebrities always threaten to move to Canada; they're actually doing it." JIMMY FALLON "Or as it was reported in British tabloids, 'Meghan kidnapped Harry!'" SETH MEYERS "There are senior levels of royal? I thought it just went, like, king, queen, prince, princess, jack of spades, boy wizard, Dukes of Hazzard and then cartoon mouse that sews Cinderella's dress." STEPHEN COLBERT On "The Tonight Show," Quentin Tarantino explained how "Reservoir Dogs" was inspired by his appearance as an Elvis impersonator on "The Golden Girls."	N24News: A New Dataset for Multimodal News Classification	Television
About a half dozen major apartment buildings, including a condominium, are rising across an industrial swath of the Far West Side, which for decades was lined with parking lots and horse stables, and which developers are trying to turn into the next "it" destination. "The entire landscape is completely different from what it was a year ago, much less 10 years ago," said Cary Hooper, who has watched the progress from the windows of Enoch's Bike Shop, where he works and which is owned by his father, Enoch Hooper. The shop has been on 10th Avenue, near West 37th Street, for about a decade. "It has really blossomed into its own neighborhood," added Mr. Hooper, 29, who is also a resident of the area. Since most of the vicinity was rezoned in 2005, several rental towers, as well as office buildings and hotels, have popped up across the roughly 45 block area, which by some definitions sweeps west of Eighth Avenue, from West 30th to 42nd Streets. Construction has happened in spurts, mostly between 2005 and 2013, but since then, few sizable residential developments have opened. Even now, years will pass before some of the latest crop of buildings welcomes residents. The shimmering 910 foot condo from the Related Companies and the Oxford Properties Group under construction at 11th Avenue and West 30th Street is not going to have lights in its windows until 2018, even though sales begin this month. Some buildings are going up on gritty blocks that not too long ago seemed uninhabitable. For example, a 700 foot rental from Brookfield Properties that is scheduled to open next summer on a section of West 31st Street is next to an access road for the Lincoln Tunnel. Most of that acreage will sit atop rail yards. Platforms covering the rails on the eastern half of the site have been completed, and the platforms on the western half are scheduled to be built next year. The first residential building to go up on Related and Oxford's 28 acre development site, 15 Hudson Yards, in the eastern half, is a creation of some of the designers who worked on the High Line park, which winds past the building's base. The building will offer 391 apartments across 67 stories. Of those apartments, 285 will be market rate condos and include a super's unit, while 106, under an agreement with the city, will be affordable rentals pegged to the median income in the area. Sizes range from one bedrooms, which start at 850 square feet, to four bedrooms, which start at 2,900 square feet. There are also duplex penthouses, with up to 26 foot ceilings and 270 degree views, courtesy of windows curved like clover leaves. Designed by Ismael Leyva Architects and the Rockwell Group, as well as Diller Scofidio Renfro, which helped transform the High Line from railroad tracks to a leafy park, the building also offers 30,000 square feet of amenities spread across multiple floors. But champions of the project are just as quick to point out the attractions outside. The entirety of Related and Oxford's Hudson Yards megaproject won't be completed until 2024, and it will ultimately offer 14 acres of open space, a one million square foot mall with 16 restaurants, and the Shed, an arts center that will be physically connected to 15 Hudson Yards. There's also the High Line, which despite often being crowded with tourists, is a handy walkway to next door West Chelsea and beyond, according to David Rockwell, the founder and chief executive of the Rockwell Group. "It will absolutely be an amenity," he said. One bedrooms start at 1.95 million at 15 Hudson Yards, where the average price per square foot is around 3,300, developers say. Rentals, which will be clustered on eight lower floors, will be awarded via a lottery. In contrast, the average square foot price for condos in the area through July was 2,106, according to data prepared by the appraisal firm Miller Samuel, which looked at the zone bounded by West 23rd to West 37th Streets, west of Eighth Avenue. But if 15 Hudson Yards may be pricey for the West Side, its prices are lower than those on Billionaires' Row in Midtown, where new apartments can go for more than 6,000 a square foot. "The way I look at it, we are delivering as good as, if not better, product for half of the price," compared with some more established areas, said Jeff T. Blau, Related's chief executive. "This is the right product, and the right price point." Though his team plans more condos for its sprawling site, rentals will be dominant, like Brookfield's, at 435 West 31st Street, across Tenth Avenue. The as yet unnamed high rise, which soars 62 stories, has 844 apartments, 675 of which will be leased at market rate rents while 169 are considered affordable and reserved for people in certain income bands. Designed by Skidmore, Owings Merrill, SLCE Architects and Roman and Williams, which is behind the Ace Hotel New York, 435 West 31st Street will present 50,000 square feet of amenities, including a demonstration kitchen, bike repair area and full size, sprung floored basketball court. Piling on the extras is necessary, in part, to keep tenants entertained in a place that's still a hodgepodge of cranes and sidewalk sheds, Mr. Cheikin said. "We want to make sure it's self sustaining," he added. Like Brookfield's rental tower, a 225 unit rental building from the Imperial Companies and Shorenstein Properties, at a site with the current address of 509 West 38th Street, is also scheduled to open next year. And about a year from now, a pair of all market rate rentals from Joy Construction and Maddd Equities, both on West 35th Street, will also open. One, at No. 411, will have 186 studios to two bedrooms, while the other, at No. 445, will have 118 studios to two bedrooms, said Eli Weiss, Joy's director of development. Other projects are closer to completion. In October, leasing will begin for 555Ten, a building at West 41st Street from the Extell Development Company with 598 studios to three bedrooms, including a super's unit, across 52 stories, as well as a rooftop pool. People who live in the area, or plan to, might also be heartened by the opening last September, after delays, of a new subway station for the 7 train, whose line was extended to offer service to a subway starved area. And, three blocks of the Hudson Park and Boulevard, a six block ribbon of open spaces planned for between 10th and 11th Avenues, are also welcoming visitors between West 33rd and West 36th Streets, adding needed greenery. But the greatest changes might be to the skyline. All told, 64 buildings of all types have been completed or are under construction in the once low slung area since that 2005 rezoning, said Michael Meola, a partner at BJH Advisors, a real estate consulting firm active in the area. Mr. Meola has also worked for the Hudson Yards Development Corporation, the entity overseeing the Hudson Yards project. The recent projects bring the grand total of units either finished or under construction in the area to about 10,700, out of an expected 20,000, Mr. Meola said, adding, "it's a remarkable accomplishment."	N24News: A New Dataset for Multimodal News Classification	Real Estate
It has been an eventful two months for Carolina Herrera. First there was that nasty lawsuit against Oscar de la Renta wherein it transpired that her former chief executive had hired a former ODLR designer to be her heir in waiting without telling her, a situation that did not end well for anyone involved. (The designer returned to her previous place of employ, the chief executive left, and dirty laundry was seen by all.) Then there was the Ivanka Trump inaugural ball gown, a fairy tale confection that cast Mrs. Herrera into the eye of the political storm. So if she was feeling distracted, it was understandable. Perhaps as a result, for her fall collection she took refuge in the details. Moving away from her uptown show home at the Frick to an empty space in the meatpacking district with a Modernist industrial glass ceiling designed by I. M. Pei, Mrs. Herrera laid down a foundation of neat white cotton shirting (the kind she wears so well herself) with wide Edwardian governess collars, paired with pleated gray flannel skirts and finished with a thin black velvet bow at the neck.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Arian Agrawal and Arjun Naskar were married Feb. 29 in Miami Beach weeks before gathering restrictions went into place by the Centers for Disease Control because of the coronavirus. Arian Agrawal and Arjun Naskar had dozens of mutual friends at M.I.T. in Cambridge, Mass., many of them Indian American like themselves, during the three years they overlapped as students there. Yet somehow Ms. Agrawal and Mr. Naskar managed to avoid meeting each other entirely. "M.I.T. is a very small school, which makes it even harder to believe that we didn't connect there," said Mr. Naskar, 31, the head of business to business marketing at Remind, an education platform based in San Francisco. "But then again, maybe it was for the better," said Mr. Naskar, who had a reputation for being equal parts thrill seeker and prankster back in his college days. "I came from a small private school in San Jose, Calif., so when I got to M.I.T., I just let loose and went a bit wild," he said. "I was also a little full of myself, so I don't think my act would have gone over very well with Arian." "Having not met in college is probably the best thing that ever happened to us," said Ms. Agrawal, a founder of Riya Collective, a rental platform for Indian wedding attire in San Francisco. (She graduated from M.I.T. with a degree in management science in 2010, a year after Mr. Naskar received his degree in biology.) "As students, Arjun and I would never have seen each other as being mature and confident enough to get married," she said. "I just feel that neither of us would have been that impressed with the other." In early 2012 and by sheer coincidence, Mr. Naskar and Ms. Agrawal both decided to quit their jobs and find work with start up tech companies in San Francisco. At the time, she moved from New York, he from Boston. When they arrived in San Francisco, just a few days apart, the technology gods or some other force of nature steered them toward adjacent apartment buildings in San Francisco's Mission District, where they became neighbors. Each shared an apartment with mutual friends from M.I.T. "I noticed this beautiful woman, our back windows faced each other," said Mr. Naskar, still unaware that she was the woman he never got the chance to know in college. He would find out during his first visit to Ms. Agrawal's apartment, where a birthday party was being thrown for her roommate and an M.I.T. graduate, Sarina Siddhanti Garg. She introduced Ms. Agrawal and Mr. Naskar. It wasn't long before they began comparing notes, and figured out that they should have met long before. "I remember how hard it was to believe that Arjun was living at that time with two of my friends from college," Ms. Agrawal said. "I was like, 'How did I miss this guy?'" Ms. Agrawal said that every mutual friend from college had nothing but praise for Mr. Naskar. "I heard so many wonderful things about him, everything from super smart to articulate to opinionated to Arjun being a true leader," she said. "Impressed? I was blown away." Mr. Naskar, who had already been working for a tech start up in San Francisco for two weeks before he met Ms. Agrawal, helped bring her on board. They remained co workers and friends for three months, until they embarked on a work assignment in New York, where Ms. Agrawal grew up. She took some free time to visit friends from M.I.T., and took along Mr. Naskar. "At work, Arian was often uptight, but when we were in New York in a social setting and she let her hair down a bit, I began to see the real Arian," Mr. Naskar said. "She was warm and caring and so much fun to be around." They began dating and comparing more notes. Sign up for Love Letter and always get the latest in Modern Love, weddings, and relationships in the news by email. He learned that Ms. Agrawal was a daughter of Lucy N. Agrawal and Dr. Arun K. Agrawal of Garden City, N.Y. Ms. Agrawal's father, who is retired, was an anesthesiologist and surgeon at Winthrop University Hospital in Mineola, N.Y. (now known as NYU Winthrop Hospital) and South Nassau Communities Hospital (now called Mount Sinai South Nassau), as well as a professor at Adelphi University in Garden City. Her mother was a nurse in Garden City before becoming a stay at home parent. She learned that Mr. Naskar was the son of Aloka R. Naskar and Ben D. Naskar of San Francisco. His mother is the global head of leadership recruiting at Stripe, a credit card processing company in San Francisco. His father is a technology executive and adviser for start ups in Silicon Valley. In August 2015, Ms. Agrawal moved into the apartment that Mr. Naskar shared with Mr. Hung, and the trio attempted to start a business that revolved around a transportation app. Although the business failed, the new living arrangement allowed Ms. Agrawal and Mr. Naskar to learn more about each other. "I learned that Arian cannot keep a plant alive," Mr. Naskar said. He stopped laughing when Ms. Agrawal shot back, "And at what age will you learn to fold clothes?" The two were married Feb. 29 well before any recommendations came from the Centers for Disease Control to halt large gatherings. The couple gathered with guests at the St. Regis Bal Harbour Resort's Ocean Palm Court in Miami Beach, overlooking the Atlantic Ocean. The bride, clutching a bouquet of calla lilies and hibiscus, followed a path of white delphiniums that led to an altar adorned with a huge arch of white, yellow, lavender and soft pink flowers. Gabriel Au Chan and Ms. Siddhanti Garg, friends of the couple, became Universal Life ministers for the event. Mr. Au Chan, the officiant, led the ceremony. The groom initially needed to take a closer look at his vows, as he was unable to read his own hand writing. "I vow to be your No. 1 fan in whatever you decide to jump into," he said. His next line was crystal clear: "I'll support you unconditionally in this life," he said, "and in the next." Lady in White The bride found her wedding dress while on a trip to India, but it wasn't white at first. In traditional Indian weddings, the bride typically wears a red dress. "It's unusual to find a white gown in India, but I found something I liked and asked them to make it in white," Ms. Agrawal said. The dressmaker obliged. Honoring Tradition The couple are Indian American, while the bride also has Puerto Rican roots on her mother's side. Though they chose a nondenominational wedding over a traditional Hindu ceremony, they included two celebratory events the day before the wedding in a nod to their Indian heritage: a sangeet, which honors the union of the two families, and a baraat, a groom's wedding procession. Celebrating in Style Many of the women who attended the wedding and the sangeet wore dresses from Riya Collective, the bride's clothing company. The company is currently trying to help clients affected by the coronavirus outbreak. "We are in the process of building a community for brides who have been forced to relocate or postpone their weddings," Ms. Agrawal said recently, adding that more than 100 brides have already done so. Continue following our fashion and lifestyle coverage on Facebook (Styles and Modern Love), Twitter (Styles, Fashion and Weddings) and Instagram.	N24News: A New Dataset for Multimodal News Classification	Style
COLOMBIANA (2011) 8 p.m. on AMC. It will surprise few that this revenge thriller, with Zoe Saldana as a daughter avenging her parents' murder, was written by Luc Besson and Robert Mark Kamen. A few years earlier, that pair wrote "Taken," and Besson whose other movies include "La Femme Nikita" and "Lucy" is a maestro in the field of films in which vengeful women erase scores of nameless henchmen. In "Colombiana," Saldana's ultimate career goal as an assassin is to dispose of the drug lord who once ordered her parents' killing. PLANET EARTH: YELLOWSTONE 8 p.m. on BBC America. While you can still visit Yellowstone during the government shutdown (unlike many other national parks), this three part BBC nature documentary offers something that you can't get in just one visit: a look at the national park in three seasons. In the "Winter" episode, aerial shots show coyotes trudging through the park, stalking prey in freshly fallen snow. In "Summer," the snow melts away, feeding rivers filled with trout, which are seen being devoured by otters. Among the natural meals enjoyed in "Autumn" is the trunk of a cottonwood tree, consumed with impressive speed by a content looking beaver. All three episodes will run back to back on Thursday at 8, 9 and 10 p.m.	N24News: A New Dataset for Multimodal News Classification	Television
Wrapping around a corner in Times Square, the storefront had been hidden in plain sight since the tail end of winter, when so much of the city's creative life shut down, locked up and headed home to wait out the coronavirus. The playwright, director and puppet designer Robin Frohardt, best known for a delectable little piece of puppet theater called "The Pigeoning," had been putting the finishing touches on a new show inside. Part art installation, part immersive puppet play, "The Plastic Bag Store" was meant to open in March, its space tricked out to look like an eco warrior parody of a well stocked grocery. Audiences would have been welcome to touch the faux merchandise (brightly colored replicas of fruits and vegetables, bakery items and more, all made from plastic waste), and invited to help arrange the seating at performance time. Puppeteers would have crowded close together to enact Frohardt's wry dreamscape of a comedy, with shadow puppets to tell the bit that takes place in the ancient past, and bunraku puppets for the parts set in the contemporary world and the far off future. When the show finally did open, in late October, the installation that Frohardt designed was still the size of a roomy bodega, complete with deli counter and cigarette rack. But the live puppet play had become a beautifully filmed puppet play, and what would have been audiences of 50 had been whittled to a maximum of 12 masked, socially distanced and so conditioned by the pandemic to be wary about surfaces that they didn't need to be told not to touch the tantalizing piles of electric green limes. "We were going to put up signs," Frohardt said from behind her mask on Thursday morning, near the produce section, "but it has not been an issue." Developed over four years and timed to coincide with the city's new plastic bag ban its enforcement was postponed in March and only implemented in October "The Plastic Bag Store" is an emphatic work of activism that is also a wistful work of art. Timed tickets are free. The 45 minute film each act of which is shown on a different screen, in the part of the space where it would have taken place in the live performance begins with Thad, a lazy young ancient who gets rich selling water in throwaway vases until he realizes the environmental error of his ways. But the warning he tries to leave for posterity, painted on a vase, eludes the 21st century museum where it is on display. "Your extreme climate is probably our fault," she writes, "and the only animals you probably have left to eat are jellyfish and cockroaches." Then: "Sorry, I ran out of room on the postcard and had to finish this letter on the back of a CVS receipt." Helen puts her note in a plastic bottle, which is found many years later after the "robot wars" near the Equator, fished out of the ice by a man with extravagant eyebrows and fingerless gloves. The object piques in him an enchantingly baffled curiosity about our vanished era and its consumerist ways. The show is only an hour long, but its narrative arc is impressively encompassing. With gorgeous original music by Freddi Price, lighting by Jeanette Oi Suk Yew and puppeteering by Andy Manjuck, Nick Lehane, Rowan Magee, Admiral Grey and Emma Wiseman, the level of artistry is high. Like "The Pigeoning," this is puppetry made with adults in mind that is also suitable for children, particularly, in this case, those who are vigilant about climate change. "I don't really set out to make things all ages," said Frohardt, 39, who did theater in high school in Colorado Springs, studied painting at the University of Washington and got into puppetry in the early 2000s in San Francisco after she saw "this Charles Bukowski story about necrophilia, all in puppets, for a grown up audience." She thinks of her own work as "not not for kids." Surprisingly, this version of "The Plastic Bag Store" still manages to be a theatrical experience, with an audience gathered in a darkened space, where the soft hum of the ventilation system is unobtrusively reassuring. Between acts of the film, people whisk in from the wings to change the scenery around us the kind of transformation I hadn't witnessed indoors since March, which made it unexpectedly moving. And when the film is done, a live actor (the very funny Tyler Gunther) appears, for the brief but delicious final segment of the show. In its current form, it is not quite what Frohardt envisioned, but it is a highly successful compromise. The impulse to film the puppet play arrived with the shutdown "I just knew we had to capture it before some other terrible thing happened," she said but the result is more cinematic and reflective of her vision than she expected. (Robert Kolodny is the director of photography.) "It's very much how I saw the show in my head initially," said Frohardt, who lives in the Bedford Stuyvesant neighborhood of Brooklyn. "It doesn't really feel like a consolation prize to me." The one thing that's a little bit painful for her is that the pandemic means she isn't sharing this moment with all of the people she imagined she would be including her family in Colorado. "But I can't complain," she added quickly. "I feel so grateful. So many artists lost so many opportunities. I feel lucky that it's happening at all." Commissioned by Times Square Arts and produced by Pomegranate Arts, "The Plastic Bag Store" inhabits a part of Manhattan enduringly in the glare of electronic billboards, yet ringed by dormant theaters and shuttered restaurants. It's nowhere near as busy as it used to be. But it's not deserted, either. It is a rare thing right now to see a show in Times Square. And for once it is actually nice to hear the sounds of traffic bleeding in: signs of life.	N24News: A New Dataset for Multimodal News Classification	Theater
HONG KONG After months of weakness in overseas demand, especially from Europe, Chinese exports finally seem to be recovering. But now the country's domestic economy is looking a little less robust. Exports surged last month, helping to produce an unexpected trade surplus of 5.35 billion in March, according to government data released Tuesday. But imports grew lethargically, a warning sign for a domestic economy where government policies have aimed to deliberately deflate a real estate bubble and as a growing number of wealthy Chinese appear to be moving money out of the country. Slowing domestic demand is a concern in any economy, except when deliberately engineered to slow inflation, as is the case to some extent in China. But the Chinese government faces a particularly difficult balancing act because strong economic growth at home has been its main claim to political legitimacy. Qu Hongbin, a China economist in the Hong Kong offices of HSBC, said that the trade figures added up to a clear signal. "The underlying message is that domestic demand is still slowing," he wrote in a research report. Chinese officials have been uncertain about how much to stimulate the economy in response to the weakening of domestic demand, particularly as inflation remains a problem. Consumer prices were up 3.6 percent in March from a year earlier, according to official data. And inflation might actually be worse than that, as economists inside and outside China say that the official index represents as little as half of actual inflation because of methodological problems. Aware of that criticism, China's National Bureau of Statistics is looking for ways to improve its data collection on prices. Despite the inflationary forces, real estate developers and other corporate borrowers have been pressing for an easing of government lending restrictions, complaining that the economy has already slowed too much. But Tang Min, a senior economic policy adviser to the State Council, the Chinese cabinet, expressed caution in a rare column Tuesday in People's Daily, the Communist Party's official newspaper. "Due to the severe situation of rising prices, there still cannot be a substantial easing of the monetary policy," he wrote. "At the same time, we also see that there are inevitable factors behind rising prices, so there is no need to adopt an overly tight monetary policy." Various economic statistics are due from China this week, most notably the growth figure for the first quarter, to be released Friday. Private economists are predicting that China will post growth of 8 to 9 percent in the first quarter formidable by international standards, but slower than the double digit growth the country has enjoyed for most of the last decade. China's trade surplus has gradually narrowed over the last several years, as economic weakness in Europe and North America has hurt Chinese exports while soaring auto sales in China have produced a boom in oil imports. The International Monetary Fund has been forecasting in recent years that China's medium term current account surplus the trade surplus plus net earnings on overseas investments would rise again to 7 percent of Chinese economic output as economies in the West recover. But China's current account surplus was a little less than 3 percent last year. The I.M.F. is widely expected to reduce the medium term forecast to 5 or 6 percent when it issues its World Economic Outlook in the coming days, said Eswar Prasad, a former head of the I.M.F.'s China division who is now the Tolani senior professor of trade policy at Cornell. Today in On Tech: Imagine not living in Big Tech's world. Dollar Tree will raise prices to 1.25 by the end of April. Bank regulators released a 'road map' for crypto regulation that is short on details. The I.M.F., the United States and other Western nations in recent years have periodically accused China of deliberately keeping its currency, the renminbi, weak as a way to stimulate exports. But shrinkage in China's current account surplus, notwithstanding the modest trade surplus in March, is making it harder for the I.M.F. and others to press for China to allow further appreciation of the renminbi, Mr. Prasad said. The result has been a shift by many international economists toward encouraging China to address internal imbalances like its heavy reliance on investment instead of consumer spending. But weak growth in imports could be a signal of longer term difficulties in China's domestic economy. Chinese leaders are trying to deflate a real estate bubble by banning most purchases of second and third homes, a policy that has brought an abrupt slowdown in residential housing construction, with the exception of public housing projects, a national priority to provide more affordable housing. Many Chinese exporters have been looking to the country's domestic market in response to tepid growth overseas for the last several years, but are finding the Chinese market an even bigger challenge now. "The buyers are very aggressive in asking for price discounts and the right to return unsold products," said Peter Chen, the sales manager at the Hua Hai Toys factory, which makes water pistols in Chenghai, China. "At least our overseas customers have never asked to return products back to us." The recovery in Chinese exports last month, up 8.9 percent from a year earlier, suggests that a long predicted shift in manufacturing to other Asian nations has not yet taken place on a meaningful scale. Blue collar wages have nearly tripled in the last seven years or so in China, but heavy investments in ports, highways, telecommunications and other infrastructure have helped to offset the extra labor costs by making it less expensive and easier to ship goods to markets. A study released last month by Panjiva, a New York consulting company that advises 2,000 mostly American importers on how to locate overseas suppliers, found that slightly more than half of the importers interviewed had expressed a desire to increase purchases from other Asian nations, notably India, Vietnam and Thailand. But that has not yet translated into shifts in outsourcing. "When it comes to moving manufacturing beyond China, there's still more talk than action," Josh Green, the chief executive of Panjiva, wrote in an e mail on Monday. One of the biggest mysteries now in China involves the strength of domestic investment, for which the government will release figures late this week. The People's Bank of China, the central bank, is expected to release in the next week its quarterly figure for changes in the country's foreign exchange reserves, the best proxy for how much cash is flowing in or out of the country. There have been many signs the last few months, although most are anecdotal, that capital is starting to flow out of China. But foreign exchange reserves, at 3.18 trillion, give the country ample ability to counter any run on the renminbi. Bankers and lawyers say that Chinese companies doing initial public offerings abroad increasingly want to keep the proceeds offshore instead of repatriating them to China. Chinese businesses have been more aggressive in making offshore acquisitions, particularly related to natural resources, although this has been partly driven by government policy. Also, wealthy Chinese have been pouring huge sums into real estate in havens like Hong Kong and New York, even as real estate prices tumble in mainland China. They have also become very active users of a wide range of offshore trusts and tax shelters in places like the Cayman Islands, far from the Chinese tax authorities and fraud investigators. Many of the new financial structures being created are so aggressive and creative in hiding assets from the Chinese government that "10 years ago, they'd have gotten shot for it," said James Corbett, partner of Kobre Kim, a London law firm that specializes in tracing assets.	N24News: A New Dataset for Multimodal News Classification	Global Business

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